Voice, as we have seen, possesses five generic properties, pitch, force, quality, time, and abruptness; and, in every spoken word, it must a.s.sume some mode of _each_ of these properties, manifesting them in co-existence. This conjoint mode, or _vocal sign_, as it is called, should be the appropriate expression of the thought and feeling of which the word, in its place in the sentence, is the _graphical sign_. Hence, as each word in a sentence may be said to have its appropriate vocal sign, so each variety of diction may be said to have its appropriate vocal expression,--a lat.i.tude of choice in the const.i.tuent modes, and a consequent indeterminateness in the resulting expression, being, of course, always conceded.
The appropriate vocal expression for the diction of discourse may be said to consist of the following modes:--normal pitch, simple intonations, and waves of a second, moderate force, the equable concrete varied by slight radical stress, in quality the natural mode, in abruptness sufficient sharpness of opening to effect clear articulation, and in time a moderate rate with effusive utterance.
As the diction rises above this plain unimpa.s.sioned character, and becomes more and more informed with feeling and sentiment, the const.i.tuent vocal signs, and hence the whole vocal expression, become more and more expressive. In pitch there is frequent variation: in expressions of joy, astonishment, or for command, the voice a.s.sumes naturally a somewhat higher elevation; and with equal naturalness it descends below its normal level to utter the language of grave, solemn, and reverential feeling. Again, inasmuch as the interval of the second is the plainest and simplest within the command of the voice, in such diction as we are now considering, intervals of a third, a fifth, or even an octave, may be heard, both in simple intonations and in waves.
Force, too, will not be unvaryingly applied, but will be greater or less according as energy or pa.s.sion may demand. In stress the equable concrete will give place to the radical or to the final, to express energetic resolve; or, in the language of pathos, exaltation, reverence, supplication, and so on, to the median--the most effective of all modes for the expression of such deep feeling as is compatible with slow utterance. In time the rate of utterance will vary with the syllabic quant.i.ties, these being short and crisp in the language of vivacious conversation, but extended, and with distinct, attenuated vanishes, in grave and important monologue. In quality, whenever the diction, departing from its simple character, becomes pervaded by some deep emotion, the natural mode will give place to the orotund. And while effusive utterance is always the prevalent mode, it will give place to the expulsive mode or to the explosive, when energy of thought or force of pa.s.sion requires it so.
Thus, _as the diction rises_ from plain discourse to the language of feeling, _the appropriate vocal expression gathers intensity and becomes more varied_, a.s.sumes, as may be said, brighter colors and displays greater contrasts; and so, in the third cla.s.s of diction, the diction of pa.s.sion, it displays its intensest and most vivid modes--its brightest colors, its deepest contrasts.
As it is in a general sense only, that diction can be understood to be referrible to three cla.s.ses, so also, in a general sense only, can it be understood that any particular sentence or pa.s.sage has its appropriate vocal expression. All that is intended is simply this: an a.n.a.lysis of the sentence, or pa.s.sage, or selection, gives to the careful student a certain conception of the quality and intensity of the feeling or pa.s.sion that pervades it; this is to be interpreted, as well as may be, by the most appropriate vocal signs possible--the whole const.i.tuting the vocal expression suitable to the piece. In respect to its pervading emotion, the selection will have what is called a =drift=, or general tendency, towards one of those states described as characteristic of the diction of discourse, the diction of feeling, and the diction of pa.s.sion, respectively; and it is the business of the reader to watch for this drift, which of course may vary from pa.s.sage to pa.s.sage, from sentence to sentence, and sometimes from word to word, and to interpret it as best he may.
To indicate what modes of voice utterance are naturally most appropriate to the expression of these various emotional states and drifts, it will be best to take up, one by one, the different properties of the voice, and the several modes in which they are manifested, and to state briefly, and in general terms, the emotional state or drift of which it is an appropriate expression. (With respect to quality and abruptness this will be sufficiently done indirectly.) The student then must for himself, if he wishes to apply these results to the reading of any selected pa.s.sage, first by a.n.a.lysis ascertain what are the emotional states which it involves, what are its prevailing drifts, then in respect to each property of the voice choose the suitable mode for the interpretation of these several states or drifts, conjoin the selected modes into appropriate vocal signs, and with these form the vocal expression that suitably interprets the whole pa.s.sage. _The teacher, or the teacher and student together, should select from the_ READER, _or elsewhere, sentences or pa.s.sages that fitly exemplify the different modes; these should be written upon a black-board, or in some other way preserved, and be referred to frequently for practice both in voice culture and in vocal interpretation._
I. PITCH. Pitch must be considered under three heads: first, as referring to the prevailing elevation of tone a.s.sumed by the voice in the reading of a whole sentence, pa.s.sage, or selection, called _general_ or _sentential pitch_; second, as referring to the degree of elevation a.s.sumed by the voice in the utterance of the opening, or radical, of any syllable, called _initial_ or _radical pitch_; third, as referring to the tone-width of the intervals in the utterance of the syllable concrete.
=Sentential Pitch= in its various modes is descriptive of the general position in the scale taken by the tones of the voice in uttering a sentence or pa.s.sage. It may be spoken of as _medium_, _high_, and _low_.
=Medium Pitch= should correspond with the _normal pitch of discourse_ previously described. It is natural to the expression of all unimpa.s.sioned thought, and also of all emotions, except the livelier, and the deeper and more intense. =High Pitch= and =Low Pitch= are only relative terms. They do not represent fixed and definite modes of utterance; and all that can be said is, that for the interpretation of what may be called the lighter feelings and emotions, such as cheerfulness, joy, exultation, interest, and so on, also for the expression of raillery, facetiousness, humorous conversation, laughter, and the like, sentential pitch of a degree somewhat higher than normal pitch is appropriate; and, on the other hand, for the interpretation of what may be called the graver and deeper feelings, such as awe, reverence, humility, grief, and melancholy, and the more impa.s.sioned emotions, as disgust, loathing, horror, rage, despair, as well as for the expression of all very serious and impressive thought, sentential pitch of a degree somewhat lower than normal pitch is appropriate. The degree of elevation and depression must be determined by the judgment and good taste of the reader; but it must be borne in mind that this degree may vary from pa.s.sage to pa.s.sage, and from sentence to sentence, and even from phrase to phrase.
In every style of diction, no matter how unimpa.s.sioned it may be, there will be frequent changes in the train of thought, and frequent changes in the intensity of feeling; to represent these changes there should be corresponding variations, or =transitions in sentential pitch=. These transitions also serve another purpose, namely, to indicate an interpolated or parenthetical idea. In making transitions the voice follows the general law of all vocal interpretation; strong contrasts in thought and feeling are marked by transitions of wide intervals, and lesser contrasts by lesser intervals.
_Transitions in pitch are naturally accompanied by corresponding changes in force, rate of utterance, and phrasing_; and, like all other modes of expression, these receive their color from the intensity of thought and feeling of which they are the symbols. For example, in the rendering of a parenthetical clause (since, as a rule, the thought expressed in the parenthesis is of less gravity than the thought in the main sentence), the voice will manifest itself in lighter force and generally in quicker movement, that is, in lighter, less contrasting colors; but whether the pitch be raised or lowered depends upon the sentential pitch appropriate to the main sentence,--it should be in contrast with that. And it may be remarked in pa.s.sing, that the reading of the parenthesis should end with a phrase melody similar to that appropriate to the words immediately before the parenthesis, so that the ear may naturally be carried back to the proper place in the main clause for the continuation of the expression of the princ.i.p.al thought.
=Radical Pitch=, that is the pitch with which the opening of a syllable is uttered, is, in respect of appropriate employment, the most important element of reading or speaking; but all that can be done here, is to call attention to this, and leave the student to exercise his taste and judgment in regard to its use. The importance of appropriately varying radical pitch so as to impart melody to continued utterance will be seen at once if a simple sentence (for example, "_Tom and Jim sat on a log_") be read, first in that monotonous voice (that is, with unvarying radical pitch) so often heard in the labored reading of improperly taught young children, and then with those appropriate intonations heard in animated colloquy. When properly rendered, even if read with but little animation, each syllable, or concrete, pa.s.ses through an interval of a second, and the several syllables are discretely uttered; but the _radical pitch varies from syllable to syllable_, forming a diatonic melody. _For the rendering of any given sentence in appropriate diatonic melody, positive direction as to the order of succession in respect of radical pitch cannot be given_; the same words may be uttered with equal appropriateness in many varieties of melody. The ignoring of this fact has led to the most absurd pretensions.
A group of two or three syllabic concretes is called a =phrase of melody=; and as phrases vary with respect to pitch, in the order of succession of the radicals of their const.i.tuent syllables, they receive different names: such as the _monotone_, in which the radicals are all on the same pitch; and the _ditone_ and the _tritone_, groups of two tones and three tones respectively, with radicals of different pitch; and, again, the concretes in these phrases may have upward or downward intonations: but fixed rules cannot be laid down for their use. The reader must bear in mind, however, that it is upon the tasteful use of phrases and cadences, that is, upon the tasteful employment of variation in radical pitch, that the melody of uttered language depends; and that if it be devoid of this melody, it is both wearisome and unimpressive to the hearer.
The intonations of the voice must necessarily be through either rising intervals or falling intervals, and there is a generic difference in the meaning of these. =The rising interval= is heard naturally at the end of a direct question; that is, one to which "_yes_" or "_no_" is an expected answer, as "_Are you going home?_" The suspensive tone which the voice a.s.sumes at the end of the interrogation is indicative of incompleteness of thought; and _indication of incompleteness is the characteristic function of all rising intervals_.
=The falling interval= is heard naturally at the close of a complete statement, as "_I am here_"; and hence, _words indicating completeness, positiveness, resolution, are appropriately uttered with downward intervals_. In effecting a downward intonation the voice operates in one of two ways: either the _weaker mode_, in which it descends from a radical pitch at or near the current tone to a lower pitch; or the _stronger mode_, in which it a.s.sumes discretely a radical pitch as much _above_ the current tone as the emphasis requires, and descends concretely either to the current tone or below it.
As every sentence is more or less incomplete until the end is reached, _rising intervals are the rule in intonation, and falling intervals the exception_, and it is this infrequency of use which gives to the falling movement its value as a mode of emphasis. But where the emphasis is that of doubt, uncertainty, surprise, or interrogation, the suspensiveness of these emotional states is appropriately expressed by rising intonations; and hence, too, in all sentences in which the interrogative element is strongly present, the rising interval should characterize every syllable in it, and the sentences be uttered with interrogative intonations throughout. If in any such sentence, a particular word is to be especially emphasized, this is effected by giving to the word a low radical pitch and retaining the rising interval indicative of interrogation.
=The width of the interval= depends, as is natural, upon the intensity of the thought or emotion of which the concrete is intended to be an expression. For example, suppose the statement, "=You= _are the culprit_," be answered by the surprised and indignant interrogation, "=I?=" The emphatic words here used may be appropriately uttered with intervals of a tone, a third, a fifth, or an octave, according to the emphasis supposed necessary.
=The Semitone=, as has been said before, is an interval sometimes heard in language of distress, complaint, grief, sorrow, tenderness, compa.s.sion, pity. Occasionally it is introduced in diatonic melody as an appropriate emphatic mode of uttering a single word; as, for example, "_Other friends have flown before; on the morrow_ HE _will leave me_."
At times diction may a.s.sume what may be called a _pathetic drift_, and for the suitable interpretation of this drift semitonic intervals may be used, and the mode of progression cease for a s.p.a.ce to be diatonic and become semitonic, or _chromatic_, as it is called.
=The Wave= is one of the most impressive of the elements of expression; but its proper use demands great flexibility in the vocal organs and a high degree of taste in the reader. Like all other unusual modes, its employment lends color and contrast to utterance; that is, it makes it more effective for the purposes of emphasis or distinction. The wave, as has been described, is a concrete with an upward and a downward movement united; but its last const.i.tuent is that which most affects the ear and leaves upon it the stronger impression, and hence, especially if it be given with a wide interval, _its dominant characteristic will be that of the second movement_; for example, if the second movement be upward, the wave may express interrogation mingled with surprise or scorn; if the second movement be downward, the wave may express astonishment mingled with indignation. The intervals which are given to the wave depend upon the diction to which it is applied. To express great surprise or vehement indignation it may sweep through a fifth or a whole octave. In these extreme modes _the wave frequently is given a wider interval in the second movement than in the first_, and its effect intensified by the appropriate use of stress, and (for the expression of such emotions as scorn, contempt, irony, ridicule, and so on) of the impure qualities of voice. When used with intervals of the second, the characteristics of direct and inverted forms lose some of their distinctness; but in this degree the wave is effectively used to put into relief occasional words, or, with median stress and long quant.i.ties, to give to the otherwise short and tripping character of the second a dignified and impressive effect suited to the rendering of all serious and important diction that is not impa.s.sioned.
=The Wave of the Semitone= is generally employed when time, or syllabic quant.i.ty, is needed as an element in the expression of the language of complaint or pathos. The effect is much the same whether it be direct or indirect.
=The Tremor= may be used to express grief, supplication, tenderness, in which the interval through which it ranges may be wide, or, for a more plaintive effect, be limited to the semitone. With const.i.tuent intervals other than the semitone (that is, of a tone or otherwise), and ranging through an aggregate interval of less or greater width, it may be used to express laughter; as, for example, in the utterance of the syllables "_ha_, _ha_, _ha_, _ha_, _ha_," which, when rapidly effected, resembles one syllable uttered with discrete intervals. Combined with stress, aspiration, and guttural vibration, in suitable modifications, this laughing tone may be made to express scorn, derision, exultation, triumph, and so on.
II. FORCE. Force must be considered under two aspects: first, as to the _degree of its intensity_ in the utterance of syllables, words, phrases, and sentences; and second, as to the _form of its application in the utterance of the concrete_. When the term is used without qualification, the first of these considerations is intended; when the second is intended, force is generally spoken of as =stress=.
_Force must be contradistinguished from loudness._ In mere loudness the vocal organs are comparatively relaxed--the intensity of sound being produced by the violent discharge of a great volume of air from the lungs. In forceful utterance the vocal organs are compressed and tense, and though the volume of air effused be small, the resulting sound-vibrations are strong, and distinct, and of penetrating power.
In respect of intensity, force may be manifested in infinite variation, but the degrees usually spoken of are _very light_, _light_, _moderate_, _strong_, and _very strong_. As with all other modes, these degrees will vary from word to word, and from sentence to sentence; and great judgment and taste must be exercised in employing them, so that they appropriately represent the intensity of the thought and feeling of which they are to be the expression.
=Moderate Force= is the natural expression of tranquillity, and, therefore, of all unimpa.s.sioned diction. As the diction becomes pervaded by the more positive emotions, the tones of the voice naturally become stronger. Certainty requires strong force with pure quality. So all the pa.s.sions, the lighter as well as the more vehement, require the degree of force to be heightened: cheerfulness, joy, ecstacy, requiring force moderately strong; and anger, hate, terror, revenge, being suitably rendered by very strong force. Again, doubt, uncertainty, secrecy, as well as the gentler and more plaintive emotions, are most suitably represented by the lighter shades of force.
As the voice a.s.sumes the intenser modes of force, the vocal organs become more and more compressed, and utterance is more and more labored; the breath forced out cannot all be vocalized; the voice becomes less and less pure, and manifests itself in the aspirate and guttural qualities. _Hence, strongly suppressed utterance in impure vocality, rather than mere loudness in pure vocality, is the appropriate expression for all the intenser pa.s.sions._
III. STRESS. Stress is force considered with respect of the form of its application to the concrete. Since the equable concrete is the natural colorless expression of unimpa.s.sioned thought, force applied to any part of it changes its character, and gives it a more or less significant emphasis. The three most usual forms of stress are the _radical_, the _median_, and the _final_; these may be effected in any of the degrees of force. _Compound stress_ and _thorough stress_ admit of but little variation.
=Radical Stress=, to some extent an essential, but not an expressive element in the equable concrete, is, in a somewhat stronger form, an element in all utterance that is intended to be vivid and energetic, emphasizing these characteristics by its own incisive clearness. The more animated and energetic the diction the clearer and more determined should be the opening of the concrete, that is, the more distinct and forcible should be its radical stress; while in graver language the radical stress is less p.r.o.nounced. In its emphatic degree it ought at no time to be allowed to become a current mode, imparting its peculiar incisive character to every syllable; though, for especial emphasis, it may be appropriately used in this way in the utterance of the several words of a phrase.
=Final Stress= differs from radical stress princ.i.p.ally in this, that while it equally indicates energy and positiveness, it does so as in accordance with predetermination and reflection. _Radical stress denotes, as it were, an involuntary state of energy; final stress, the energy or fixedness of resolve._ Hence, final stress is appropriate to the expression of resolution, of obstinacy, of earnest conviction, of pa.s.sionate resolve. It emphasizes the characteristics of wide intervals, giving to rising intonations a more decidedly interrogatory character, and making falling intonations more vehemently and pa.s.sionately positive.
=Median Stress=, as it can be effectively applied to none but indefinite or mutable syllables, is compatible only with such a rate of utterance as will permit of these receiving long quant.i.ties. It may receive any degree of force, from that gentle swell which indicates a tranquil flow of emotion, to that firm and swelling energy which is the appropriate expression of the language of elevated feeling. With the wider intervals it should be used only for occasional emphasis; but in its lighter forms it may prevail as a drift of dignified expression. Median stress, being always necessarily a.s.sociated with long quant.i.ty in syllables, is not an appropriate mode in the language of colloquy, or in vivacious discourse of any kind. It is, however, the fit interpreter of that fervid and lofty imagination which clothes itself in forms of grace and grandeur; and hence, with intonations and waves of the lesser intervals, with medium or low sentential pitch, a moderate degree of force, and the pure or orotund quality, it is the appropriate expression of all exalted prose and poetry, not strongly dramatic.
=Thorough Stress= is effected by continuing the force and fulness of the radical stress throughout the whole concrete. Used as a current mode, which should be but rarely, it is expressive of bluntness, arrogance, bravado; and, with short quant.i.ties, of ignorant coa.r.s.eness.
Occasionally it may be used instead of final stress to give emphasis to a syllable whose vanishing movement is but little capable of receiving an increase of force.
=Compound Stress= combines the qualities of both radical and final stress; it is therefore of extreme character, and can be only occasionally used. With wide intervals, in its stronger modes, it is expressive of the utmost intensity of feeling; in its lighter modes it is the natural expression of strong surprise.
=The Loud Concrete= is simply the equable concrete uttered with greater fulness of breath and loudness of tone. It is used to break a current of light force for the sake of emphasizing some word or phrase; and, in impa.s.sioned discourse, it may be used as a current mode, individual words or phrases being then put in relief by receiving the forcible radical, or thorough, or compound stress.
In reference to stress it must be remembered that, as with all other varieties of emphatic utterance, no one form should prevail as an exclusive mode. Even a prevalent drift of thought or feeling will be most effectively rendered by vocal signs which change in color and intensity from word to word. It must also be borne in mind in reference both to force and stress, and to pitch and time as well, that the modes which are employed must sustain a suitable relation to the situation and surroundings of the speaker. Where considerable s.p.a.ce has to be filled and distance overcome, the energy of utterance should be correspondingly intense; but for great distances, what is called =level speaking= is the only effectual mode,--that is, speaking exclusively in those tones of normal pitch in which the voice has most penetrating power, with force of almost constant intensity, and in a somewhat slow movement with long syllabic quant.i.ties, but of course with as much needful variation of expression as is possible within these limits.
IV. TIME. Time is rate of utterance. It comprehends _quant.i.ty_, or rate considered in reference to the duration of individual syllables; and _movement_, or rate considered in reference to the utterance of syllables and words in succession. With it may be considered _pauses_, or cessations of the voice, helpful in the expression of thought and feeling, and necessary to the working of the vocal mechanism.
=Quant.i.ty=, as defined above, is an arbitrary thing, dependent almost entirely upon the will of the speaker. But many words and syllables are more expressive of their meaning when, in uttering them, the voice is somewhat prolonged,--hence _quant.i.ty is an element of expression_.
Again, many words and syllables can receive this prolongation of utterance more readily than others,--hence _quant.i.ty is a natural element of spoken language_. As indefinite syllables are much more capable of prolongation than mutable or immutable syllables, they are said to possess long quant.i.ty, or, more shortly, "to possess quant.i.ty"; mutable syllables possess quant.i.ty in a less degree, and immutable syllables are naturally deficient in quant.i.ty.
As an element of expression, quant.i.ty (that is, long quant.i.ty) lends dignity and grace to the movement of the voice, and affords ground for the display of those expressive modes of vocal action which are incompatible with the rapid or ejaculatory utterance of the concrete; and hence, with median stress, the wave, moderate intervals, medium or low sentential pitch, it is used as naturally interpretative of solemnity, reverence, awe, deep pathos, ardent admiration, and all elevated emotion. Colloquial tones, excited argument, wit, raillery, and all the lighter emotions, require for their expression, brilliancy rather than grace, and so are more fittingly interpreted by short quant.i.ties and radical stress.
The discerning reader, in his work of vocal interpretation, will not fail to take advantage of the inherent character of syllables with respect to quant.i.ty. Our language abounds in indefinite syllables to which he may impart whatever quant.i.ty he may desire. On the other hand, immutable syllables, while not admitting the wave and the median stress, are eminently fitted to receive the more forcible forms of radical stress; and mutable syllables, with their abrupt closes, permit of perfect exemplifications of thorough and final stress.
=Movement=, though it depends for its slower and more expressive forms upon the capacities of syllables for the reception of long quant.i.ties, is, in its more rapid forms, quite independent of syllabic structure, and dependent only on the will of the speaker; hence it may be spoken of as being altogether under his control. A medium rate of utterance is, with respect to time, the natural expression of an equable flow of thought. The livelier emotions should be indicated by quicker rates, and hence, cheerfulness, joy, vivacious dialogue, animated narration, naturally find their expression in movements more or less brisk, with short quant.i.ties, varied intonations, and pitch higher than the normal; the more vehement emotions, eagerness, anger, excited anxiety, demand simply heightened forms of these modes. Contrariwise, thought of grave and meditative character, admiration, reverence, and all the deeper and calmer feelings, require a deliberative, slow-timed utterance, with long quant.i.ties for accented syllables, and extended time for even unaccented syllables. As these serious emotions become stronger and deeper, the syllabic quant.i.ties become proportionately longer, and with impressive median swells, orotund quality, low pitch, waves and simple intonations of the second, frequent phrases in monotone, and an occasional tremor, const.i.tute the most impressive utterance of adoration.
_Occasionally an abrupt change in quant.i.ty, or movement, may be employed as a mode of emphasis_, either positive or negative; for example, in a current of rapid movement, a word may be put into strong relief by being uttered with quant.i.ty much extended; contrariwise, a parenthetical or explanatory phrase is usually touched upon lightly and with a more rapid movement than that of the current in which it is found.
=Pause= _may be used as an element in the expression of thought simply, that is, as a help to the interpretation of the mere sense of the words read_; or, _more emphatically, as an element in the expression of feeling and emotion_. As interpretative of thought, pauses should correspond mainly with the graphical marks of punctuation. Two things, however, must be borne in mind: _first_, the use of punctuation marks in writing and in printing is always more or less an arbitrary matter, scarcely any two authors agreeing in their employment of them; and therefore the reader"s own good sense must be to him his princ.i.p.al authority as to the closeness with which he follows them: and _second_, pauses are to an auditor what punctuation marks are intended to be to a reader; but, whereas the eye may constantly keep within its vision the relation of each word uttered, both to those which preceded it and to those which are to follow, the ear hears the words that are read only _ictus_ by _ictus_, stroke by stroke, and therefore can not aid the mind to grasp this relation--the memory alone helping to do that; and hence, in reading, pauses should be more frequent, and perhaps more prolonged, than the punctuation marks might seem to necessitate. The reader should also bear in mind that even the plainest and simplest diction, or that requiring the most rapid utterance, may be so marked by appropriate pauses that those stoppages of the voice necessarily required for inspiration, shall never occur except when they a.s.sist to interpret the sense,--they must not interrupt it.
As interpretative of emotion pauses do not necessarily correspond to grammatical structure; but, as with all the modes of expression previously considered, their frequency and length--their only modifications--must harmonize with the feeling which they are to a.s.sist in interpreting. In length, for example, they should correspond with the movement of which they may be said to form a part; when the movement is slow, as in the expression of awe, reverence, and the like, they are naturally long; in the brisk movement required to interpret the livelier emotions, they should be short. As a mode of emphasis pause serves to fix the attention of the hearer,--either _backward_ upon a word or phrase, that the mind may dwell upon it, or _forward_ to awaken curiosity and expectation: it is evident then that a frequent use of it for this purpose would destroy its value.
_Pauses may be used in reading to simulate an appropriate labor of utterance_, as when the mind is supposed to be overcome by sorrow, or disturbed by anger. At such times also, they serve as fit rests for the voice in its efforts to express the disturbed condition of the mind, and as appropriate avenues for the escape of emotion otherwise than by vocality, as by sibling. _Pauses should be used also to indicate sudden transitions from one state of caution to another._
_THE HIGH SCHOOL READER_.