The third and last relation in which we shall study voice, is its
breadth, that is, the measure or rhythm of its tones.

The object of measure in oratorical diction is to regulate the interval
of sounds. But the length of the interval between one sound and another
is subject to the laws of slowness and rapidity, respiration, silence
and inflection.

Let us first consider slowness and rapidity, and the rules which govern
them.

1. A hasty delivery is by no means a proof of animation, warmth, fire,
passion or emotion in the orator; hence in delivery, as in tone, haste
is in an inverse ratio to emotion. We do not glide lightly over a
beloved subject; a prolongation of tones is the complaisance of love.
Precipitation awakens suspicions of heartlessness; it also injures the
effect of the discourse. A teacher with too much facility or volubility
puts his pupils to sleep, because he leaves them nothing to do, and they
do not understand his meaning. But let the teacher choose his words
carefully, and every pupil will want to suggest some idea; all will
work. In applauding an orator we usually applaud ourselves. He says
what we were just ready to say; we seem to have suggested the idea. It
is superfluous to remark that slowness without gesture, and especially
without facial expression, would be intolerable. A tone must always be
reproduced with an expression of the face.

2. The voice must not be jerky. Here we must keep jealous watch over
ourselves. The entire interest of diction arises from a fusion of tones.
The tones of the voice are sentient beings, who love, hold converse,
follow each other and blend in a harmonious union.