Not only must the modulations of the voice be studied to render the monologue, but a thorough study of the monologue becomes a great help in developing power in vocal expression. Because of the necessary accentuation of otherwise overlooked points in vocal expression, the orator or the teacher, the reader or the actor, can be led to understand and realize more adequately those expressive modulations upon the mastery of which all naturalness in speaking depends.
Not only must we appreciate the distinct meaning of each of these modulations, but also that of their combination and degrees of accentuation, which indicate marked transitions in feeling and situation. In fact, no voice modulation is ever perceived in isolation. They may not all be found in a sentence, but some of them cannot be present without others. For example, touch is meaningless without pause, and a pause is justified by change of pitch. Inflection and change of pitch constitute the elements of vocal form which reveal thought, and all combine with tone-color and movement, which reveal feeling and experience. Naturalness is the right union and combination of all the modulations.
Ah, did you once see Shelley plain, And did he stop and speak to you, And did you speak to him again? How strange it seems, and new!
But you were living before that, And also you are living after; And the memory I started at-- My starting moves your laughter!
I crossed a moor, with a name of its own And a certain use in the world, no doubt, Yet a hand's-breadth of it shines alone 'Mid the blank miles round about:
For there I picked up on the heather And there I put inside my breast A moulted feather, an eagle-feather! Well, I forget the rest.
Read over any short monologue several times and satisfactorily locate and define the meaning of each of these modulations. Observe also the great variety of changes among these modulations and their necessary union for right interpretation.
Take for example "Memorabilia," one of Browning's shortest monologues, and observe in every phrase the nature and necessity of these modulations of the voice.
The reading of a volume of Shelley is said to have greatly influenced Browning when a boy, and this monologue is a tribute to that poet. Some lover of Shelley, possibly Browning himself, meets one who has seen Shelley face to face. He is agitated at the thought of facing one who had been in the presence of that marvellous man. Note the abrupt inflections, the quick movement indicating excitement, the decided touches, and animated changes of pitch.