Stranger, however great, with lowly reverence bow:
There's one in that poor shed, one by that paltry bed,
Greater than thou.

Beneath that beggar's roof, lo! Death doth keep his state.
Enter, no crowds attend; enter, no guards defend

This palace-gate.

That pavement damp and cold no smiling courtiers tread:
One silent woman stands, lifting with meagre hands
A dying head.

No mingling voices sound, an infant wail alone;
A sob suppressed, again that short, deep gasp, and then
The parting groan.

Oh change! oh wondrous change! burst are the prison

bars:

This moment there, so low, so agonized; and now

Beyond the stars!"

89. FORCE.

1. Force is the degree of energy with which sound is sent forth from the vocal organs. This energy depends upon the intensity of the emotions. [See 5 Art. 89.]

Words may be uttered Loudness depends partly other elements that con

2. Force is not loudness. with full force in a whisper. upon force; but there are tribute to make sounds loud or soft. These will be considered in their proper place.

3. Volume, a term that signifies the fullness or mellowness of tone, also depends, in part, upon the degree of force applied to the vocal organs.

4. Both loudness and volume depend upon the quantity of breath employed, a fact that proves the importance of a proper management of the breath in vocal culture.

5. The degree of force employed in the expression of the various sentiments and emotions corresponds, with one exception, to the strength of the sentiments or emotions that occasion speech. Sometimes we are so overpowered by passion, fright, or other overwhelming emotion, that the energy required to express our feelings is consumed in maintaining our very conscious

ness.

6. Few subjects treated by the elocutionist are of greater importance in developing a full, deep, flexible, and powerful voice than that of force; hence, practice much practice, and intelligent practice is essential in this department of vocal culture.

7. The pupil should increase his force by degrees. Sudden transitions are injurious to one not accustomed to a severe use of the voice. Every new acquisition of power will enable him to go beyond his present attainments. When that degree of force is obtained beyond which the voice cannot go without breaking, the effort to increase the force should be discontinued, and a few minutes' practice should be had with that degree of force.

8. In the exercises following, avoid any change of pitch while increasing the force. If the pitch is raised, begin again with the element and endeavor to complete the fullest degree of force with the same pitch with which that element is begun.

9. Repeat each element in all degrees of force before changing the pitch, then raise or lower the pitch and repeat the elements in the pitch selected.

90. DIVISION OF FORCE.

Force may be divided into three classes, namely,
SUBDUED FORCE,

MODERATE FORCE,

FULL FORCE,

each of which, for convenience, may be further subdivided into three degrees.

91. Subdued Force.

Subdued includes every degree of force employed in producing sound, from the least audible to the milder tones of conversation.

92. Moderate Force.

Moderate is the degree of force employed in ordinary conversation, unemotional description, and narration.

93. Full Force.

Full Force, with various degrees of energy, is employed in expressing the most violent and impetuous emotions and passions.

94. Exercises.

The pupil will repeat the long vowels a, e, i, o, u, with nine degrees of Force without change of pitch, as marked in the following diagram. Begin with the

least audible sound that can be uttered, and increase in intensity, not loudness, till the utmost energy is attained.

Repeat the following words in the same manner, being careful not to change the pitch : —

95. SUBDUED FORCE. LAW OF USE.

Subdued Force is used in the expression of tenderness, pathos, seriousness, solemnity, reverence, awe, melancholy and tranquillity, usually with Pure Tone.

96. Examples: TENDERNESS.

27.

[From "Absalom.” —N. P. Willis.]

"Alas! my noble boy, that thou shouldst die!
Thou, who wert made so beautifully fair!
That death should settle in thy glorious eye,
And leave his stillness in this clustering hair!
How could he mark thee for the silent tomb,
My proud boy, Absalom!

"Cold is thy brow, my son, and I am chill,

As to my bosom I have tried to press thee.
How was I wont to feel my pulses thrill,

Like a rich harp string, yearning to caress thee,
And hear thy sweet' my father' from these dumb
And cold lips, Absalom!

"The

grave hath won thee. I shall hear the gush
Of music, and the voices of the young:
And life will pass me in its mantling blush,
And the dark tresses to the soft winds flung,
But thou no more, with thy sweet voice, shalt come
To meet me, Absalom!

"And, O! when I am stricken, and my heart,

Like a bruised reed, is waiting to be broken,
How will its love for thee, as I depart,

Yearn for thine ear to drink its last deep token!
It were so sweet, amid death's gathering gloom,
To see thee, Absalom!

"And now, farewell! 'T is hard to give thee up,

With death, so like a gentle slumber, on thee;