Now it is on the change and variation of these several pitches that an orator or an actor must depend for power of expression; and the greater the facility with which he can make his transitions from pitch to pitch, the greater will be his effect on his audience. For there are many passages in vehement oratory, poetry, and especially dramatic poetry, that require rapid and frequent transitions from high pitch to low, and run through every variety of tone.

ENERGY, OR FORCE.

Intimately allied to expression, is energy, or force. As Expression is variety of Intonation, Energy may be called the Emphasis of Expression. It is the life, the soul, the animating spirit. Without it, the speaker may be correct, and even agreeable, by a due observance of rule; but if he lack energy, he will be listened to without interest; his voice will fall powerless on the ear, and neither "awake the senses," nor "stir the blood."

Energy, it is true, depends somewhat on individual temperament and constitution. But even where natural or physical energy is deficient, an energetic manner may be acquired by practice and exercise under judicious direction; just as the muscular powers may be improved, and bodily vigor increased, even in a feeble frame, under a course of training and well-regulated exercise.

The first requisite, in order to create an interest in others, is to feel, or at least to exhibit, an earnestness ourselves. We must be in earnest. Between the oraH*

tor and his auditory, there is a certain involuntary sympathy communicated from one to the other. If he be himself animated and energetic, his audience soon acknowledge a kindred spirit; if, on the contrary, he be cold, they catch the infection; if he be tame, they are apathetic; if he be spiritless, they are listless: their torpor again re-acts upon him, and both orator and audience sleep together.

Energy quickens and infuses life into the style: it warms, it revivifies with its touch. It adds a brisker movement to the voice: it flushes the cheek, it lights the eye, it animates the frame; and passing like an electric spark from speaker to audience, it enkindles in them a sympathetic spirit, it arouses their enthusiasm, it takes possession of their hearts, and places their feelings, their reason, and their will, in the hands of him whose power has agitated the recesses of their souls.

FORCE is, after pitch, the next constituent of Expression: and the increasing or diminishing the amount of force on any passage is a matter requiring nice taste, and artistical execution, in governing the voice to forte (loud), and piano (soft).

TIME.

The last constituent of Expression is-Time. The time, that is, the rapidity or slowness of our delivery, must accord with the character of the feeling or passion expressed,-whether impetuous or concentrated; -of the action, or scene described,-whether stirring or tranquil ;-or of the sentiment that pervades the

language, whether it be elevated, impulsive, glowing, or deep, solemn, and enduring. For, different sentiments and passions, as they use different pitch, also speak in different time: the utterance of grief is slow and heavy; while that of hope and joy is light, bounding, and rapid. Again, the rush of an impetuous torrent, roaring and bursting over the plains, destroying vegetation, tearing up trees, carrying away cottages, in its resistless course, must be painted, as it were, to the ear, not only by appropriate pitch and force, but by a rapidity of utterance whose time shall be in keeping with the sweeping destruction described: while the placid flow of a gentle river, calmly gliding between its flower-spangled banks, amid a landscape of richest verdure, whose unbroken silence, and golden smile, caught from the rays of the setting sun, breathe the quiet happiness of content and peace,-this requires to be painted by a slow and even movement of the voice,-whose time shall accord with the tranquillity of the scene, and allow the hearer to dwell on the placid picture before him.

As an illustration, continuing the speech of Brutus, which we have already commenced as an Exercise on Intonation, we proceed thus:

As Cæsar loved me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant, I honor him; but, as he

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was ambitious, I slew him. There is tears for his love;

joy for his fortune; honor for his valor, and death for his ambition.

Such is the correct pausing, and such the just, and even forcible inflection and emphasis on this passage. But it wants much more, before it can be perfectly delivered: it wants expression: for it is clear that "weeping," "rejoicing,” and “slaying,” result from very different and opposite affections or passions of the mind; and this change in sentiment must be indicated by a correspondent transition in the pitch, and variation in force and time of delivery.

To denote the varieties and changes of these three constituents of Expression, I must employ the following signs and

It will be necessary to use terms denoting the following

pianissimo pp. very softly... increased expression of tender

mezzo forte m.f. rather loud.

fortissimo

crescendo

ness, &c.

the reverse of the above; a loud powerful tone.

fvery loud....increased expression. increasing... swelling the volume of voice.

diminuendo > diminishing.. reducing the volume.

forzando

staccato

legato

fz. bursting..
beating...

explosive, with a burst of sound. with short and distinct strokes of sound; to be used in rapid and energetic delivery.

leg. connected or a (the reverse of smoothly... staccato.)

smooth, even flow of tone, proper for the delivery of unimpassioned verse.

The following terms denote the character of the expression. proper to any passage:

affetuoso (affo.)....with emotion: expressive of deep feeling. ...sweetly: expressive of tenderness, affection, pity, &c.

dolce (dol.)..

maestoso.

with a grand, majestic expression, proper

to solemn feeling.

con spirito (con sp.). with spirit; for lively expression.

con fuoco (con fu.). with fire; in an animated, energetic manner. con anima (con an.). with soul; that is, with a thrilling expression of intense feeling.