The American Union Speaker | Page 7

effect produced by the resonance of the chest, the force and firmness imparted by the due compression of the throat, the clear, ringing property, caused by the due proportion of nasal effect, and the softening and sweetening influence of the head and mouth."
The orotund quality which is so effective in impassioned utterance, and in the expression of deep, forcible, and sublime emotions, is nothing more than pure tone increased in extent of volume, and in intensity of force. This modification of pure tone is very full, very rounds very smooth, and very highly resonant or ringing. It is what Dr. Rush regarded as the highest perfection of speech-voice, and as the natural language of the highest species of emotion. Volume and energy are its distinguishing characteristics. The piece from Webster on page 160, is a good illustration of its use.
In cultivating purity of tone, it is necessary, in the first place, to ascertain the elements of impurity, and their causes and remedies. To this negative process must be added the positive, namely--attention to the due and proportionate development of all the vocal organs. Depth is increased by the expansion of the pharynx; roundness and volume are promoted by the enlargement of the oral cavity, especially its back part; and smoothness is the result of the free vibration of the vocal chords, while resonance is produced by the proper expansion of the chest.
MODULATION. This has reference, not to the qualities of the voice itself, but to its management in delivery. It includes those modifications and variations which are requisite for the expression of thoughts and feelings, and are therefore denominated by some elocutionists, the elements of expression, in distinction from the elements of utterance, which we have already considered under the preceding heads. The principal expressive modifications of the voice, are pitch, force, rate, pause, and infection. The voice should be exercised on these elements separately, till each can be produced in all its varieties and degrees. The middle pitch, or key-note, is that of common discourse, but by practice it may be rendered effective in public speaking. Neglect to cultivate and develop the power of speaking on this key, often leads speakers to adopt the high, shouting note, which is heard so commonly, and with so much disapprobation, at exhibitions of declamation. Every one can speak on a high key, although without training few can do it pleasingly; but command over the low notes of the voice is a rare accomplishment, and an unequivocal characteristic of the finished speaker. It is well to pay some attention to the very high and very low notes, not so much for their own utility in public speaking as for the purpose of giving strength and firmness to the notes which are intermediate between the natural pitch and either extreme, and which are designated as simply high and low, without any qualifying term. After accustoming the ear and voice to the different notes, the student should learn to make sudden transitions from one key to another.
FORCE. The principal degrees of force requiring attention, are three: the moderate, the declamatory, and the impassioned. The degrees lower than moderate are, the suppressed and the subdued; and those higher than impassioned are, shouting and calling. But these are not very important in practical delivery.
RATE has reference to the kinds of movement in delivery, including the rapid, the moderate, and the slow. Mrs. Siddon's primary rule for good reading was, "Take Time." Excessive rapidity of utterance is, undoubtedly, a very prevalent fault, both in speaking and in conversation. Deliberate speech is usually a characteristic of culture and good-breeding. This excellence is greatly promoted by giving due quantity, or prolongation of sound, to the vowels.
PAUSES. Besides the pauses required by the syntactical structure of the sentence, and denoted by grammatical punctuation, there are the pauses of passion, and the pauses at the termination of the clusters into which words are grouped in good speaking.
The pauses of emotion occur in impassioned delivery. They usually consist in lengthening the stops indicated by the punctuation marks, especially those of the points of exclamation and interrogation, and the dash. Pauses of this description constitute one of the most importent of the elements of emphatic expression, and yet they are, by many speakers, altogether neglected, or so abridged as to destroy their effect. The young student is particularly apt to disregard them.
The pauses which mark the 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