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To acquire control of this style of Stress practice the elements, words, and sentences with a short, quick, broken utterance.

EXERCISES IN INTERMITTENT STRESS.

1. ē, as heard in me, see.
2. ā,

ale, pale.
3. ă,

« add, sad.

" talk, all. 5. 7,

" old, bold.

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1. O I have lost

you

all.
2. And, mother, don't you cry.
3. Pity the sorrows of a poor old man.

EXERCISES

Combining Form, Quality, Force, and Intermittent Stress. Repeat first and second of the above sentences with

1. Effusive Form, Pure Tone, Subdued Force, Intermittent Stress.

Repeat the third of the above sentences with

2. Expulsive Form, Pectoral Quality, Energetic Force, Intermittent Stress.

INTERMITTENT STRESS—WHEN USED. The Intermittent Stress is appropriately used in the expression of all emotions attended with a weakened condition of the bodily organs, such as feebleness from age, exhaustion, fatigue, sickness, and grief. It is also appropriate in the expression of extreme tenderness and ecstatic joy.

EXAMPLE: OLD AGE AND FEEBLENESS. Intermittent Stress, Energetic Force, Pectoral Quality, Expulsive Forin.

[It is hardly necessary to say that only the words of the old man require the above combination.)

On the Shores of Tennessee.

ETHEL L. BEERS.

1. “Move my arm-chair, faithful Pompey,

In the sunshine bright and strong,
For this world is fading, Pompey,

Massa wont be with you long;.
And I fain would hear the south wind

Bring once more the sound to me,
Of the wavelets softly breaking

On the shores of Tennessee.
2. “Mournful though the ripples murmur

As they still the story tell,
How no vessels float the banner

That I've loved so long and well.
I shall listen to their music,

Dreaming that again I see
Stars and stripes on sloop and shallop

Sailing up the Tennessee.
3. “And, Pompey, while old massa's waiting

For Death's last dispatch to come,
If that exiled starry banner

Should come proudly sailing home,
You shall greet it, slave no longer-

Voice and hand shall both be free
That shout and point to Union colors

On the waves of Tennessee."
4. “Massa’s berry kind to Pompey;

But ole darkey's happy here,
Where he's tended corn and cotton

For dese many a long-gone year.
Over yonder missis' sleeping-

No one tends her grave like me.
Mebbe she would miss the flowers

She used to love in Tennessee.

5. 6. 'Pears like she was watching massa

If Pompey should beside him stay, Mebbe she'd remember better

How for him she used to pray: Telling him that way up yonder

White as snow his soul would be, If he served the Lord of heaven

While he lived in Tennessee."

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9. Thus he watches cloud-born shadows

Glide from tree to mountain-crest, Softly creeping, ay and ever

To the river's yielding breast.

Ha! above the foliage yonder

Something flutters wild and free! “ Massa! massa! hallelujah !

The flag's come back to Tennessee !”
10. “Pompey, hold me on your shoulder,

Help me stand on foot once more,
That I may salute the colors

As they pass my cabin door.
Here's the paper signed that frees you,

Give a freeman's shout with me-
• God and Union!' be our watch-word

Evermore in Tennessee."

11. Then the trembling voice grew fainter,

And the limbs refused to stand;
One prayer to Jesus—and the soldier

Glided to the better land.
When the flag went down the river

Man and master both were free,
While the ring-dove's note was mingled

With the rippling Tennessee.

QUESTIONS. 1. Define Intermittent Stress. 2. With what Form can it be given ? 3. What are its advantages ? 4. Illustrate it. 5. When is it properly used ? 6. Which stanzas in the selection in this lesson require Intermittent

Stress? 7. Why do they require this Stress ? 8. What combination does the fourth stanza require ? 9. What the seventh? Why?

LESSON X X X V.

EXERCISES IN ARTICULATION.

P, as in pin.
pipe, page, pope,

poem, pop, press.
1. Prove all things.
2. Perish my name!
3. Pickwick Papers, part first.
4. Pictures of palaces please the eye.
5. Poverty and pride are poor companions.

PITCH. "Pitch is the place on the musical scale on which sound is uttered. Every sound, whether produced by the vocal organs of man, bird, or beast, or by natural or mechanical means, has some Pitch. We speak of the low tones of the organ, the high notes of the fife, the low growl of the wild animal, the high notes of the birds, as familiarly as of the deep base or the high tenor tones.

Pitch in elocution differs materially from Pitch in music. In the former it is relative, in the latter absolute; that is, if two persons read the same selection, they need not have the same Pitch upon the musical scale, and yet both be correct; but if they sing the same tune, they must illustrate the same notes. In music the Pitch is fixed by the scale, and the notes must be given with the utmost accuracy; in elocution each individual's voice is his own guide. To require pupils in elocution to read on the same Pitch would be as incorrect as to require the pupils of a music class to sing in different keys.

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