CHAPTER IV

THE CRITERION OF FORCE

Force manifests the degree of mental energy. When we speak in a loud voice there is much energy; when softly, there is little. This criterion is the easiest of the four to understand, because, perhaps, it is the most tangible. We need not stay, therefore, to illustrate, but may pass on to consider a subdivision of Force, the understanding of which is very necessary to good teaching.

In reading the following lines note how explosive is the utterance on the emphatic words:

Down! down! your lances, down! Bear back both friend and foe!

Now observe how differently we apply the force on the emphatic words of this extract:

Ye gods! ye gods! Must I endure all this?

In the first example, upon the emphatic words, there was heard a loud explosion of the voice, followed by a gradual diminution in force; in the second, the voice perceptibly swelled on the significant words. This swell or diminish has been called “Stress.” Perhaps it is not the best word, but since its meaning in the sense in which we are using it here is generally understood, it may be well to retain it. “Stress” refers to the manner of applying the force to the emphatic syllable. In the first of the preceding illustrations, the greatest force was at the beginning of the emphatic syllable. This form is called “Radical” stress. In the second, the force was applied in the opposite manner. This form is denominated “Final” stress.

Radical stress marks all forms of animated utterance. It is the result of the normal action of the vocal chords, which, coming together before syllabic impulses, suddenly part, causing a slight degree of explosion. Absence of this form of stress gives the delivery a kind of drawling effect. It is further to be noted that even in those utterances characterized by other forms of stress this form yet manifests itself on most of the syllables. After the student has practiced the other forms of stress, he will better understand this remark. He will have noticed that the other forms are significant just in so far as they differ from this one, which is the normal; and, further, that because the radical stress _is_ normal, the use of other forms of stress on a comparatively few (emphatic) syllables will give a very significant coloring to a whole paragraph.

We must guard against over-developing this abruptness. If we do not, our delivery will be very likely to become explosive, and then we shall create the impression of being too dogmatic. On the other hand, slovenliness and drawling may be overcome by drilling on this element of expression, and much vitality will thereby be imparted to the speaking.

All speech, then, has this abrupt character. It has become so familiar to us that we do not notice it except, as it were, in its absence, when the delivery becomes drawling or slovenly. Hence, we can say that radical stress in its milder forms is not essentially expressive; it is an inherent part of our vocal production. It becomes expressive only in its stronger forms. The student whose delivery is sufficiently vital need not practice on the milder form. It need hardly be said that the form and the thought should not be separated in this practice.

It should also be borne in mind that there are different degrees of stress as well as kinds. Professor Raymond truly says, “Never confuse the kind of stress with the degree.” To illustrate: the decided stroke of the voice is heard in,

Come, and trip it as ye go On the light fantastic toe;

but a strong attack would spoil the daintiness. Let us remember that a grain of gunpowder explodes as well as a ton. This admonition applies as well to other forms of stress.

It has been urged, that if the claim is true that the complete assimilation of the thought and feeling will, through practice, lead to adequate expression, why bother the student with such drills as these? The answer is plain. One’s temperament may be of such a nature that he cannot express a single sentence without, say, the greatest insistency. The insistency is temperamental, and it shows in everything the speaker does. By a careful study of “Stress,” he is introduced to his own consciousness, soon recognizes his weakness, and his delivery is improved through improving his mental action. If this is true for the creative speaker, the orator, how much more is it true of him who reads or recites the words of another.

A few years ago, a well-known minister spoke these words: “You may read the tragedies of Sophocles, and the philosophy of Plato and Aristotle; you may be familiar with the lore of the Hindus and the Brahmins; you may know your Shakespeare, your Milton, and your Dante, your Wordsworth, your Browning, and your Tennyson, but [raising aloft a limp-covered Bible] it’s _all here_!” And he brought the book down on the palm of his hand with a thwack that was heard throughout the building. He fairly exploded on “all here,” and the congregation laughed. Paraphrased, his stress said, I--I, who know what I am talking about, tell you people--deny it if you can--it’s all here. There was no appeal, no tenderness, no gentle persuasiveness. His purpose ought to have been (to avoid argument, let it be said that the context justifies this remark--he was appealing for a more careful and reverential study of the Bible) to express, Oh, my friends, this holy work, this revelation of God’s goodness, contains all you need. Why not take it up, and study it? You read all literatures; will you not read this too? The trouble was that the preacher, being naturally of an aggressive nature, lost sight of his final purpose, and spoiled what might have been a very effective appeal, by obtruding himself between his illustration and his audience. It may be of interest to state that the speaker’s attention was called to this; and he admitted the justice of the criticism, while disclaiming all knowledge of what he had done, and how he had done it.

This illustrates the contention. He had had no idea that he had become so assertive that he virtually said, _I_ tell you so, on every emphatic word. A study of “Stress” and its psychology would certainly have helped him.

In _The Orator’s Manual_ the author sums up this matter of radical stress thus: “The radical stress is exerted on account of a subjective ... motive; in other words, because a man desires chiefly to express an idea on his own account.... In [this] case the sound bursts forth abruptly, as if the man were conscious of nothing but his own organs to prevent the accomplishment of his object.... It is used whenever one’s main wish is to express himself so as to be distinctly understood. In its mildest form, it serves to render articulation clear and utterance precise; when stronger, it indicates bold and earnest assurance, positiveness, and dictation.... Without [this] stress, gentleness becomes an inarticulate and timid drawl, and vehemence mere brawling bombast. With too frequent use of it, one’s delivery becomes characterized by an appearance of self-assertion, assurance, or preciseness.” In other words, it is the “I” stress.

Of final stress, Professor Raymond says: “It is exerted on account of an objective idea. The sound is pushed forth gradually, as if the man were conscious of outside opposition, and of the necessity of pressing his point. It is used whenever one’s main wish is to impress his thoughts on others. It gives utterance, in its weakest form, to the whine or complaint of mere peevishness demanding consideration; when stronger to a pushing earnestness or determination; in its strongest form, to a desire to cause others to feel one’s own astonishment, scorn, or horror.... Without final stress there can be no representation of childish weakness or obstinacy, or of ... resolution; used too exclusively, or excessively, it causes delivery to be characterized by an appearance of wilfulness, depriving it of the qualities of persuasion that appeal to the sympathies.”

A very little of final stress will give a decided coloring to the delivery. The student should be careful, therefore, not to overdo it. To illustrate: a speaker is urging the colonists to abandon the idea of war, claiming that they are weak, and so on. Patrick Henry rises and says, “Sir, we are _not_ weak if we make a proper use of those means which the God of nature hath placed in our power. Three millions of people armed in the holy cause of _liberty_, and in such a country as that which _we_ possess, are _invincible_ by _any_ force which our enemy can send against us.” On the word “not,” the speaker is plainly pushing aside the argument of his opponent. When he utters “liberty,” we note again the insistent idea. He tells us by his stress, Other revolutions may have failed through lack of numbers, but the gentleman forgets that ours will be a struggle for liberty. Again, in “we,” “invincible,” and “any,” we plainly discern the idea of overcoming opposition. Now, it must be clear that while it is only on the five words italicized we note the insistence, yet the whole statement is strongly tinged by it.

There is a third form of stress commonly called “Median.” This is a combination of the final and radical, and manifests a combination of the objective and subjective states. There are other combinations and forms of stress, but they are rarely heard and need not be dwelt upon here.

Attention needs to be directed to the fact that stress sometimes extends through several words and gives a characteristic color to an entire phrase or sentence. For instance, we note that the swell continues from the opening word to “despised,” in the following speech of Cassio, who is opposing Iago’s plan. Note further the same effect on phrases italicized:

I will rather sue to be despised, than to deceive so good a commander, with _so slight_, _so drunken_, and _so indiscreet_ an officer. Drunk! and speak parrot? and squabble? swagger? swear? and discourse fustian with one’s own shadow? O thou invisible spirit of wine, if thou hast no name to be known by, let us call thee--devil!--_Othello_, Act ii., Sc. 3.

Observe how the force increases up to “Lord” and dies away to the end in the following:

O, sing unto the Lord a new song.

It may be well to remark here that there are certain writers who hold that the study of stress is misleading, or at best useless. To these answer is made that music uses these stresses very much in the sense in which they are used here. The attack necessary for pure singing or instrumental tone is our radical (normal) stress. The “staccato” and “sforzando” are more intense forms of this stress. The “crescendo,” “diminuendo,” and “swell” are respectively equivalent to “final,” prolonged “radical,” and “median” stresses.

It may be well to call attention to a very general confusion of ideas in the use of the word “low.” It is applied to force and pitch indiscriminately, to the loss of an important distinction. Low pitch is the result of low tension, while soft force is diminished mental energy. High pitch may accompany soft force, and loud force may be simultaneous with low pitch. It is because low pitch has generally accompanied soft force that the confusion has arisen.

EXAMPLES ILLUSTRATING THE USE OF RADICAL STRESS.

Are you ready? Go!

Carry--Arms. Present--Arms. Right about--face. Halt.

Stop, don’t take another step.

Give me that pencil; it’s mine.

Leave the room, sir.

One, two, three, fire.

Back! beardless boy! Back! minion! Holdst thou thus at naught The lesson I so lately taught?

Man, who art thou who dost deny my words?

But in the gloom they fought, with bloodshot eyes And laboring breath; first Rustum struck the shield Which Sohrab held stiff out; the steel-spiked spear Rent the tough plates, but fail’d to reach the skin, And Rustum pluck’d it back with angry groan. Then Sohrab with his sword smote Rustum’s helm, Nor clove its steel quite through; but all the crest He shore away, and that proud horsehair plume, Never till now defiled, sank to the dust.

--_Sohrab and Rustum._ M. ARNOLD.

He spoke, and Rustum answer’d not, but hurl’d His spear; down from the shoulder, down it came, As on some partridge in the corn a hawk, That long has tower’d in the airy clouds, Drops like a plummet; Sohrab saw it come, And sprang aside, quick as a flash; the spear Hiss’d, and went quivering down into the sand, Which it sent flying wide;--then Sohrab threw In turn, and full struck Rustum’s shield; sharp rang, The iron plates rang sharp, but turn’d the spear. And Rustum seized his club, which none but he Could wield.

--_Sohrab and Rustum._ M. ARNOLD.

Girl! nimble with thy feet, not with thy hands! Curl’d minion, dancer, coiner of sweet words! Fight, let me hear thy hateful voice no more.

--_Ibid._

Thou art not in Afrasiab’s garden now With Tartar girls, with whom thou art wont to dance; But on the Oxus sands, and in the dance Of battle, and with me, who make no play Of war; I fight it out, and hand to hand. Speak not to me of truce, and pledge, and wine! Remember all thy valor; try thy feints And cunning! all the pity I had is gone; Because thou hast shamed me before both the hosts With thy light skipping tricks, and thy girl’s wiles.

--_Ibid._

The armaments which thunderstrike the walls of rock-built cities, Bidding nations quake, and monarchs tremble in their capitals; The oak leviathans, whose huge ribs make their clay creator The vain title take of lord of thee, and arbiter of war,-- These are thy toys; and as the snowy flake they melt into thy yeast of waves, Which mar alike the Armada’s pride, or spoils of Trafalgar.

--BYRON.

EXAMPLES ILLUSTRATING THE USE OF FINAL STRESS.[6]

I _won’t_!

_No_, sir; I am not guilty.

_Away_, slight man!

Must _I_ budge? Must _I_ observe you?

I am _astonished_, _shocked_, to hear _such_ principles avowed in _this_ house.

CASSIUS. _Ye gods! ye gods!_ Must I endure _all this_? BRUTUS. All this? Ay, more.

SHYLOCK. May I speak with Antonio? BASSANIO. If it please you to dine with us. SHYLOCK. Yes, to smell _pork_; to eat of the habitation which your prophet the Nazarite conjured the _Devil_ into. I will _buy_ with you, _sell_ with you, _talk_ with you, _walk_ with you, and so following; but I will not _eat_ with you, _drink_ with you, nor _pray_ with you.--_The Merchant of Venice_, Act i., Sc. 3.

SALARINO. Why, I am sure, if he forfeit, thou wilt not take his flesh: What’s that good for? SHYLOCK. To bait fish withal: if it will feed nothing else, it will feed my revenge. He hath disgraced me, and hinder’d me half a million: laugh’d at my losses, mock’d at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies; and what’s his reason? I am a Jew. Hath not a Jew eyes? hath not a Jew hands, organs, dimensions, senses, affections, passions? fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer, as a Christian is? If you prick us, do we not bleed? if you tickle us, do we not laugh? if you poison us, do we not die? and if you wrong us, shall we not revenge?--_The Merchant of Venice_, Act iii., Sc. 1.

WORCESTER. Those same noble Scots, That are your prisoners,-- HOTSPUR. I’ll keep them all; By heaven, he shall not have a Scot of them. No, if a Scot would save his soul, he shall not. I’ll keep them, by this hand. WORCESTER. You start away, And lend no ear unto my purposes.-- Those prisoners you shall keep. HOTSPUR. Nay, I will; that’s flat.-- He said, he would not ransom Mortimer; Forbade my tongue to speak of Mortimer; But I will find him when he lies asleep, And in his ear I’ll holla--Mortimer! Nay, I’ll have a starling shall be taught to speak Nothing but Mortimer, and give it him, To keep his anger still in motion.

--_King Henry IV._, Part I., Act i., Sc. 3.

And now, go bring your sharpest torments. The woes I see impending over this guilty realm shall be enough to sweeten death, though every nerve and artery were a shooting pang. I die! but my death shall prove a proud triumph; and, for every drop of blood ye from my veins do draw, your own shall flow in rivers. Woe to thee, Carthage! Woe to the proud city of the waters! I see thy nobles wailing at the feet of Roman senators! thy citizens in terror! thy ships in flames! I hear the victorious shouts of Rome! I see her eagles glittering on thy ramparts. Proud city, thou art doomed! The curse of God is on thee--a clinging, wasting curse. It shall not leave thy gates till hungry flames shall lick the fretted gold from off thy proud palaces, and every brook runs crimson to the sea.--_Regulus to the Carthaginians._ KELLOGG.

EXAMPLES ILLUSTRATING THE USE OF MEDIAN STRESS.

Arise, shine; for thy light is come, and the glory of the Lord is risen upon thee.

For, behold, darkness shall cover the earth, and gross darkness the people: but the Lord shall arise upon thee, and his glory shall be seen upon thee.

And nations shall come to thy light, and kings to the brightness of thy rising.

Lift up thine eyes round about, and see: they all gather themselves together, they come to thee; thy sons shall come from far, and thy daughters shall be nursed at thy side.

Then thou shalt see, and be lightened, and thine heart shall tremble and be enlarged; because the abundance of the sea shall be unto thee, the wealth of the nations shall come unto thee.--_Isa._ lx. 1-5.

Thou kingly Spirit throned among the hills, Thou dread ambassador from earth to heaven, Great hierarch! tell thou the silent sky, And tell the stars, and tell yon rising sun, Earth, with her thousand voices, praises God.

--COLERIDGE.

The Lord reigneth; he is appareled with majesty; The Lord is appareled, he hath girded himself with strength: The world also is stablished that it cannot be moved. Thy throne is established of old: Thou art from everlasting. The floods have lifted up, O Lord. The floods have lifted up their voice; The floods lift up their waves. Above the voices of many waters, The mighty breakers of the sea, The Lord on high is mighty. Thy testimonies are very sure: Holiness becometh thine house, O Lord, for evermore.--_Ps._ xciii. 1-5.

He was a man, take him for all in all, I shall not look upon his like again.

--_Hamlet_, Act i., Sc. 2.

This was the noblest Roman of them all.

* * * * *

His life was gentle; and the elements So mix’d in him, that Nature might stand up And say to all the world, _This was a man!_

--_Julius Caesar_, Act v., Sc. 5.

For even then, Sir, even before this splendid orb was entirely set, and while the western horizon was in a blaze with his descending glory, on the opposite quarter of the heavens arose another luminary, and, for his hour, became lord of the ascendant.... And I did see in that noble person such sound principles, such an enlargement of mind, such clear and sagacious sense, and such unshaken fortitude, as have bound me, as well as others much better than me, by an inviolable attachment to him from that time forward.... I stood near him; and his face, to use the expression of the Scripture of the first martyr--his face was as if it had been the face of an angel. I do not know how others feel; but if I had stood in that situation, I never would have exchanged it for all that kings in their profusion could bestow. I did hope that that day’s danger and honor would have been a bond to hold us all together forever.--BURKE.

O, sing unto the Lord a new song: Sing unto the Lord, all the earth. Sing unto the Lord, bless his name; Show forth his salvation from day to day. Declare his glory among the nations, His marvelous works among all peoples. For great is the Lord, and highly to be praised: He is to be feared above all gods. For all the gods of the people are idols: But the Lord made the heavens. Honor and majesty are before him: Strength and beauty are in his sanctuary.

--_Ps._ xcvi., 1-6.

Ho! gallant nobles of the League, look that your arms be bright! Ho! burghers of St. Genevieve, keep watch and ward to-night! For our God hath crushed the tyrant, our God hath raised the slave, And mocked the counsel of the wise, and the valor of the brave. Then glory to his holy name, from whom all glories are; And glory to our sovereign lord, King Henry of Navarre.

--_The Battle of Ivry._ MACAULAY.

PEDAGOGICAL ASPECTS.

These aspects, having been dwelt upon at some length in the preceding discussion, may be dismissed with a few words. The knowledge of the psychology of Force and Stress is to serve as a standard of criticism, not as a foundation for mechanical drills. There is a school of reading pedagogy, with lamentably extended sway, that argues, since there are found various kinds of stress in our speech, therefore we must drill our pupils on these. Nothing could be farther from the truth. Stress denotes a state of mind. If our philosophy of stress is sound, it should teach us that the mental state finds instinctive expression in one form of stress or another, and consequently we must get the state before we can get the stress. We might add that this is true of Time, Pitch, and Quality, as well as of Stress.

Do not tell a child to read louder. If you do, you will get loudness--that awful, grating schoolboy loudness--without a particle of expression in it. Many a child reads well, but is bashful. When we tell him to read louder, he braces himself for the effort and kills the quality, which is the finer breath and spirit of oral expression, and gives us a purely physical thing--force. Put your weak-voiced readers on the platform; let them face the class and talk to you, seated in the middle of the room, and you will get all the force you need. On the whole, we have too much force rather than too little. Let the teacher learn that we want quality, not quantity, and our statement of the mental action behind force will be of much benefit in creating the proper conditions.

FOOTNOTES:

[1] In describing what is small, delicate, nice, we often note the tendency to use a rather high key. This is no doubt due to the tension that results from unconscious imitation. The voice is to a certain extent squeezed in endeavoring to express the smallness of the idea, with the result that the key is raised. Note how the child’s key rises when he asks for a “leetle, teeny bit.”

[2] The rising inflection will be heard only on the last syllable of this word. Note the discreet skip of the voice between the first and second syllables.

[3] Prof. W. B. Chamberlain in his “Rhetoric of Vocal Expression.” This work is now out of print, but a revision and enlargement of it is published by Scott, Foresman & Co., of Chicago, under the title “Principles of Vocal Expression and Literary Interpretation.”

[4] The falling inflection may properly be given on the italicised words; but the latter are not therefore necessarily to be emphasized.

[5] See Tyndall on “Sound;” or Prof. Halm on the same subject.

[6] A few words are italicized in order to draw attention to the places where we should be likely to use this stress. Observe, too, how the stress impresses us with the desire of the speaker to push away opposition.