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He suffered, - but his pangs are o'er;

Enjoyed, - but his delights are fled ; -
Had friends, - his friends are now no more ;

And foes, - his foes are dead.
He saw - whatever thou hast seen;

Encountered - all that troubles thee :
He was

whatever thou hast been; -
He is - what thou shalt be.

J. Montgomery.

X.-Inflections of the Voice. Having learned the utility of the Suspending Pause, it is necessary to bear in mind that that pause is not an abrupt stop, but connected with certain modifications or inflections of the voice.

The three conditions of the voice, most commonly applied in good reading, are1. Monotone,mor, the level, uniform tone of the

natural pitch. 2. The Rising Inflection,—which ascends above

the natural pitch. 3. The Falling Inflection,—which falls below the

natural pitch. A correct idea of what is meant by the rising and falling inflection, can be conveyed only by the oral instruction of the teacher. All that can be said here is, that the former is not an abrupt, and, as it were, a sharp-pointed elevation of the voice; nor the latter a corresponding depression; but the rising inflection is a graceful, upward modulation of the suspending pause, with very little change of tone; and the falling inflection an equally graceful and distinct fall.

In all cases, however, the habitual recourse to what is called the throat voice, or the delivery of words from the throat, must be avoided. For a clear enunciation, the sound must proceed from the palate; when heard from the throat, it is deep, thick, and unpliant.

SIMULTANEOUS EXERCISES. These exercises are to be read carefully and distinctly by the teacher; the pupils following him simultaneously. The RISING INFLECTION should be accompanied by the upward movement of the teacher's hand; the FALLING INFLECTION by the downward movement.

I.—EXAMPLES, illustrating the two inflections, selected from “ An Introduction to the Art of Reading; published by direction of the Commissioners of National Education, Ireland.”

Words or syllables above the commencing line, denote the RISING INFLECTION.

Words or syllables below the commencing line, denote the FALLING INFLECTION.

help. 1. He came to my

sweet. 2. The breath of morn

is

horse; 3. A whip for the and a bridle for the

ass.

4. Pronounce every word clearly, freely, and distinct)y.

[blocks in formation]

to go?

time 9. Is it

[blocks in formation]

Ја.

named cob? 11. Is he not rightly

old.

infirm and 12. The minstrel was

II.-EXAMPLES, showing a more common mode of illustrating the same inflections; selected chiefly from “Ewing's Principles of Elocution," and “Scott's Lessons in Reading and Speaking,” both published by Oliver and Boyd, Edinburgh.

The acute accent (") denotes the RISING INFLEC

TION.

The grave accent (o) denotes the FALLING IN

FLECTION.

1. Did they act prop'erly,—or improperly?
2. They acted properly, not im'properly.
3. Did he speak distinctly,—or in'distinctly?
4. He spoke distinctly,--not in'distinctly.

5. Must we act accord'ing to the law,-or con trary to the law ?

6. We must according to the law,-not con'trary to it.

7. Did he go wil'lingly,-or un willingly? 8. He went willingly,-not un'willingly. 9. Did he act just'ly,--or un justly? 10. He acted just'ly,—not un'justly. 11. Did he do it know'ingly,-or un'knowingly? 12. He did it knowingly,—not un'knowingly.

13. Did he say wise'ly,—or wise'ly?
14. He said wisely,—not wise'ly.
15. You must not say fa'tal,—but fa tal.
16. You must say fatal,—not fa'tal.
17. You must not say i'dol,—but i'dol.
18. You must say i'dol,-not i'dol.
19. You must not say du'bious,-but du bious.
20. You must say du'bious,—not du'bious.

The preceding exercises may now be used for Individual Practice; but the pupils should not proceed to the next chapter until they have acquired a fair know ledge of the present. The Simultaneous Exercises may require to be frequently repeated.

XI.-Modulation, Force, Emphasis, and Time. 1. Modulation, which is an adaptation of the tones of the voice to the special character of the subject, must be natural, in order to be effectual.

2. Force, although sometimes another name for loudness, has, for the most part, nearly the same signification as emphasis.

3. Emphasis, which may be expressed forcibly or otherwise, as the subject requires, must be applied with great discretion, or it will become subversive of its proper intention. It is a special stress upon words, to show their connexion and bearing, when separated, or otherwise, to give them that prominent importance, which the author intended.

4. Time is commonly an important element in every kind of reading; inasmuch as the length or shortness with which sentences, words, and syllables are pronounced, is generally understood to indicate the calmness, earnestness, or sentiment of the

passage.

No particular rules or exercises are here given on the above subjects. It is thought sufficient to offer a few suggestions, which the student, guided by his teacher, may turn to account, for the improvement of his natural powers.

XII.-Suspension and Inflection. The hyphen (-) denotes a suspending pause. The acute accent (") the rising inflection. The grave accent the falling inflection.

SERIES, or DISTRIBUTION. Series, or Distribution, is an enumeration of particulars, all belonging or relating to one subject. The different parts require, in each case, to be noted by a slight pause, with the rising or falling inflection. The rising inflection produces the lighter, softer, and more plaintive effects ; and the falling inflection those, which are more serious, decisive, precise, and important.

SIMULTANEOUS EXERCISES. 1. He that desires to enter behind the scene, which every art has been employed to decorate', - and every passion labours to illuminate'; - and wishes to see lifestripped of those ornaments, which make it glitter on the stage', - and exposed in its natural meanness', impotence', and nakedness', - may find all the delusion laið open' in the chamber of disease';—he will there find vanity' - divested of her robes, - power' - deprived of her sceptre', - and - hypocrisy' - without' her mask'.

2. The philosopher' - the saint or the hero', - the wise' - the good' - or the great' man' - very often lies hid and concealed in a plebeian', - which a proper education' - might have disinterred', and brought to light'.

3. I shall consider honour' with respect to three sorts of men':--First of all', - with respect to those who have a right' notion of it ;-secondly', - with regard to those who have a mistaken' notion' of it;-and,

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