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sentence with emphatical words, is like crowding all the pages of a book with Italic characters; which, as to the effect, is just the same as to use no such distinctions at all.
Tones. Tones are different both from emphasis and pauses; consisting in the notes or variations of sound which we employ, in the expression of our sentiments. Emphasis affects particular words and phrases, with a degree of tone or inflexion of voice; but tones, peculiarly so called, affect sentences, paragraphs, and sometimes even the whole of a discourse.
To show the use and necessity of tones, we need only observe, that the mind, in coinmunicating its ideas, is in a constant state of activity, emotion, or agitation, from the different effects which those ideas produce in the speaker. Now the end of such communication being, not nierely to lay open the ideas, but also the different feelings which they excite in him who utters them, there must be other signs than words, to manifest those feelings; as words uttered in a monotonous manner can represent only a similar state of mind, perfectly free from all activity and emotion. As the commupication of these internal feelings was of much more consequence in our social intercourse, than the mere conveyance of ideas, the Author of our being did not, as in that conveyance, leave the invention of the language of emotion to man; but impressed it himself upon our nature, in the sane manner as he has done with regard to the rest of the animal world; all of which express their various feelings, by various tones. Ours, indeed, from the superiour rank that we hold. are in a high degree more comprehensive; as there is not an act of the mind, an exertion of the fancy, or an emotion of the heart, which has not its peculiar tone, or note of the voice, by which it is to be expressed ; and which is suited exacily to the degree of internal feeling. It is chiefly in the proper use of these tones, that the life, spirit, beauty, and harmony of delivery consist.
The lirnits of this Introduction do not admit of examples, to illustrate the variety of tones belonging to the different passions and emotions. We shall, however, select one, which is extracted from the beautiful la. mentation of David over Saul and Jonathan, and which will, in some degree, elucidate what has been said on this subject. “The beauty of Israel is slain upon thy high places; how are the mighty fallen! Tell it not in Gath; publish it not in the streets of Askelon; lest the daughters of the Philistines rejoice; lest the daughters of the uncircumcised triumpn. Ye mountains of Gilboa, let there be no dew nor rain upon you, nor fields of offerings; for there the shield of the mighty was viiely cast away: the shield of Saul, as though he had not been anointed with oil.” The first of these divisions expresses sorrow and lamenta. tion: therefore the note is low. The next contains a spirited command, and should be pronounced much higher. The other sentence, which he makes a pathetic address to the mountains where his friends had been slain, must be expressed in a note quite different from the former ; not so low as the first, nor so high as the second, in a manly, firm, and yet plaintive tone. The correct
and natural-language of the emotions is not so difficult
to be attained, as most readers seem to imagine. If we enter into the spirit of the author's sentiments, as well as into the meaning of his words, we shall not fail to deliver the words in properly varied tones For there are few people, who speak English without a provincial note, that have not an accurate use of tones, when they utter their sentiments in earnest discourse. And the reason that they have not the same use of them, in reading aloud the sentiments of others, may be tracer to the very defective and erroneous method, in which the art of reading is taught; whereby all the various, natural, expressive tones of speech, are suppressed; and a sew artificial, unmeaning reading notes, are substituted for them.
But when we recommend to readers, an attention to the tone and language of emotions, we must be understood to do limitation. Moderation is necessary in this point, as it is in other things. For when reading becomes strictly imitative, it assumes a theatrical manner, and must be highly improper, as well as give offence to the hearers; because it is inconsistent with that delicacy and modesty, which are indispensable on such occasions. The speaker who delivers his own emotions must be supposed to be more vivid and animated, than would be proper in the person who relates them at second hand.
We shall conclude this section with the following rule, for the tones that indicate the passions and emotions. "In reading, let all your tones of expression be borrowed from those of common speech, but, in some degree, more faintly characterized. Let those tones which signify any disagreeable passion of the mind, be still more faint then those which indicate agrceable emotions; and, on all occasions, preserve yourselves from being so far affected with the subject, as to be able to proceed through it; with that easy and masterly manner, which has its good effects in this, as well as in every other art.'
Pauses. PAUSES or rests, in speaking or reading, are a total cessation of the voice, during a perceptible, and in many cases, a measureable space of time. Pauses are equally necessary to the speaker, and the hearer. To the speaker, that he may take breath, without which he cannot proceed far in delivery; and that he may, by these temporary rests, relieve the organs of speech, which otherwise would be soon tired by continued action: to the hearer, that the ear also may be relieve ed from the fatigue, which it would otherwise endure from a continuity of sound; and that the understanding may hare sufficient time to inark the distinction of sentences, and their several members.
There are two kinds of pauses: first, emphatical pauses; and next, such as mark the distinctions of sense. An emphatical pause is generally made after something has been said of peculiar moment, and on which we desire to fix the hearer's attention. Sometimes, before such a thing is said, we usher it in with a pause of this nature. Such pauses have the same effect as a strong emphasis; and are subject to the same rules ; especially to the caution, of not repeating chern túo frequently. For as they excite uncommon attention, and of
course raise expectation, if the importance of the matter be not fully answerable to such expectation, they occasion disappointinent and disgust.
But the most frequent and the principal use of pauses, is to mark the divisions of the sense, and at the same time to allow the reader to draw his breath; and the proper and delicate adjustment of such pauses is one of the most nice and difficult articles of delivery. In al reading, the management of the breath requires a good deal of care, so as not to oblige us to divide words from one another, which have so intimate a connexion, that they ought to be pronounced with the same breath, and without the least separation. Many a sentence is miserably mangled, and the force of the emphasis totally lost, by divisions being made in the wrung place.
To avoid ihis, every one, while he is reading, should be very careful to provide a full supply of breath for what he is to utter. It is a great mistake to imagine, that the breath must be drawn only at the end of a pericd, when the voice is allowed to fall. It may easily be gathered at the intervals of the perioil, when the voice is suspended only for a moment; and, by this management, one may always have a sufficient stock for carrying on the longest sentence, without improper interruptions.
Pauses in reading must generally be formed upon the manner in which we utter ourselves in ordinary, sensible conversation; and not upon the stiff artificial manner, which is acquired from readir:g books according to the common punctuation. It will by no means be sufficient to attend to the points used in printing; for these are far from parking all the pauses, which ought to be made in reading. A mechanical attention to the resting places, has perhaps been one cause of monotony, by leading the reader to a similar tone at every stop, and a uniform cadence at every period. The primary use of points, is to assist he reader in discerning the grammatical construction; and it is only as a secondary object, that they regulate his pronunciation. On this head, the following direction niy be of use. Though in read. ing great attention should be paid to the stops, yet a greater should be given to the sense; and their correspondent times occasionaily length. ened beyond what is usual in common speech.”.
To render pauses pleasing and expressive, they must not only be made in the right place, but also accompanied with a proper tone of voice, by which the nature of these pauses is intimatet; much more than by the length of them, which can seldom be exactly measured. Sometimes it is only a slight and simple suspension of voice that is proper; sometimes a degree of cadence in the voice is required; and sometimes that peculiar tone and cadence which denote the sentence to be finished. In all these cases, we are to regulate ourselves by attending to the manner in which nature teaches us to speak, when engaged in real and earnest discourse with others. The following sentence exemplifies the suspending and the closing pauses: “Hope, the balm of life, soothis us under every
misfortune. The first and second pauses are accompanied by an inflection of voice, that gives the hearer an expectation of something further to complete the sense; the inflection attending the third pause signifies that the sense is completed. The preceding example je an illustration of tbe suspending pause, in
its simple state: the following instar.ce exhibits that pause with a de. gree of cadence in the voice; “ If content cannot remove the dis quietudes of mankind, it will at least alleviate them."
The suspending pause is often, in the same sentence, attended with both the rising and the falling intlection of voice; as will be seen in this exampie : “ Moderate exercise, and habitual temperance, strengthen the constitution "
As the suspending pause may be thus attended with both tie rising and the falling inflection, it is the same with regard to the closing pause : It admits of both. The falling inflection generally accompanies it ; but it is not unfrequently connected with the rising infection. Interrogative sentences, for instance, are often terminated in this manner; as, “ Am I ungrateful ” “ Is he in earnest ?”
But where a sentence is begun by an interrogative pronoun or adverb, it is commonly terminated by the falling infection: as, “What has he gained by his frilly?” “Who will assist him?” “Where is the messenger?" "When did he arrive ?"
When two questions are united in one sentence, and connected by the conjunction or, the first takes the rising. the second the falling inflection : as,
• Does his conduct support discipline, or destroy il ?" The rising and falling inflections must not be confounded with emphasis. Though they may often coincide, they are, in their nature, perfectly distinct. Emphasis sometimes controls those inflections.
The regular application of the rising and falling infections, confers so much beauty on expression, and is so vecessary to be studied by the young reader, that we shall insert a few more examples to induce him to pay greater attention to the subject. In these instances, all the inflecticus are not marked. Such only are distinguished, as are most striking, and will best serve to show the reader their utility and importance.
" Manufactures, trade, and agriculture, certa:nly employ more than nineteen parts in twenty of the human species.”
“ tle who resigns thu world has no temptation to envy, hatred, inalice, or anger; but is in constant possession of a serene mind: he who follows the pleasures of it, which are in their very nature disappointing, is in constant search of care, solicitude, remorse, and coit. Iusion.” “To advise the ignorant, relieve the needy, comfort ene afflicted, are duties that fall in our way alınost every day cf our lives."
“ Those evil spirits, who, by long custom, have contracted in the body habits of Just and sensuality; inalice, and revenge ; an aversion to every thing that is good, just, and laudable, are naturally seasoned and prepared for pain and misery.”
“I am persuaded, that neither death, nor life; nor angels, nor principalities, nor powers; nor things present, nor things to come; ror height, nor depth; nor any other creature, shall be able to sepa. rate us from the love of God."
The reader who would wish to see a minute and ingenious investiga. tion of the nature of these inflcctions, and the rules by which they are governed, may consult Walker's Elements of Elocution
Manner of reading Verse. WHEN we are reading verse, there is a peculiar difficulty in making the pauses justly. The difficulty arises from the melody of verse, which dictates to the ear pauses or rests of its own: and to adjust and compound these properly with the pauses of the sense, so as neither to birt the ear, nor offend the understanding, is so very nice a matter, that it is no wonder we so seldom meer with good readers of poetry. There are two kinds of pauses that belong to the melody of verse: one is, the pause at the end of the line; and the other, the cæsural pause in or near the middle of it. With regard to the parise at the end of the line, which marks that strain or verse to be finished, rhyme renders this always sensible; and in some measure conipels us to observe it in ou pronunciation. In respect to blank verse, we ought also to read it so as to make every line sensible to the ear : for, what is the use of melody, or for whai end has the poet composed in verse; if, in reading his lines, we suppress his numbers, by omitting the final pause ; and degrade them, by our pronunciation, into mere prose? At the same time that we attend to this pause, every appearance of sing-soug and tone must be carefully guarded against. The close of the line where it makes no pause in the meaning, oright not to be marked by such a tone as is used in finishing a sentence; but, without eitl:er fall or elevation of the voice, it should be denoted only by so slight a suspension of sound, as may distinguish the passage from one line to another, with. out injuring the meaning.
The other kind of melodious pause, is that which falls somewhere about the middle of the verse, and divides it into two hemistichs; a parise, not so great as that which belongs to the close of the line, but still sensible to an ordinary ear.
This, which is called the caşural pause, may fall, in English heroic verse, after the 4th, 5th, 6th, or 7th syllable in the line. Where the verse is so constructed, that this cæsural pause coincides with the slightest pause or division in the sense, the line can be read easily; as in the two first verses of Pope's Messiah:
“Ye nymphs of Solyma ! begin the song;
• To heav'nly themes ; sublimer strains belong." But if it should happen that words which have so strict and intimate a connexion, as not to bear even a momentary separation, are divided from one another by this cæsural pause, we then feel a sort of struggle between the sense and the sound, which renders it difficult to read such. lines harmoniously. The rule of proper pronunciation in
is to regard only the pause which the 'sense forms; and to read the line accordingly. The neglect of the cæsural pause may make the line sound somewhat unharmoniously; but the effect would be much worse, if the sense were sacrificed to the sound. For instance, in the following line of Milton,
--- W'bat in me is dark, “Illumine; what is low, raise and support." the sense clearly dictates the pause after illumine, at the end of the third syllable, which, in reading, ought to be maile aecordingly