bration, 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 unimpassioned 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
passions, 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 assumes 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 v