The American Union Speaker | Page 8

grouping of words according to the sense,
and afford rests for taking breath, should generally be introduced before
the nominative, if it consists of several words, or if it is one important
word; before and after an intermediate clause; before the relative;
before and after clauses introduced by prepositions; before
conjunctions; and before the infinitive mood, if any words intervene
betwixt it and the word governing it.
INFLECTIONS. The two chief inflections or slides are the raising and
the falling. The voice, when properly managed, usually rises or falls on
each emphatic syllable. These upward and downward movements of
the voice are what we mean by inflections. The student should practice
on them till he can inflect with ease and in a full sonorous voice.

Persons who are deficient in tune do not readily perceive the difference
between the rising slide and loudness of voice, or the falling and
softness. It is a very useful exercise to pronounce the long vowel
sounds giving to each first the rising then the falling slide. The
prolongation of these sounds is most profitably connected with the
slides, the voice being thus strengthened in its whole range of compass,
and, at the same time, accustomed to utter the musical sounds of speech
with due quantity. In inflecting the vowels, the voice, in order to rise,
begins low; and, in order to fall, it begins high.
The rising and falling slides combined form the circumflex, or wave,
which is a very impressive and significant modification of the voice. It
is chiefly used in sarcasm, raillery, irony, wit, and humor. It well
deserves careful study and practice.
THE MONOTONE, is the repetition of nearly the same tone on
successive syllables, resembling the repeated strokes of the bell. This
element belongs to very grave delivery, especially where emotions of
awe, sublimity, grandeur, and vastness are expressed, and is peculiarly
adapted to devotional exercises. The following example well illustrates
its use:
"He bowed the heavens also, and came down; and darkness was under
his feet,--And he rode upon a cherub and did fly; yea, he did fly upon
the wings of the wind. He made darkness his secret place; his pavilion
round about him were dark waters and thick clouds of the skies."
In practical delivery, the elements of expression are never used
independently of each other, two or three being always combined, even
in the utterance of the shortest passage. The perfection of vocal training,
therefore, requires a command, not merely of each individual
modification of the voice, but of all their numerous combinations. The
following example requires the union of declamatory force, low pitch,
slow rate, monotone, and orotund quality:--
"High on a throne of royal state, which far Outshone the wealth of
Ormus. and of Ind, Or where the gorgeous East with richest hand,
Showers on her kings barbaric pearl and gold, Satan exalted sat."
What has been said thus far, relates wholly to preparatory training in
the elements of elocution. I have dwelt upon this theoretical department
of my subject, because of its transcendent importance. But I do not
mean to imply, in anything that has been presented, that the pupil

should be confined exclusively to this disciplinary drill, for a long
period, without attempting practical exercises in reading and
declamation. On the contrary, I would recommend that this practice on
the vocal and expressive elements be carried forward together with
practice in speaking pieces. Exercises in vocal gymnastics, such as I
have now indicated, should be commenced with the first stages of
education, and continued, with gradations adapted to the age and
progress of the pupil, through the whole course of instruction, whether
longer or shorter. The value of thorough elementary training is well
illustrated by the following anecdote respecting the education of the ear
and the singing voice:--
"Porpora, one of the most illustrious masters of Italy, having conceived
a friendship for a young pupil, exacted from him the promise that he
would persevere with constancy in the course which he should mark
out for him. The master then noted upon a single page of ruled paper,
the diatonic and chromatic scales, ascending and descending; the
intervals of third, fourth, fifth, &c. This eternal page occupied master
and pupil until the sixth year, when the master added some lessons in
articulation and declamation. At the end of this year, the pupil, who
still supposed himself in the elements, was much surprised when
Porpora said to him, 'Go, my son, you have nothing more to learn; you
are the first singer of Italy, and of the world.' The master had spoken
the truth, for this singer was Caffarelli, the greatest singer of the
eighteenth century."
EXPRESSION
This term is used here, not in its limited and technical meaning, but in
its largest sense, as a