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 quantities, 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 _quantity_, 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.

=Quantity=, 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 _quantity is an element of expression_.
Again, many words and syllables can receive this prolongation of
utterance more readily than others,--hence _quantity 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 quantity, or, more shortly, "to possess quantity";
mutable syllables possess quantity in a less degree, and immutable
syllables are naturally deficient in quantity.

As an element of expression, quantity (that is, long quantity) 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
quantities 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 quantity. Our language abounds in indefinite syllables to
which he may im