Or again:

Judge not that ye be not judged: for with what judgment yo judge it shall be measured to you again.

e. Climax.-Words in a series are not to be given with the same emphasis. Especially must they be placed on different levels of pitch.

"We listened to the toll of the bell; one, two, three, four, five."

"He was wise, valiant, faithful, and just."

"In the desert, on the plains, on the mountain side, by still waters, and in the ocean's depths, sleep the brave of our country."

The only way to get a proper effect in such constructions is to make sure not to utter the like parts in the same voice. Observe the principle of climax, making changes in all four of the elements if necessary.

f. Insinuation, Implication, and Contrast.-Ideas that imply or insinuate what is not really uttered, and ideas that drive home a contrast, must be given some noticeable form of emphasis. There is also a caution to be given in this connection: a false slide or stroke on a word capable of carrying an insinuation or an implication not intended, is fatal to the hearer's clear understanding of the thought.

"The limited talents of some men render it impossible to be severe without being unparliamentary." The implied meaning in some is achieved only by giving the word very pronounced emphasis.

"I gave it to him" means decidedly different from "I gave it to him" and from "I gave it to him." In each there are implications that can be drawn from the emphasis used. In the first instance, "I gave it to him" implies "I did not sell it to him; he did not come by it dishonestly, nor did I lend it to him." Study the two other utterances to see what is implied in the emphasis used.

"I spent my vacation in New York State" is a form of utterance that needs care in speaking; to throw the emphasis upon state gives a false implication, unless one wishes to make clear that it is not New York City meant. Many speak

ers, or more particularly many people when reading aloud, use almost no other emphasis than that given the last word of every sentence or independent clause. This leads to false implications: "Out he went, then came in again, and sat down once more, and seemed to notice no one present."

g. Emphasis in Concluding Cadences.--A concluding cadence is the melody scheme at the end of a sentence, or more particularly at the close of a paragraph or passage of unified import. It requires a special emphasis. The best effect usually is for the speaking manner to suggest the alighting of a bird or an airplane. First there is a reducing of energy— force; then there is a slowing down; and through it all there is a gradual descent.

Observe the "alighting" effect of these words, the close of a passage of deep intensity:

"I would rather be this man and go down to the tongueless silence of the dreamless dust than to have been that imperial impersonation of force and murder known as Napoleon the Great," or, "Liberty and Union, now and forever, one and inseparable."

Each of these needs (1) a pronounced slowing down; (2) a lessening of force, and (3) a descent in pitch. Especially important is this slowing down for birds, 'planes, and speakers, all three.

2. FOR EMOTIONAL MEANING

Emotional emphasis is emphasis placed upon any syllable, word, or phrase to carry a meaning that the speaker or reader has special reasons for wishing to convey. The interpreter has the right to bear down anywhere he wishes to, if by so doing he can better carry his intention. He can say:

This privilege is as wide as human thought. One of the reasons why speech will always be more important to life. and civilization than the printed page is that by means of the

voice-quality, force, time, and pitch-the intelligent speaker and reader can make words mean infinitely different things, while on paper the range of meanings is greatly restricted. It is very difficult indeed to carry the right meaning in a letter, much easier by telephone or conversation face to face. Arbitrary emphasis-emotional-can even overcome defective sentence composition; this is one reason why a preposition is a good deal of the time a perfectly good word to end a sentence with! At least it is so in speech. I can say "he was the most despicable of men" and carry my meaning just as well as by saying, "he was of all men most despicable"; even though the latter is the approved form for writing. One reason this why men who cannot write well can still be masters of audiences.

When interpreting the printed page it is permissible and often necessary to inject meanings not apparent from the set rhetoric and composition of the sentence. Where does the emphasis lie in "ye must be born again"? Quite a deal of theology could be fought out over the placing of that emphasis. Work it out and see. So with quite the majority of sentences one finds in worth-while literature.

Therefore, it pays the interpreter to make sure that his emphasis does not fall here and there by mere chance. Let him know the consequences of any departure from the emphasis suggested by logical structure. The passage on p. 396 can (notice the implications of this emphasis) be placed as follows:

Cromwell manufactured his own army. Napoleon, at the age of twenty-seven, was placed at the head of the best troops Europe ever saw. Cromwell never saw an army till he was forty; this man never saw a soldier till he was fifty. Cromwell manufactured his own army out of what? Englishmen, the best blood in Europe. Out of the middle class of Englishmen, the best blood of the Island. And with it he conquered what? Englishmen, their equals. This man manufactured his army out of what?

There is a sort of sense to this; but it is entirely idiosyncratic, a meaning that only one person out of thousands would be likely to give. And unless the reader had good reasons for doing this, it would be entirely freakish. Remember,

any reader has this right and this power, but he does well to calculate the consequences in terms of the meaning carried to the listener. He does it always at his own risk. The above would leave the listener rather befuddled as to what it was all about.

The ingenious interpreter, however, possessed of good sense, a respect for his hearers, and decent courage, will use these personal, emotional emphases; but he will consider them with prudence and caution before he goes far in his departure from the logic of the sentence and the paragraph.

EXERCISES

As an exercise in special emotional emphasis, any passage of literature will serve. Only be sure that you can predict the conse quences of your departures from the logical norm.

Any passage of literature used in this book is material for study and work in interpretation. Appendix C is added for this specific purpose.

DEPARTMENT OF DRAMATIC ART

APPENDIX A

ORIGIN AND DEVELOPMENT OF SPEECH HABITS

I. THE ORIGIN OF SPEECH

Theories of Speech.-Assuming that few people speak ably and that fewer yet read interestingly, what is the best method of curing defects and improving proficiency? The safest way of ascertaining the answer, it would seem, is first to find out how man learned to speak in the beginning, and then to come as near to following out this process as the fallen state of our linguistic shortcomings permits. The experience of the race will be the proper beginning and the best guide. How, then, has the race learned to use its voice in intelligent, interesting, and even captivating discourse?

A Statement of Origin.-Judd 1 gives this statement of the origin of speech:

Every sensory stimulation arouses some form of bodily activity. The muscles of the organs of circulation and the muscles of the limbs, as well as other internal and external muscles, are constantly engaged in making responses to external stimulations, Among the muscles of the body, which with the others are involved in expressive activities, are the muscles which control the organs of respiration. There can be no stimulation of any kind which does not affect more or less the character of the movements of inspiration and expiration. In making these general statements we find no necessity for distinguishing between the animals and man; so far as the general facts of relations between sensations and expression are concerned, they have like characteristics. That an air-breathing animal should produce sounds through irregularities in its respiratory movements when it is excited by external stimulus, especially if that stimulus is violent, is quite as natural as that its hair should rise when it is afraid or that its muscles should tremble when it is aroused to anger or to flight.

1C. H. Judd, Psychology. Revised edition, 1917, pp. 211-212.