MODULATION.

What is meant by modulation, as applied to speech, embraces several of the rhetorical incidents already considered, and yet is distinct from each of them. It is partly made up of pitch, tone, and inflection, and at the same time it is something above and beyond them. It is at once so composite, and yet so unique, that it is difficult to frame an adequate definition of it, and, therefore, we will not advance beyond description. What light and shade are to a picture, and changes of key to a piece of music, modulation is to speech. What accent is to the syllables of a word, and emphasis to the words of a sentence, modulation is to a composition as a whole. It is like a skilful arrangement of variegated lamps as compared with pure and simple illumina

tion.

By modulation is meant the exercise of all these fiver and more delicate capabilities of tone-production, which depend more upon the natural quality of the organ than upon cultivation. It requires a perfect flexibility and command over all the gradations of intonation, as well as an indefinable timbre, which has the power of establishing a sympathy between the speaker and his audience. Its exercise appeals rather to the heart than to the head; it touches the feelings rather than convinces the understanding. It adapts the intonation to the subject-matter, making the sound an echo to the sense. By its sensitive pulsations the ear takes up the vibrations which thrill into play the tenderest emotions. It is that quality of voice which has tears in it, which exercises a mesmeric influence over its listeners, which

is calculated to warp the judgment and carry its audience away with it. It operates, for the most part, within a comparatively limited range; the very highest as well as the very lowest efforts of oratorical effect are independent of it. And yet it constitutes the chief charm and perfection of elocutionary excellence. Like all other rhetorical observances it may be improved by cultivation, but its essential basis, viz., an organ of exceptional quality, can be no more obtained by human. effort than can heroic proportions by a man of meagre frame.

We will not attempt to embarrass the student by drawing up artificial scales of pitch and modulation for the regulation of his voice; nor do we think it desirable to formulate rules for his guidance in acquiring facility in these rhetorical appliances. This has been done many times, but with little practical utility. Modulation in delivery is so entirely a matter of cultured taste and feeling that, we think, intelligent study will direct the students' practice better than the application of arbitrary rules to individual marked sentences. He will find choice material in abundance ready to hand in this volume for all the requirements of analysis, thought, and practice.

FORCE AND ENERGY.

The exercise of these qualities in delivery depends very much upon the temperament of the speaker, which, to a large extent, determines the degree to which they are applied. In any case they involve

greater physical exertion, not only as regards gesture, but in the mere emission of breath, and in most cases much of this effort is wasted. The object of throwing "soul" into speech is to impress the earnestness of the speaker upon the audience, to enkindle within them the flame that is consuming him. And to do this effectively requires but little additional volume of sound, if the utterances throughout be audible. What is required, instead of expending all the increased power in "raising the voice" only, as is usually done, is to distribute it in more distinct articulation, stronger emphasis, and fuller intonation. By lengthening the pauses, too, which in no little degree contributes to the same result, the waste of exertion is diminished, and opportunity afforded for regaining the breath. Mere vociferation, amounting almost to shouting, defeats its own object; it is the vowel sounds only that can be bawled out, and when this is done, distinct articulation of the consonants is impossible. It is an indisputable fact that a man may shout so loud that you cannot hear what he says. In illustration of this an old story may be quoted. A speaker in a crowded room, who had been bawling at the top of his voice from the platform for some time, was at length obliged to pull up for want of breath, when an old Quaker gentleman at the far end of the room, taking advantage of the momentary lull, called out to him in a clear, thin voice, "Friend, thou art making so much noise that we cannot hear thee." The practised, cool-headed speaker will never allow his enthusiasm to carry him away, but will skilfully arrange his forces to carry his audience along with him. He will employ, with moderation, all the rhetorical appli

ances at his command to get the ear of his audience, to put them in good humour, to gain their sympathy, until at length their attention is riveted upon him, and they await his words in breathless silence. A very slight expenditure of additional power will then add fire and energy to his discourse, whenever he desires to bring these forces into play.

"O, it offends me to the soul to hear a robustious periwigpated fellow tear a passion to tatters, to very rags, to split the ear of the groundlings."

THE READING OF POETRY.

THE structure of verse being more artificial than that of even high-class prose, the effective delivery of it necessitates some knowledge of the principles of its construction. Verse is musical articulate speech: its melody, unlike the varied tones of song, is merely a pleasant harmonious undulation of sound, produced by the utterance of regularly recurring accented and unaccented syllables, which is known as rhythm. The words of a poem are selected and arranged so that the accented and unaccented syllables stand in the same order throughout. Each set of syllables which is alike in the arrangement of accent and non-accent is called a foot, and the kind of foot constitutes the basis of measurement or metre. There are four different kinds of feet of which all English poetry is constructed; two of two syllables each, and two of three syllables. The names of the feet and the position of the accent in each, are given in the following table :