the highest and proceed to the lowest. When this can be well done, choose appropriate passages for each pitch, and deliver them in the same manner. EXAMPLES. (p5) Roll on, thou dark blue ocean. (p3) Roll on, thou dark blue ocean. (p2) Roll on, thou dark blue ocean. (p1) Roll on, thou dark blue ocean. Those who are somewhat familiar with music may prefer the following arrangement. 8. do (5) Roll on, thou dark blue ocean. -7.-si- 6. la · -5.—sol—●—( p1) Roll on, thou dark blue ocean.- 4. fa -3.-mi 2. re -1.—do—●—(p3) Roll on, thou dark blue ocean. 7. si -6.—la—D 5. sol (p2) Roll on, thou dark blue ocean. 4.-fa 3. mi (p1) Roll on, thou dark blue ocean. DIRECTIONS FOR PRACTICING THE PRECEDING EXAMPLE. The medium pitch must be the guide in getting all the other pitches. To obtain this, let the pupil read a few passages in a common conversational tone, carefully marking the prevailing note; this will be his key-note or medium pitch, which he may assume as one of the scale extending above, or as eight of the one below. From this let him descend to five of the scale below for the low pitch, and to three for the very low pitch. Then let him take five of the scale above for the high pitch, and eight for the very high pitch. Let him practice upon these five sounds until he can strike each one of them with readiness, and then he may read the line in these different pitches as in the first example. EXAMPLES OF APPROPRIATE PASSAGES FOR EACH PITCH. (pl) It thunders! Sons of dust, in reverence bow! I hear thy awful voice. Alarmed,—afraid,— (p2) It must be so: Plato, thou reason'st well! Else whence this pleasing hope, this fond desire, Or whence this secret dread, and inward horror, 'Tis heaven itself that points out an hereafter, Eternity! thou pleasing, dreadful thought! (p3) A pretty little fawn had been brought in from the wood when it was very young, and had been nursed and petted by a young lady in the village until it had become completely domesticated. It was graceful, as those little creatures always are, and so gentle and playful that it became a great favorite. (p4) Ye guards of liberty, I'm with you once again! I call to you With all my voice! I hold my hands to you, (p) Ho! cravens! do ye fear him? To meet him here alone? FORCE. Force is that stress of voice applied to phrases and sentences, which distinguishes them from other phrases and sentences in the same paragraph or discourse. Force is susceptible of numerous divisions; but, for elocutionary purposes, it will be sufficiently accurate to make only five; which are suppressed force, softened force, medium force, energetic force, and very energetic force. Suppressed force is the lowest degree of stress or loudness; and is used to express fear, caution, and secrecy. Softened force is the ordinary loudness of the voice somewhat subdued; and is appropriately employed in language of solemnity and tenderness. Medium force is that which is used in common conversation, and in reading narrative and descriptive pieces which are not particularly animated Energetic force is the medium loudness of the voice considerably increased; and is the appropriate force for earnest declamation, for animated narration and description, and for language expressive of lively and joyous emotions. D Very energetic force is the greatest power or loudness of the voice; and is used in calling and in giving commands. Suppressed force may be represented by (f1), softened force by (ƒ2), medium force by (f3), energetic force by (f1), and very energetic force by, (ƒ3). DIRECTIONS FOR EXERCISE ON FORCE. Repeat the example in every degree of force, proceeding from the least to the greatest, and then from the greatest back to the least. Any pitch may be selected for this purpose, but probably the medium will be the best to begin with. In practicing these examples, the pupil must be careful not to change the pitch, as he will be very likely to do, especially in illustrating the greater degrees of force. EXAMPLES. (ƒ3) Roll on, thou deep and dark blue ocean, roll! EXAMPLES OF APPROPRIATE PASSAGES FOR EACH DEGREE OF FORCE. (f1) Adah. Hush! tread softly, Cain. Cain. I will: but wherefore? Adah. Our little Enoch sleeps upon yon bed Of leaves, beneath the cypress. (f) Softly, peacefully, Lay her to rest; On her young breast, Bend o'er the bed Where ye have pillow'd Thus early her head. (ƒ3) Not a drum was heard, nor a funeral note, O'er the grave where our hero we buried. (ƒ1) The war is actually begun! The next gale that sweeps from the North will bring to our ears the clash of resounding arms! Our brethren are already in the field! Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear, or peace so sweet, as to be purchased at the price of chains and slavery? Forbid, Almighty God! I know not what course others may take, but as for me, give me liberty or give me death! (f) Stand! the ground's your own, my braves! Will ye give it up to slaves? Will ye look for greener graves? Hope ye mercy still? What's the mercy despots feel? Hear it in that battle-peal! Read it on yon bristling steel: Ask it, ye who will. RATE. Rate has reference to the rapidity or slowness of utter ance. |