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THE PHILOSOPHY 
 
 OF 
 
 THE H¥MAN VOICE: 
 
 EMBRACING ITS 
 
 PHYSIOLOGICAL HISTORY; 
 
 TOGETHER WITH A " w 
 
 SYSTEM OF PRINCIPLES 
 
 B\ WHK'h 
 
 CRITICISM IN l III Mil' 01 BUM UTIOK 
 
 ^1A^ IB I iiciBLt, 
 
 AND 
 
 [NSTRUCTIONi DEI IN1TE and C0MPREHENSIV1 
 
 to mm 11 it a) 
 A BB1EF Aft 
 
 OF 
 
 SOW; AMD RECITATIVE 
 
 M J \MI ^ Rl $11 M. Ii 
 
 
 PHILADELPH1 \. 
 
 PRINTED Bl J. max 
 1887. 
 

 EASTERN DISTRICT OF PENNSYLVANIA, to wit: 
 
 BE IT Remembered, that on the twentieth day of January, in 
 the fifty-first year of the independence of the United States of America, 
 A. D. 1827, James Rash, M. D. of the said district, hath deposited in this 
 office the title of a book, the right whereof he claims as Author, in the 
 words following, to wit: 
 
 The Philosophy of the HumSh Voice: embracing its Physiological His- 
 tory; togcUter uiih a System of Principles by which Critkisni in th< art 
 of Elocution may be rendered intelligible, and instruction, dtjircl( unJ 
 comprehensive. To which is added a brief Analysis of Song and Recita- 
 tive, by James Rush, M. D. 
 
 In conformity to the act of the congress of the United States, intituled 
 " An act for the encouragement of learning, by securing the copies of 
 maps, charts, and books, to the authors and proprietors of 6uch copies, 
 during the times therein mentioned." — And also to the act, entitled. 
 M An act supplementary to an act, entitled, tl An act for the encourage- 
 ment of learning, by securing the copies of maps, charts, and books, to 
 the authors and proprietors of such copies during the times therein men- 
 tioned, " and extending the benefits thereof to the arts of designing, en- 
 graving, and etching historical and other prints." 
 
 D. CALDWELL, 
 Clerk of the Eastern District of Pennsylvania 
 
s* 
 
 CONTENTS. 
 
 INTRODUCTION, 1 
 
 SECTION 1. Off thx - is of vocal mud, with 
 
 a more particular Recount 
 
 II. * lical and Yuni>!iii tlie 
 
 yoke ; and i 
 
 III. Of tin- elementary sound- of th lan- 
 
 guage; with 
 ami 
 
 IV. Of the influence oi \\\< 
 
 in the production ol ( 
 
 , in 
 relaticm to it> different qualiti< 88 
 
 VI. Ot the Melody ol ; ther with an 
 
 inquiry how i and Modu- 
 
 lation are applicable to it, 
 
 VII. Of Ike Expression ol S| uu 
 
 VII I. Of the Quality Of kind ol Voice, 
 
 1\. Of the 1 ime of th I 149 
 
 \. oi the Expression ol kfl 
 
 \I. Or the Intonaii 186 
 
 XII. Of the Groupi 
 
 XIII. Or the Interval ot th 
 
 XIV. Oi the Interval ot the Fifth, 21 i 
 IV. Ol the Interval of the Third, 
 
 W 1. or the Intonation of Inter: . u(ences, 218 
 
 XVII Ot th" Interval of the Second 241 
 
\ v CONTENTS. 
 
 SECTION XVIII. Of the Interval of the Semitone; and of 
 
 the Chromatic Melody founded thereon, 247 
 
 XIX. Of the downward Radical and Vanishing 
 
 Movement, 260 
 
 XX. Of the Downward Octave, 265 
 
 XXI. Of the Downward Fifth, 267 
 
 XXII. Of the Downward Third, 271 
 
 XXIII. Of the Downward Second and Semitone, 277 
 
 XXIV. Of the Wave of the voice, 279 
 
 XXV. Of the Equal Wave of the Octave, 287 
 
 XXVI. Of the Equal Wave of the Fifth, 289 
 
 XXVII. Of the Equal Wave of the Third, 292 
 
 XXVIII. Of the Equal Wave of the Second, 293 
 
 XXIX. Of the Equal Wave of the Semitone, 298 
 
 XXX. Of the Wave of Unequal Intervals, 301 
 
 XXXI. Of the Tremor of the Voice, 312 
 
 XXXII. Of Force of Voice, 325 
 
 XXXIII. Of the Radical Stress, 329 
 
 XXXIV. Of the Median Stress, 337 
 
 XXXV. Of the Vanishing Stress, 342 
 
 XXXVI. Of the Compound Stress, 346 
 
 XXXVII. Of the Thorough Stress, 348 
 
 XXXVIII. Of the Loud Concrete, 349 
 
 XXXIX. Of the Time of the Concrete 350 
 XL. Of the Aspiration, 352 
 XLI. Of the Emphatic Vocule, 359 
 XLII. Of the Guttural Emphasis, 362 
 XLIII. Of Accent, 364 
 XLIV. Of Emphasis, 373 
 
 Of the Radical Emphasis, 375 
 
 Of the Median Emphasis, 376 
 
 Of the Vanishing Emphasis, 377 
 
 ¥ Of the Compound Emphasis, 378 
 
 Of the Thorough Emphasis, 379 
 
 Of the Aspirated Emphasis, 380 
 
 Of the Emphatic Vocule, 581 
 
 Of the Guttural emphasis, 382 
 
 Of the Temporal Emphasis, 385 
 
CONTENJ V 
 
 HON XLIV. Of the Emphasis of Pitch, 385 
 
 Of the Emphasis of the Octave, 387 
 
 Of the Emphasis of the Fifth, 390 
 
 Of the Emphasis of the Third, 391 
 
 Of the Emphasi* of the Semitone, 39S 
 
 Of the Downward Concrete, 395 
 
 Of the Downward Octal e, 397 
 
 Of the Downward Fifth, 399 
 
 <>t the Dow nw aid Third, 400 
 
 Of the Emphasis of the Wave, 409 
 
 Of the E(jua! k tave, 404 
 
 <M the Equal \ ave ot the Fifth, ib. 
 
 (H 405 
 
 41)7 
 
 \ U i; , 410 
 
 489 
 
 424 
 
 ib. 
 
 ib. 
 
 ot | 
 
 01 ib. 
 
 ess, 
 O! 
 
 01 
 
 ih. 
 
 itkm, ib. 
 
 al Drift of the Guttural Empha- 
 
 ib. 
 •station, ib. 
 
 Dr. It ot \1. 
 
 428 
 \IA I 
 
 Of the I 
 
 IK Feebleness of Voice, 445 
 
 By Loudness of Voice, ib. 
 
 IK Quickness of V G 446 
 
v i CONTENTS. 
 
 SECTION XLVI. By Slowness of Voice, 446 
 By Quality of Voice, 447 
 By the Semitone, ib. 
 By the Second or Tone, ib. 
 By the Rising Third, Fifth and Octave, 448 
 By the Downward Third, Fifth and Oc- 
 tave, 449 
 By the Wave, of the Semitone, ib. 
 By the Wave of the Second, 45Q 
 By the Waves of the Third, Fifth and Oc- 
 tave, ib* 
 By the Radical Stress, 451 
 By the Median Stress, 452 
 By the Vanishing Stress, ib. 
 By the Compound Stress, 455 
 By the Tremor of the Second and higher 
 
 Intervals, ib. 
 
 By the Tremor of the Semitone, 454 
 
 By the Aspiration, ib. 
 
 By the Guttural Emphasis, 455 
 
 By the Emphatic Vocule, ib. 
 
 By the Broken Melody, ib. 
 
 XLVII. Of the Mode of Instruction in Elocution, 461 
 
 Of Practice on the Alphabetic Elements, 465 
 
 Of Practice on the Time of Elements, 471 
 
 Of Practice on the Vanishing Movement, 473 
 
 Of Practice on Force, 474 
 
 Of Practice on Stress, ib. 
 
 Of Practice on Pitch, 475 
 
 Of Practice on Melody, 478 
 
 Of Practice on the Cadence, ib; 
 
 Of Practice on the Tremor, 479 
 
 Of Practice on the Quality of Voice, 480 
 
 Of Practice in Rapidity of Speech, 482 
 
 XLVIII. Of the Rhythmus of Speech, 491 
 
 XLIX. Of the Faults of Readers, 504 
 
 Of Faults in Quality, 515 
 
 Of Faults in Time, 516 
 
CONTENTS. 
 
 vil 
 
 SECTION XLIX. Of Faults in Force, 518 
 
 Of Faults in Pitch, 520 
 
 Of Faults in the Concrete Movement, ib. 
 
 Of Faults in the Semitone, 521 
 
 Of Faults in the Second, 522 
 
 Of Faults in the Melody of Speech, 524 
 
 First Fault in Melody, j D . 
 
 Second Fault in Melody, 525 
 
 Third Fault in Melody, 526 
 
 Fourth Fault in Melody, 527- 
 
 Fifth Fault in Melody, 529 
 
 Sixtli Fault in Melody, 530 
 
 Seventh Fault in Melody, 535 
 
 Of Faults in the Cadence. 534 
 
 Of Faults in the Third, 537 
 
 Of Faults in the Fifth, 538 
 
 Of Faults in the Downward Movement, 539 
 
 CM Faults in the Discret.- M«.v. inent, ib. 
 
 Of Faults in the Wave, 540 
 
 Of Faults in the Melody of the Pause, 541 
 
 Ol 'Fault, in Drift, 540 
 
 Of Monotony of Voice, 545 
 
 Of Uanting in Speech, 545 
 
 Of Affectation in Speech, \\y 
 
 Ol Mouthing in Speech, j D# 
 
 Conclusion, 547 
 \ Uriel Analysis of Song and Recitative, 557 
 
ERRATA. 
 
 Page xvi, line 18, for conventual, read conventional, 
 
 xxi, 5, Pausanius, Pausanias. 
 
 effect affect, 
 
 give gives, 
 
 cannon, canon. 
 
 they abruptly abruptly, 
 
 base bass. 
 
 S8, 
 
 20, 
 
 318, 
 
 25, 
 
 340, 
 
 18, 
 
 409, 
 
 31, 
 
 543, 
 
 14, 
 
INTRODUCTION 
 
 The analysis of the human voice, contained in 
 the following essay, was undertaken some years 
 ago, exclusively as a subject of physiological inqui- 
 ry. The discovery of some of the essential func- 
 tions of speech, having led to a full investigation of 
 the modes of utterance, I was induced to attempt a 
 methodical description of all the vocal phenomena, 
 with a view to bring the subject within the limits 
 of science, and thereby to assist the purposes of 
 oratorical instruction. 
 
 By every scheme of the cyclopaedia, the descrip- 
 tion of the voice is classed among the duties of the 
 physiologist; yet he has strangely neglected his part, 
 by borrowing the small substance of his knowledge 
 from the fancies of rhetoricians, and the dull errors 
 of grammarians. It is time at last for physiology, 
 of right, and seriously to take up its task. 
 
 In entering on this inquiry, I determined to avoid 
 an express reference to the productions of former 
 writers, until the authority of nature over the ear 
 was so far established by observation, as to obviate 
 the danger of adopting unquestioned errors, which 
 
 B 
 
ii INTRODUCTION. 
 
 the stoutest resolution of independence finds it so 
 difficult to avoid. Even a faint recollection of school 
 instruction was not without its forbidding interfe- 
 rence, with my first endeavour to discover, by the 
 ear alone, the hidden processes of speech. 
 
 After obtaining an outline of the work of nature 
 in the voice, sufficient to enable me to avail myself 
 of the useful truths of other observers, and to guard 
 against their mistakes, I consulted all the accessible 
 treatises on the subject, particularly the European 
 compilations of the day, the authors of which have 
 opportunities for selection, not enjoyed in this coun- 
 try. Finding on comparison, that the following his- 
 tory of the voice represents its nature more exten- 
 sively and definitely than any known system, I have 
 been induced to offer it to the public. Many errors 
 may be found in it; but if the leading points of ana- 
 lysis, and the general method be not a copy from 
 nature, and do not prompt others, far better fur- 
 nished than I have been with the resources of abili- 
 ty, time, and companionable assistance, to carry 
 these principles into specific detail, I shall forever 
 deeply regret the publication. 
 
 It becomes me, however, to remark, that as this 
 work has not been made up from the quoted, or con- 
 troverted, or accommodated opinions of authors, I 
 shall totally disregard any decision upon its merits, 
 which is not made by a scrutinizing comparison 
 with nature herself. 
 
 The art of speaking well, has, in most civilized 
 countries, been a cherished mark of distinction be- 
 tween the elevated and the humble conditions of 
 
INTRODUCTION. [[[ 
 
 life, and has been immediately connected with some 
 of the greater labours of ambition and taste. It ma} r 
 therefore appear extraordinary, that the world, with 
 all its works of philosophy, should have been satis- 
 fied with the instinctive exercise of the art, and 
 with the occasional examples of its perfection, with- 
 out an endeavour to found an analytic system of in- 
 struction, productive of more multiplied instances 
 of success. Due reflection, however, will convince 
 us, that even this extended purpose of the art of 
 speaking, has been one of the causes of neglect. 
 It has been a popular art ; and works for popularity 
 are too often the works of mediocrity The majori- 
 ty around the stage, the senate, the bar, and the 
 pulpit, deprecate the trouble of improvement: and 
 the satisfaction of the general ear is, in no less a de- 
 gree, encouraging to the faults of the voice, than 
 the approving judgment of the million is subver- 
 sive of the rigid discipline of the mind. 
 
 Physiologists have described, and classed the or- 
 ganic positions by which the alphabetic elements 
 are produced. This has been done by the rule, and 
 with the success of philosophy. Other attempts 
 have not been so fair or so fortunate. When they 
 have taken up the subject of intonation, that is, the 
 movement of the voice in regard to its pitch, they 
 have not accurately measured by some known or 
 invented scale, the modes and degrees of such move- 
 ments ; and thus furnished a real detail of the eco- 
 nomy of speech. But they have undertaken to de- 
 termine whether the organs of the voice partake of 
 the nature of a wind or stringed instrument — how 
 
i v INTRODUCTION. 
 
 the falsette is made, and whether acuteness and gra- 
 vity are formed by variations in the dimensions of 
 the glottis, or in the length of the larynx. They 
 have removed the organs from men and other ani- 
 mals, and have produced something like their na- 
 tural voices by blowing through them. They have 
 inspected and named the curious structure of the 
 cartilages and muscles of the larynx, with the ab- 
 surd purpose to discover thereby the cause of into- 
 nation, when they were ignorant of the very forms 
 of that intonation. In short, they have tried to 
 see sound, and to touch it with the dissecting knife 
 — and all this without reaching any positive con- 
 clusion, or describing any more of the audible ef- 
 fects of the anatomical structure, than was known 
 to rhetoricians, two thousand years ago. 
 
 Instead of listening to the forms of vocal sound, 
 and recording them, physiologists have copied the 
 common places of argument from one another, from 
 the time of Galen to the present, with that variety 
 only which the mere capricious changes in arrange- 
 ment produce. 
 
 The Greek and Roman rhetoricians, and the wri- 
 ters on music have recorded their knowledge of the 
 general affections of the voice. They distinguished 
 its different qualities by such terms as hard, smooth, 
 sharp, clear, hoarse, full, slender, flowing, flexible, 
 shrill, and austere. They knew the time of the 
 voice, and had a view to its quantities in pronun- 
 ciation. They gave to loud and soft, appropriate 
 places in speech. They perceived the existence of 
 pitch, or variation of high and low: noting further, 
 
INTRODUCTION. V 
 
 that the rise and fall in speaking were made by 
 a concrete or continuous slide of the voice. This 
 concrete sound, was, in their system, contra-distin- 
 guished from the change of pitch produced on mu- 
 sical instruments, which consists in a rise or fall to 
 other places of pitch, without the continuous junc- 
 tion of the slide. This was called discrete sound. 
 The ancients however show no acquaintance 
 with the subdivisions, definite degrees, and particu- 
 lar applications of these general affections, for the 
 discriminative purposes of oratorical use: and if we 
 may judge, from an attempt by Dionysius of Hali- 
 carnassus to point out the difference between sing- 
 ing and speech, and from some other descriptions, 
 totally irreconcilable with any of the present modes 
 of intonation, we must believe that they made only 
 a limited analysis of the voice; that the cultivation 
 of the art of speaking was conducted altogether by 
 imitation; and that the means of improvement were 
 not reduced to any precise or available directions 
 of art. 
 
 No one can read the discourse on the manage- 
 ment of the voice, in Quinctilian's elaborate chap- 
 ter on action, without allowing to the ancients a 
 power of perceiving the beauties and blemishes of 
 speech. Yet among so many indications of their 
 practical familiarity with the art, we find no clear 
 description of its elements, nor any definite instruc- 
 tion. The abundant detail throughout his work, 
 which more than once suggests an apology for its 
 minuteness, precludes the supposition that he de- 
 signedly omitted to describe any well known means, 
 
Vi INTRODUCTION. 
 
 by which the various modes of the voice might be 
 represented with useful precision. 
 
 It is believed that the ancient rhetoricians desig- 
 nated the pitch of vocal sounds by the term accent. 
 They made three kinds of accents, the acute, the 
 grave, and the circumflex; signifying, severally, the 
 rise, fall, and turn of the voice. The existence of 
 differently pointing small lines, and these conjoined 
 in angle, in Greek manuscripts and in print, since 
 the seventh century, which have been considered 
 as indicials of the ancient manner of pitching the 
 voice, has afforded the only data for inquiring into 
 the nature of Greek intonation, and has created a 
 learned dispute, which has been continued without 
 one satisfactory result, from the time of the ^ ounger 
 Vossius, to the recent days of Foster and Gaily. 
 
 If Greek scholars had employed other means 
 than contests with each other, for ascertaining the 
 intention of accentual marks, it would long ago 
 have been determined whether they directed to 
 any practical knowledge of Greek utterance, or 
 might be erased from notation, as a subject of use- 
 less perplexity. If the tongue had been once con- 
 sulted on this point, these symbols, even with the 
 certainty of their alleged use, would have been re- 
 jected as vague and meagre representations of the 
 rich variety and measurable modes of the voice. 
 
 The disputants found that degree of obscurity in 
 the ancient records on accent, which encourages the 
 profitless labours, and alternate triumphs of party; 
 which subjects opinion to all the knavery of secta- 
 rean argument, and shuts out the conclusive inqui- 
 
INTRODUCTION. vii 
 
 ries of independent observation. In the full spirit 
 of the old dialectic art, they discoursed about truth 
 until they forgot to discover it: and whilst they 
 have exhibited a distressing waste of time and 
 thought and temper, by seeking in the obscurity of 
 unfinished records, that light which would readily 
 have arisen on their observation, they hold out to 
 the future historians of literature, a temptation to- 
 wards the sarcastic inquiry, whether the writers on 
 Greek and Roman accent were endowed with the 
 powers of hearing and pronunciation. 
 
 Since the decline or limitation of classic authority, 
 modern inquirers, by listening to the sounds of their 
 own language, have at last undertaken to discover 
 other elemental functions of the voice, than the 
 scanty indications of Greek accentual marks. 
 
 The works of Steele, Sheridan and Walker have 
 made large contributions to the long neglected and 
 still craving condition of our tongue. 
 
 Mr. Joshua Steele published, at London, in the 
 year seventeen hundred and seventy -five, " An es- 
 say towards establishing the melody and measure of 
 speech, to be expressed and perpetuated, by pecu- 
 liar symbols." The design of this essay was sug- 
 gested by some remarks on the nature of speech, 
 made by lord Monboddo, in his " origin and progress 
 of language;" and was executed, in part, as an argu- 
 mentative correspondence between this author and 
 Mr. Steele. 
 
 Future times must smile at some of the effects of 
 classical pursuits, if they should ever know that a 
 free inquirer had considerable difficulty, in con- 
 
Viii INTRODUCTION. 
 
 vincing a scholar, at the end of the eighteenth cen- 
 tury, that the English language has those quali- 
 ties of accent and quantity, which were supposed 
 to belong exclusively to the Greek and Latin: for 
 this was one of the objects in the controversy. Mr. 
 Steele has therefore given a notation of the time of 
 the voice; and in showing that the same concrete 
 intonation which belonged to syllables of the Greek 
 language, is necessarily heard on those of his own, 
 has endeavoured, but unsuccessfully, to describe its 
 specific application and range. The principal de- 
 sign of his work is, to set forth a system of rythmic 
 notation, by which the accidents of emphasis and 
 pause may be represented to a pupil; and the habit 
 of attention fixed on these great points in the art of 
 reading. 
 
 Mr. Steele seems to have possessed nicety of ear; 
 knowledge of the science and practice of music, to- 
 gether with an originality of mind, created by ob- 
 servation and reflection: powers sufficient, when 
 well directed, to have fulfilled the unaccomplished 
 inquiry into human speech. 
 
 Had he pursued truth by observation instead of 
 controversy; had he not let his attention fall into the 
 deviating course of argument; nor suffered the 
 harmless respect of a verbal decorum towards the 
 opinions and objections of others, to exert a secret 
 weight of authority; had he not looked back to the 
 ancients, and the dark confusion of their commenta- 
 tors, but kept his undeviating ear on nature, she 
 would at last have led him up to light. 
 
INTRODUCTION. i x 
 
 Mr. Sheridan is well known by his accurate and 
 systematic investigation of the art of reading: and 
 though he improved both the detail and method, 
 of his subject, in the departments of pronunciation, 
 emphasis and pause, he made no analysis of intona- 
 tion. A regretted omission! The more so, from the 
 certainty, that if this topic had invited his attention, 
 his genius and industry would have shed their full 
 light of explanation upon it. 
 
 Mr. Walker, who, by his rhetorical and philolo- 
 gical labours, has contributed largely to the im- 
 provement of the English language, exhibits in 
 more than one place of his works, that the varie- 
 ties of intonation were studiously examined by hi in: 
 indeed, he reiterates his claims to originality on this 
 subject. Mr. Walker may have been the first to 
 endeavour to apply the old system of accents to a 
 modern language: but he has scarcely gone beyond 
 the analysis on which this ancient doctrine of in- 
 flection was founded. Some of the Greek writers 
 on music, and many subsequent authors who have 
 quoted them, have noted the rise, and fall, and cir- 
 cumflex turn of speech. Aristoxenus the philoso- 
 pher, a pupil of Aristotle, first observed or des- 
 cribed that peculiar rise and fall of sound by a con- 
 crete or continuous progression, which distinguishes 
 the vocal movement, from the skipping or discrete 
 transition on musical instruments. 
 
 Mr. Walker does triumphantly claim the disco- 
 very of the inverted circumflex accent, or the down- 
 ward and upward continued movement. Yet, if it 
 is correctly inferred from the dates of publication. 
 
x INTRODUCTION. 
 
 and from Mr. Walker's rather derisive allusion to 
 Mr. Steele's essay, that the latter author preceded 
 him, he might have found, in Mr. Steele's gravo- 
 acute accent, proof of the real existence of his 
 newly found function of the voice. 
 
 Mr. Walker was an accomplished reader, and 
 knew well how to manage his intonation; but in his 
 attempt to delineate it, he is not more definite than 
 Mr. Steele in noting his degrees of inflection, and 
 is much less full. His insinuation that music and 
 speech, each being but varying affections of sound, 
 should not be illustrated by some analagous nota- 
 tion, and his erroneous diagrams of the progress of 
 pitch, are instances of a want of reflection and of 
 obtuseness of ear, which would be quite reprehen- 
 sible in any one, who, without compulsion, should 
 undertake to investigate the relationships of sound. 
 
 I have thus summed up the sources, and noted 
 the degree of our knowledge of the vocal func- 
 tions. There exists a copious -detail in the branches 
 of articulation, emphasis, accent, (in its signification 
 of stress) and pause. On the other hand, the ana- 
 lysis of intonation has not been carried much be- 
 yond the recorded knowledge of the ancients. 
 Greek and Roman writers tell us, indefinitely, of 
 the acute, grave, and circumflex movements; and 
 these, with the newly described inverted circum- 
 flex, have, at a recent date, first been formally re- 
 garded, in the art of speaking the English language. 
 
 These four general heads of intonation are truly 
 drawn from nature : yet, with their present vague 
 meaning, they are useless for practical instruction, 
 
INTRODUCTION. Xl 
 
 and are no less imperfectly expressive of the mea- 
 surable modifications of speech, than the four car- 
 dinal terms of the compass are descriptive of all the 
 points, distances, and contents of space. 
 
 The discovery of the abovementioned distinc- 
 tions in intonation, which must indeed form the out- 
 line of all nicer discriminations, was the result of 
 philosophical inquiry. A much more abundant, but 
 not more precise nomenclature has been derived 
 from criticism. The following phrases are extract- 
 ed from a description of Mr. Garrick's manner of 
 reading the church service, and have an especial 
 reference to the intonation of his voice. — u Even 
 tenor of smooth regular delivery" — " Fervent 
 tone" — " Sincerity of devotional expression" — 
 11 Repentant tone" — " Reverential tone" — " Even- 
 ness of voice" — " Tone of solemn dignity" — u Of 
 supplication" — " Of sorrow and contrition." 
 
 Those who know what constitutes the accuracy of 
 terms, must confess that these and similar attempts 
 to name the signs of expression, have no more 
 claims to the title of clear elemental description, 
 than belongs to the rambling signification of vulgar 
 nomenclature. We are not aware that no images 
 of audible perception are associated with these 
 phrases, until required to illustrate them by some 
 assignable accidents of vocal sounds. " Grandeur of 
 feeling," says a writer, " should be expressed with 
 pomp and magnificence of tone •," and we may pre- 
 sume, that if he had been asked how pomp and mag- 
 nificence of feeling should be expressed, he would 
 have said, by grandeur of tone. These are words. 
 
xii INTRODUCTION. 
 
 not definitions. Nor can any weight of authority 
 give them the power of description: since the 
 terms <c sorrowful expression," and " tone of solemn 
 dignity !" in the instruction of an accomplished Elo- 
 cutionist, have no more precision of meaning, as to 
 pitch, time, and force of sound, than " fine turned 
 cadence," and " chaste modulation," in the idle cri- 
 ticism of a daily gazette. 
 
 All arts and sciences appear under two different 
 conditions. They may be seen through the medi- 
 um of terms of vague signification, adapted to the 
 limited knowledge and feeble senses of the ignorant, 
 in every caste of society. Those who view them 
 under this condition, in vainly pretending to discri- 
 minate, express nothing but their approbation. In 
 the other light, they are shown in definite deliuea- 
 tion, by a language of unchangeable meaning, close- 
 ly appropriate to all their parts ; and independently 
 of the perversions, which slender ability, natural 
 temper, or momentary humour may create. He 
 who thus views an art, in expressing his approba- 
 tion, always discriminates. 
 
 Some branches of the art of speaking, are, even 
 at this late period of cultivation, scarcely removed 
 from the first of these conditions. We might say, 
 this is strange, if the causes were not so manifest. 
 The specific constituents of intonation and force 
 and time, have been unknown: and the mind has 
 consequently wanted that fine stimulus to atten- 
 tion, which abundant and definite terms always 
 afford. The fullness of the nomenclature of an art is 
 always directly proportional to the degree of its 
 
INTRODUCTION. x iii 
 
 improvement; and the precision of its terms is al- 
 most synonimous with its perfection. The few and 
 indeterminate designations of the modes of sound in 
 reading, compared with their number and accuracy 
 in music, imply the different degree of success 
 with which each has been cultivated. The inqui- 
 rers into the nature of speech, have given up their 
 judgments to authority, and their pens to quotation. 
 The musician has devoted his ear to observation, 
 and his labour to the trial of its truth. The words, 
 quick, slow, long, short, loud, soft, rise, fall and turn, 
 include nearly all the analytic terms of the art. 
 How far they fall short of an enumeration of all the 
 functions of the voice, and how fairly I have repre- 
 sented the present condition of our knowledge, 
 shall be determined by an age to ccme, when the 
 ear will have made deliberate examination. 
 
 A conviction of the imperfect state of our know- 
 ledge in some of the branches of the art of speak- 
 ing, first suggested the design of the ensuing inves- 
 tigation of them: whilst a hope to influence others to 
 assist in the completion of a desirable measurement 
 and method of the voice, produces the present pub- 
 lication. If I have failed to furnish a plan for the 
 future establishment of the principles of intona- 
 tion and time and force, I must still desire to be- 
 lieve, without controversy, in the attainable nature, 
 and practical benefits of such a work. 
 
 I cannot withhold from this place, a few very 
 general remarks on the importance of fixed princi- 
 ples in the arts; not only because these principles 
 are the true sources of the intellectual enjoyment 
 
xiv INTRODUCTION. 
 
 which the arts afford, but because they are the most 
 effective means for their improvement. And al- 
 though the entire want of such principles, for the 
 government of intonation, has unnecessarily led to 
 the belief that they cannot be instituted, still I 
 hope to show, in the following essay, that they are 
 not only as essential, but likewise as attainable in 
 Elocution, as in any other art which employs the 
 judgment, and interests the imagination. 
 
 Those persons who receive the highest enjoy- 
 ment from the works of art, know well, that its ful- 
 ness and durability are derived from a wide and 
 vivid discernment, acquired by a disciplined reflec- 
 tion on the principles of taste which directed their 
 production. The knowledge of these principles 
 gives power to the artist, and delight to him who 
 contemplates the work. It is not the form, or co- 
 lour or sound, which merely passes into the eye or 
 the ear, that constitutes an enlightened perception 
 of the objects of the fine arts. Delicate organization 
 is, indeed, essential to this perception : but it is the 
 activity of the senses or the mind in the work of 
 comparison, or in the application of pre-established 
 rules, which forms the liberal pleasure of taste. 
 And if there is yet to be discovered some surpas- 
 sing efficacy of art, it can never be attained, except 
 through the influence of sure and multiplied princi- 
 ples. 
 
 The discussion of the subject of standard princi- 
 ples, in some of the arts, has always involved the 
 question of their origin : and nature has generally 
 been assumed as the source. 
 
INTRODUCTION. X V 
 
 There are two modes through which nature af- 
 fords her governing rules in the arts. In one she 
 sets as a prototype for exact imitation, in those 
 branches of art which profess to copy her actual de- 
 tads. In the other, which consists in adorning some 
 one creation of art, by a selection from her scatter- 
 ed integrals of beauty, the standard grows out of 
 that congenial judgment and feeling, exhibited in 
 strong similarity among persons of equal cultiva- 
 tion ; which, if it does not declare conformity in 
 taste to be the development of irreversible nature, 
 at least affords education effectual means to perso- 
 nate her. 
 
 The uses of the voice have not yet been brought 
 to the rule of either of these cases. Nature cannot 
 be imitated entirely in her own aggregates*, since 
 she never furnishes a single instance worthy to be 
 copied : and from a want of a full knowledge of the 
 elements of speech, and a definite nomenclature, 
 there has never been that clear perception of the 
 causes of beauty and deformity, which would war- 
 rant the construction of a system upon the more 
 artificial mode of selection. The highest achieve- 
 ments in statuary, painting, and the landscape, con- 
 sist of those ideal forms and compositions, which are 
 perhaps never found purely associated in nature, 
 but which far surpass her individual productions. 
 
 In the following essay, the reader will find an 
 analysis of the human voice, which will enable an 
 Elocutionist of any nation, to reduce to established 
 form, the best modes of speech in his language. 
 He will also find the outline of a system of princi- 
 
xv i INTRODUCTION. 
 
 pies that I have ventured to propose, as a selection 
 of those excellencies of utterance, which are accom- 
 modated to the temper and habits of the English 
 ear ; and which, in analogy with the above named 
 arts, may be called the ideal beauty of speech. 
 
 The establishment of a code of principles in the 
 arts, not only assists their further progress, and 
 gives to the individual the highest pleasure of their 
 cultivation : but there is another advantage, lying 
 in the prospects of social benefit. Excursiveness 
 of thought is the great delight of solitary reflection. 
 The enjoyments in the work of invention, are divi- 
 ded between the satisfaction of its accomplishment, 
 and the busy activity of varied associations, pressing 
 forward for selection. A reference to the approba- 
 tion of others, or a willingness to contribute to their 
 benefit, sacrifices the unsettled fancies of our silence, 
 and creates a submission to those conventual rules 
 of uttered thought, that in the companionship of ac- 
 complished artists, produce an identity of opinion 
 and feeling, which is the very interpretation of 
 friendship. 
 
 The accurate sciences and the fine arts, with 
 great inadvertence to the pretensions of each, have 
 been set in opposition to each other, by wider an- 
 tithesis, than is justified on near examination. The 
 careless argument asserts that taste is a variable 
 feeling, and has no rule of beauty, in the uses of 
 form, colour and sound. If the general agreement 
 among men of equal education in the arts, approxi- 
 mates towards the meaning of a standard, there is 
 not full reason for the contrariety, decreed to these 
 
INTRODUCTION* . XYl i 
 
 departments of knowledge. Who does not know 
 that particular excellencies of the painter, poet, 
 architect, orator, statuary, composer, landscape im- 
 prover and actor, have touched the spring of per- 
 ception, in those who reflect on their works, and 
 fixed a criterion in universal approbation. 
 
 Though future times will probably break down 
 the mischievous distinction, which assigns a differ- 
 ent kind of logic to different departments of know- 
 ledge; and will subject all nature and art equally to 
 the simple and sufficient process of observation aud 
 classification : still it will not, in the present age, 
 pass for great want of discernment, to say, that the 
 perception of beauty in the Arts, and of the acci- 
 dents of Quantity, has no very striking similarity. 
 But I am aware of no other ren*on for the acknow- 
 ledged certainty of the relationships of Magnitude 
 and Number, than (he general consent of those who 
 inquire into them. We agree upon them, because 
 we all use the same rigid principles of observation 
 and induction, and because we can embrace and 
 contemplate all the premises which are involved 
 in a conclusion. It is trifling, to urge that the pro- 
 perties of a conic section would still exist as truths, 
 though they might never be demonstrated. Truth 
 is a term invented for the uses of a percipient be- 
 ing; and the question before us is of knowledge, not 
 of notions. Otherwise we might, with a similar 
 proof of the fixedness of taste, assert that the pro- 
 portions of a Greek column existed unhewn and 
 unseen in the quarry *, — like that conceit of old 
 which declared that the Venus of Gnidus was not 
 
xviii INTRODUCTION. 
 
 the work of Praxiteles ; since nature herself had 
 concreted the boundary surface of its beauty : the 
 artist having only produced the fragments of his 
 chisel, and the dust of his file. I argue here against 
 an unqualified assertion of the variableness of the 
 principles of taste, and the apathy evinced in the 
 neglect to discover or establish them ; not for the 
 equality of precision between them and the truths 
 ot the exact sciences. 
 
 If I have rightly considered the disputed subject 
 of taste, its controversies consist of the differences 
 of the ignorant with artists, and with one another 5 
 and rarely of the variance of educated and intelli- 
 gent artists among themselves. If the latter fail in 
 setting their authority, or in extending the benefits 
 of their principles over the presumptuous part of 
 the multitude, it does not prove that a standard may 
 not belong to the arts, or that artists do not enjoy 
 the delightful effects of it ; but that there is more 
 assuming vanity in the world than fellowship in 
 knowledge. Silence or modest inquiry is the duty 
 of the ignorant ; and where neither is performed, 
 nature seems, in their cases, to have departed from 
 her plan in animal creation, by not withholding from 
 them the litigious faculty of speech. 
 
 These differences cannot, of themselves, call in 
 question the authority of principles in the arts. Most 
 of the phenomena of cause and effect, in Natural 
 Philosophy, are as obvious, as proofs of the proper- 
 ties of curves by the most exact calculus. Still 
 pretenders, whether the badge of their duties be the 
 mattock or the mace, the cane ? the crosier or the 
 
INTRODUCTION. x [ x 
 
 satchel, are constantly trespassing within the bounds 
 of this science, by the absurdity of their reasonings 
 with each other, on points of natural knowledge. 
 Knaves exhibit their Perpetual motions, and the 
 whole host of learned and unlearned credulity can- 
 not change the influence of those principles, which 
 at once determine the impossibility. 
 
 There is a wholesome kind of conviction on the 
 minds of fools, which forces them to confess that 
 they should not meddle with opinions in mathema- 
 tics, if they have not studied that science. But taste, 
 say they, is natural; therefore every one should 
 have his own. It is true, every one knows what 
 will please himself, in his ignorance: but it is the 
 wise only who know what will please the intelli- 
 gent, in their education. 
 
 In thus advocating the use of a general canon of 
 principles for the government of an art, I deprecate 
 any inference that it is designed to fix an unaltera- 
 ble standard. Established preceptfl should not be, 
 as the barrier of a flood, which in protecting from 
 inroad, restrictively prevents the opportunities of 
 further conquest; but as the guide and escort of the 
 arts, to acquisitions of wider glory. With the ex- 
 ception of the misused principle of novelty, I can- 
 not name an art which has not been supported and 
 advanced by their adoption. The search after nov- 
 elty has, in the designs of impotent vanity and un- 
 guarded patronage, ruined more arts than all the 
 wasting efforts of barbarism and time. 
 
 Besides the protection and means of advancement 
 which systematic principles afford an art, their 
 
xx INTRODUCTION. 
 
 powers are operative after a temporary decline, or 
 total loss of its practice. They work a speedy re- 
 storation when the influence of evil example has 
 passed away, or a tradition of former excellence has 
 produced a desire for its revival. The definite de- 
 scription of elementary constituents and the state- 
 ment of the rule of their use, is particularly neces- 
 sary in the art of speaking well; since its exercise 
 leaves no durable effect. The works of art, unac- 
 companied by the history of their production and 
 uses, are often as deep an enigma, as the works of 
 nature : and a long course of observation is in each 
 case equally required, to note and class their phe- 
 nomena, and to discover their efficient and final 
 causes. 
 
 Although the ancients have left us abundant eu- 
 logistic anecdotes of the art of Painting, they have 
 been almost silent in relation to its higher princi- 
 ples: and the want of these, even with the benefits 
 of patronage, was one cause of the delay of at least 
 two centuries, in the gradual progress to its com- 
 plete restoration, in modern Europe. Stories of the 
 graces and possible powers of ancient art were re- 
 volved in the minds of the image-makers of Italy, 
 and of the decorators of cloisters, like the pro- 
 blems of the mechanical wonders of Archimedes, 
 which were not to be solved by record or tradition. 
 Greek architecture has been revived in mo- 
 dern days, to that degree which belongs to the dull 
 precision of measurement: and in this view, may 
 serve all the purposes of a copy. A laborious ob- 
 servation must yet be added to past inquiry, in or- 
 
INTRODUCTION. xx i 
 
 der to retrieve the knowledge of those principles 
 which directed the varied excellence of the an- 
 cients: but which Vitruvius perhaps designedly 
 omitted, whilst compiling a book for builders; and 
 which Pausanius, in his hurried tour, forgot to set 
 down, as the proper preface to his inventory of 
 temples. 
 
 If the old writers on music had not transmit- 
 ted some account of their scales, and the relation- 
 ships of their elements, the records of Choragic 
 monuments, and the accounts of the Odeum would 
 have created in us, only a stupid wonder at all the 
 works of sound. The inventive mind of Guido, in- 
 stead of completing the modern scale, might have 
 only laid its foundation, by fixing a single chord 
 across a shell, and the finished system of modern 
 harmony might now have been but just begun. 
 
 The following essay exhibits an attempt to deli- 
 neate the varying modes of speech, with that pre- 
 cise analysis which may render criticism instructive, 
 and afford to future times, the means of compre- 
 hending its discriminations. 
 
 I am well aware, that in this undertaking, I op- 
 pose a vulgar error. The minute distinctions, the 
 perpetual variations, and the rapid course of utter- 
 ance are considered as invincible obstacles to the 
 palpable representation of the principles of the 
 speaking voice. This objection will be hereafter 
 answered, otherwise than by verbal argument. I 
 would now only ask, if there is no opportunity to 
 count the radii of a wheel but in the race ; or to 
 number and describe the individuals of a herd, ex- 
 
xxii INTRODUCTION. 
 
 cept in the promiscuous mingling of their flight. 
 Music, with its infinitude of details, would still have 
 been a mystery, if the doctrine of its intervals and 
 time, and the modes of their construction could 
 have been caught, only from the multiplied com- 
 binations and rapid execution of the orchestra. The 
 accuracy of mathematical calculation, joined with 
 the sober patience of the ear over the slow practice 
 of its elements, have not had more success in dis- 
 closing the system of this beautiful and luminous 
 science, than a similar watchfulness over the. deli- 
 berate movements of speech, will afford for the faci- 
 lities of instruction, and the conscious use of its 
 acquisitions. If there is any scope in the works of 
 nature, or any foredoomed efficiency of means to 
 complete the circle of her designs, we shall find, on 
 the development of the scheme of speech, those 
 unalterable rules, within the pale of which the voice 
 should be variously exercised, in order to give light 
 to the understanding, and pleasure to the ear. 
 
 The high accomplishments in Elocution are sup- 
 posed to be, universally, the unacquired gifts of 
 genius, and to consist of powers and " graces be- 
 yond the reach of art." So seem the plainest 
 services of arithmetic to a savage : and so, to the 
 slave, seem all the ways of music, which modern 
 art has so accurately penned as to time and tune 
 and momentary grace. Ignorance knows not what 
 has 'been done; indolence thinks nothing can be 
 done j and both uniting, borrow from the abused 
 eloquence of poetry, an aphorism to justify supine- 
 ness of inquiry. 
 
INTRODUCTION. xxiii 
 
 It has been said that a discovery of the full 
 resources of the arts affords the means of debase- 
 ment, or of perversion from their original purposes. 
 This indeed has sometimes been the case. By an 
 extension of the powers of musical execution, in 
 the voice and on instruments, this art is through 
 misused mechanical-skill, and the waywardness of 
 undiscerning patronage, frequently exercised to 
 the indifference or disgust of those, whose approba- 
 tion would be durable^ and to the thoughtless satis- 
 faction of those whom the caprice of ignorance may 
 urge equally to support or to destroy. 
 
 A full knowledge of the principles and practice 
 of an art, enables an industrious and ambitious vo- 
 tary to approach perfection ; whilst idle followers 
 are contented with the defaults of imitation. With 
 most men the labor of the mind, equally with that 
 of the body, ceases with the removal of its neces- 
 sity ; and the shameless dependance on the intel- 
 lectual alms of others, is not less common than 
 the populous growth of pauperism, on the increas- 
 ing provisions of benevolence. The unbounded 
 distributions of genius, prompt to excuses for indo- 
 lence and to claims for succour, and the empire it- 
 self of the art, at last falls under the insurrection 
 and anarchy of its former servile dependents. 
 
 I am thus ready to admit that a full analysis of 
 speech, together with the establishment of a system 
 of principles in the art, will not always exempt it 
 from abuse or ruin. But I cannot therefore refrain 
 from recommending a mode of cultivation, which 
 must ensure the highest satisfaction, whilst the art 
 
xxiv INTRODUCTION. 
 
 remains uncorrupted, and which, by the record of 
 its definitions and method, will afford the best 
 means for any needed restoration. 
 
 Perhaps I am not wrong in asserting that the art 
 of speaking well, does not consist of those accidents, 
 which, by arbitrary use, are apt to lead to debase- 
 ment. Many of the fine arts may have the addition 
 of ornament, properly so called j which holding but 
 a separable relationship to its subject or principal, 
 leaves taste to order the degree of its application, 
 or its total exclusion. The art of speaking is sub- 
 ject to no such conditions. The imbodying of sense 
 by sound, and the coloring of feeling by its expres- 
 sive modes, are fixed in their amenity by the unal- 
 terable instincts of nature, or the satisfactory deci- 
 sions of convention. All addition to the numbered 
 signs of its language is redundancy, and ail mis- 
 placed utterance is affectation. 
 
 The following history of the voice is addressed 
 especially to those who pursue science with atten- 
 tion and perseverance ; who prefer its useful accu- 
 racy to its ostentation ; who are satisfied with the 
 " few — but fit audience" — and who know, from 
 their own happy experience, that exactness of 
 knowledge is the bright felicity of intellect. To 
 inquirers of this character, I need not say that even 
 the rapid flight of speech may be more easily fol- 
 lowed, when the general principles of its move- 
 ments are understood and have become familiar, 
 The hesitation nf the ear will be prompted by the 
 mind, and we shall more readily discern what is, 
 by knowing what ought to be. 
 
INTRODUCTION. XXV 
 
 After the preceding representation of our limit- 
 ed knowledge of the functions of the voice, and upon 
 the promises of a more extended and precise ana- 
 lysis, the reader must not be surprised to find, in 
 the following essay, a new and copious nomencla- 
 ture. When the outline of an art is traced to its 
 unnamed divisions ; or even when its known pheno- 
 mena are exhibited under varied relationships, the 
 purpose of instruction, in describing these parti- 
 culars, is less perplexed, by the novelty of invent- 
 ed terms than by an attempt to give another ap- 
 plication or meaning to former names. 
 
 Many of the varieties of pitch having been accu- 
 rately designated and clearly arranged in music, I 
 have freely transferred its applicable nomenclature 
 to the description of speech : and whenever a lan- 
 guage has been purposely framed, I have endea- 
 voured to make it, by direct or metaphorical use, 
 purely explanatory of the nature of the vocal func- 
 tions. 
 
 Although I have gone deeply into the philoso- 
 phical analysis of speech, and have spared no pains 
 or detail in illustrating whatever might otherwise 
 be obscure from its novelty ; I have not pretended 
 to make specific application of the principles of in- 
 tonation, to all the styles of the reading and speak- 
 ing voice. This assumption of the discipline and 
 practice of the habitual teacher, is beyond my de- 
 sign. I have treated the subject in that general 
 manner which is best suited to a limited command of 
 time. The full development of an art must be the 
 work of many, and of their lives. I have here given 
 
xxv i INTRODUCTION. 
 
 the result of the leisure of about three years, snatch- 
 ed from the daily duty of extensive professional oc- 
 cupation. If in discharging the duties of that profes- 
 sion, I have selected from its physiological depart- 
 ment, a subject of inquiry which gives its ultimate 
 services in another art ; I have not therein forgotten 
 that nature, who never is ungrateful to the eyes 
 that watch her, has still her secrets in the human 
 frame, yet to be told for the health or happiness 
 of man : the future search after which, may not be 
 without success, and will not be without the satis- 
 faction experienced in conducting these offered 
 scrutinies of the tongue and ear. 
 
 The reception which may await the following 
 work, can be of no important interest to me. By 
 taking care to antedate the season of its rewards and 
 punishments, I have already found them in the va- 
 ried pleasure and perplexity of its accomplishment, 
 I leave it therefore for the service of him who may 
 in future desire to read the history of his voice. 
 The system here exhibited will satisfy much of his 
 curiosity: for I feel assured, by the result of the rigid 
 mode of observation employed throughout the in- 
 quiry, that if science should ever come to one con- 
 sent on this point, it will not differ essentially from 
 the ensuing record. The world has long asked for 
 light on this subject. It may not choose to accept 
 it now : but having idly suffered its own opportu- 
 nity for discovery to go by, it must, under any ca- 
 pricious postponement, at last receive it here. 
 
 Sir Joshua Reynolds has a pretty thought on the 
 labours of ambition and the choice of fame. I do 
 
INTRODUCTION. xxvii 
 
 not remember his words exactly ; but he figures 
 the present age and posterity as rivals : and those 
 who receive the favor of the one, as being out- 
 casts from the other. This reflection, while it sets 
 forth the bright but bounded hopes of a zeal which 
 works only for a present reward, does not exclude 
 all prospect from those who are contented in the 
 anticipation of deferred success. — Truth, whose first » 
 steps should be always vigorous and alone, is often 
 obliged to lean for support and progress on the arm 
 of Time-, who then only, when supporting her, 
 seems to have laid aside his wings. 
 
 Philadelphia, January , 1827 
 
THE 
 
 PHILOSOPHY 
 
 OF 
 
 THE HUMAN VOICE. 
 
 SECTION I. 
 
 Of the general divisions of vocal sound : with a more 
 particular account of its jiitch. 
 
 All the varieties of sound in the human voice, 
 may»be referred to the following general heads: 
 
 QUALITY, 
 
 FORCE, 
 
 TJMK, 
 
 ABRUPTNESS, 
 
 PITCH. 
 
 The detail of these five accidents, with the mul- 
 tiplied combination of their species, includes the 
 enumeration of the expressive powers of speech. 
 
 It would be fruitless to attempt to gi^e an ana- 
 lytical history of the voice, without the use of defi- 
 nite terms for the appreciable varieties of sound. It 
 is therefore proper to inquire how far common no- 
 menclature realizes the purposes of precision ; and 
 by what means any obvious deficiency may be 
 supplied. 
 
SO DIVISIONS AND DEFINITIONS 
 
 The terms by which the Quality or kind of voice 
 is distinguished, are rough, smooth, harsh, full, 
 thin, slender, soft, musical, and some others of the 
 same metaphorical structure. They are sufficiently 
 numerous ; and as descriptive as possible, without 
 reference to fixed and exemplar sounds. Some at- 
 tempt towards this kind of illustration has been 
 made, by variously distinguishing the singing- voice 
 according to its resemblance to the sound of the 
 reed, the string and the musical glass: The voices 
 of inferior animals also afford analogies to the va- 
 riety of quality in the human voice. 
 
 For the specifications of Force we use the words 
 strong, weak, feeble, loud, soft, forcible, and faint. 
 These are indefinite in their indication, and with- 
 out any fixed relationship in degree : Music has 
 more orderly and numerously distinguished thje va- 
 rieties of Force, by its series of terms from Pianis- 
 simo to Fortissimo. I shall have occasion hereafter 
 to add some terms answerable to new and curious 
 distinctions in the modes of applying this accident. 
 
 Time, in the art of speaking, is subdivided into 
 long, short, quick, slow and rapid. Music has a more 
 precise scale of relationship, in its multiple series 
 from semibreve to double-demisemiquaver. The 
 single or unaccompanied sound of speech does not 
 require that nicety in Time which the concerting 
 of music demands; yet there is need of more preci- 
 sion in designating its species than the usual terms 
 of prosody afford. Mr. Steele has given, in his 
 work, a notation of time, sufficient for all the syl- 
 labic purposes of discourse. 
 
DIVISIONS AND DEFINITIONS. 31 
 
 I shall hereafter make a division of this accident, 
 with reference to English syllables, and to their 
 uses in utterance. 
 
 I employ the term Abruptness to signify the 
 sudden and full discharge of sound, as contradistin- 
 guished from its more gradual emission. This ab- 
 ruptness is well represented by the explosive notes 
 which may be executed on the bassoon, and some 
 other wind instruments. I have given this affection 
 of sound a distinct title, because its characteristic 
 is peculiar ; and because it is an expressive agent 
 among the functions of speech. 
 
 The variations of Pitch are denoted by the words 
 rise and fall, high and low. In our introduction I 
 gave an opinion on the vague import and the in- 
 sufficiency of this division : and as the following his- 
 tory of the voice makes especial reference to this 
 accident, and gives a minute detail of its varieties, 
 it is necessary to adopt a full and more definite no- 
 menclature of its degrees. 
 
 It happened well, for bur assistance in develop- 
 ing the functions of speech, that the phenomena of 
 pitch were long ago observed, analyzed and named 
 in the proper science of music. I shall endeavour 
 to show that some of the varieties of pitch, employ- 
 ed by the speaking voice, are not technically known 
 in that science. For these I have made a language. 
 But most of the movements of the musical system 
 are also found in speech. It is advisable there- 
 fore to adopt the musical terms for these identical 
 functions ; not only because they are already 
 known to many, and may, through elementary 
 treatises, be easily learned by all ; but because 
 
32 DIVISIONS AND DEFINITIONS. 
 
 the application of a different nomenclature to the 
 same thing, would counteract the great object of 
 philosophy ; which is to generalize effects, by ar- 
 ranging them under the same classes: notwith- 
 standing their different positions in the regions of 
 nature and art, might, through the narrow logic of 
 habits and forms, seem to call in question their iden- 
 tity. I shall therefore aim to give a concise account 
 of the language already established in music, with 
 a view to its employment in the history of speech. 
 
 The different degrees of Pitch in music are 
 marked in what is called the Scale : the formation 
 of which may be thus illustrated. 
 
 If, whilst the bow is drawn across a string of 
 a violin, the finger be moved with continued pres- 
 sure on the string, from its lower attachment to any 
 distance upwards, a mewing sound, if I may so 
 name it, will be heard ; which, from the momentary 
 changes in the ascent of pitch preventing any ap- 
 parent break in its line, is called a continuous or 
 Concrete sound. 
 
 The sounds of the scale are produced by inter- 
 rupting this continuous upward slide, and draw- 
 ing the bow whilst the finger is held stationary at 
 certain places on the string. By taking seven 
 points, according to a given rule of calculation, at 
 successively rising intervals, the fixed degrees of 
 the musical scale are determined. Other sounds, 
 still ascending, may be made by a similar skipping 
 progression. But since the second series of seven, 
 adjusted by the same rule, bear respectively to the 
 first seven, so peculiar a relation as to concord, 
 that they may be considered as a kind of re- 
 
DIVISIONS AND DEFINITIONS. 
 
 33 
 
 # 14 
 
 13 
 
 rx 
 
 12 
 
 11 
 ? 10 
 O 9 
 
 petition of the first seven, and may be used accord- 
 ingly: and as the same is true of other classes of 
 seven, both above and below the first, — 
 the whole extent of pitch, from the 
 lowest to the highest sounds, may be re- 
 ceived as consisting of the simple scale 
 of seven sounds, in different ranges of 
 pitch. 
 
 I give, in the margin, a diagram of 
 the places at which we may suppose the 
 string to be pressed. I have marked nu- 
 merically, two of the repeated series of 
 seven sounds : and have used the initials 
 T and S respectively for Tone and Semi- 
 tone, to which I shall presently refer. 
 
 Upon comparing this picture with the 
 account of the production of the concrete 
 sound, it may be understood that some 
 of the continuous movement must be lost, 
 when the finger skips from place to 
 place on the string. The sounds thus 
 produced at these points, by intermis- 
 sions of the concrete slide, are called 
 Discrete Sounds. 
 
 The variation of pitch on most musical 
 instruments is made by the discrete pro- 
 gression. The violin and its varieties de- 
 
 M 
 
 3 
 
 rive much of their power from a susceptibility of the 
 concrete movement : and it is the great source, as 
 I shall show hereafter, of Expression in the human 
 
 voice. 
 
34 DIVISIONS AND DEFINITIONS. 
 
 The distance between any two points in this 
 scheme, whether proximate or remote, is called an 
 Interval. The intervals of the scale in their proxi- 
 mate order are measured as follows .* 
 
 The quantity of the concrete omitted between 
 the first and second places, here represented in the 
 diagram, is called a tone. 
 
 The interval between the second and the third 
 is likewise a tone. 
 
 The distance of the third from the fourth place, 
 being about half the space of a tone, is called a 
 semitone. 
 
 The interval between the fourth and fifth ; fifth 
 and sixth 5 sixth and seventh is each a tone — and 
 that from the seventh to the eighth, or first of the 
 next series of seven, a semitone. 
 
 These eight discrete sounds are generally named 
 numerically : except the first, which is called the 
 key note; and the eighth, which, when considered 
 in relation to the key note of the first scale, is called 
 the octave. For otherwise it may itself be consider- 
 ed as the key note of the next series. 
 
 The succession of these seven sounds, to which 
 the octave is usually added, is called the Natural or 
 Diatonic scale. It consists of five tones, and two 
 
 * The well informed reader should regard this general view 
 of the scale, as well as the manner of its illustration, with a 
 thoughtfulness of my intention. I have omitted the theoretic 
 distinction of greater and lesser tone; of diatonic and chroma- 
 tic semitone; of the major and minor scales; together with other 
 particulars both melodic and harmonic, with a design to notice 
 those points only which are preparatory to the description of 
 speech. 
 
DIVISIONS A1ND DEFINITIONS. 35 
 
 semitones: the semitones being the intervals be- 
 tween the third and fourth, and the seventh and 
 eighth places of the scale. The scale then contains 
 the interval of a semitone •, a second or a whole 
 tone ; a third, or two whole tones 3 a fourth ; a fifth ; 
 sixth ; seventh, and octave. 
 
 The sound heard, when any of the seven places 
 of the string is compressed and the bow drawn, is 
 called a note. And this is to be distinguished from 
 a tone, which is the portion of the concrete either 
 heard between two proximate places of a note, or 
 omitted therefrom. 
 
 And in like manner, the concrete movement may 
 pass between any more remote points : or notes 
 may be heard successively at those points with the 
 omission of the concrete. If the inconsistency is 
 pardonable, we may denominate the former func- 
 tions concrete intervals. The latter are properly dis- 
 crete intervals. 
 
 The term melody, when defined with reference 
 to pitch, and exclusive of time and force and ab- 
 ruptness and pause, which go with it in music, 
 means a succession of notes in the consecutive as- 
 cending or descending order of the scale : the inter- 
 val between them being that of a tone or semitone. 
 Or melody may consist of a succession of notes, 
 taken out of their natural or numerical order ; the 
 several intervals being wider portions of the scale. 
 The melody of songs and other music is made by 
 the above described proximate or skipping transi- 
 tion through the scale. 
 
 The several marks at which we have supposed 
 
36 DIVISIONS AND DEFINITIONS. 
 
 the finger to be applied, are called the places, points 
 or degrees of the scale ; and thus it is plain that any 
 two degrees, points or places, must include one in- 
 terval between them. 
 
 In any series of seven notes, as in the first of the 
 diagram, let us assume the fifth as the first of a se- 
 ries of seven. This assumed scale, when comple- 
 ted by its octave, will extend to the place marked 
 by the number twelve. Six of the included places 
 will have right positions ; and thus far the intervals 
 of tone and semitone will have the proper sequence 
 of the diatonic scale. But the interval between the 
 tenth and eleventh is a semitone; and that between 
 the eleventh and twelfth, a tone : whereas by the 
 rule of this scale the order should be reversed. 
 For the tenth, eleventh and twelfth, marked in the 
 diagram, are respectively the sixth, seventh and 
 eighth of the series assumed on the fifth. If now 
 the interval from eleven to twelve be subdivided 
 into two semitones, and if the transit, in ascending, 
 be made from the tenth place to the point of divi- 
 sion, two semitones, or one whole tone will be 
 passed over ; the interval from this middle point to 
 the twelfth will be a semitone, and thus the consti- 
 tuent intervals of the diatonic scale will be obtained. 
 
 And further, if the fifth in ascent of this new se- 
 ries of seven, or the fourth below its first (for these 
 positions are analogous) be taken as the first of ano- 
 ther series, a like subdivision of a whole tone will 
 be necessary to complete this scale : and thus pro- 
 gressively, by taking the fifth of the last formed se- 
 ries, every place of the scale may become the first 
 
DIVISIONS AND DEFINITIONS. 37 
 
 of a series, and every whole tone of the scale may 
 thereby be divided. 
 
 This division of the whole tones produces a se- 
 ries of semitones. When therefore the progression 
 is made by them, the order of degrees and inter- 
 vals is called the Semitonic, or more commonly, the 
 Chromatic scale. 
 
 1 he first note of any series or scale, is named 
 the key note. The peculiar relationships of this U 
 the other notes of the scale are such, that a melody 
 or song will appear unfinished if its last sound be 
 not the key note of the scale employed. 
 
 Every place of the scale, even when divided 
 into twelve degrees by the semitones, may be the 
 place of a key note; for by that subdivision of tones, 
 the proper succession of the diatonic scale can be 
 arranged from any point. 
 
 If a melody is changed from one series with its 
 key note, to another series with its key note, the 
 process is called modulation, or changing the key. 
 
 The term cadence means the consummation of the 
 desire for a full close in the melody, by the resting 
 of its last sound in the key note. 
 
 Intonation signifies the performance of the func- 
 tions of pitch ; and therefore regards the changes 
 of sound between acuteness and gravity, which 
 are made either discretely by notes, or concretely 
 through the intervals of the scale. The use of 
 the voice and the handling of an instrument pro- 
 duces true intonation, when the transitions and the 
 concrete slides are made with exactness. Devia- 
 tion from this precision, is called in common cen- 
 sure, playing and singing false. 
 
38 DIVISIONS AND DEFINITIONS. 
 
 The first, third and fifth notes of the diatonic 
 scale, to which the octave, as a sort of repetition of 
 the first, is usually added, differ from the rest, in 
 being more agreeable when heard in combination ; 
 and in being more readily hit by an inexperienced 
 voice, in an endeavour to pass through the scale. 
 The simple instrument called the Jews-harp, and 
 many of the horn species, more easily yield these 
 notes, under the faltering attempts of a learner. 
 
 In speaking of a concrete sound, I did not call its 
 upward and downward progress a scale ; since the 
 unbroken line of its movement, as then represent- 
 ed, has no analogy with the interrupted steps of a 
 discrete succession. Though, with a full under- 
 standing of its nature, there can be no objection to 
 its being so called. 
 
 Let us then recapitulate the view of those pecu- 
 liar movements which constitute the several spe- 
 cies of scales. 
 
 The first is the Concrete scale: in which, from the 
 outset to the termination of the vocal impulse, there 
 is no appreciable intervals, impressive places, rests, 
 or any variation except in rise and fall of pitch. 
 
 The second or the Diatonic scale consists of tran- 
 sitions from place to place , over intervals of a tone 
 and semitone. 
 
 The third or Chromatic uses a discrete movement 
 over the interval of a semitone. 
 
 The fourth is made by a transition from place to 
 place over intervals much smaller than a semitone 5 
 each successive step being a short abrupt emission 
 of voice. This description may be illustrated by 
 
DIVISIONS AND DEFINITIONS. 39 
 
 that sound in the throat called gurgling, and. by 
 the neighing of a horse. The analogy here regards 
 only the rapidity, frequency and abruptness of 
 sound ; for the gurgling and neighing may be made 
 on a single note, by a quick iteration in the same 
 line of pitch. But in the scale now under consi- 
 deration, each successive pulse of voice is taken at 
 a small interval above the last, till the series reaches 
 the octave. We cannot describe the precise ex- 
 tent of these small intervals, nor tell the number of 
 pulses in given portions of the scale •, since this func- 
 tion is executed with a rapidity which eludes discri- 
 mination. Nor are these points material now. My 
 purpose requires it to be known that the voice does 
 rise and fall with short and abrupt sounds, through 
 any interval of the diatonic scale, by steps less than 
 a semitone. Whether the distance be that elemental 
 part of a tone which is called a comma, or some frac- 
 tion or multiple of it, I leave to be determined among 
 theorists, by other means than by the ear alone. 
 
 Let us call this fourth species of movement, the 
 Tremulous Scale. 
 
 For the purpose of explanation, the scales have 
 been represented separately, but in the practice of 
 the voice, they are variously associated. Thus it is 
 easy to comprehend that the voice might move con- 
 cretely through a tone, a semitone or other inter- 
 val, and yet cease at the respective bounds of these ; 
 and subsequently either proceed from these places 
 in beginning a new concrete, or assume some other 
 point above or below. This would be a blending of 
 the concrete with the diatonic and chromatic scales, 
 
40 DIVISIONS AND DEFINITIONS. 
 
 And it will be readily admitted that the tremulous 
 movement may likewise be employed, in the same 
 mode of combination. 1 have been thus particular 
 in describing these scales, as the speaking voice 
 makes use of them all. The concrete is constantly 
 found: nor is it absent from any act of the voice. 
 And we shall hereafter learn in what manner the 
 discrete diatonic and chromatic, and the tremulous 
 scales are variously joined with it. 
 
 It would be well for him who is ignorant of the 
 musical scale, and desires to follow the analysis in 
 this essay, to learn the audible effects of the diatonic 
 progression from the voice of some master, or from the 
 fixed notes of a well tuned piano. Any little girl 
 will point out to him the note called C, on that instru- 
 ment 5 and then by practice, in running through the 
 seven following white finger keys, he may become 
 familiar with the effect of a transition over a semi- 
 tone, a tone, a third, fifth, octave and any other inter- 
 val within the scale. When he can recognize all the 
 points on the discrete scale, he will be able to give 
 these various boundaries to his concrete movements. 
 
 I know well how difficult it is, I was about to say 
 it is impossible, to render the separated parts of a 
 science of intricate detail, clearly intelligible. If 
 what is offered in this section, will enable the reader 
 to comprehend and bear in mind the nature of the 
 four scales, the meaning of the terms, Tone, Semi- 
 tone, Octave, Modulation, Note, Interval, Key note, 
 Cadence, and Intonation ; and the numerical deno- 
 minations of the discrete scale, he will not have much 
 difficulty in pursuing our further history of speech. 
 
SECTION II 
 
 Of the Radical and Vanishing movement of the 
 voice, and its different forms in Speech, Song and 
 Recitative. 
 
 We have been willing to believe, on faith alone, 
 that nature is wise in the contrivance of speech. 
 Let us now show, by our works of analysis, how she 
 manages the simple elements of the voice, in the 
 production of their unbounded combinations. 
 
 When the letter "a,* as heard in the word 
 " day," is pronounced simply as an alphabetic ele- 
 ment, without intensity or emotion, and with the 
 duration which it has in that word, two sounds are 
 heard continuously successive. The first has the 
 well known characteristic of this letter; and issues 
 from the organs with a certain degree of fullness. 
 The last isthe element " e,"as heardin " eve," and is 
 a gradually diminishing sound. During the pro- 
 nunciation, the voice rises by the concrete move- 
 ment through the interval of a tone ; the beginning 
 of the " a'' and the termination of the u e" beins: 
 severally the inferior and superior extremes of that 
 tone. This may be proved by any one who is able 
 to intonate the discrete diatonic scale. For let him 
 commence with " a," in prolonged utterance, and 
 strike the points of this scale by the alternate use 
 of " a" and " e \* drawing out each as a note, and 
 
 G 
 
42 OF THE RADICAL AND 
 
 making a palpable pause between the sounds. This 
 will make him familiar with the effect of these let- 
 ters, when heard on the extremes of a tone. Then 
 let him rise concretely through the scale marking 
 its several points strongly with the alternate use of 
 " a" and " e :" the condition of the movement in 
 this case, being that of stress upon a short note set 
 in the course of the concrete. This will make him 
 familiar with the effect of a concrete rise through 
 a tone, when the upper extreme is rendered palpa- 
 ble, by a striking degree of force. Now in repeat- 
 ing the " a" and the " e," as the two first points of 
 the scale, let the stress on the u e" be gradually 
 diminished, and he will perceive a return to the 
 above described simple pronunciation of e< a," with- 
 out losing altogether that perception of the con- 
 crete ascent through the tone, which was more dis- 
 tinctly recognized under the additional impression 
 of stress. 
 
 If there should at any time be a doubt upon the 
 extent of the concrete interval, let a degree of stress 
 be applied at its summit. If the interval be atone, 
 the commencement of the scale will be recognised : 
 for with a little experience this can always be 
 done, upon the execution of its first and second 
 degrees. 
 
 This dipthongal sound of " a " does then in this 
 case pass through the concrete interval of a tone ; 
 the movement being divided between the sounds of 
 " a" and " e," the first gliding imperceptibly into 
 the last. But as the question here refers to the in- 
 terval traversed, as well as to its concrete progress. 
 
VANISHING MOVEMENT. 43 
 
 it is necessary to guard against the utterance of the 
 literal element with any emotion : for if it be done 
 in a plaintive manner, with surprise, interrogation, 
 or other sentiments which might be enumerated, 
 the concrete will be some other interval than the 
 tone ; this tone or interval of the second, being as 
 will be shown hereafter, the instinctive mode of 
 intonation, by which the mind denotes its simple 
 thoughts, exclusively of feeling or passion. 
 
 The peculiar structure of this concrete rise sug- 
 gested the division of it, by terms, into two parts ; 
 and the use of this division, for explanatory purpo- 
 ses in the following history, will show its propriety. 
 I have called the first portion of this concrete 
 sound, or that of " a" in the above instance, the 
 Radical movement; because, with a full beginning 
 or opening on some given place of the scale, the 
 following portion of the concrete rises from it as 
 from a base or root. 
 
 I have called this following portion, or the " e" 
 in the above example, the Vanishing movement, 
 from its becoming gradually weaker as it rises, and 
 finally dying away in the upper extreme of the 
 tone. 
 
 It must strike the reader that this distinction can 
 have only a general reference to the two extremes 
 of the movement, since their continuous and im- 
 perceptible junction, hides a middle or any other 
 point of demarkation between them. 
 
 When a single alphabetic sound, capable of pro- 
 longation, is uttered with propriety and smooth- 
 ness, and without emotion, it commences full and 
 
14 OF THE RADICAL AND 
 
 somewhat abruptly, and gradually decreases in its 
 upward movement : having the increments of time, 
 and rise, and the decrements of fullness, equably 
 progressive. That is, supposing a gradual diminu- 
 tion of fullness of voice in its gradual rise through 
 a tone, to be effected in a given time — one half or 
 smaller fraction of that rise and diminution will be 
 accomplished in one half or smaller fraction of that 
 time. 
 
 The different functions of the voice in recitative 
 and song, of which I shall speak more in detail 
 hereafter, will, by their varied construction, help to 
 illustrate the nature of this equability in the pro- 
 gress of the rising movements of speech. 
 
 The syllabic voice of Recitative is made by de- 
 viating from the rule of this equable rise, in giving 
 the greater proportion of the time and fulness of 
 utterance, to a level line of sound, if I may so call 
 it, or a note, in the radical place ; and by passing 
 through the vanishing extreme with a short, rapid, 
 and faintly perceptible movement. 
 
 The syllabic voice of Song, on the contrary, con- 
 sists in passing quickly and faintly through the ra- 
 dical movement ; and dwelling with greater time 
 and fullness on a note or level line of sound, at the 
 extreme place of the vanish. 
 
 As far as regards intonation, there are but these 
 three modifications of the radical and vanishing 
 movement — the equable concrete properly belong- 
 ing to speech, the note of song, and of recitative. 
 But we shall have occasion to learn, as we proceed, 
 the various relationships of the concrete, to all the 
 
VANISHING MOVEMENT. 45 
 
 simple and compounded intervals, to the alphabetic 
 elements, to time and to force. 
 
 I have spoken of the radical and vanishing move- 
 ment through a tone, with a view to explain by that 
 interval, the nature of the concrete rise, and its di- 
 vision into the parts which have been named. But 
 in taking a wider survey of this subject, we shall 
 learn, that this function, with all its properties, is 
 performed on every other interval of the scale. 
 
 Recurring to the former example, if we ascend 
 concretely to the octave by the alternate use of u a" 
 and " e" this continuous movement between the two 
 last places, or from the seventh to the eighth, will 
 produce a different effect from that between the 
 first and second, or the tone. The voice will have a 
 plaintive character. Now the interval from the se- 
 venth to the eighth place of the diatonic scale, is a 
 semitone. This plaintive concrete rise is then the 
 radical and vanishing movement through a semi- 
 tone. By a process analogous to that proposed for 
 distinguishing the interval of the tone and semitone, 
 it may be ascertained that the voice employs a simi- 
 lar mode of progression through other intervals : 
 thereby proving the existence of a rising, radical 
 and vanishing semitone — tone, or second — third — 
 fifth — and octave. But these intervals have their 
 proper significations in the expression of speech, 
 and will be particularly noticed elsewhere. I say 
 nothing here of a radical and vanishing fourth — 
 sixth — and seventh ; nor of higher ranges than the 
 octave-, not because the voice does not perform 
 these intervals, but because a reference to the 
 
46 OF THE RADICAL AND 
 
 above named points, is sufficiently precise for the 
 purposes of our history. 
 
 Let us consider another condition of the radical 
 and vanishing movement. We have viewed the 
 concrete affection of the voice only in its rising pro- 
 gress. There is a similar glide in a downward direc- 
 tion through all the intervals of the scale. Refer- 
 ing to the mode of illustration formerly proposed, 
 if the bow be drawn whilst the finger is moving con- 
 tinually from the eighth place on the string to the 
 first, it will produce the concrete descending sound 
 of the octave. And in like manner by taking other 
 parts of the scale as the commencement of a de- 
 scending course, all the other downward intervals 
 may be made. The trial by the voice will exhibit 
 a similar downward continuous sound : for after as- 
 cending the diatonic scale by the dipthongal con- 
 crete of " a" and " e," if we descend by the alter- 
 nate use of these sounds, beginning with " a" on 
 the eighth place, we shall hear the continuous move- 
 ment between all the points of the downward scale. 
 In the first interval of the descending series, we 
 have the concrete downward semitone ; and in the 
 last the tone. And in like manner, by a previous 
 rise to the place of a third, fifth and octave, and a 
 consequent descent, we may prove the existence of 
 a downward radical and vanishing third — fifth — 
 and octave. 
 
 Now if this simple phrase " farewell a" be utter- 
 ed without emotion, and with a complete fall of the 
 voice, as if it were the close of a sentence, the down- 
 ward concrete tone will be heard on " a'' with all 
 
VANISHING MOVEMENT. 47 
 
 theproperties which belong to the radical and van- 
 ishing movement, in the rising direction : with this 
 difference, that the radical, if I may now so call it, 
 is at the summit of the tone ; whilst the vanish flows 
 dwindling from it to the lower extreme of this in- 
 terval j the " e" faintly subsiding there. 
 
 He who is acquainted with the musical scale, but 
 who has not yet looked upon it in reference to 
 speech, may ascertain the upward intonation of the 
 tone and semitone, when made upon any vowel 
 sound, by a comparison of their effects with the be- 
 ginning and the end of the rising order of the scale. 
 And in like manner, he may know the downward 
 courses of the semitone and tone, by comparing 
 them respectively with the beginning and end of 
 the descending scale. Every one knows a plaintive 
 expression in speech •, therefore it is easy to discri- 
 minate a semitone : for this expression is made by 
 no other interval. And I have full confidence in 
 asserting, that before the reader has finished this 
 essay, he will have no more difficulty in recogniz- 
 ing every other important interval of the rising and 
 falling movement. 
 
 As the concrete rise of the voice is more gener- 
 ally used in speech, than the downward course, I 
 shall, in noticing intervals, employ the term radi- 
 cal and vanishing movement, without specifying its 
 rise, to signify the former ; and shall particularize 
 the latter, by annexing the term of its direction. 
 In designating the concrete function, I shall vari- 
 ously denominate it, the radical and vanishing 
 movement, — progress, — interval, — or pitch ; or 
 
48 OF THE RADICAL AND 
 
 simply the radical and vanish, — or the concrete ; or 
 the radical and vanishing tone, — semitone, — third, 
 — fifth, — and octave, according to the general or 
 specific intention. 
 
 I have thus endeavoured to describe one of the 
 roost important functions of speech. There is a pe- 
 culiarity in the intonation of the human voice, which 
 has never been copied by instrumental contrivance. 
 The sounds of the horn, flute, reed, and musical 
 glass, may each resemble many of the qualities of a 
 long drawn vocal note ; but there is still something 
 absent, that designates them as instruments. It is 
 the want of the gliding concrete, the lessening vo- 
 lume, and the soft extinction of the yet inimitable 
 vanishing movement. 
 
 The illustration by a diagram may perhaps faci- 
 litate the comprehension of the foregoing descrip- 
 tions. For this purpose I use below certain parts of 
 the musical notation. The lines and spaces denote 
 places of pitch ; the proximate succession being that 
 of a tone. These lines and spaces differ from the 
 five lines and four spaces of the musical system : 
 the latter being founded on the diatonic scale, de- 
 note, in certain places, the interval of a semitone ; 
 whereas the lines and spaces of the notation for 
 speech signify always, the succession of a tone, ex- 
 cept when otherwise specified. The full black 
 marks on these lines and spaces, with their issuing 
 appendages of various extent, represent the open- 
 ing fullness, direction, interval and decrease of the 
 radical and vanishing movement. The whole of 
 this notation being mere metaphor, there is no 
 
VANISHING MOVEMENT. 
 
 49 
 
 meaning in the curve given to the sign of the van- 
 ish. In that I have consulted only the eye. Time 
 is here represented as in music: the open ellipse 
 signifying the longest •, the black head with a stem, 
 half of it; this head with its stem marked at the ex- 
 tremity by one, two, and three hooks, each succes- 
 sively the half, fourth, and eighth of the head and 
 simple stem. — Except for song and recitative, it is 
 not my intention to use the notation of time, in this 
 essay. The subject of time has been well analyzed, 
 and clearly arranged in music, and the application 
 of its well contrived symbols to speech, when de- 
 sirable, will require neither wit nor labour. 
 
 - - 
 V O 
 
 8** 
 
 © 
 
 it 
 
 O 
 
 * mi 
 
 c •- 
 
 a 
 
 l/l* Irf H 
 
 
 04 
 
 o . 
 o be 
 
 1 i 
 
 2^ 
 
 is 
 
 c w 
 
 c a 
 
 m 
 
 p£3=i 
 
 I have not represented the semitone, since its 
 mode may be easily understood from the picture 
 of the other intervals. The circumstances of its no- 
 tation will be considered in a future section. 
 
 The reader must not be discouraged by the 
 seeming difficulty of the foregoing distinctions. I 
 have here laid down, as a didactic rule, the very 
 
50 RADICAL AND VANISHING MOVEMENT. 
 
 train by which these phenomena were discovered. 
 They were not seen at a glance. The first views 
 were full of indistinctness and doubt, greater per- 
 haps than a quick student may experience from the 
 descriptions -in this section : yet I can declare that 
 now after three years, the functions here explained, 
 are much more perceptible to me, than the varie- 
 ties of color without direct comparison ; and quite 
 as .distinct as the literal and syllabic sounds of dis- 
 course. 
 
SECTION III. 
 
 Of the elementary sounds of the English language ; 
 with their 
 movement. 
 
 with their relations to the radical and vanishing 
 
 The radical and vanishing concrete, under all 
 its forms, is employed on a limited number of 
 sounds, which in the English language amount to 
 thirty-five. The deficiencies, redundancies and 
 confusion of the system of alphabetic characters in 
 this language, prevents the adoption of its subdivi- 
 sions in this essay. 
 
 An alphabet should consist of a separate symbol 
 for every elementary sound : and it appears to me 
 that the best arrangement of the elements, would 
 be that which regards their use in discburse. It will 
 not be denied that intonation is one of the most 
 important functions of speech : consequently the 
 ordering of the elements should have some refer- 
 ence to it. In the present section therefore, these 
 elements will be described and classed according to 
 their use in intonation.* 
 
 * I set aside, in this place at least, the sacred division into 
 vowels, consonants, mutes and semivowels. The complete history 
 of nature will consist of a full description of all the relationships 
 of things. We received the classification of the alphabet from 
 
52 ALPHABETIC ELEMENTS. 
 
 As the number of elementary sounds in the En- 
 glish language exceeds the literal signs, some of 
 the letters are made to represent various sounds, 
 without a rule for discrimination. I shall endeavour 
 
 Greek and Roman grammarians: and their division, according 
 to organic causes, into labial, lingual, dental and nasal elements, 
 is to be regarded as a legitimate part of that history. But what- 
 ever reason, springing from the vocal habits of another nation, or 
 the etymologies of another tongue, may have justified the divi- 
 sion into vowels and consonants, it is now in a great measure 
 lost. Without designing to overlook or destroy any arrangement 
 which truly represents the relationships of these sounds, it is 
 only intended to add to their history, a classification grounded 
 on their important functions in speech. The strictness of philo- 
 sophy should not be so far forgotten, as to suffer the claim of 
 this classification to be exclusive. Let it remain as a constituent 
 portion only of new and wider prospects, yet to be opened in the 
 art. 
 
 Passing by other assailable points of our immemorial system, 
 the distinction, implied by its two leading heads, is a misrepre- 
 sentation. Had he an ear who said — a consonant can not be 
 sounded without the help of a vowel? 
 
 Among the thousand mismanagements of literary instruction^ 
 there is at the outset in the horn book, the pretence to repre- 
 sent elementary sounds by syllables composed of two or more 
 feiements, as : Be, Kay, Zed, double U, and Aitch. These words 
 are used in infancy, and through life, as simple elements in the 
 process of synthetic spelling. If the definition of a consonant 
 was made by the master. from the practice of the child, it might 
 suggest pity for the pedagogue, but should not make us forget 
 the realities of nature. 
 
 Any pronouncing dictionary shows that consonants alone may 
 form syllables: and if they have never been appropriated to 
 words which might stand solitary in a sentence like the vowels 
 " a," " i," " o," "ah" and "awe" — it is not because they cannot 
 be so used ; but because they have not that full and manageable 
 nature which exhibits the functions of the unconnected syllable 
 with sufficient emphasis, and with agreeable effect. 
 
ALPHABETIC ELEMENTS. 5$ 
 
 to supply this want of precision by using short 
 words of known pronunciation, containing the ele- 
 mentary sounds, with the letters which represent 
 them marked in italics. 
 
 The thirty-five elements will now be considered 
 under their relationships to the radical and vanish- 
 ing movement. And as the properties of this func- 
 tion are— prolongation of sound, variation of pitch, 
 with initial force and final feebleness; these ele- 
 ments should be viewed in their varied capacity 
 for admitting the display of these properties. 
 
 Our elements of articulation may be arranged 
 under three general heads. 
 
 The first division embraces those sounds which 
 display the properties of the radical and vanish in 
 the most perfect manner. They are twelve in 
 number ; and are heard in the usual sound of the 
 separated italics, in the following words: 
 
 ^-11, a-rt, a-n, ale, ou-r, isle, o-ld, eel, oo-ze, 
 e-rr, e-nd, ?-n. 
 
 From their being the purest and most plastic 
 agent in intonation, I have called them Tonic sounds. 
 
 They consist of different sorts of vocality ; by 
 which I mean that ' raucus '' quality of voice which 
 is contradistinguished from a whisper or aspiration. 
 They are produced by the joint functions of the 
 larynx and parts of the internal and external mouth, 
 through which the air must pass in their formation. 
 
 The tonics have a more musical quality than the 
 other elements : they are capable of indefinite pro- 
 longation : they admit of the concrete and tremu- 
 lous rise and fall through all the intervals of pitch : 
 
54 ALPHABETIC ELEMENTS. 
 
 they may be uttered more forcibly than the other 
 elementary sounds, as well as with more abrupt- 
 ness : and whilst, by these two last qualities, they 
 hold the power of forming the fulness and stress 
 of the radical, they are not without the means of 
 going through the delicate feebleness of the va- 
 nishing movement. 
 
 The next division includes a number of sounds, 
 possessing variously among themselves properties 
 analogous to those of the tonics ; but differing in de- 
 gree. They amount to fourteen ; and are marked 
 by the separated italics, in the following words : 
 
 I?-ow, dare, g-ive, v-ile, 2>one, ye, w-o, th-en, 
 a-£-ure, si-ng, Z-ove, m-ay, ra-ot, r-oe. 
 
 From their inferiority in all the emphatic and 
 elegant purposes of speech, whilst they admit of 
 being intonated or carried concretely through the 
 intervals of pitch, I have called them Subtonic 
 sounds. 
 
 They all have a vocality ; but in some it is com- 
 bined with an aspiration. 2?, d, g, wg, Z, tit, n, r, 
 have an unmixed vocality ; v, z, y, w, th, 2Y1, have 
 an aspiration joined with theirs. We have learned 
 that the vocality of the tonics is, in each, pecu- 
 liar in sort. The vocalitv of some of the subto- 
 nics is apparently the same 5 and among all, it does 
 not differ much ; resembling certain five of the to- 
 nics, which will be designated presently. Like the 
 vocality of the tonics, it is formed in the larynx : 
 but instead of passing altogether through the mouth, 
 it has its reverberations, in the back of the mouth, 
 and the cavities of the nose. Some of the subtonic 
 
ALPHABETIC ELEMENTS. 55 
 
 vocalities are purely nasal* as : m, n, rig, fc, d, g. 
 The rest are partly oral. The nasal are soon si- 
 lenced by closing the nostrils : the rest are not ma- 
 terially affected by it. The vocal ity of 6, d and g 
 may not be immediately apparent to those who 
 have not, by practice in the abstract utterance of 
 the alphabet, attained the full command of pronun- 
 ciation. Writers, in noticing these letters, have 
 spoken of it under the name of" guttural murmur/' 
 and have regarded it as a peculiar sound ; whereas it 
 is the identical vocality, heard in v, then, z, zh, and 
 r, but modified by the contact of organs, into the re- 
 spective individuality of each of them. The vocality 
 of 6, d and g, in ordinary speech, has less time and 
 intensity, and is consequently less perceptible than 
 that of v, //i-en, z, zk and r, but it is the same in 
 kind. It is the vocality alone of b that distinguishes 
 it from p. 
 
 I have enumerated y and 10 as the initial sounds 
 of " ye" and " wo,'' because " ye" is a vocality, like 
 that of the other subtonics, mixed with an aspira- 
 tion made over the tongue, when raised near the 
 roof of the mouth: and because u w" is a similar vo- 
 cality mixed with a breathing through an aperture 
 in the protruded lips. As 6, d y g and zh are 
 made by joining vocalities, instead of aspirations, 
 with the organic positions of p, /, k and sh 5 so y and 
 w are severally the mixture of vocality with the 
 pure aspiration of "h" as heard in "he," and of "wh" 
 as heard in " whirl'd," The addition to the aspiration 
 changes these words respectively to " ye" and 
 "world." 
 
56 ALPHABETIC ELEMENTS. 
 
 This vocality of the subtonics, whether pure or 
 mixed, nasal or oral, is variously modified by the 
 nose, tongue, teeth and lips. For, an entire or par- 
 tial obstruction of the current of breath through the 
 mouth, and a subsequent removal of the obstruc- 
 tion, produces the peculiar sound of the subtonics. 
 Now it is in the portion of the subtonic sound, 
 heard after the restoration of the free passage 
 through the mouth, that the character of the voca- 
 lity, in some of these elements, may be most easily 
 perceived. This vocula or little voice, if I may so 
 call it, is mentioned by writers as being necessary 
 to complete the utterance of the class of mutes, so 
 named : but it may be heard more or less conspicu- 
 ously at the termination of all the subtonics. It is 
 least perceptible in those which have the most as- 
 piration. In ordinary utterance it is short and fee- 
 ble ; and is most obvious when employed in forci- 
 ble or affected pronunciation. When the subtonics 
 precede the tonics in words, they lose this short 
 and feeble termination, and take in its place the full 
 sound of the succeeding tonic, thus producing an 
 abrupt opening of the tonic. 
 
 I have called this last vented sound of the sub- 
 tonics the Vocule •, and have been thus particular 
 in noticing and naming it, because I shall hereafter 
 use the term and consider the power of the func- 
 tion, in treating of the expression of the voice. 
 
 The five tonic sounds to which the vocalities of 
 the subtonics bear a resemblance, areec-1, oo-ze,e-rr, 
 6-nd, in. F-e and w-o have respectively something 
 like a nasal echo of ee-1 and oo-ze. J5, d t g> v, th~en, 
 
ALPHABETIC ELEMENTS. 57 
 
 *, th and r resemble err j J, ra, and n have some- 
 thing of the sound of e-nd 5 and n-g, of i-n. 
 
 I said the subtonics are subordinate to the tonics 
 in their properties and uses. The kind of sound is 
 less agreeable. That clearness and brilliancy of 
 the tonics, is obscured in the purest of them, and in 
 some it is destroyed by the aspiration. They are 
 severally capable of more or less prolongation, and 
 may be carried through the concrete and tremu- 
 lous variation of pitch. None admit of much force 
 in their vocality; nor can abruptness be given to 
 them without extraordinary effort. Now these last 
 named insufficiencies prevent the subtonics from 
 forming, like the tonics, the proper radical move- 
 ment : the characteristic of which consists in its 
 opening with fulness and abruptness. When there- 
 fore a subtonic precedes a tonic, as in the syllable 
 11 vain," the vocality of " v" compared with " a" is 
 so feeble, that upon a common effort of utterance, 
 it does not exhibit the strong and abrupt opening 
 of the radical function. It does indeed make part 
 of the syllable, but to whatever degree it may be 
 prolonged, it still continues on one line of pitch 
 until the tonic " a r ' opens and rises with the true 
 character of the radical. I do not say, the sub- 
 tonics cannot form radicals, for all of them, when 
 separately uttered, may be carried in the concrete 
 movement, through every interval; and even in 
 conjunction with tonics, a strenuous effort may give 
 them somewhat of the radical abruptness. But in 
 ordinary pronunciation, they are not appreciated as 
 a part of the initial concrete. 
 
58 ALPHABETIC ELEMENTS. 
 
 This want of force and abruptness in a subtonic 
 does not prevent it from fulfilling the purpose of the 
 vanish, when it succeeds a tonic. Thus in the syl- 
 lable " vain, 5 ' the " a," as we have said, begins the 
 radical, and after rising through a portion of the in- 
 terval, glides into the subtonic " n," which carries 
 on and completes the vanishing rise. 
 
 The remaining nine elements are Aspirations, and 
 have not that sort of sound which I have called vo- 
 cality. They are produced by a ^current of the 
 whispering breath through certain positions of parts, 
 in the internal and external mouth. They are heard* 
 in the words, 
 U-p, ou4, ar-fc, i-/, ye-s, 7i-e, ic/i-eat, th-in, pu-s/i. 
 From their limited power of variation in pitch, 
 even when uttered singly, with the designed effort 
 to produce it, and from their supplying no part of 
 the concrete when breathed among the constituents 
 of syllables, I have called them Atonic sounds. 
 
 If any one will take the trouble to compare the 
 mode of their production with that of some of the 
 subtonics, he will find them respectively identical 
 in all their accidents, except that of vocality, which 
 is wanting in the atonies. — 
 B. D. G. V. Z. Y. W. Th. Zh. Ng. L. M. N. R 
 
 I I I I I I I I I 
 P. T. K. F. S. H. Wh. Th. Sh. 
 
 This whispering imitation is not made on all the 
 subtonics. Yet the five exceptions do not alto- 
 gether destroy the idea, that nature has her nism 
 towards a general rule of duplicature in these crea- 
 
ALPHABETIC ELEMENTS. 59 
 
 tions. The m, n, and ng are purely nasal, and when 
 their vocality is dropped, the attempt to utter them, 
 by the mere breathing of the atonies, produces in 
 each case similar snuffling expirations. Yet even this 
 snuffling, though no reputed element of speech, is 
 constantly used before the vocality of n or m or 
 ng, as the inarticulate symbol of a sneer. The two 
 remaining subtonics I and r, in perfect English 
 speech, are unmatched by atonies. But the aspi- 
 rated copy of the I, produced by a kind of hissing 
 over the moisture of the tongue, is not a very un- 
 common deformity of utterance : and a true atonic 
 parallel to the r, heard in what is called "the 
 burr," is perhaps a still more prevalent defect of 
 utterance* 
 
 The atonies, from the deficiency which suggested 
 their name, afford no basis for the function of the ra- 
 dical and vanish. Most of them have a perceptible 
 vocule, which consists in a short aspiration like the 
 whispering of e-rr. There is no musical quality in 
 their sound. They do furnish time to speech, but 
 on a wretched material. Though inferior in most 
 of their qualities to the other elements, I shall show 
 in treating of the expression of speech, that the as- 
 piration is both significative, and emphatic. 
 
 The enumeration made under the preceding di- 
 visions, includes all the elementary sounds of the 
 English language, which have been noticed by 
 authors. 
 
 * Bishop Wilkins, in his " essay towards a real character," 
 has enumerated the aspirated I and r among the provincial 
 vices of speech, and has allotted literal symbols to them. 
 
60 ALPHABETIC ELEMENTS. 
 
 There are three of the subtonics and three of 
 the atonies &, d, g, p, /, and ft, that have eminent- 
 ly an explosive character; the breath bursting out 
 after a complete occlusion. 
 
 From their serving peculiar purposes in speech, 
 I have set them in a selected subdivision, and called 
 them Abrupt sounds. 
 
 In the beginning of a syllable they produce a 
 sudden opening of the succeeding sound*, and at 
 the end, they exhibit their final vocule. The office 
 of these abrupt elements, in the art of speaking, 
 will be shown in treating of expression. 
 
 The foregoing arrangement of elementary sounds 
 was devised to display their relationships to intona- 
 tion. For a closer view of this subject, I shall de- 
 scribe particularly the structure and functions of 
 the tonics. This detail was separated from the 
 general view, in order to avoid distracting the rea- 
 der's attention from the drift of that classification, 
 by the interesting development which has been 
 defer ed to this place. 
 
 In illustrating the terms radical and vanishing 
 movement, by the tonic a-le, it was stated that two 
 sorts of sound are heard in the utterance of that 
 element: that in plain unimpassioned effort, the 
 voice rises through the interval of a tone; the radi- 
 cal beginning on " a,'' and the vanish diminishing 
 to a close on " e." Now as all the tonic sounds 
 necessarily pass through the radical and vanish, 
 they demand an analysis relatively to that concrete 
 function of pitch. 
 
 These seven of the tonic elements, 
 
ALPHABETIC ELEMENTS. Q\ 
 
 a-we, a-rt, an, a-le, isle, o-ld, our, 
 have different sounds for the two extremes of their 
 intervals. 
 
 The remaining five, 
 
 ee-1, oo-ze, e-rr, e-nd, i-n, 
 have each, one continued sound throughout their 
 concrete movement. 
 
 The tonics are therefore properly divided into 
 Diphthongs and Monothongs. 
 
 Jl-we has for its radical, the peculiar sound of 
 •? a" in awe: and for its vanish, a short and obscure 
 sound of the monothong e-rr. 
 
 *#-rt has for its radical the whole of the sound of 
 "a'' iu art. Its vanish like that of the preceding, 
 being the same short and obscure sound of the mo- 
 nothong e-rr. 
 
 The radical function of a-n is the sound of '•' a," 
 heretofore considered as homogeneous in a-n. Its 
 vanish is the same in degree and sort with the last 
 
 Jl\e, I have said before, has its peculiar radical; 
 with the long and distinct sound of the monothong 
 ee-1 lor its vanishing movement. 
 
 7-sle has its radical of the peculiar sound first 
 heard in the utterance of this letter, followed by a 
 vanish of the long and distinct monothong ee-1. The 
 diphthongal nature of" i" has long been known, and 
 the discovery of it is attributed to Wallis the gram- 
 marian. It is described by Sheridan and others, as 
 consisting of a-we and ee-1: the coalescence of the 
 two producing the peculiar sound of " i." In this 
 account, it is admitted that the element is peculiar ; 
 I can therefore see no need of reference to a-we, in 
 
62 ALPHABETIC ELEMENTS. 
 
 the theory of its causation. A skilful ear will readily 
 perceive that the radical of i-sle is a peculiar tonic, 
 and will so report thereon, without having recourse 
 to the absurd supposition that an unheard sound is 
 changed into another audible one. 
 
 O-ld has its radical in the sound of o formerly sup- 
 posed to be homogeneous. Its vanish is the distinct- 
 ly audible sound of the monothong oo-ze. 
 
 Ou-v has a peculiar radical, and like that of the 
 preceding ; and vanishes in the monothong oo-ze. 
 That the first sound of this diphthongal tonic is 
 not " a-we," but a radical of its own, may easily be 
 proved by a discriminating ear, in pronunciation. 
 It will also be shown thereby, that a-we does not 
 unite with oo-ze, by that easy gliding transition 
 which is heard in the junction of the radical of ou-r 
 with the same oo-ze. 
 
 I have been at a loss what to say of that sound 
 which is signified by " oi" and " oy," as in "voice" 
 and " boy." It may be looked upon as diphthongal 
 tonic, consisting of the radical a-we and the vanish- 
 ing monothong i-n, when the quantity of the element 
 is short, and ee-\ when long. But from the habits 
 of the voice, it is difficult to give a-we without add- 
 ing its usual vanish of e-rr; and this makes the com- 
 pound, a tripthong. If it is taken as a diphthongal 
 tonic, this is the only instance in which the same 
 radical has two different vanishes. And though this 
 reason should not be conclusive against its classifi- 
 cation, it suggests an examination of the subject. 
 In case this sound should be considered as a true 
 diphthongal tonic, and analogies seem in favor of it, 
 
ALPHABETIC ELEMENTS. 63 
 
 it would make the number of tonics thirteen, and 
 the whole of the elements thirty-six. 
 
 The seven radical sounds with their vanishes, 
 which have been described, include, as far as I can 
 perceive, all the elementary diphthongs of the En- 
 glish language. By the term diphthong, I mean the 
 progress of the voice from one tonic sound to ano- 
 ther-, forming thus the impulse of one syllable, by 
 a continuous gliding, without a perceptible change 
 of organic effort, in the transition. By the term 
 elementary, as qualifying a diphthong, I mean to 
 point out the inseparable bond of its constituents j 
 the fate of the voice having so decreed the series 
 of the two sounds, that the first or radical cannot, 
 in unpremeditated utterance, be given without 
 terminating in the second or vanish. 
 
 The remaining five tonics are monothongs, and 
 have one sort of sound for both the radical and va- 
 nishing movement. They are 
 
 oo-ze, eel, e-rr, end, t-n. 
 
 If the element ee-1 be deliberately uttered, in 
 the mode employed in asking a question with ear- 
 nest surprise, one unvaried sound of ee-1, will be 
 heard, rising from the radical outset, to the top of 
 the vanish. This concrete rise in interrogation will 
 be described hereafter, as being the interval of a 
 radical and vanishing octave; but the same homoge- 
 neous course of ee-1 may be heard through the fifth, 
 third, tone and semitone. This mode of displaying 
 the course of the unchanged concrete in ee-1, will 
 show an analogous result in the cases of the four 
 other monothongal tonics. Now let each of the diph- 
 
 
64 ALPHABETIC ELEMENTS. 
 
 thongal tonics be uttered with the interrogative in- 
 tonation, and the difference between their radical 
 and vanishing portions will be manifest. 
 
 If the means of direct observation here suggest- 
 ed, should not be satisfactory, I would propose ano- 
 ther mode of illustrating the nature of the tonics. 
 We learned in the last section that the distinction 
 between speech, song and recitative, consists in the 
 varied movement of the radical and vanish : that in 
 speech the rise of the voice through an interval is 
 equable : that song has the inequality of a length- 
 ened note, at the top of the vanish : recitative hav- 
 ing, reversely, a lengthened note in the radical 
 place. The use of these two last forms of intona- 
 tion will exhibit the structure of the tonic elements. 
 For an attentive ear may perceive, when the diph- 
 thongs are sung, that the voice quickly leaves the 
 radical, and dwells in continuation on the different 
 sound of the vanish. The protracted note of song, 
 in the vanish of the monothongs. will be the same in 
 sound as their radicals. Recitative in its essential 
 manner, will make a long note of the radical por- 
 tion of the diphthongs. The words of an ordinary 
 melody in slow time, or any church psalm, will 
 afford proof on this point. In giving the note of 
 song on the tonics, care must be taken to sound it 
 purely : some singers mix the modes of song and 
 recitative. 
 
 Another mode of illustrating the real diphthongal 
 character of seven of the tonics, may be drawn from 
 the phenomena of rhyme. Rhyme is that peculiar 
 relationship in the sound of syllables, which con- 
 
ALPHABETIC ELEMENTS. (35 
 
 sists in a difference between the first sound of each 
 of the compared syllables, and an identity between 
 all the subsequent sounds, each to each : the agree- 
 able effect of rhyme depending chiefly on the par- 
 ticular relation between the tonic sounds of the 
 syllables. The first condition is that of identity in 
 the tonics, as : dame, came. — The second degree of 
 relationship is made by tonics which have a differ- 
 ent radical, but the same vanishing movement, as : 
 cars, wars. The third consists of those tonics that 
 differ both in their radicals and vanishes, yet are of 
 nearest resemblance in their sort of sound, as : good, 
 blood. 
 
 The use of the second kind of rhymes shows the 
 composition of the diphthongal tonics. In the follow- 
 ing lines, the correspondence of ooze with o-ld, and 
 of ale with ee-\ is admitted as canonical in rhym- 
 ing, from the identity of the vanishes of a-le and o-ld, 
 respectively with the 'monothongs ee-\ and oo-ze. 
 
 Here Britain's statesmen oft the fall foredoom 
 Of foreign tyrants, and of nymphs at home; 
 Here thou, great Anna ! whom three realms obey, 
 Dost sometimes counsel take — and sometimes tea. 
 
 The assimilation of the sounds of a-le and ee-\ 
 by the identity of their vanishes, produces the mo- 
 notony of the four following lines : the compared 
 couplets of which are more varied to the eye than 
 to the ear. 
 
 Swift to the Lock a thousand sprites repair, 
 A thousand wings, by turns, blow back the hair; 
 And thrice they twitch'd the diamond in her ear; 
 Thrice she looked back, and thrice the foe drew near. 
 
 K 
 
(J(5 ALPHABETIC ELEMENTS. 
 
 They might indeed be taken for a designed quat- 
 ernion in rhyme. 
 
 Besides the differences of sort and singleness of 
 sound, and of diphthongal combination, the tonics 
 exhibit a variety in time, both when uttered sepa- 
 rately, and in syllabic association. Two general 
 divisions may be made : 
 
 a-we, art, a-n, a-le, ee-1, i-sle, ou-r, oo-ze 
 may be called long tonics, and 
 
 e-rr, e-nd, i-n, 
 short. It is not to be understood that the latter may 
 not, by designed effort, be made as long as the for- 
 mer: they have their place in this arrangement, 
 from their usual time in English syllables. In the 
 prolongation of t-n, it changes nearly, if not entirely, 
 into ee-l. When the long tonics are combined with 
 other elements into syllables, their time is of every 
 distinguishable degree, from a momentary impulse, 
 to the longest passionate utterance of an interjec- 
 tion, as : from o-tt to awe — from out to h-ow — 
 from at to a-h ! — a-te to h-ay — p-ea-t to ee-l — 
 f-oo-t to oo-ze — c-a-rt to p-a-rdon — k-i-te to I. 
 
 The time of the short tonics, in combination, has 
 much less variety j and even that is of no practical 
 importance. But however short any of the tonics 
 may be, they do in their minimum duration still 
 pass through the concrete movement, as will be 
 fairly proved hereafter. 
 
 All the elements, except the abrupt atonies k, p, 
 t, have a variety in duration. ' The vocality of the 
 subtonics carries on their time, and its prolongation 
 is next in importance to that of the tonics, for the pur- 
 
ALPHABETIC ELEMENTS, (57 
 
 poses of just and vivid expression, and even for the 
 graceful management of ordinary cadences. If it is 
 asked, why I have designated the diphthongs as ele- 
 mentary, each of which may be resolved into greater 
 simplicity; it may be answered, that the diphthongs, 
 though compounded of two successive sounds, are 
 inseparable in utterance : and regarding elements 
 as simple efforts of the voice, these diphthongs may 
 be ranked among them. I cannot pronounce the ra- 
 dical of a diphthong without giving also its vanish. 
 In recitative, the radical of a diphthong may be in- 
 definitely sustained ; but it can be terminated only 
 by a glide through its second sound, which, however 
 quick or feeble, may still be heard. In the equable 
 concrete of speech, the rapid pronunciation of a 
 diphthong may diminish the audibility of its second 
 sound, but to an attentive ear it will not be altoge- 
 ther lost. And further, not only does the radical of 
 a diphthong demand its own peculiar vanish, but it 
 cannot itself be carried through a given interval 
 without sliding into that vanish. For when we at- 
 tempt to lead the voice through an octave on the 
 diphthong a-we or ale, its radical may be continued 
 up to the seventh of the scale : still the final close 
 on the eighth will unavoidably turn to c-rr or ee-1. 
 A similar change will take place on all smaller in- 
 tervals, in an endeavour to make monothongs of 
 the diphthongal radicals. 
 
 If an elementary character be denied to the diph- 
 thongs, by regarding them as separable sounds, it 
 will not increase the number of simple tonics be- 
 yond twelve: for the reader may have already re- 
 
qq ALPHABETIC ELEMENTS. 
 
 marked that the vanishing movements of the diph- 
 thongs consist exclusively of the monothongs. 
 
 It follows, from what has been said on the indi- 
 visible nature of the diphthongs, that their radicals 
 cannot be united with any other vanishes, than 
 those apparently allotted in the instinctive ordina- 
 tion of the voice : and notwithstanding all that has 
 been observed, assumed and transcribed by writers, 
 on the subject of the diphthongal union of the vowels, 
 I believe that the only instances of that union, ad- 
 mitted in the habits of English speech, are those 
 here enumerated. Every attempt to make further 
 combinations produces a voice which wants the 
 smooth transition and singleness of syllabic impulse, 
 that characterizes a diphthong, and which is found 
 with its defined perfection, only in the double sound 
 of the above named seven elementary tonics. 
 
 I have enumerated all the diphthongal tonics which 
 are in common use in the English language. As they 
 are individually produced by joining a monothongto 
 a radical tonic, if I may so call it; and as all the per- 
 mutations of union are not employed, it is a curious 
 subject of inquiry, whether it is within the possi- 
 bilities of the tongue to make a greater number of 
 diphthongs, by uniting, severally, every monothong 
 with each radical tonic. Now as there are seven 
 radicals and five monothongs, we might upon this 
 scheme have thirty-five diphthongs. But it appears 
 we have only eight (supposing oi to be included :) 
 a- we being combinable with two monothongs, and 
 each of the others with one. Other conjunctions 
 may be made ; but they have not a fluent transition, 
 
 
ALPHABETIC ELEMENTS. 69 
 
 like those which already belong to the language 
 and have their literal signs. Would these new asso- 
 ciations require a management of organ which is 
 not altogether instinctive, and might therefore call 
 for a practice and skill not yet reached by the 
 English tongue? Have any of these supposed diph- 
 thongs been admitted among the elements of other 
 nations? And are these unused materials of the 
 voice to be classed with those resources in the ani- 
 mal economy, which are to afford their benefits 
 under higher cultivation, and the widening demands 
 of human improvement? 
 
 In elucidating this subject of the tonics it is wor- 
 thy of remark, that we may consider the diphthongs 
 as mere syllables, compounded of a tonic and sub- 
 tonic. For it is certain that the monothongs, when 
 used as vanishes to the radical tonics, have in some 
 degree the character of subtonics : that is, they lose 
 the fulness of the radical opening which they have, 
 when uttered by themselves. The vanish of a-le is 
 very nearly allied to " y" if not identical with it ; and 
 the vanish of ou-r bears as near a relation to u w." 
 It will be evident too on trial, that if a radical cha- 
 racter is given to these vanishes, they will not unite 
 with the previous radical into one impulse of the 
 voice. 
 
 It was said, in a former part of this section, that 
 the subtonics may be uttered separately : their own 
 obscure vocalities bearing, respectively, some re- 
 semblance to those of the five monothongs. I now 
 add that some syllables are formed exclusively of 
 subtonics. In the words" bidden," " fickle,'' " schism," 
 
70 ALPHABETIC ELEMENTS. 
 
 " rhythm," " riven," and their congeners, the last 
 syllable is purely subtonic, or a combination of 
 subtonic and atonic. On these final syllables the 
 radical and vanishing movement is performed : and 
 though they exhibit the concrete function, they be- 
 tray their inferiority in abruptness, force and mu- 
 sical sound, when compared with the more perfect 
 display of these qualities, on the tonics. The rea- 
 son why words of this construction are necessarily 
 divided into two syllables, will appear in the fol- 
 lowing section. 
 
SECTION IV. 
 
 Of the influence of the concrete movement, in the pro- 
 duction of the various phenomena of syllables. 
 
 The foregoing history of elementary sounds and 
 of the radical and vanishing function, will enable us 
 to lay open the doctrine of Syllabication. 
 
 What are the qualities of vocal sound that pro- 
 duce the affections of syllables'? 
 What determines their length? 
 Why are syllables limited in length, otherwise 
 than by the term of expiration : and what produces 
 the ordinary length of them, where there is no ob- 
 struction to the further continuation of the sound 
 of tonic and subtonic elements? 
 
 And, finally, what prescribes the rule which or- 
 dains but one accent to a syllable? 
 
 I shall endeavour to answer these questions con- 
 cisely and in their order. 
 
 Those portions of voice which, alone or as con- 
 stituent parts of words, are called syllables, are the 
 effects of the radical and vanishing movement : and 
 I shall aim to show that every syllable, consisting of 
 one or more elementary sounds, derives its charac- 
 ter of length and singleness of impulse, from the 
 concrete movement and from the different proper- 
 ties of tonic, subtonic, and atonic elements. As I 
 
72 OF THE DOCTRINE 
 
 cannot give the reader vocal exemplification of this 
 subject, the argument contained in the following 
 inferences must be illustrated by his own experi- 
 mental trials. 
 
 If the concrete movement of the voice through 
 a tone or other interval, be the essential function 
 of a syllable, it follows that each of the tonic sounds 
 may by itself make a syllable : since these cannot 
 be pronounced singly, without going through the 
 radical and vanishing movement. Now the tonics, 
 either in the form of words or as interjective parti- 
 cles, are often employed as mono-literal syllables. 
 
 It follows also from the assumed causation of a 
 syllable, that two tonics cannot be united into one 
 vocal impulse. For each having by nature its own 
 radical and vanish, they must produce two sylla- 
 bles. Consistently with this, we find that whenever 
 two elementary tonics are in sequence, they always 
 belong to separate syllables in pronunciation. 
 
 If the concrete function of the voice alone con- 
 stitutes a syllable, it follows that the atonies, from 
 being incapable of that function, cannot make a 
 new and distinct impulse when joined with the to- 
 nics. The word " speaks" exhibits the meaning of 
 this inference. For the syllabic function, as I sup- 
 pose it to be, is here made on the tonic ee-1, whilst 
 s, p, k and s add to the time, but do not destroy 
 the monosyllabic character of that word. The sound 
 is not indeed so gliding and equable as on a single 
 tonic, which shows a syllable in its purest form: yet 
 the slight obstruction to the singleness of impulse 
 is very different from the threefold emphatic divi- 
 
OF SYLLABICATION. 73 
 
 sion heard in the word u Ohio" — For if this be pro- 
 perly pronounced, that is if each of the three tonics 
 receive its radical and vanish, it will be impossible 
 to condense them into one impulse or syllable. In 
 answer to the first question, then,— It is the con- 
 crete movement of the elementary sounds, or the 
 radical and vanishing function of the voice, which 
 produces those successive impulses of speech called 
 syllables. 
 
 Syllables are of different lengths. Is this an ar- 
 bitrary variation: or is it the unavoidable product 
 of the properties of the elementary sounds'? 
 
 This question is not asked in reference to proso- 
 dial quantities; nor to those abridgments and pro- 
 longations of voice that appropriately mark the 
 force and solemnity of oratorical expression. It re- 
 gards especially the variation of length in syllables, 
 which is unalterably created by their literal con- 
 stituents; for it will be shown that their limits are 
 determined by the arrangement of these. 
 
 In order to render this subject perspicuous, let 
 us take a synthetic view of the literal series in 
 words. 
 
 Several of the tonics are found separately as En- 
 glish syllables : and these exhibit the syllabic im- 
 pulse of the radical and vanish in its most simple 
 condition. But elements cannot be compounded, 
 with a view to lengthen a syllable, by the addition 
 of one tonic to another; for the attempt produces a 
 new and separate impulse. 
 
 If to the element a-le the atonic " f " be prefixed, 
 the syllable " fa" will be formed, with the concrete 
 
74 OF THE DOCTRINE 
 
 rise on " a," preceded by the aspiration. If to these 
 the atonic " c" be subjoined, the word " face" will 
 be longer than the word " a;' 5 still the triple com- 
 pound will be but one syllable: since it can have 
 only one concrete rise, and that must be on the 
 middle element " a." For though these two atonies 
 may be clearly heard, as part of the length of the 
 syllable, yet being incapable of the concrete func- 
 tion, the transition through the given interval is 
 made altogether on " a," as if the word consisted of 
 that element alone. The addition of atonies to tonics, 
 is then the first mode of increasing the length of a 
 syllable, without destroying its singleness of im- 
 pulse. 
 
 Further, if to the tonic "a" the subtonic "1" 
 be prefixed, the syllable " la" will be longer than 
 iC a," but will still have but one function of the ra- 
 dical and vanish. For I said formerly, that when a 
 subtonic is uttered before a tonic, the vanish of the 
 subtonic does not occur: its radical continuing on a 
 level line of pitch, till the tonic opens on that line 
 with a more emphatic radical, and immediately 
 carries up the concrete of the syllable. Now in 
 the syllable " la," " 1" does begin the impulse with 
 its vocality, and without perceptibly rising, joins 
 the vocality of " a" which forms the full emphatic 
 radical, and then vanishes on the c 'e" of that diphth- 
 ongal element. If to " la" the subtonic " v" be sub- 
 joined, the compound " lave" will be much longer 
 than " a;" and its syllabic character will still be 
 preserved, by the singleness of its radical and van- 
 ishing movement. In the pronunciation of " lave," 
 
OF SYLLABICATION. 75 
 
 the intonation of " 1" and " a" will be as before, ex- 
 cept that " a" will not now rise quite so far through 
 the concrete : for a subtonic having all the proper- 
 ties of a vanish, "v" will in this case fall in with "a" 
 before it reaches the top of the interval, and thus 
 • complete the vanish of the syllable. The junction 
 of subtonic elements to tonics, is therefore a second 
 mode of adding to the length of syllables, without 
 destroying the unity of the radical and vanishing 
 concrete. 
 
 Moreover, if the abrupt element "t" be prefixed to 
 " a," the syllable " ta," so formed, will be but a sin- 
 gle impulse. If " g" be subjoined, the word " tag" 
 will still exhibit only one radical and vanish. If in 
 this manner two abrupt atonies are joined with the 
 short tonics, as in 4 ' cut," " pet," " tik," they produce 
 the shortest syllables in the language: in which the 
 concrete movement, however short, is still per- 
 formed. This union of abrupt elements with tonics, 
 is a third mode of preserving the singleness of a syl- 
 lable, with the variation of its length. 
 
 The three different sorts of combination enumera- 
 ted above, produce their various lengths, in the man- 
 ner represented by the examples under each head. 
 But none of them can be much extended beyond 
 the instances given, whilst they are restricted to 
 the kind of elements noted in their respective cases. 
 
 A fourth mode of combining elements is by a 
 union of all the four kinds in one syllable. For the 
 illustration of this, it is necessary to bear in mind, 
 that whenever there is a pause after a subtonic, 
 consequently whenever it is uttered singly or at 
 
 i 
 
7g OF THE DOCTRINE 
 
 the end of a syllable, it unavoidably takes on the 
 concrete movement: and that the same condition 
 occurs if it is followed by an atonic •, for in this case 
 there is a termination of vocality. If we analyze 
 the words " strange,'' (properly strandzh) and 
 " strength," and the imaginary syllable " sglivzd,*' 
 we shall find that but one radical and vanishing 
 movement is performed on each of them: and that 
 the singleness of impulse is made by the peculiar ar- 
 rangement of all the kinds of elements. They con- 
 sist of seven sounds, which is the greatest number 
 that the nature of the elements admits of, even with 
 the best contrived mode of combination. The radical 
 and vanishing functions of these syllables are made 
 on u ange," " eng" and " ivzd," and the principle of 
 the vocal management of the other elements is an- 
 alogous in each : for " r" and " 1" being subtonics 
 respectively before the tonics a-le, e-nd, i-sle, do not 
 take on the concrete. a T" being an abrupt atonic, 
 adds nothing to the vocality of " r," and the prece- 
 ding atonic " s" having no concrete function, the 
 three elements " s," " t" and "r," together with 
 " th" in " strength," and the " g" and " 1" in the 
 imaginary syllable, increase the length of the seve- 
 ral words without destroying the unity of their im- 
 pulses. The constituents in each of the above words 
 may be combined into one syllable, in other series : 
 but in all cases, the atonies must be on the ex- 
 tremes. If it is otherwise, as in the arrangement 
 " rstange," the whole cannot be pronounced as one 
 syllable. For since the vocality of " r" ceases on 
 account of the subsequent atonic " s," this " r" 
 
OF SYLLABICATION. 
 
 77 
 
 must take on the concrete movement, and thus be- 
 come a syllable. The reader may remember that 
 it was said, the subtonics are capable of the radical 
 and vanish when uttered separately : and the ter- 
 mination of their sound by an atonic, amounts to 
 this condition. 
 
 I have thus endeavoured to show, that the various 
 lengths of syllables depend on the nature of the 
 constituent elements, and the disposition of them, as 
 regards the execution of the radical and vanish. 
 
 The following notation may serve to illustrate 
 the preceding account of the structure of syllables. 
 I here represent the movement of a third ; but the 
 mode is the same, in all intervals. The dotted line 
 represents the atonic sound. The black straight 
 line denotes the pitch of the subtonic, when it pre- 
 cedes a tonic : and the full black point, with its issue, 
 signifies the tonic alone, and the tonic in combina- 
 tion with the vanishing subtonic. 
 
 3^ 
 3 5 -8 
 
 .2 » 
 
 3 "S a 
 
 * •£ 2 
 
 < < 
 
 a - •- 
 
 o -5 a 
 E-. •- o 
 
 < 6 i 
 
 \-4-A..JXJ'3^1^±JX£l 
 
 la 
 
 face 
 
 la 
 
 lave 
 
 ta 
 
 take 
 
 A combination of each of the 
 species of elements. 
 
 Strandzh 
 
 Strength 
 
 The double syllabic 
 impulse by change. 
 
 Z^z 
 
 R standzh. 
 
 In this notation, the atonic sounds are represen- 
 ted by the dotted lines, as if they had a certain 
 
7§ OF THE DOCTRINE 
 
 place in pitch; but being mere aspirations, their 
 place is in no appreciable relation to the tonics and 
 subtonics : and I beg that the reader may so under- 
 stand the notation, when the atonic symbols are 
 used to show the presence of the aspirated voice. 
 
 If the principle of syllabication consists in a sim- 
 ple pause of the voice, or any other mode of sound 
 than that which I have insisted on, a syllable might 
 contain an indefinite number of tonic sounds, com- 
 bined with such other elements as have no occlu- 
 sion : and consequently the length of the syllable 
 would be limited only by the time of expiration. 
 But from the influence of the radical and vanish, in 
 the utterance of the common aggregates of elemen- 
 tary sounds, the duration of a syllable is quickly 
 arrested. There are twelve tonics ; fourteen subto- 
 nics ; nine atonies ; and six abrupt elements. Twelve 
 of these, the nine atonies and the three abrupt sub- 
 tonics, being productive of an interruption to the 
 continuity of the syllabic impulse, the mingling of 
 all the elements must give one of these a position 
 in every third or fourth place among the tonics and 
 subtonics, and thereby set a limit to the duration 
 of syllabic sound. Sometimes this interruption pro- 
 duces syllables of two letters only : and it has never 
 I believe, in the English language, allowed any 
 syllable in use, to extend beyond seven. 
 
 The reason why the words " strange" and 
 " strength" cannot be made longer without more 
 than ordinary effort, is this: The tonic elements can- 
 not be added for this purpose, since each of them 
 always makes either the whole or part of a separate 
 
OF SYLLABICATION. 79 
 
 syllable. Nor will these words bear a subtonic 
 at the beginning : for as a s" is an atonic, any sub- 
 tonic uttered before it must come to a pause, must 
 therefore go through its vanish, and thus produce a 
 separate syllable. The prefixion of atonies to these 
 words would not indeed make a new concrete ; but 
 it would produce a varying effort of hissing and as- 
 piration, which would bear no analogy to the audi- 
 ble and gliding nature of tonic and subtonic sylla- 
 bication. 
 
 In answer then to the question, why syllables are 
 not continued to the utmost length of an act of ex- 
 piration, it has been shown that as the course of 
 speech consists of the elements, the abrupt and ato- 
 nic must necessarily produce frequent divisions of 
 the time of one expiration, into different syllabic 
 impulses. 
 
 In any number of elementary sounds, let us now 
 suppose the atonic and abrupt to be rejected, and 
 consequently the last mentioned cause of limitation 
 to be removed. Why is it impossible in this case to 
 give indefinite length to a syllable formed by a to- 
 nic, united with any number of subtouics ? or why is 
 such a syllable otherwise limited, than by the ex- 
 haustion of expiration ? — when a tonic precedes a 
 subtonic, in the formation of any concrete interval, 
 it gives up a portion of its movement to that subto- 
 nic, which then carries on and completes the vanish. 
 In this way the radical and vanish may consist of a 
 tonic and one, two, three, or at most four subtonics. 
 But the number cannot, in easy pronunciation, be 
 extended beyond these. Thus in the syllable 
 
80 OF THE DOCTRINE 
 
 "strandzh" (strange) the concrete rise begins on "a," 
 and continuing through "n," "d" and " zh," vanish- 
 es on this last. If two more subtonics " v" and " m" 
 were subjoined to this word, as in " strandzhvm," 
 few speakers could make one pure syllabic impulse 
 of the combination. The reason of this difficulty, 
 or as we may call it, impossibility, will appear in 
 the following remarks. 
 
 In the most general use of the voice, the con- 
 crete rises through the interval of a tone, and em- 
 ploys a certain portion of time. Now though the 
 tone and time may be executed on one tonic com- 
 bined with several subtonics ; yet there is a maxi- 
 mum to the number, utterable by an easy effort of 
 speech. For as each constituent must have a cer- 
 tain duration, to render it cognizable as a variation 
 of pitch, and to ensure a distinct pronunciation ; it 
 must consume some of the time of the concrete. It 
 is plain from experience that each constituent does 
 consume so much, that not more than four subto- 
 nics, together with the preceding tonic, can in easy 
 utterance be compressed into the time and space of 
 the radical and vanish. 
 
 In describing the concrete, we pointed out three 
 modes of this function, — the equable progress of 
 speech, the radical prolongation of recitative, and 
 the vanishing prolongation of song. When a com- 
 bination of tonics and subtonics, greater than can be 
 used for one concrete, is offered for pronunciation, 
 one of two things must occur : either two syllables 
 must be formed by two separate concretes, or 
 some one or more of the numerous constituents 
 
OF SYLLABICATION. 
 
 si 
 
 must be prolonged on one line of pitch. Now by 
 the nature of the concrete only two points of the 
 interval, the lower and the upper extreme, can be 
 prolonged on a level line of pitch. The voice can- 
 not be held on the middle or other points of the in- 
 terval. If therefore there should be more elements 
 in succession than, with a fair allowance of time to 
 each, can be put into one equable concrete func- 
 tion •, and there should be an attempt to prevent the 
 rise of one or more of them, for the purpose of 
 bringing the others within the designed interval, it 
 would not indeed create two syllables, but it would 
 produce the intonation of recitative or song, which 
 would still be different from the pure and equable 
 syllabic utterance. 
 
 I have thus endeavoured to show why, in ordi- 
 nary speech, syllables cannot be indefinitely pro- 
 longed when they consist only of tonic and subtonic 
 sounds, and consequently when there is no ob- 
 struction to their continuation, by the interposition 
 of abrupt and atonic elements. 
 
 A further consideration of the radical and vanish- 
 ing movement, will inform us why there is, ordina- 
 rily, but one effort of accentual stress on each sylla- 
 ble. I will show hereafter that there are but five 
 modes in which the force of voice called accent can 
 be used on the concrete. First, by the abrupt ex- 
 plosion of the radical. Secondly, by giving more 
 force of voice to the middle of the concrete. Third- 
 ly, by giving to the whole of the concrete the same 
 fulness that naturally belongs to the radical. Fourth- 
 ly* D J distinguishing the whole of the concrete by 
 
 M 
 
82 OF THE DOCTRINE 
 
 greater force of voice, the proportions of the radical 
 and vanish remaining unaltered. Fifthly, by an 
 abrupt stress on the radical, and a force of voice on 
 the extreme of the vanish. The first four of these 
 modes do not alter the singleness of the accentual 
 impression. Something like an exception to the 
 rule of a single accent, seems to exist in the fifth, 
 as will be particularly noticed under the future 
 head of " Expression :" — but this condition, if an 
 exception at all, is not of common occurrence, and 
 is by no means contemplated here, in looking at 
 the ordinary phenomena of syllabic speech. 
 
 From what has been said upon the construction 
 of syllables, the reader will, no doubt perceive a 
 difference in their quality as regards the agreea- 
 bleness of sound, and the gliding continuity of 
 voice. The most eminent on these points are the 
 tonics: and although the concrete rise of a diphthong 
 consists of two dissimilar sounds, it is not inferior in 
 the above named qualities, to the single voice of a 
 monothong. 
 
 The next condition of the syllable is that formed 
 by an initial tonic, followed by one or two subtonics, 
 as : " aim/' " ale," " arm," " earn," " elm," " orle." 
 These have an easy mingling of their constituents, 
 and their tonic commencement allows an equable 
 concrete movement from the opening to the close 
 of the syllable. 
 
 The equable progress is, to a certain degree, 
 impaired in the next order of syllables, in which 
 the first sound is a subtonic, as in " maims," " gale," 
 " warms," "zearn," "realm." As the radical in these 
 
OP SYLLABICATION. S3 
 
 cases does not properly begin on the first element, 
 there is a slight Note of the subtonic which precedes 
 the tonic, on a level line of pitch. 
 
 The next and least agreeable of the syllabic com- 
 binations are those which contain each of the three 
 kinds of elements, as " swarms," " strength," 
 " thrown, 1 ' u smiles." Here the atonic sounds are not 
 agreeable. They prevent the equability of the con- 
 crete movement ; and though they do not destroy the 
 singleness of impulse, they are attended with some 
 hiatus from the changes of position in the organs 
 which produce them. 
 
 A few syllables in the language, such as the last 
 of " little,? are made of sulfonics and atonies, with- 
 out the addition of a tonic sound. They are desti- 
 tute of force and fulness in the radical opening. 
 They have the nasal kind of vocality, which belongs 
 to the subtonics : and it is most remarkable in these 
 syllables, because here it is not covered by the clear 
 laryngeal texture of the tonics. 
 
 There are various degrees in the smoothness of 
 the syllabic impulse, from the clear transition of 
 the diphthongal tonics " a" and " awe," to the two 
 concretes of a dissyllable. The words " flower," 
 " higher," " boy," M voice," and " coin," by a slight 
 variation in effort, may be uttered either as one or 
 two syllables. Under the first condition, each of 
 these words seems to consist of the union of two 
 tonics in one syllable, which I have said is impossi- 
 ble. If" flower" is pronounced with the glide of a 
 single impulse, it must be upon the elements,/, J, 
 ow, and r, and this pronunciation exhibits no incon- 
 
S4 OF THE DOCTRINE 
 
 sistency with our proposed doctrine of syllables. 
 If the tonic c-rr be sounded before r, it will be im- 
 possible to avoid the double impulse. 
 
 I have considered a syllable as essentially a func- 
 tion of the radical and vanish ; and this function is 
 equally productive of the syllabic impulse, in a 
 downward as in an upward direction. I shall show 
 in a future section, when the reader is prepared to 
 understand the explanation, that the unity of the 
 syllable is not destroyed by a movement of the 
 voice, through a continuity of the upward and 
 downward concrete. 
 
 The preceding history has enabled us to explain 
 many causes which must remain hidden to a less 
 searching analysis. Upon our principles of sylla- 
 bication we may account for the disagreeable effect, 
 produced both in the organs of utterance and on 
 the ear by the use of the indefinite article "a" be- 
 fore a vowel (or tonic,) and by other similar succes- 
 sions as in " aorta." 
 
 If we utter the tonics in series, we may in a cer- 
 tain manner pass from one to the other without 
 a break, and without the point of junction being 
 appreciable. In this case, the elements are joined 
 to each other by the mediation of the subtonic " y.'' 
 But in this continuous mode of utterance, there is 
 an absence of that fulness and abruptness which 
 forms, in its proper place, the character of the tonic 
 radical ; since abruptness always requires a pre- 
 vious occlusion of the voice. When a continuation 
 of vocal ity is made from a subtonic to a tonic the 
 effect is. different: for the subtonics having more 
 
OF SYLLABICATION. 85 
 
 or less occlusion, and a vocule more or less dis- 
 tinct, means are afforded, by this occlusion and 
 by the outset of this vocule, for the formation of 
 the abrupt sound of the tonic •, and consequently 
 a true radical may be made on a tonic which is 
 continuous with a subtonic. Now when the article 
 " a" is made to coalesce with a tonic at the begin- 
 ning of a word, an unpleasant perception arises 
 from a want of the fulness of a radical in that ini- 
 tial tonic. If, however, the article is pronounced 
 separately, in order that the initial tonic may have 
 its full radical opening, the unpleasant effect will 
 disappear, though the pronunciation will be neces- 
 sarily slower. In this way, u a owl" and " a age" 
 are as unexeptionable, as " an owl" and u an age." 
 The junction of the u n" with a tonic (and the same 
 is true of all the subtonics) produces an agree- 
 able coalescence, from the slight occlusion between 
 them : whilst the union of the vanish of one tonic 
 with the radical of another, creates a disagreeable 
 effort in the organs, and produces an unpleasant 
 impression on the ear. This hiatus, as it is called, 
 is caused by a deficiency in the fulness of the radi- 
 cal •, by an endeavour to supply this deficiency and 
 yet at the same time to pass quickly from tonic to 
 tonic •, and by the disappointment of the ear, in not 
 receiving the impression of the element, as it is 
 heard in the same word on other occasions. We 
 cannot then in a continuous course of tonic utter- 
 ance produce that desirable radical abruptness, 
 which is easily accomplished when the tonics are 
 pronounced with a pause between them, or after 
 
86 OP THE DOCTRINE 
 
 the natural pauses or occlusions which belong to 
 the subtonics. 
 
 The hiatus accompanying the junction of one 
 tonic with another, will be less remarkable when 
 the tonic which succeeds is without the stress of 
 accent. Thus it is less in " a account" than in t{ a 
 accident:'* for in the first example, a full degree of 
 radical abruptness in the tonic " a" is not required. 
 
 It is upon the principle of the syllabic agency of 
 the radical and vanish, that the passed time and 
 perfect participle of some verbs ending in " ed," 
 when contracted into one syllable by rejecting the 
 tonic "e," change " d" into "t," as: snatched 
 snatch't; passed pass't; stopp'tj check't. For if the 
 "e" be dropped, the " d" which remains having a 
 vocality, and possessing as a subtonic the power 
 of a concrete movement, it must, when preceded 
 by an abrupt or atonic element, as in the above in- 
 stances, exhibit a radical and vanish and conse- 
 quently must make a syllable, in place of that made 
 on "edj" which by the proposition was to be re- 
 jected. But if the abrupt atonic " t" is substituted 
 for " d," that element may be retained without de- 
 stroying the singleness of the syllabic impulse. 
 
 Those irregular verbs which, by contraction^ 
 have their present and past times and perfect par- 
 ticiple alike, are generally fouud to end in " t," as : 
 beat, hurt, let, left. The economy of utterance or 
 the occasions of poetical measure, producing a con- 
 traction of the regular form of " beat beated beated," 
 which we may suppose to have been the original 
 structure of the verb, the operation of the radical 
 
OF SYLLABICATION. 87 
 
 and vanish in syllabication does not allow the con- 
 traction to be made by the mere elision of " e." 
 For upon this elision, " beated/ can be changed to 
 one syllable, as we have seen above, only by sub- 
 stituting the atonic " t" for the subtonic " d," as in 
 " beat 't," — and this differs so slightly from " beat" 
 that this single word would be used as the inflec- 
 tion of the verb, and as the participle. 
 
 I might still further apply the foregoing princi- 
 ples in the explanation of many apparently anoma- 
 lous facts in pronunciation, which have hitherto 
 passed without scrutiny or without satisfactory in- 
 terpretation. But I have already exceeded my 
 original intention, in planning the subject of this 
 section ; and must therefore leave many particulars, 
 to the comprehensive reflection and close observa- 
 tion of the reader. Perhaps I do not exceed the 
 bounds of reasonable anticipation, when I foresee 
 his rising interest in this history of the voice. But 
 all these things, and more too that I shall tell, may 
 be made by him, to seem only like the preface to 
 a full knowledge of this subject, — if he will adopt 
 the mode of inquiry which has thus far assisted me: 
 — if he will become the spy upon nature, through 
 his own watchfulness, and not draw too much from 
 the precarious source of authority : — if he will turn 
 from those discouraging prospects, presented by 
 the result of every attempt to make knowledge out 
 of notions; and by entering into sober communion 
 with his own senses, lay himself open to the advis- 
 ing of those five ministers of knowledge, appointed 
 by nature for his counselling in all truth. 
 
SECTION V. 
 
 Of the causative mechanism of the Voice, — in rela 
 Hon to its different qualities. 
 
 A description of the different sorts of sound of 
 the human voice, without an exemplification by ac- 
 tual utterance, is always insufficient, and often un- 
 intelligible. With a view to facilitate instruction, 
 it is desirable to discover the mechanical move- 
 ments of the organs, and the mode of action of the 
 air upon them; that a reference to the conforma- 
 tions and changes of these organs, and to the im- 
 pulses of the air, may enable any one to have a 
 precise perception of the nature of described 
 sounds, by using the known physical means which 
 produce them. 
 
 The result of physiological inquiries on this sub 
 ject is not satisfactory. It is unfortunate that many 
 physiologists have been public teachers, appointed 
 to stations of influence, and directed by the rules 
 of their office to instruct, without having the time 
 or ability or disposition to investigate. Their con- 
 dition has obliged them to compile without choice, 
 to define and arrange without reflection, and to ef- 
 fect an originality which was utterly forbidden by 
 the frame of their minds or the multiplicity of their 
 duties. From these professorial physiologists the 
 
OF THE MECHANISM OF THE VOICE. §9 
 
 place and covered movements of the organs of 
 speech seemed to cut off the means of observation ; 
 and whilst they have feigned themselves under an 
 obligation to teach what they had never learned 
 they have endeavoured to elude the difficulty, by 
 framing some of those works of fancy, which the 
 craft of mastership long ago devised for satisfying 
 the cravings of undiscerning youth. The puerile 
 wishes of the scholar have been respectfully re- 
 garded by the teacher-, and knowledge under his 
 hands, has frequently been rather a picture of the 
 pupil's anticipations than the truth, and nothing but 
 the truth of nature. 
 
 There are few confirmed opinions among wri- 
 ters, on the mechanism of speech : and honestly 
 speaking according to the duties of philosophy, we 
 are bound to acknowledge our ignorance of nearly 
 all the physical causes of the varieties of the voice. 
 We know that the voice is made by the passage of air 
 through the larynx and cavities of the mouth and 
 nose. From experiments on the human larynx when 
 removed from the body, and from observations upon 
 the vocal function of dogs, by exposing the organs 
 in the living animals, it is infered with great pro- 
 bability that the production of voice is immediately 
 connected with the vibration of the ligaments of the 
 glottis. We have no precise knowledge of the 
 causes of pitch : its formation having been by au- 
 thors differently attributed to the contraction of 
 the glottis, — the shortening of its chords, — their al- 
 tered degrees of tension, — the varying velocity of 
 the current of air through the aperture of the glot- 
 
90 OF THE MECHANISM 
 
 tis, — the rise and fall of the whole larynx, and the 
 consequent variation of length in the vocal avenues, 
 between the glottis and the external limit of the 
 cavity of the mouth and of the nose, — and finally, 
 to the influence of a union of all these causes. 
 
 Nor are we acquainted with the causes which 
 produce those affections of sound called " whisper," 
 " falsette," " natural voice," and what in vocal sci- 
 ence is called " pure tone." Each of these modes 
 of voice has been unsatisfactorily ascribed to one or 
 more of the above mentioned causes of pitch ; and 
 the locality of these functions has, with no more 
 precision, been severally assigned to the chest, 
 throat and head. 
 
 These varying and contradictory accounts of the 
 voice have been in some measure the consequence 
 of conceiting a resemblance between the organs of 
 speech and common instruments of music: and whilst 
 those fluctuations of opinion, which never belong 
 to truth, have alternately represented the vocal me- 
 chanism to be like that of mouthed, and reeded, and 
 stringed instruments, the spirit of these unfounded 
 or still incomplete analogies has been carried to the 
 outrage of all similitude, by comparing the track of 
 the fauces, mouth and nose, to the body of a flute ; 
 and by ascribing one of the defects of intonation to a 
 difference of tension in what are called the " strings 
 of the glottis." We are too much disposed to mea- 
 sure the resources of nature, for the production of 
 sound, by the imperfect inventions of art. The 
 forms of matter which jointly with the motion of 
 air may create sound, must be innumerable; and 
 
OF THE VOICE. 91 
 
 there certainly is not much comprehensive design 
 in limiting our ideas of the mechanism of the hu- 
 man voice, to the figure and functions of those few 
 forms, which have received the name of " musical 
 instruments." 
 
 The illustrations which these are supposed to af- 
 ford are but resting places for the mind, in the per- 
 plexed pursuit of truth. The physiologists of anti- 
 quity thought they explained the mysteries of the 
 voice, when they compared the trachea to a flute : 
 and science reclined, from the time of Galen, to that 
 of Dodart and Ferrein in the eighteenth century, on 
 the satisfaction produced by this fancy. The means 
 of illustration have followed the fashion of instru- 
 ments, and of late years, the chords of the iEolian 
 harp and the reed of the hautboy have furnished 
 mechanical pictures of the organs of voice. All the 
 great revolutions in opinion, all the great works of 
 invention and discovery have generally been pre- 
 ceded by a conviction on the part of their authors, 
 that the strong habits of mankind, whether in the 
 ways of thought or of social convention, might with- 
 out mischief or folly be altered or reversed: and al- 
 though the general belief in the resemblance of the 
 mechanism of the human voice, to that of common 
 instruments of music may be hereafter proved, just 
 reflection will guard us against surprise, on a future 
 discovery, that in most points the functions of the 
 two cases are totally dissimilar. Before the use of 
 the balloon, for the support and progression of men 
 upon the air, no one ever imagined the possibility 
 
9£ OF THE MECHANISM 
 
 of his flight, through any other instrumentality than 
 that of wings. 
 
 The history of the voice consists of some due ex- 
 periment and observation, and of inferences from 
 the principles of musical instruments, impertinently 
 applied to the human organs. We seem to have 
 been so entirely convinced of the analogy between 
 these cases, and have relied so implicitly on systems 
 and definitions made therefrom, that we have almost 
 forgotten the importance of observation. The vani- 
 ty of fancying knowledge completed, and despair 
 in thinking it unattainable, are equally adverse to 
 the efforts of improvement. The pure and tran- 
 scendent spirit of Baconian science directs us, by 
 its productive rules, to record all the phenomena 
 of the voice : and requires us, to know resemblances 
 and differences, not to imagine them. There can 
 be no objection to the use of analogies, in the in- 
 vestigation of the processes of nature. With pe- 
 culiar adaptation to a varied purpose, they are keen 
 and bright and indispensable instruments both for 
 hewing out and for finishing truth; but they should 
 never be confounded with the objects which they 
 are intended merely to shape and to decorate. In 
 the present inquiry, it might be proper to bring 
 into the field of scrutiny, a consideration of all the 
 artificial instruments of sound: but when a strict use 
 of the senses can discover no point of similarity be- 
 tween them and the organs of voice, except in the 
 common function of the vibration of air, it can be 
 no benefit to retain, as parts of the body of a sci- 
 
OF THE VOICE. 93 
 
 ence, those means which have been used in unsuc- 
 cessful attempts to discover its truth. 
 
 In the subject before us, I cannot so far follow 
 the example of system makers, and professors, as 
 to furnish, right or wrong, an account of the me- 
 chanical causes of vocal sound, solely because an 
 explanation is desirable and may be looked for. I 
 aim, in this work, to serve truth with my senses, 
 not to meet and conciliate the will of the reader by 
 my fancies. I shall therefore describe what is dis- 
 tinguishable by the ear, in the different kinds of 
 voice ; together with the visible structure, and 
 movement of the organs, in the hope that an accu- 
 mulation of facts, with future experiments, may 
 lead other inquirers to that certainty of doctrine, 
 which under the employment of a different method 
 of investigation has never been established. 
 
 The thirty five elements of speech may be heard 
 under four different sorts of voice: the Whispering, 
 the Natural, the Falsette, and that improved condi- 
 tion of the voice, which in the language of vocal 
 science is called Pure tone. 
 
 The Whispering voice is the constituent of the 
 atonic elements. All the tonics and the greater 
 part of the subtonics may likewise be uttered under 
 this mode of sound. The subtonics r, z, u\ th, zh, 
 when whispered are not respectively different 
 from the atonies /*, s, wh, th, sh. The other subtonics 
 may be heard in the aspiration: for the whispers of 
 6, d and g, which have been considered by Holder 
 and his followers, as identical with the atonies p, t 
 and fc, are distinguishable from these elements, by 
 
94 OF THE MECHANISM 
 
 a slight guttural effort of aspiration preceding their 
 final explosion. 
 
 A whisper under certain circumstances admits 
 of the variations of Pitch. The several tonics, with 
 different degrees of facility, may be carried through 
 the whole octave, in the concrete, the discrete and" 
 the tremulous scales. Some of the subtonics when 
 heard under the aspiration, have a movement in 
 pitch-, though inferior in range, to the compass of 
 the tonics. The atonies which are naturally aspi- 
 rated elements are to be considered as totally in- 
 dependent of rise and fall. For though something 
 like a variation of pitch may be made by strenu- 
 ous effort on a solitary element, still they are not to 
 be regarded as contributions towards the concrete, 
 in pronunciation.-— It is this variation of pitch in 
 whispering, which is practicable on the tonic ele- 
 ments, that produces tune in the Jews-harp; and it 
 is owing to the want of practice, as well as to na- 
 tural imperfection in the intonation of whisper, that 
 persons even of a quick musical ear, are able, on 
 first trials, to make only the common chord, or the 
 first, third, fifth and octave upon the scale of this 
 simple instrument. 
 
 The mechanical causes of aspiration, as distin- 
 guished from vocality, are not satisfactorily pointed 
 out. It has been said, and it may be so, that whis- 
 pering is the effect of the passage of air through the 
 vocal tube, whilst the chords of the glottis are at 
 rest; whereas the vocality, it is said, proceeds from 
 the agitation of the air, by the vibration of those 
 chords. All this however is but an inference upon 
 
OF THE VOICE. 95 
 
 analogy, and may thus claim the rights of probabili- 
 ty, but no more. 
 
 The mechanical cause of the variation of pitch in 
 whisper is to me unknown. It probably is the same 
 with that of vocality. Of this I confess myself equal- 
 ly ignorant: and the discrepance among authors, on 
 this point, has never impressed me with much re- 
 spect towards their opinions. 
 
 The variations of pitch in Whistling, which is a 
 sort of shrill inarticulate whisper, and which may 
 be properly noticed here, are produced by the me- 
 chanism of the tongue. This may be proved by de- 
 pressing the tongue, by means of a thin rod passed 
 through the corner of the mouth, during the act of 
 whistling. The power of intonation in this function 
 will thereby be destroyed. The motion of the 
 tongue may be felt, and its instrumentality in pro- 
 ducing the pitch of whistling may be ascertained, 
 by any one who can execute a shake in this sort of 
 sound. During the shake, there is no alteration of 
 the aperture of the lips. For though some varia- 
 tion in this respect may be observed, in running 
 through the whole compass, particularly when the 
 note is made by inspiration, — the principal agency 
 of the aperture consists in the production of the 
 shrillness which characterizes this function. The 
 compass of pitch is greater in whistling than in the 
 whisper of articulation. 
 
 It deserves to be remarked under this head, that 
 the distinct utterance of the elements, and the va- 
 rieties of pitch in the Jews-harp and in whistling, 
 can be made by the breath of inspiration. If these 
 
96 OF THE MECHANISM. 
 
 affections of the whisper cannot thus be produced 
 as easily and as correctly as in expiration, it may, 
 with a sufficiency of cause, be ascribed to the limi- 
 tation of our voluntary power over the act of in- 
 spiration. 
 
 The Natural voice is that which we employ in 
 ordinary speaking. It includes a range of pitch, 
 from the lowest utterable sound, up to that point at 
 which the voice is said to break. At this upper ex- 
 treme, the peculiar kiud of voice called natural 
 ceases, and the higher practicable parts of the scale 
 are made by another kind called Falsette. The 
 natural voice is capable of the discrete, the con- 
 crete, and the tremulous progression. By the con- 
 crete and the tremulous movement, the natural and 
 falsette voices may be uttered continuedly without 
 a perceptible point of union. By this concrete rise, 
 the voice in vehement interrogation sometimes 
 passes far above the limit of the natural scale, with- 
 out exhibiting the unpleasant break in its transition 
 to the falsette. In the discrete scale, the place of 
 change to the falsette is remarkable, both as to 
 sound and executive effort ; except in the practice 
 of persons of great vocal skill. The peculiarity in 
 quality of sound and intonation at this point of the 
 discrete scale has received the name of" false note/" 
 
 As each of the tonic elements can, in the natural 
 voice, be carried through the gradations of pitch, 
 without visible alteration in the position of the parts 
 which make the element :* and as the sound of the 
 
 * The cnly occasion on which the pitch seems to be made by 
 the causative mechanism of the elements, is in the formation of 
 
OF THE VOICE. 97 
 
 tonics is not modified by the nose, the passage to 
 that cavity being closed by the palate during the ut- 
 terance of them, — it may be asserted, without fear 
 of dispute, that the organization which produces 
 pitch in the natural voice, lies behind and below 
 the root of the tongue. Beyond this knowledge, 
 there is no certainty ; and we must herein continue 
 to be inquirers. 
 
 Does pitch depend on the aperture of the glotis ? 
 Or on the tension of its ligaments 1 Or in the velo- 
 city of their vibration ? Or on any influence of the 
 epiglottis? Or on the velocity of the air? Or upon 
 a combination of two or more of these causes ? and 
 finally, as the mode of intonation in whistling proves 
 that pitch may be made independently of the appa- 
 ratus of the larynx, it is worth inquiry whether the 
 production of pitch in the natural voice, is connected 
 with the contraction of the upper part of the pha- 
 rynx and fauces, and the retraction of the base of 
 the tongue : these parts forming, in this way, a tu- 
 bular passage diverging upwards from the top of 
 the larynx. 
 
 The natural voice passes through the mouth or 
 nose, or through both, according to the elements 
 uttered. In the tonic sounds, the passage to the nose 
 is closed by the palate, and the air issues freely 
 through the mouth. JVg, one of the subtonics passes 
 
 "a;" for the tongue, in rising to the roof of the mouth, seems to 
 produce the rise of its vanish "e." But that this is no cause of 
 pitch is plain from the fact, that the rise of the tongue occurs 
 equally in the production of the " e, ? ' when the concrete is in 
 the downward direction. 
 
98 OF THE MECHANISM 
 
 altogether through the nose. The rest pass through 
 the mouth aud Dose at the same time. Though 
 these are the proper and agreeable modes of pro- 
 nouncing the tonic and subtonic elements, under 
 the current of the natural voice, yet each of them 
 may be uttered with the larger portion of vocal 
 breath passing through the nose. But by this mode 
 the tonic vocality will be changed towards that of 
 the subtonics : the articulation will be more obscure, 
 and the sound will lose that clearness, fulness, ab- 
 rupt opening, and musical quality which renders 
 the tonics so agreeable for speech, and so well fitted 
 to exhibit all the functions of the radical and vanish. 
 Upon this view it may be inquired, if the subto- 
 nic vocality spoken of in the third section, does not 
 receive its character from the partial obstruction to 
 the passage of the air through the mouth, and its 
 free exit at the same time through the nose. When 
 the passage between the tongue and the roof of the 
 mouth, and the aperture in the lips, which respect- 
 ively make the tonics ee-l and ooze, are further 
 closed, the subtonic vocality of "y" and " w" is pro- 
 duced ; though the exact condition of the passage 
 to the nose, in the formation of these is not known. 
 The FaJsette voice is that peculiar sound in which 
 the higher degrees of pitch are made, after the na- 
 tural voice breaks or outruns its power. The cry, 
 the scream, the yell, and all shrillness of voice are 
 various modes of the falsette. It must not be under- 
 stood, that the compass of this voice lies restrict- 
 ively between the point of pitch at which the natu- 
 ral ends, and the highest practicable note. The 
 
OF THE VOICE. 99 
 
 same kind of falsette sound may be formed some- 
 what below that point of transition between the two 
 voices, which is marked when the natural is put 
 through all its degrees. All the elements except 
 the atonies may be made in the falsette: for there 
 is no quality corresponding to this sort of voice in 
 the higher notes of whisper. I have already re- 
 marked that the unpleasant effect both of sound and 
 of effort, in the transition from the natural to the 
 falsette intonation, is obviated when the succession 
 is made by the concrete and the tremulous scales. 
 
 The mechanism of the pitch of falsette does not 
 consist in the position or movement of the tongue 
 and lips, similar to that which produces the func- 
 tion of whistling. And further, it is obvious from 
 the condition of the organs, that it does not arise 
 from a propulsion of the air through the nose : for 
 it can be produced when the soft palate may be 
 both seen and felt to be in contact with the basis of 
 the cranium ; the passage to the head being thereby 
 obstructed. The falsette may indeed, like the na- 
 tural voice, be sent by designed effort through the 
 head, and may thereby become offensively nasal j 
 but this quality is not the characteristic of its tonic 
 sounds. In this voice, "ng" is made entirely through 
 the cavity of the nose, and the other subtonics, by 
 a partial use of the same passage. The function 
 commonly called "Humming," is generally made 
 by the use of the subtonic " ng" in the falsette. 
 
 It has been supposed that the falsette is made 
 through an " upper orifice of the larynx, formed 
 by the summits of the aretynoid cartilages and the 
 
100 °F THE MECHANISM 
 
 epiglottis,"* and the difficulty of joining the falsette 
 with the natural voice, which is thought to be made 
 by the ligaments of the glottis, is ascribed to the 
 change of mechanism in the transition. But there 
 is no difficulty when the change is made by the con- 
 crete movement. 
 
 The true cause of the falsette is yet to be shown. 
 The term pure tone has sprung from the culti- 
 vation of the art of singing, and is used, in that art, 
 to signify a certain eminence of qualities in the 
 voice. In general metaphorical description, it means 
 a fulness, smoothness and ringing effect which may 
 exist naturally in the voice, or may be acquired. 
 The investigation of the nature of pure tone has 
 drawn the attention of philosophic writers on song; 
 and though its embellishment of the equable con- 
 crete of speech, is not less conspicuous than its ef- 
 fect in the other modes of vocal intonation, I have 
 not been able to learn that this kind of voice has 
 ever been particularly examined in reference to 
 reading or recitation. 
 
 The limited analysis and the vague history of the 
 voice given by the ancients, and further confused 
 by the commentators upon them, leave us in doubt 
 whether the expression " os rotundum," which was 
 used by the Romans in enumerating the merits of 
 Greek utterance, had reference to the construction 
 of periods, the predominance or position of vowels, 
 or to quality of voice. Whatever may have been 
 the original signification of the phrase, the English 
 
 * See a summary of the discoveries and opinions of M. Do- 
 dart, in Rees' Cyclopaedia, under the article, Voice. 
 
OF THE VOICE. 
 
 101 
 
 term " roundness of tone," specifying the kind of 
 voice, seems to have been derived from it. 
 
 He who has closely observed the human voice, 
 and by listening to its paragon instances on the 
 Stage, has obtained a knowledge of its powers and 
 beauties, must remember how slowly he came to 
 the full perception and relish of its eminent quali- 
 ties. He must acknowledge likewise, that these 
 qualities would have attracted his attention much 
 sooner, if they had been summed up and signalized 
 by a proper oratorical name. On the basis of the latin 
 phrase, I have by elision constructed the term Oro- 
 tund, to signify, both adjectively and substantively, 
 that clear, full, powerful and sonorous quality of 
 speech, which at the entrance on this subject 1 was 
 obliged to designate by a name borrowed from the 
 distinctions of the singing voice. 
 
 By Pure tone in articulation, or by the Orotund 
 voice, I mean that natural or improved manner of 
 uttering the elements, which exhibits them with a 
 fulness, smoothness and a ringing or musical char- 
 acter of sound, rarely heard in ordinary speech ; 
 and never found in its possible excellence except 
 through high cultivation. By fulness of voice, I 
 mean that grave and hollow volume of speech 
 which approaches towards hoarseness. By the 
 ringing or musical character of the voice, — its dis- 
 tant resemblance to the sounds produced by the 
 resonance of musical instruments. I know how 
 difficult it is to make such descriptions as these, 
 definite, without the illustration of audible exam- 
 ple. Perhaps the best mode of instruction, on this 
 
IQ2 OF THE MECHANISM 
 
 subject, is to excite attention by terms; to give 
 as clearly as possible a detailed explanation of 
 the thing, by figurative reference, and to leave its 
 recognition to the subsequent observation of the 
 learner. The same natural relationships which 
 suggested the metaphor to its inventor, will in due 
 time, produce in the mind of others a ready acqui- 
 escence in the aptness of the illustration* 
 
 The mechanical structure and the action of parts 
 which produce the orotund voice, are to me un- 
 known. It is not made by any influence of the 
 tongue or lips. Nor is the closing of the passage to 
 the nose by the palate, necessary for its formation. 
 The only visible movement or position attendant 
 upon it, is that of a contraction of the boundary of 
 the throat below the level of the tongue. The 
 
 * The reader may learn from reverberations, the nature of 
 those qualities which we have ascribed to the orotund voice. 
 Vaulted ceilings and coved recesses often give a ringing echo; 
 and speaking with the mouth within an empty vessel of parti- 
 cular form, produces a hollow fulness. One of the best in- 
 stances I ever heard, of the modification of the human voice, 
 into the above named qualities, was in the speech and song of 
 a boy who had sportfully gotten into a large copper alembic. 
 
 It may be worth thinking upon, whether the brazen vases of 
 the Greek theatre were not intended to improve the voice in 
 quality, rather than to increase its. quantity: whether they did 
 not assist in the production of the " os rotundum" which we are 
 informed, the Greeks affected in all their speech and decla- 
 mation. — The speaking trumpet may give, though not agreeably, 
 an idea of the qualities above described: and could the bugle or 
 the organ diapason be made to articulate, they would show the 
 highest measure of that fulness and sonorous effect, which in a 
 humbly reduced proportion, constitute the character of the oro- 
 tund voice. 
 
OF THE VOICE. 103 
 
 more this position is assumed in utterance, the more 
 the voice acquires a manner which creates the idea 
 of its proceeding from the recesses of the chest, 
 or which resembles the hollow sound, made by 
 speaking with the mouth within an empty vessel. I 
 ask, but not with much confidence in the sugges- 
 tion, if the position described, is part of the me- 
 chanical cause of the orotund? 
 
 This tubular diverging state of the upper part of 
 the pharynx may be so compressed above the glot- 
 tis, as to produce a rough vibrating voice, by the 
 gushing of air between the moist approximated sides 
 of the passage. In this manner the harsh guttural 
 sound is formed which is employed in the expres- 
 sion of energetic scorn and contempt; as will be 
 more particularly shown hereafter. I ask whether 
 the trachea is instrumental in the production of the 
 orotund, by directing, in a particular manner, the 
 current of expired air, — for I shall say presently 
 that the management of the breath, is closely con- 
 nected with this kind of voice. 
 
 The English language has adopted from Italian 
 nomenclature, the terms "Voce di petto" and "Voce 
 di testa," which seem to include the theory of the 
 formation of pure tone. The voce di petto is the 
 voice from ihe chest; the voce di testa is the voice 
 from the head or the falsette.* Besides the vague- 
 ness, arising from the anatomical distinction being 
 in this case so general, there is much reason to 
 
 * In one writer, I find the locality assigned to the falsette, as I 
 have stated it: in another, it is called the voice from the throat, 
 and each opinion is laid down as a grave truth ! 
 
104 OF THE MECHANISM 
 
 doubt the propriety of the systematic division, when 
 considered as a philosophical analysis. It is more 
 than probable, from the experiments of physiolo- 
 gists, that the vocal effect is produced by the glottis. 
 The substance or ground work of the voice, if I 
 may so speak, being made in that part, we are to 
 consider the whispering, falsette, natural and oro- 
 tund voices, as modifications of function in the 
 glottis, and not as signatures of a different seat of 
 sound. Now though the voices of the head and 
 chest, as they are called, seem by their peculiarity 
 to point out their assumed locality, the perception 
 may nevertheless be deceptive. 
 
 The only circumstances under which the voice 
 can be heard, with a certainty of the place of its 
 mechanism, is, as it is produced in the glottis, and 
 as it afterwards issues freely through the mouth and 
 nose separately, or through the mouth and nose at 
 the same time ; so that a classification of vocal sound 
 in this view may be into oral, nasal and oro-nasal. 
 By this scheme the tonic vocality is oral; one of the 
 subtonics, nasal, and the rest oro-nasal. That mo- 
 dification of voice which we have called the oro- 
 tund, might therefore without absurdity be attri- 
 buted to the function of one or more of the above 
 named parts; but it cannot without wildness of 
 thought be ascribed to the agency of the chest. 
 
 The falsette, which is called the voice from the 
 Head, may be made whilst the passage to the nose 
 is closed by the palate-, the sound being thereby 
 prevented from passing to the head. 
 
 All we are allowed to say of this distinction, ac- 
 
OF THE VOICE. 105 
 
 cording to the head and chest, is that each is a pe- 
 culiar kind of sound: nor does present knowledge 
 point out the place and mode of their mechanism. 
 I grant that the orotund seems to proceed from a 
 lower place in the throat, than the falsette and the 
 common colloquial voice ; and I admit that its pro- 
 duction is accompanied by the perception of effort 
 about the larynx, which is not perceived in those 
 other voices. The erroneous perception which 
 suggested the term ventriloquist, and the deceptive 
 exercises of this art, warn us against incautiously 
 relying on the mere audible indications of the loca- 
 lity of sounds. 
 
 There is a fulness of voice, which at a low pitch 
 has a certain hollowness like the reverberations of 
 a cavity. In this case there is no proof that the 
 larynx descends lower into the chest, or that the 
 trachea, bronchise or follicles of the lungs perform 
 any sonorous function. The whole effect must be 
 resolved into its being a peculiar sound, made by 
 the glottis or other neighbouring structure, and 
 resembling what we imagine would be the sound 
 coming from the recesses of the lungs. 
 
 What makes it probable there is no physiological 
 grounds for the term tc voce di petto," is, that the 
 voice produced by the disease in the larynx, fauces, 
 and cavity of the nose, which is commonly called 
 hoarseness or " a cold," has a fulness and a sonorous 
 character like the hollow voice which seems to 
 come from the chest. Actors of the first class, who 
 have not naturally this full and sonorous quality, 
 generally acquire it by well directed cultivation. I 
 
106 
 
 OF THE MECHANISM 
 
 know an actor of eminence, whose voice though 
 highly agreeable, and well suited to the dignity of 
 tragedy, appears in all its tonic sounds as if under 
 the influence of a slight " cold:" and I have heard 
 none, of high character, in whom an occasional syl- 
 lable, at least, of this orotund hoarseness, if I may so 
 call it, was not obvious. 
 
 In a preceding page, I acknowledged my igno- 
 rance of the mechanism and movements which pro- 
 duce the orotund voice : and have set down some 
 observations and queries that may draw the atten- 
 tion and serve the purposes of others, better pre- 
 pared than myself, in time and skill, to conduct the 
 future inquiry on this subject. 
 
 It was said that the best and the only pure in- 
 stances of the orotund are the result of cultivation. 
 I here propose to point out some elementary means 
 by which this voice may be acquired. 
 
 With slight attention, we may perceive two 
 modes in the act of expiration: the one being a 
 continued stream of air throughout the whole time 
 of expiration : the other consisting in the issue of 
 breath by short iterated jets. The first of these 
 modes is that of ordinary breathing, panting, sigh- 
 ing, groaning and sneezing. The second is em- 
 ployed in laughing crying and speech.* 
 
 * Laughing and Crying will be particularly noticed hereafter. 
 
 Sighing and Groaning are of similar time : one being an atonic 
 or whispered element, the other a tonic vocality. 
 
 Sneezing is a continued expiration abruptly began; and gene- 
 rally producing one of the elements. 
 
 I say nothing here of the various modes of inspiration con- 
 nected with these acts. 
 
OF THE VOICE. 107 
 
 By our voluntary power over the muscles of re- 
 spiration, the breath in speech is frugally dealt out 
 to successive syllables, in such small portions as 
 may be requisite for the time and force of each. 
 By thus guarding against waste, the necessity of 
 more frequent inspiration is obviated : and the abi- 
 lity of pausing freely, in the course of expiration, 
 between syllables and words, allows a consequent 
 abrupt bursting of the voice whenever it is required 
 for the purposes of speech. 
 
 The act of coughing may be made either by a 
 series of short abrupt efforts in expiration ; or by 
 one continued impulse, which yields up with its 
 sound, the whole of the breath of expiration. It is 
 this last named mode that forms the basis of the art 
 for acquiring the orotund voice. 
 
 This single impulse of coughing, is an abrupt ut- 
 terance of one of the short tonics, followed by a 
 continuation of the mere atonic breathing " h," till 
 the expiration is exhausted. Now let this compound 
 function, consisting of the exploded vocality and 
 subjoined aspiration, be changed to an entire vo- 
 cality, by continuing the tonic in place of the aspi- 
 ration. A kind of sound will thus be produced, 
 which with proper cultivation, will make that full, 
 deep quality of articulation, here denominated the 
 orotund. 
 
 The above mentioned contrived effort of utter- 
 ance, when freed from the abruptness of coughing, 
 is the kind of voice commonly united with gaping : 
 for this has a hollow vocality, very different from 
 the common colloquial utterance of tonic sounds. 
 
]0g OF THE MECHANISM 
 
 Let this entire vocality of the cough, if it may 
 be thus distinguished from the natural cough, which 
 is part vocality and part aspira tion, — let it, I say, be 
 practiced sufficiently, and the reader will find not 
 only an increasing facility in forming this designed 
 voice, but its clearness and smoothness, will be 
 thereby improved. Let the voice be herein exer- 
 cised by sliding upwards and downwards through 
 the concrete scale, on each of the tonic elements ; 
 drawing out the vocality to the utmost pressure of 
 expiration* 
 
 When the reader is able to utter perfectly the 
 tonic elements, in the orotund voice, he may perhaps 
 imagine himself qualified to speak in it. He may 
 slowly pronounce single syllables in this manner ; 
 each syllable consuming one entire issue of expira- 
 tion : but when he attempts to deliver a sentence 
 with the easy flow and time of ordinary discourse, 
 his natural voice returns. The cause of this may 
 be understood, by recurring to the distinction be- 
 tween the two modes of expiration. For though 
 the learner may acquire the art of making the oro- 
 tund voice, in the continuous stream of vocality, he 
 is not thereby able to join with that voice, an expi- 
 ration consisting of interrupted jets, such as he uses 
 in natural utterance, and w T hich are absolutely ne- 
 cessary for easy and agreeable speech. Continued 
 practice however, on one syllable, with the subse- 
 
 *This process of forcing out the breath, to the seeming ex- 
 haustion of the lungs, is apt to produce giddiness of the head. 
 Care should therefore be taken, to avoid continuing the exercise 
 of the voice too loug in this manner; and to desist for the time, 
 after that affection comes on. 
 
OF THE VOICE. \QQ 
 
 quent gradual addition of one and more, will in time 
 bring the expiration of the orotund, under the same 
 command as that of common speech. 
 
 In acquiring this orotund expiration, the reader 
 will perceive, that though he may by degrees gain 
 the power of combining several syllables under 
 a single expiration of this voice, yet his mode of 
 using it, as regards the successions of pitch in a 
 train of discourse, will not satisfy his ear. There 
 will be a monotony in his utterance ; and he will 
 not be able to make the proper vocal close at the 
 end of a sentence. By practice, this difficulty too 
 will be overcome, and an attainable accomplish- 
 ment in this matter, will exhibit the same facility 
 as in the varied movement of the natural voice. 
 
 What I have here said of the orotund, is similar 
 to the history of the early uses of the natural voice. 
 The first cries of infants are made in the continued 
 stream of expired vocality. It is a long time be- 
 fore they employ the interrupted mode of expira- 
 tion. The first speech of the child is made by the 
 apportionment of a single syllable to one expiration. 
 By a preparatory practice in the interrupted breath 
 of laughing and crying, the habit of full and perfect 
 speech is acquired. The same kind of monosylla- 
 bic breath which belongs to infant speech, and to 
 the first studies upon the orotund, takes place in 
 the debility of extreme age, and in some states of 
 severe disease. In each case, the utterance is made 
 by one or at most two syllables to an act of expira- 
 tion. The condition is similar in panting from vio- 
 lent exercise ; for in this case, that voluntary power 
 
120 0F THE MECHANISM 
 
 is lost, which governs the interrupted jets of expi- 
 ration. 
 
 The orotund voice is possessed in various degrees 
 of excellence by actors of eminence. I am unable to 
 state what are their means for acquiring it, when 
 not naturally possessed ; if indeed they have any 
 that are systematic. The simple practice of the 
 voice, is not quite sufficient to account for the at- 
 tainment j since conversation and the oratorical du- 
 ties of some professions require frequent employ- 
 ment of the voice, which notwithstanding remains 
 in its natural state. There is however one circum- 
 stance in theatrical speech, which may undesign- 
 edly produce, in the course of time, the full volume 
 and solemn gravity of the orotund. In addition 
 therefore to the previously described means for ob- 
 taining this voice, I shall in a few words point out 
 another mode, suggested by the vehement action of 
 dramatic recitation. 
 
 Let the reader make an expiration on the inter- 
 jection " hah" in the voice of whisper ; doing it 
 with that degree of force, which with some motion 
 of the chest, seems to drive all the air out of it. Now, 
 all other conditions of the process remaining the 
 same, let the whisper be changed to vocality. This 
 utterance will have the fulness, the gravity and the 
 ringing of the orotund, and will seem to come from 
 the chest. This is the vocal characteristic which 
 belongs to vociferations : for if the violent exertion 
 does not assume the false tte form of a yell or 
 scream, the force of voice is otherwise most strong- 
 ly exhibited, by the above mentioned mode. Emi- 
 
OF THE VOICE. ]H 
 
 Dent actors have a quickness, energy and delicacy 
 of feeling. The force of voice which feeling prompts 
 them to exert in their early efforts, leads them in- 
 stinctivelv to that mode of utterance which I have 
 endeavoured to illustrate, by means of the vocality 
 of the interjection " hah :" and I shall show in a 
 future section, that the junction of a certain de- 
 gree of aspiration with the tonic elements, is one of 
 the ways of earnest and energetic expression. The 
 continual utterance of the forcible sentiments of 
 the drama, joined to the power required by the di- 
 mensions of a theatre, produces that kind of effort 
 of expiration which leads the speaker to the attain- 
 ment of the orotund voice. This mode of produc- 
 tion suggests the usefulness of strenuous exertion of 
 the organs, on the kind of function above described. 
 
 It is not to be supposed that the full, hollow and 
 ringing sound of this voice is always of the same 
 pure quality. It varies through every degree, 
 from the highest point of excellence down to the 
 natural voice : and is modified by being more or 
 less free from aspiration ; more or less articulate ; 
 more or less reedy, or smooth 5 more or less free 
 from nasal notes; more or less brilliant, or dull, or 
 strong. 
 
 If it should be asked — what advantage is to be 
 gained by the care and labor here enjoined, for ac- 
 quiring this improved quality of the speaking voice? 
 I answer 
 
 First. The mere sound is more musical than that 
 of the common voice: since it partakes of the sound 
 of the reed, horn, flute and musical glass, according 
 
112 OF THE MECHANISM 
 
 to the degree or peculiarity of its excellence. There 
 are voices which in comparison with the full sono- 
 rousness of a fine orotund, exhibit scarcely more 
 musical qualities than the sound of a hammer on a 
 block. A musical voice is well suited to display 
 the delicate structure of the vanishing movement ; 
 since the finished execution of its termination essen- 
 tially requires a smoothness in quality. This char- 
 acter of the voice is so alluring, that it often catches 
 the ear and the approbation of such limited obser- 
 vers as seem insensible to the highest accomplish- 
 ments in pronunciation, pause, quality and intona- 
 tion. I have known the redeeming influence of a 
 musical voice, create a fame for its possessor 5 who 
 in the other essentials of good reading was even 
 below mediocrity. It is this quality which gives 
 the finishing beauty to the other excellencies of the 
 first class of actors. In the female voice it is most 
 obvious and delightful. 
 
 Secondly. The orotund is fuller than the common 
 voice: and as its smoothness gives a delicate attenu- 
 ation to the vanishing movement, its fulness, with 
 no less appropriate effect, displays the stronger 
 body of the radical. 
 
 Thirdly. It has a pureness of vocality that gives 
 distinctness to pronunciation. For when completely 
 formed, it is free from the dulness and obscurity 
 belonging to the nasal and the aspirated sound: the 
 husky offensiveness of which is well exemplified 
 by the union of these functions in Snoring. 
 
 Fourthly. It has a greater degree of strength than 
 the common voice. In this respect it partakes of the 
 
OF THE VOICE. 113 
 
 nature of things which are perfect in their kind. 
 The ear seems filled with its volume and asks for 
 no more of it. 
 
 Fifthly. The orotund is more under the command 
 of the will than the common voice : and is conse- 
 quently more efficient and precise in the production 
 of long quantities in the concrete •, in varying the 
 force of the voice ; in swelling •, in executing the 
 functions of the tremulous scale, and in performing 
 all the other varieties of expressive intonation. 
 
 Sixthly. It is the only kind of voice appropriate 
 to the master stile of epic and dramatic reading. 
 Through it alone, the actor consummates the out- 
 ward sign of the dignity and energy of his conception. 
 The impressive authority and stately elegance of 
 this voice exceed as measurably, the meaner sounds 
 of ordinary discourse, as the superlative pictures 
 of the poet, and the broad wisdom of the sage re- 
 spectively transcend the poor originals of life, and 
 all their wretched policies. It is the only voice ca- 
 pable of fulfilling the majesty of Shakspeare and 
 Milton. 
 
 Finally. As the orotund does not destroy the 
 ability to use at will the common voice, it may be 
 imagined how their contrasted employment may 
 add the resource of vocal light and shade, if I may 
 so speak, to the other means of oratorical coloring 
 and design. 
 
 In closing the subject of this section, I cannot 
 avoid expressing a fear that the foregoing descrip- 
 tions have not been sufficiently explanatory of the 
 means which I believe to be true, and sufficient for 
 
114 0F THE MECHANISM OF THE VOICE. 
 
 success. If the definitions and arrangements will 
 be found to be intelligible, I shall rejoice in the ac- 
 complishment of a heart-felt design. If the reader's 
 ambition is industrious, he may perhaps effect the 
 purpose of instruction from what is here told. If 
 his ambition is inventive, he will in the pursuit of 
 this subject, discover other more sure and shorter 
 means. 
 
SECTION VI. 
 
 Of the Melody of speech ; together with an inquiry 
 how far the musical terms Key and Modulation 
 are applicable to it. 
 
 When the nature of the radical and vanishing 
 movement was described, it was regarded individu- 
 ally, or as applied to a single syllable. But as 
 speech consists for the most part, of a series of syl- 
 lables, on each of which the concrete function of 
 the voice instinctively occurs ; it is necessary to con- 
 sider the use and relationships of the radical and 
 vanish, in their aggregate application to the many 
 syllables of a sentence. 
 
 In plain narrative or description, the concrete 
 utterance of each syllable is made through the in- 
 terval of a tone; and the successive concretes have 
 a difference of pitch, relatively to each other. The 
 appropriation of these concretes to syllables, and 
 the manner in which the succession of their pitch 
 is varied, are exemplified in the following notation: 
 
 He reads in na tures in fi nite 
 
 book of se ere cy 
 
 If these lines and the included spaces be sup- 
 
115 OF THE DIATONIC 
 
 posed, each in proximate order, to denote the dif- 
 ference of a tone in pitch, the successions of the 
 radical points, with their issuing vanish, will show 
 the places of the syllables of the superscribed sen- 
 tence, in easy and unexceptionable utterance. The 
 perception of the effect of the successions here ex- 
 emplified, is called the Melody of speech. 
 
 The strict definition of the melody of speech em- 
 braces the doctrine of time and pause : but as the 
 symbols of these functions will not be given in this 
 essay, and as the nature of each will be described 
 hereafter, under a distinct head, the subject of the 
 present section is limited to the development of the 
 principles of intonation, and to the illustration of 
 these principles by the linear notation. 
 
 An accurate perception of the difference of pitch 
 in melody can be obtained only by close observa- 
 tion, and by well devised experiments. The inqui- 
 rer should be able to rise and descend through the 
 musical scale, on any one of the tonic elements. 
 He should then traverse the octave, both ascending 
 and descending, on any eight successive syllables, 
 selected from common discourse ; using a different 
 syllable for each note of the scale. This exercise 
 will in due time enable him to recognize the inter- 
 vals of a tone, a third, a fifth, and an octave, when 
 the intonation is made on the passing syllables of 
 speech. Being thus prepared, let him try to ana- 
 lyze the above example, when made in his own 
 style of utterance •, for I cannot suppose him yet 
 able to follow the notation. With this view, let 
 him move slowly through the sentence, sounding 
 
MELODY OF SPEECH. ]17 
 
 only the tonic element of each syllable ; and ut- 
 tering those elements in their shortest abrupt 
 sound $ so that the reading, if I may so call it, may 
 resemble the successions of a short cough. This 
 method will make the variations of pitch more dis- 
 tinct than when all the letters of the syllables are 
 pronounced. 
 
 If this contrived utterance should not afford a 
 clear perception whether a given syllable rises or 
 falls a tone, from the place of the preceding sound, 
 let him measure the questionable relations of the 
 two sounds, by the rule of the scale, in the follow- 
 ing manner. Whilst he utters these sounds as if he 
 was reading, let him keep them in notice as parts 
 of the scale. If the second be above the first, he 
 will perceive that the ascent, by those two sounds, 
 forms the two first steps or notes of the rising scale. 
 If the second be below the first, he will, on the 
 addition of one more tone below the second, re- 
 cognize that peculiar effect which belongs to the 
 close of the scale, and to the fall of the voice at a 
 period of discourse : for this effect can take place 
 only upon a descent of the voice. In the use of the 
 means here directed, the ear must, with divided 
 attention, be directed at the same time, to the pro- 
 gress of the melody, and to the successions of pitch 
 in the musical scale. 
 
 In order to render the system of melody intelli- 
 gible, we may consider the succession of its sounds 
 as subdivided into that which takes place in the 
 major part of the sentence, and that which occurs 
 on a shorter portion at its termination. These divi- 
 
118 OF THE DIATONIC 
 
 sions, may be otherwise termed, the Current melo- 
 dy and the melody of the Cadence. 
 
 The current melody, or that succession of rise 
 and fall which is made on all the syllables of a sen- 
 tence, except the three last, exhibits the following 
 phenomena. 
 
 In simple phraseology, which conveys no feeling 
 or emphatic sentiment, every syllable consists of 
 the upward radical and vanishing tone. The suc- 
 cession of these concrete tones is made with a va- 
 riation of pitch, in which any two proximate con- 
 cretes never differ more than the interval of a tone 
 above or below each other. 
 
 To distinguish these two modes of melodial pro- 
 gression by short and referrible terms, let us call the 
 rise of each syllable the Concrete Pitch of melody ; 
 and the place that each syllable assumes above or 
 below the preceding, the Radical Pitch. Thus in 
 the foregoing example of notation everyone of the 
 syllables has the concrete pitch of a tone: the two 
 composing the word "nature,'' differ from each 
 other in their radical pitch, whilst that of the three 
 syllables of " infinite'' is the same. 
 
 It will be shown hereafter in its proper place, 
 that the melody employed at some of the pauses in 
 a loose sentence, require a certain succession of ra- 
 dical pitch, for the clear representation of the sense 
 of discourse. But the parts contained within the 
 divisions, made by these pauses, have no fixed 
 mode of arrangement : for the effect will be natural 
 and agreeable, if the melody of these parts is made 
 by avoiding a continuation of the same radical pitch, 
 
MELODY OF SPEECH. 
 
 119 
 
 or an alternate rising and falling, or any other pro- 
 gression of remarkable regularity. I offer here 
 three different notations of the same sentence, in 
 which the above cautions are observed, and in each 
 of which the melody has a natural construction. 
 
 He ne ver drinks, but Ti— mon's sil ver 
 
 4 4 4 * -*-* 
 
 treads up on his lip 
 
 He ne — ver 
 
 drinks 
 
 but 
 
 Ti — mon's sil — ver 
 
 4 * * 
 
 W 
 
 4 
 
 4 -r d s 
 
 
 treads 
 
 up on his lip 
 
 -4- 
 
 * * 4 
 
 K 
 
 He 
 
 ne ver 
 
 drinks, 
 
 but 
 
 Ti — mon's sil — ver 
 
 
 4 4 
 
 4 
 
 
 * 4 4 * 
 
 
 treads up -on his lip 
 
 There are other modes in which an agreeable 
 melody might be framed for this sentence, on the 
 
\2Q OF THE DIATONIC 
 
 principles of this noted relationship. The princi- 
 ples of this relationship consist in the succession of 
 certain aggregates of the concrete tones, which 
 may be called the Phrases of melody : their varied 
 sequences making the agreeable style of speech. 
 
 These phrases may be designated thus: when 
 two or more concretes occur successively on the 
 same place of radical pitch, it may be called the 
 phrase of the Monotone. 
 
 When a concrete is above or below a preceding 
 one, the phrases may be termed respectively, the 
 Rising and the Falling ditone. 
 
 When three concretes successively ascend — the 
 Rising Tritone. 
 
 When there is a train of three or more, alter- 
 nately a tone above and below each other, it may 
 be called an Alternation or the Alternate phrase. 
 
 When three concretes gradually descend in their 
 radical pitch, at the close of a sentence, the phrase 
 may be distinctively termed the Triad of the ca- 
 dence. This is indeed a falling tritone, but as it does 
 not occur in the current melody, and is only found 
 in the final close, I have chosen to contradistinguish 
 it by the term Triad. 
 
 The form of these phrases is pointed out on the 
 notation of the following lines j where the current 
 is constructed in a manner not unsuitable to the 
 simple narrative of the couplet : though here, as 
 in some other instances of this essay, the melody 
 is made with a view to illustrate description, rather 
 than to furnish examples of appropriate elocution. 
 
MELODY OF SPEECH. 
 
 121 
 
 That quarter 
 
 most 
 
 the 
 
 skil- 
 
 -fill 
 
 Greeks 
 
 an--noy, 
 
 \* * f 
 
 4 
 
 4 
 
 • 
 
 f 
 
 4 
 
 -r # 
 
 1* * • 
 
 
 
 
 Monotone. Rising- Ditone. Alternation. 
 
 Where yon wild fig- trees join the wails of Trov, 
 
 -r ir -r 
 
 JEZTJL 
 
 Itising Tritone. Falling Ditone. Triad ot the Cadcuce. 
 
 I have not been able to discover that the melody 
 of plain narrative or description is resolvable into 
 more than these six phrases. It will be learned 
 hereafter when we speak of the cadence, why there 
 can be no element in the current melody of more 
 than two downward tones: and perhaps the construc- 
 tion of the musical scale may furnish a reason, why 
 no rising phrase can contain more constituents than 
 the tritone. 
 
 The three first notes of the scale embrace the 
 interval of two whole tones. If we pass from the 
 third to the fourth, the transition is by a semitone. 
 The semitone has its peculiar expression in speech, 
 and consequently its appointed place ; but is inad- 
 missible into the plain discourse of which we are 
 now treating. The habit of the succession of the 
 musical scale is so fixed in the ear, that if there was 
 a phrase of melody consisting of four rising consti- 
 tuents, the last would unavoidably be a semitone : 
 and the series, so constituted, would have the effect 
 of the four first notes of the scale, when sung di- 
 rectly ascending in quick time. This phrase of song 
 
 R 
 
122, OF THE DIATONIC 
 
 would, in its place, destroy the characteristic me- 
 lody of speech. 
 
 The three examples given in a preceding page, 
 of the varied current melody of the same sentence, 
 and the intimation that even in that short sentence, 
 the phrases might be further agreeably diversified, 
 enable us to understand why, an accomplished 
 speaker never offends the ear, by a monotonous 
 continuation of the same radical pitch, or by formal 
 returns of similar progressions. For notwithstand- 
 ing the pitch is necessarily limited to the variety 
 afforded by the rise and fall of a single tone, yet the 
 different phrases of melody, and their practicable 
 changes, furnish sequences of dissimilar passages, 
 quite sufficient to prevent a recognition of identity 
 in the succession. The ear of a skilful speaker is 
 always on the watch against the faults of monotony, 
 from closely repeated phrases : and there are 
 enough variable elements to afford an easy exemp- 
 tion from them. The principle that governs the 
 construction of the successions of pitch in the 
 melody of speech, is similar to that which directs 
 the arrangement of varied accent, and quantity, in 
 the rhythmus of harmonious prose. Excellence in 
 each is the work of a delicate and discerning ear: 
 and its habitual and almost involuntary judgment is 
 not less effective in one instance, by securing the 
 beauties of a varied intonation, than in the other, 
 by rejecting the prosodial measures of acknowledg- 
 ed verse. 
 
 The melody of speech is made by movements of 
 the voice, partly in the concrete and partly in the 
 
MELODY OF SPEECH. 123 
 
 discrete scale. The radical and vanish of each syl- 
 lable is strictly concrete. The transition from one 
 syllable to another partakes in some instances of the 
 nature of a concrete junction. Thus, in the first 
 diagram of this section, the vanish of the syllable 
 " he" rises through the interval of a tone. The 
 radical of " reads" begins on the place at which 
 the preceding vanish ends : for though the ful- 
 ness of the radical sound broadly distinguishes it 
 from the fine termination of the antecedent vanish, 
 and notwithstanding there is a momentary interrup- 
 tion of the line of sound, yet there is an appearance 
 of one kind of continuity between them. The transi- 
 tion of the melody from the syllable " in" to " na" 
 is by the discrete scale : for the radical of " na" be- 
 gins a whole tone below the radical of " in," and 
 the change from the vanish of " in" is here made 
 without the downward continuity of the concrete 
 scale. In a general view of this subject, it may be 
 stated, that the constituents of the phrases of the 
 rising ditone and tritone are joined by the imper- 
 fect kind of concrete spoken of above. In the mo- 
 notone and falling ditone the transition is made by 
 the discrete scale. It will be readily acknowledged 
 that the changes of pitch after a cadence or full 
 stop, must be by the discrete scale. 
 
 If the foregoing description of the successions of 
 pitch in plain narrative, is correct, we may upon 
 strict etymology, call the sum of those successions, 
 the Diatonic melody of speech. For in the first 
 place, the vanish of each separate concrete rises 
 through the space of a tone; and secondly, the 
 
124 OF THE DIATONIC 
 
 changes of radical pitch are made through the same 
 interval. 
 
 These two functions, the first having the pecu- 
 liar characteristic of the equable rise, are the mate- 
 rial points that distinguish the melody of speech 
 from that of song. 
 
 There are two kinds of succession in song : the 
 first by conjoint degrees, or the change of the note 
 from one place on the scale, to another immediately 
 above or below it ; the second by skips as they are 
 called, or by transitions from a given place, to any 
 other except the proximate. 
 
 The melody of speech does employ both these 
 modes of succession : but that by skips is of more 
 rare occurrence than in song. 
 
 In treating hereafter of the nature of emphasis, 
 and of interrogative sentences, the occasions and 
 manner of using these wider changes of radical 
 pitch will be shown. The melody of simple narra- 
 tive or inexpressive speech, now before us, always 
 moves by conjoint degrees. 
 
 I proceed to analyze the intonation, applied to 
 the final syllables of a sentence; and which, from 
 its position and peculiar nature, I have contradistin- 
 guished as the melody of the cadence. If the eight 
 notes of the musical diatonic scale be uttered, both 
 ascending and descending, by a repetition of the 
 word " cordova," the appropriation of syllables will 
 be thus : cor-do-va cor-do-va cor-do : and descend- 
 ing, cor-do cor-do-va cor do-va. By thus sol-faing, 
 if I may so speak, on these syllables, the last repeti- 
 tion of the word in the descent, is allotted to the 
 
MELODY OF SPEECH. \2b 
 
 three lower notes of the scale : and produces the 
 full close of its key note. In this experiment, I have 
 supposed the intonation to be made by the note of 
 song ; as it would certainly be so made, by a person 
 familiar with the scale. If the experimenter, whilst 
 descending, can change these three notes of song 
 to the equable concrete of speech, he will perceive 
 an identity of effect between this mode of descent, 
 and the utterance of the same word, at the full pe- 
 riod of a paragraph. From this and other trials it 
 may be learned, that the melody of the cadence is 
 always made on the three closing tones of the down- 
 ward scale.* 
 
 But the most remarkable effect of the cadence 
 . lies in another point. I have represented all the 
 radical sounds of the current melody as terminating 
 in a rising vanish ; and this, indeed, is the course of 
 the voice in the utterance of every syllable, except 
 the movement be otherwise directed for some pe- 
 culiar purpose. Now one purpose of a contrary 
 movement is, to bring the current of the voice to 
 a close; and with this intention, the last constituent 
 or lowest tone of the cadence is made by a feeble 
 downward vanish. It is this mode of the concrete, 
 so easily distinguishable in this place from the rising 
 vanish, that produces the effect of the period or 
 close of the voice at the end of a sentence : and that 
 constitutes, in connection with the series of three 
 
 *The critical reader must bear in mind, that I say three tones, 
 in reference to the three concretes of the spoken cadence, since, 
 in a musical sense, the three lower sounds of the scale, contain 
 the interval of two tones onlv. 
 
126 OF THE DIATONIC 
 
 descending radicals, the essential characteristic of 
 the cadence. 
 
 The reason now appears, why the falling tritone 
 cannot be used in the current melody, since it 
 would produce an unmeaning termination of dis- 
 course. It may be supposed that a downward tri- 
 tone could have a place in the current melody, if 
 the downward vanish were not applied to its last 
 constituent. The fallacy of this supposition may be 
 shown by experiment : for on giving the rising van- 
 ish to the lowest constituent of the tritone, we do 
 violence to the tendency of the voice to a close on 
 that constituent ; and create still stronger solicitude 
 to make the next tone below, the satisfactory down- 
 ward vanish of the cadence. 
 
 Whether this triform nature of the cadence, and 
 its exclusion from the current melody, proceed 
 from the habit of the musical scale on the ear, simi- 
 lar to that which prevents a greater rise than of 
 three tones ; or whether these circumstances are 
 resolvable into some hidden instinct of the voice, I 
 will not decide. 
 
 It was stated above, that each syllable of the cur- 
 rent melody has a radical and vanishing tone ap- 
 propriated to it. The parts of the cadence are not 
 so apportioned. Let us, for the sake of reference, 
 designate the constituents of the cadence by the 
 names of their numeral positions. 
 
 In the First form of the cadence, the first, second 
 and third constituent, each has a corresponding syl- 
 lable, as in the following notation: 
 
MELODY OF SPEECH. 127 
 
 Sweet is the breath of morn. 
 
 The Second form has a similar appropriation of 
 concretes to syllables ; with a downward vanish on 
 each constituent, as: 
 
 The air was fanned by un — num — ber'd plumes. 
 
 * 4*~* 
 
 In the Third form, the first and second are allotted 
 to a single syllable, as: 
 
 With tur — ret crest and sleek en — am — ell'd neck. 
 
 * * 4 * 4 4* 
 
 In the Fourth form, the second and third coalesce 
 on one syllable, as: 
 
 The 
 
 mean ing, 
 
 not 
 
 the 
 
 name, 
 
 I 
 
 call. 
 
 f 
 
 
 
 
 4 
 
 4 
 
 H^-- 
 
 
 + * 
 
 In the Fifth, the three constituents are appropria- 
 ted to one long syllable. It is unnecessary to illus- 
 trate this by a visible scheme. 
 
 In the Sixth form, which should properly be call- 
 ed a false cadence, the second constituent is omitted, 
 as in the following notation : 
 
 Of wiles, more in ex — pert, I boast 
 
 not. 
 
 4 4 4 4 
 
 This takes place when the ultimate and penul- 
 timate syllables of a sentence are each so short, that 
 
12S OF THE DIATONIC 
 
 giving either the length of two conjoined concretes, 
 would deform pronunciation. 
 
 In this example, the proper triad should be 
 made by a successive descent of three tones on the 
 words "I boast not." If from unskilful management 
 of the voice, a reader should neglect to set the syl- 
 lable " boast," in the radical pitch of a tone below 
 u I," he will not be able to complete the cadence, 
 by the downward prolongation of the short sylla- 
 ble " not'' through the interval of two tones, as is 
 done on a long syllable, in the fourth form of the 
 cadence. But a full close cannot be made without 
 the third constituent, or an extension of the second 
 in a downward vanish through its place : and as the 
 syllable " not," on account of its short time, cannot 
 assume this last condition, the second constituent 
 must be omitted, and a defective cadence made by 
 a skip to the last place of the triad. 
 
 From this analysis of the cadence, we have learn- 
 ed that its construction involves the consideration 
 of the time of syllables. The first or tripartite form 
 may be used under any condition of quantity; but 
 if the three, or even the two last syllables should 
 be short, and incapable of prolongation, it is the 
 only applicable mode. The same remark may be 
 made upon the second form. When the penultimate 
 is long, the third form may be used : and the fourth 
 and fifth each requires a long quantity in the final 
 syllable. 
 
 Of the six described forms of the cadence, all 
 except the last make natural and agreeable closes; 
 but the first and second, which proceed by an equal 
 
MELODY OF SPEECH. 129 
 
 number of concretes and syllables are of the easiest 
 execution. The third, fourth and fifth, which con- 
 join two and three concretes respectively on a single 
 syllable, require a facility in the management of 
 quantity, rarely possessed by common readers. 
 Skill in the art of employing at will the time of ut- 
 terance, enables an accomplished reader to perform 
 with equal ease and elegance, these four varieties 
 of cadence. By a command over quantity he may 
 give a faultless close, however unexpectedly he may 
 meet with a period in discourse : whilst the ordi- 
 nary reader frequently fails in his final melody , from 
 being limited to the use of the tripartite cadence. 
 For should his current melody be so continued that 
 a monotone or rising ditone reaches to the penulti- 
 mate syllable, his cadence will necessarily be awk- 
 ward or false. The last described form of the ca- 
 dence, which is not uncommon with the mass of 
 speakers, is strictly forbidden by the rule of a good 
 composition in melody. 
 
 The fifth mode of the cadence, which consists in 
 the application of the three constituents to the last 
 syllable, is distinguished from the other forms by a 
 peculiarity of function. It appears in the notation, 
 that the voice does pass through the same places of 
 pitch, as when the cadence is made in the first or 
 tripartite mode : but it appears also from the 
 scheme, that the full radicals of the second and third 
 constituents are not given. Now it is the fulness of 
 the radical which draws the attention of the ear to 
 the changes of the pitch of melody, and which con- 
 spicuously marks the descent of the triad. The 
 
Iqq OF THE DIATONIC 
 
 omission therefore of the radicals of the second and 
 third concretes, in the fifth form of the cadence, 
 lessens the impressiveness of the close, and sug- 
 gests a twofold distinction as regards its effect on 
 the ear. When the close is made, as in the fifth form, 
 by one downward concrete without the full radi- 
 cals of the second and third constituents, it may be 
 called the Feeble cadence: and the Full cadence, 
 when the proper radical of the third constituent is 
 heard on the ultimate syllable. The full cadence 
 is delineated in the first, second and third forms 
 noted above, and the feeble is described in the 
 fifth. When the reader can follow the notation, he 
 will perceive a difference between the effects of the 
 fifth and the others ; and he will admit that the tri- 
 partite form of the full cadence produces the feeling 
 of the most complete repose. 
 
 In the representations of the cadence, it does ap- 
 pear that the Tripartite form traverses the interval 
 of a fourth : whereas the Feeble includes only a 
 third, which I have said is the proper space of the 
 cadence. In calculating the dimensions of the tri- 
 partite, the radicals only are taken, as it is these that 
 strongly mark the close ; the last downward vanish 
 which makes the surplus in the case, seeming by 
 its faintness to justify its rejection from the mea- 
 surement. 
 
 The proper construction of the cadence is of the 
 first importance in the melody of speech. The triad 
 possessing the peculiar attractions of a key note, 
 and occurring more rarely than the other phrases, 
 it more emphatically affects the ear; whilst its 
 
MELODY OF SPEECH. 131 
 
 position at the end of a sentence, subjects it to a 
 critical examination, in the leisure of the conse- 
 quent pause. It is well known to those who have 
 observed learners, that the proper management of 
 the descent of the voice in reading, is acquired 
 with difficulty, and often not until long after the 
 current melody is practicable without any impor- 
 tant error. I have known offensive deviations from 
 the true rule of the cadence, committed by actors 
 of long practice and considerable skill, who would 
 have guarded their melody against the alleged 
 faults, if their studies, instead of being compiled 
 from imitation, had been directed by those princi- 
 ples, which well observed nature informs us should 
 govern the high accomplishments of speech. 
 
 In the first section of this essay, I endeavoured 
 to explain the meaning of the word key, as sig- 
 nificative of a certain arrangement of the elements 
 of the musical scale ; and I now proceed to inquire 
 with what propriety the term is applied to the me- 
 lodial ranges of the speaking voice. 
 
 The term key, in an absolute sense, means the 
 proper succession of tones and semitones in the dia- 
 tonic musical scale ; but when used with the wider 
 latitude of a generic appellation, it includes several 
 species of a similar order of successions, carried on 
 from each of the notes and subdivided tones of the 
 scale, as the beginning of those similar orders. It 
 follows that there must be as many keys, as there 
 are places in the scale from which the orders of 
 successions may commence. Now the natural scale 
 consists of seven notes, which, with the addition of 
 
132 0P THE DIATONIC 
 
 the octave, include between them a series of five 
 whole tones and two semitones. In one mode of 
 the scale a semitone lies between the third and 
 fourth notes, and between the seventh and the oc- 
 tave ; constituting the kind of succession called the 
 major scale or mode. In the other a semitone lies 
 between the second and third notes, and the fifth 
 and sixth in descending the scale, and between the 
 second and third, and the seventh and eighth in 
 ascending; forming the succession of the minor 
 mode. If then the whole tones of these scales be 
 divided into semitones, it will make the places of 
 twelve notes in each mode, for the commencement 
 of twenty -four different keys. 
 
 The melody of music, whether in the major or 
 the minor scale, is made by progressions, both of 
 skips and conjoint degrees, through the series of 
 five tones and two semitones in any given key ; and 
 the song or the movement, so constructed, is termi- 
 nated with entire satisfaction to the ear, when it is 
 brought to a close on the first point of the series 
 which is called the key note. 
 
 The melody of plain narrative speech is made by 
 progressions of conjoint degrees only ; and its satis- 
 factory close at a period of discourse, is effected by 
 the successive descent of three concretes. The 
 scale of the speaking voice has no interspersed se- 
 mitones ; nor is it limited, like the musical scale, to 
 a peculiar arrangement of seven constituent inter- 
 vals. If we suppose a person to possess the ability 
 of speaking distinctly through a compass of ten 
 diatonic degrees, included between the lowest 
 
MELODY OF SPEECH. J 33 
 
 pitch of articulate utterance and the highest point 
 of the natural voice, the melody may, by the use of 
 proper phrases, be carried through any wandering 
 course of ascent and descent, within these bounda- 
 ries. Let the speaker take the first syllable of a 
 sentence, on the first place of this supposed range. 
 A ditone will raise the melody to the second, and 
 an additional concrete, on that second place, will 
 make the phrase of the monotone. From this, a 
 ditone will lead him upwards to the third place ; 
 and in like manner ascending, the melody may be 
 carried to the tenth place. Now from this utmost 
 elevation, a falling ditone will bring him to the 
 ninth : a monotone on this will prepare the voice 
 for another ditone descent to the eighth. Having 
 by a similar progress reached the third, a down- 
 ward tritone or the triad of the cadence, with the 
 deflexure of its final constituent, will close the me- 
 lody on the first. 
 
 In this exemplar scheme, I have conducted the 
 melody formally up and down, in order to eluci- 
 date the means of changing the pitch, without the 
 forbidden movement of several directly successive 
 rising or falling concretes. But it is due to remark 
 that the rising tritone may also be used in ascend- 
 ing ; that the progress may be varied by using, at 
 will, a longer monotone, and by deferring the rise 
 or fall, by the occasional employment of a phrase 
 of contrary movement. It is by avoiding an ascent 
 of more than three concretes in succession and of 
 more than two in descent, that the desirable changes 
 through acuteness and gravity in speech, may be 
 
134 OF THE DIATONIC 
 
 effected, in an easy and agreeable manner : for the 
 beauty of melody consists, not only in skilfully va- 
 rying the order of phrases, as they move onwards, 
 but likewise in correctly managing the rise and fall 
 through the whole compass of pitch. The following 
 notation shows the progress of the voice, through a 
 compass of nine diatonic degrees : the rule of the 
 rise and fall being observed, and the melody being 
 therein agreeably diversified. 
 
 If 
 
 thou 
 
 dOBt 
 
 slan 
 
 der ber 
 
 and 
 
 tor — ture me, 
 
 
 -^ 
 
 
 
 W 
 
 
 W w 
 
 •r 
 
 4 - * 
 
 jf IT 
 
 Ne—ver 
 
 pray 
 
 more: 
 
 a ban-don 
 
 all 
 
 re morse; 
 
 
 * 4 
 
 tf 
 
 A 
 
 - 4 
 
 4 
 
 * «r 
 
 
 w 
 
 ^ 
 
 4 J m 
 
 
 
 
 On 
 
 bor — 
 
 -ror's 
 
 head 
 
 hor rors 
 
 ac ■ cu — mu late; 
 
 
 -4f- 
 
 ¥ 
 
 ¥ 
 
 -*— 
 
 • 4 
 
 • 4 * 
 
 
 m w * 
 
 
 Do 
 
 deeds to make 
 
 Hea-ven weep, all 
 
 earth 
 
 a — mazed ; 
 
 
 4 
 
 f* * * 
 
 4 
 
 * * 
 
 mf 
 
 tf * 9 
 
 
 
 ^ 
 
 -w — 
 
 
 For no-thing 
 
 canst 
 
 thou to 
 
 dam — na — tion 
 
 add, 
 
 W r 
 
 * rf tf 
 
 tf 
 
 ^r # 
 
 -r mf w 
 
 
 ~ w ••^^ 
 
 
 Great er 
 
 than 
 
 that. 
 
 
 
 
 4 tf 
 
 w 9 * - 
 
 
 
 •v 
 
 
 The above notation is restricted to an exemplifi 
 
MELODY OF SPEECH. 135 
 
 cation of the means for moving through the com- 
 pass of tbe voice. If this were the place to speak 
 of the emphatic expression of this forcible passage, 
 other modes of both the radical and concrete pitch 
 would be used and explained. Those points will 
 be considered hereafter. At the two colon pauses, 
 which in correct reading will not bear a full close, 
 I have set the less conspicuous interruption of the 
 feeble cadence. 
 
 From the foregoing account of the musical and 
 speaking scales, it may be learned that though their 
 respective constituent intervals and melodial pro- 
 gressions differ from each other; yet with reference 
 to the philosophic sense of the word key, there is 
 some discoverable similarity between them. For 
 since the descent of three concretes in speech, with 
 a downward vanish on the last, always produces the 
 cadence or reaches the consummation of the key 
 note 5 it follows that in a voice, with a compass of 
 ten diatonic degrees, as above supposed, every de- 
 gree, except the two highest, may be the place of 
 a key note : and consequently, that this voice might 
 be said to have eight keys. But there is a difficulty 
 in the specification of the keys of spoken melody, 
 which cannot be obviated. When a musical melody 
 is said to be in a particular key, the expression is 
 definite, and the picture of the thought is clear to 
 those who are acquainted with the system of the 
 musical scale. The melody of speech cannot be 
 said, with precision, to be in any one key, except 
 the assertion be made of the phrase of the mono- 
 tone, since the constituents of this phrase alone have 
 
136 OF THE DIATOiNIC 
 
 the same key note. If a cadence is made on any 
 of the other phrases, the triad which leads to a close 
 from one of its constituents, must differ from the 
 triad falling from another. 
 
 Such being the fruitless purpose of attempting 
 to designate the key of a single phrase, how much 
 more indefinitely must a particular key be affirmed 
 of a current melody, composed of a continually vary- 
 ing succession of phrases. Definitiveness of key 
 may be affirmed of the cadence, because the suc- 
 cession of its concretes, and the place of its key 
 note are unalterably fixed. Looking on the triad 
 as determining the key, a particular key may be 
 appropriated to each individual concrete ; and con- 
 sequently the key of a current melody must per- 
 petually change. If therefore any reference is made 
 to the key, the proper designation should be, by the 
 plural term, keys of the melod} 7 . 
 
 The peculiar structure of the musical scale ; the 
 necessity for rules to govern the changes from one 
 key to another ; the purposes of concerting and of 
 harmonical composition, led to the definite nomen- 
 clature and arrangement of musical keys. But 
 should the doctrine of key be at all kept in view, 
 in the art of speaking, the purely diatonic structure 
 of the scale, and, if I dare so compound terms, the 
 strict solo-vocal office of speech, perhaps call for no 
 nearer precision than a classification into the upper, 
 middle and lower keys of the voice. 
 
 From this view of the speaking voice, it may be 
 understood, why in the notation of its melody I have 
 
MELODY OF SPEECH. 137 
 
 used only the staff of the musical tablature, without 
 reference to its cliffs or its signatures. Cliffs are 
 used in music for purposes of concerting ; by deter- 
 mining with precision the proper places of pitch 
 for several voices or instruments, when moving in 
 accompaniment. They are therefore useless to the 
 singleness of speech. The melody of speech being 
 altogether diatonic, has no rule for constructing 
 keys, arising out of the fixed places of the semitones, 
 as in the musical scale. Consequently there is no 
 need of the prefixed signatures of flats and sharps: 
 the naked lines and spaces of the staff, denoting the 
 extent and relationships of pitch, afford sufficient, 
 means for illustrating the intonation of speech. 
 
 The term modulation is used, in music, to signify 
 the transitions of melody and of harmonic compo- 
 sition, from one key to another. The question of 
 the propriety of this term, as significative of analo- 
 gous changes in the melody of speech, is involved 
 in the question of the propriety of the application 
 of the musical term key to the mere variations of 
 pitch in the speaking voice : and we have seen the 
 almost universal difference between the regular 
 system of keys in music and the melodial method of 
 speech. 
 
 The preceding remarks, on the musical and 
 speaking scales, were intended to exhibit the rela- 
 tionships between their respective functions: but 
 it appears from comparison that there is no system- 
 atic analogy to justify the transfer of the terms key 
 and modulation from music to speech. The trans- 
 fer was, however, long ago made, and the terms 
 
 T 
 
138 OF THE DIATONIC 
 
 are still continued under a total ignorance of the 
 nature of the speaking scale. When the truth of 
 the analysis, set forth in this section, will be admit- 
 ted, it shall be obligatory on all those who take de- 
 light in accuracy of knowledge, to distinguish, by 
 appropriate names, those ideas which negligence 
 will have suffered to pass as identical. If the mu- 
 sical terms key and modulation had not received 
 an unmeaning admission into the nomenclature of 
 the speaking voice, the description of its melody 
 would not, in these last pages, have been compli- 
 cated with the record of the waste work of investi- 
 gation, which the inquirer loves to expunge and 
 forget, after he has made out the simple story of 
 truth. And had the hitherto untried subject of 
 melody been happily exculpated from the preju- 
 dice and false witnessing of its adopted nomencla- 
 ture, the unargued and unbiassed history of its 
 changes would have been given thus : — 
 
 The melody of the speaking voice, may be led, 
 ascending and descending, through its whole com- 
 pass, by a certain mode of diatonic succession : and 
 may be brought to the satisfactory close, heard at 
 the full period of discourse, by a descent of three 
 concretes, from any point within the compass. 
 
 If I have not here followed the prefered brevity, 
 nor omitted the detail which produced the conclu- 
 sion that the doctrine of key and modulation is 
 hardly applicable to speech 5 it was because I cer- 
 tainly anticipated the inquiries which the habit of 
 nomenclature would suggest; and because I chose, 
 perhaps advantageously, to introduce, into the re- 
 
MELODY OF SPEECH. 130 
 
 corded investigation, some further or varied views 
 upon the melody of speech. 
 
 In reviewing the subject just closed, I fear the 
 described phenomena of sound, may not be imme* 
 diately recognised, nor the system of their combina- 
 tion definitely comprehended. These defaults may 
 proceed not only from the inaptitude of the mind 
 to embrace newly offered subjects of knowledge, 
 but likewise from the connected system of such 
 subjects being dimly arrayed before the very sight 
 which was able to discover their insulated truths. 
 The art of observation is but a matter of appren- 
 ticeship and practice ; and it is the time of employ 
 no less than the mode of handling, that makes the 
 finished work of a master. Thoughts that are not 
 impressed by the deep sealing of time, nor famili- 
 arized by the near acquaintance of habit, are weak 
 or deluding agents in the clear work of comparison 
 and arrangement : for it will be found that the au- 
 thor who makes or renovates a science, rarely adds 
 the best economy of system tb his work. To look 
 widely, yet closely, is the paradox of the powers 
 of heaven : and he who can span the broad compass 
 of a science, whilst he touches its divisions and 
 points, is partially separated from the frailty of 
 humanity, by this humble tendency towards omni- 
 science. To him is due that rich complement by 
 the sagacious Greek, who knowing on what point to 
 affix the crown of intellectual glory, declared, that 
 he who could arrange and define well, was fit 
 company for the Gods. 
 
SECTION VII. 
 
 Of the Expression of Speech. 
 
 In the preceding section I pointed out the 
 mode of utterance in plain narrative and descrip- 
 tion : comprehending under these terms that por- 
 tion of discourse, which conveys the mere thoughts 
 of the speaker, exclusively of those sentiments or 
 feelings which require a different form of melody 
 and a higher coloring of intonation. Schoolmen 
 make a distinction between thoughts and feelings, 
 and common usage has adopted their language. 
 This is not the place for controversy on this point : 
 nor is it necessary to inquire, deliberately, whether 
 the above distinction refers to the essential nature 
 of the things or to their degrees. Some whose 
 powers of analysis enable them to see beyond the 
 common reach, may be disposed to adopt the sys- 
 tem that supposes thoughts and feelings to be vari- 
 ous degrees of intensity in ideas : since that func- 
 tion which may be noted as a mere thought in one, 
 has in another, from a further urging, and not from 
 a difference of motive, the bright hue of a feeling ; 
 and since in the same person, at different times, 
 like circumstances, produce, according to the va- 
 ried susceptibility of excitement, the mental con- 
 
OF THE EXPRESSION OF SPEECH. J4] 
 
 dition of either a feeling or a thought. Perhaps it 
 might not be a difficult or tedious task, to show that 
 these functions of the mind have many accidents 
 in common ; and that no definite line of demarka- 
 tion can be drawn between them. However inse- 
 parably involved these accidents may be, at their 
 points of affinity, they are in their more remote re- 
 lationships, either in kind or degree distinguishably 
 different. The effect of the voice in conveying 
 these manifest peculiarities of sentiment or feeling, 
 is called, in the language of Elocution, the Expres- 
 sion of speech. 
 
 The classifications of science were instituted to 
 assist the memory and imagination j but while they 
 fulfil the purpose of communicating and preserving 
 knowledge, they unfortunately produce the unde- 
 signed hindrance of its alteration or advancement, 
 by their vain assumption of its completion. The 
 endless revolutions of scientific arrangements are 
 full of admonitions : yet we forget how often the 
 fictitious affinities and the distinctions of system, 
 have on the one hand presumptuously united the 
 real divisions of nature, and on the other broken 
 the beautiful connexion of the circle of truth. 
 
 In submission to common phraseology and to 
 the necessities of instruction, I have, in this essay, 
 separated the history of that part, which, for the 
 want of a better term, was called the simple narra- 
 tive of speech, from that which treats of its ex- 
 pressive signs; in the expectation that future obser- 
 vation and discovery may determine their real re- 
 lationships, by a full development of the nature of 
 
142 OP THE EXPRESSION 
 
 the mind and the voice. For I can as well sup- 
 pose all those works of usefulness are already ac- 
 complished, which are foretold by the scope of hu- 
 man faculties, as that the arts which employ taste, 
 have yielded up all the accuracy of their princi- 
 ples, and their sources of enjoyment. Let us leave 
 the seventh day of rest, to the holiday rejoicings of 
 patriots and politicians, who look upon their copied 
 creations, and cunning schemes for human misery, 
 and pronounce them original and finished and good. 
 Let them build strongly around the perfection of 
 their Chartas and Constitutions. Let them guard 
 the ark of a forefather's wisdom, and proclaim its 
 holiness to the people, for the safety, honor and 
 emolument of the keeper. The real creators of 
 Knowledge have never yet found, and perhaps ne- 
 ver will find, their day of rest : and the proud fore- 
 fathers of all the great works of usefulness and of 
 glory, are, by the use of that same magic which 
 raised their own extraordinary creations, transmut- 
 ed to corrigible children in the eye of the advanc- 
 ing labour of a later age. 
 
 It has been alleged of the expression of speech, 
 that the discrimination of its modes is beyond the 
 ability of the human ear. If the term human ear 
 is sarcastically used for that fruitlessly busy and 
 slavish organ, which has so long listened for the clear 
 voice of nature, amid the conflicting tumult of opi- 
 nion and authority, we must admit the truth of the 
 assertion. But it is not true of the keen industri- 
 ous, and independent exercise of the senses : nor 
 can it be affirmed, without profanity, of the supre- 
 

 OF SPEECH. M3 
 
 macy of that power of observation which was coun- 
 selled and deputed at creation, for the effective ga- 
 thering of truth, and the progressive improvement 
 of mankind. 
 
 The victory over nature must be the joint work 
 of man and time : and having often, with more 
 curiosity than hope, consulted the thoughts of 
 others, on the possibility of delineating the signs of 
 expression, I have generally received some query 
 like this — Is it possible to recognize and measure 
 all those delicate variations of sound, which have 
 passed so long without detection, and which seem 
 scarcely more amenable to sense than the atoms 
 of air on which they are made? — It is possible to 
 do all this : and if we cannot " find a way" for this 
 conquest over nature, " let us,'' with the maxim, 
 and in the contriving spirit and resolution of the 
 great Carthagenian captain, " let us make one." 
 
 It will not be denied, that the sounds constituting 
 expression may be distinctly heard, and that there 
 is no danger of mistaking the sentiments which dic- 
 tate them. No: — it is the faint nature and rapidly 
 commingling variety only, of these sounds that can- 
 not be distinguished. I leave it to those who make 
 this objection, to reflect on the truism, that there is 
 nothing in the nature of sound but the audible: and, 
 as the feelings are so readily recognised in its va- 
 rieties, to ask themselves whether a distinct mea- 
 surement is not implied in that recognition. The 
 truth is, the delicate sounds of expression are al- 
 ways actually measured in the strictest meaning of 
 the word, but they have never been named : and 
 
144 OF THE EXPRESSION 
 
 although all persons who are observant in this way, 
 have nearly an equally acute perception of the ex- 
 pression of speech, they have no language for de- 
 signating those delicate discriminations which are 
 every day unconsciously made even by the popular 
 ear. I propose to devote the remaining sections of 
 this essay to an analysis of expression : to point out 
 its symbols, and to assign a definite nomenclature 
 to them. 
 
 There is perhaps no vain confidence in supposing; 
 that the reader is now well acquainted with the 
 qualities of the radical and vanishing movement. 
 This wide reaching function, and master principle 
 of the voice has been represented under its varied 
 phases, in speech, song and recitative. We have 
 traced it in the literal elements: have seen its in- 
 fluence in directing the phenomena of syllables: 
 and measured its successions in melody. I have yet 
 to show its instrumentality in the. delicate work of 
 expression : and if I shall be able thereby to resolve 
 this marvellous mystery of nature, it will be by- 
 substituting that greater marvel of agency, by 
 which a unity of means is employed in the pro- 
 duction of her infinities. 
 
 The general affections of sound were described 
 in the first section of this essay. In summary repe- 
 tition, they are, — Quality, or kind of sound; Time; 
 Force or the variations of strength and weakness ; 
 Pitch or the variations of acuteness and gravity; 
 and Abruptness. These distinctions are universally- 
 known. 
 
 A delicate perceptibility may easily learn that 
 
OF SPEECH. 
 
 145 
 
 each of these genera of sound is inclusive of many 
 species, formed by its different degrees; and that 
 noticible phenomena result from the combination of 
 the different degrees of any one genus, with those 
 of another. In the following series, some of the func- 
 tions arising out of the five genera, and their mu- 
 tual combinations, are enumerated by the adopted 
 or the invented terms, under which they will be 
 hereafter more particularly described. 
 
 Quality, 
 Time, 
 Melody, 
 Pause, 
 
 Grouping, 
 
 Aspiration, 
 
 Octave 5 
 
 Fifth, ' 
 
 Third, 
 
 Semitone, 
 
 Downward Concrete, 
 
 Wave, 
 Tremor, 
 Force, 
 
 Radical stress, 
 Median stress, 
 Vanishing stress, 
 Thorough stress, 
 Compound stress, 
 Loud Concrete, 
 Accent, 
 Emphasis. 
 
 These are some of the heads of arrangement 
 which I have devised, for the purpose of opening 
 the way for a fuller and more definite account of 
 the doctrine of expression : and I hope the reader 
 will find, in the detailed consideration of these ele- 
 ments, some approximation towards the develop- 
 ment of this interesting department of speech. 
 
 D 
 
SECTION VIII. 
 
 Of the Quality or Kind of Voice. 
 
 The Qualities of voice employed as the means of 
 expression, are those of the Whispering, the Natu- 
 ral, the Falsette and the Orotund voices : and those 
 varieties embraced by the common nomenclature 
 of harsh, rough, soft, smooth, full, thin and slender. 
 
 There are certain conditions of thought, instinc- 
 tively associated with appropriate species of these 
 qualities. The whisper always denotes the inten- 
 tion of secrecy : the falsette is used for the empha- 
 tic scream of terror, pain and surprise : and the 
 orotund voice alone gives satisfactory expression to 
 the feeling of dignity and deliberation. The natural 
 voice is accommodated to the moderate or lively sen- 
 timents of colloquial dialogue, and of familiar lec- 
 ture and discourse. It is not necessary to particu- 
 larize here, the sentiments which call for the harsh, 
 soft, full and slender qualities of the voice. The 
 history of the specific appropriation of these quali- 
 ties, in the art of reading, may be satisfactorily 
 learned from the common books of professors. 
 
 Regarding those enumerated qualities as distri- 
 buted among mankind, some voices are restricted 
 
OF THE QUALITY OF THE VOICE. [47 
 
 to harshness, or to softness, or to thinness. Few per- 
 sons have by nature, a pure orotund ; and there are 
 some whose compass of voice consists nearly alto- 
 gether of falsette. Women are apt, in careless 
 pronunciation, to use this offensive voice. There 
 are however few voices which may not, by dili- 
 gent cultivation, be made capable of exhibiting all 
 the above named qualities. 
 
 The elements of expression derived from the 
 kind of voice, are not to be regarded solely in the 
 simple and insulated light in which they are here 
 represented. They are to be considered as suscep- 
 tible of combination with the various modes and 
 degrees of force, time, pitch and abruptness. In 
 brief, quality of voice must necessarily be united 
 with some of the degrees of the other genera. For 
 whatever be the quality, it will be either strong 
 or weak; its time must be long or short; its emis- 
 sion will be abrupt or gradual, and it must be of 
 some definite radical or concrete pitch. Certain 
 qualities of the voice are, however, exclusively con- 
 genial with particular conditions of these other ac- 
 cidents: thus smoothness will more generally affect 
 the moderate degrees of force. Similar congeniali- 
 ties may be discovered by the slightest reflection. 
 
 It would be easy to select from authors and from 
 familiar discourse, phrases or sentences that re- 
 quire respectively the kinds of voice here enume- 
 rated. But I designed originally, to limit the pages 
 of this work, consistently with the intention of de- 
 finite description; aiming to make known the hith- 
 erto untold elementary principles of speech, rather 
 
148 0F THE QUALITY OF THE VOICE. 
 
 than to burthen the shelves of literature with the 
 continued repetition of compilation. There is no 
 mode of diagram that can represent these qualities 
 of sound : and every attempt to make them plainer 
 than they already stand, in their metaphorical de- 
 signation, would be fruitless of success. 
 
SECTION IX. 
 
 Of the Time of the Voice. 
 
 The degrees of duration of the voice, represent- 
 ed by the terms long, short, quick and slow, are 
 among the most effectual means of expression. 
 
 To be definite, let long and short designate the 
 time of syllables relatively to each other ; and let 
 quick and slow refer to the utterance of any series 
 or aggregate of words. Thus a syllable may be 
 said to have a long or short time, or Quantity, as it 
 is usually called in this case ; and a phrase, an entire 
 sentence or a larger portion of discourse may be 
 said to be pronounced in quick or slow time. The 
 occasions for employing these last modes of time 
 are well known. Sentiments of dignity, delibera- 
 tion, doubt and grief effect the slow time : those 
 of gaiety, anger and eager argument, together with 
 parenthetic phrases assume the quick time in utter- 
 ance. 
 
 I find it necessary however to be more particular 
 on the subject of the length and shortness of indi- 
 vidual syllables, comparatively considered ; and to 
 extend the analysis somewhat beyond the reach of 
 ordinary prosodial distinctions. 
 
 The times of syllables exhibit undistinguishable 
 shades of difference, from the shortest utterable, to 
 
150 0F THE TIME 
 
 their utmost prolongation in oratorical expression. 
 In order to reduce this indefinite view of time, to 
 such distinctions as may serve for future reference, 
 let us arrange syllables under three classes : the 
 first embracing those which are fixed to the shortest 
 quantity : the second, those that are fixed or nearly 
 so, to a quantity of greater duration than that of the 
 first : the third those that in common pronunciation, 
 are of various lengths, from the shortest to the long- 
 est, but which may be indefinitely extended. 
 
 To the first class belong many of those syllables 
 terminated by an abrupt element ; and containing a 
 tonic, or an additional subtonic, or the further addi- 
 tion of an atonic, as in " at," " ap," " ek/' hap-less, 
 pif-fall, ac-cep-tance. It is not the shortness alone 
 of these syllables which constitutes the criterion of 
 this class 5 since some of them that belong to the 
 third, are in common usage equally short. The syl- 
 lables now under consideration, have this essential 
 distinction, — they cannot be prolonged, but with de- 
 formed pronunciation. The word " convict," when 
 accented on the first, as a noun, and on the last as a 
 verb, has, in plain orthoepical utterance, a certain 
 quantity allotted to each syllable. If, for the pur- 
 pose of oratorical expression, with the noun, the 
 time of the first syllable should be indefinitely in- 
 creased, the distinct and agreeable impression of 
 the word will still remain, notwithstanding that pro- 
 longation. But if with a view to expression, we 
 give the last syllable of the verb, a similar exten- 
 tion beyond its fixed dictionary time, the character 
 of the word will be remarkably deformed by a 
 
or THE VOICE. ]51 
 
 drawling utterance. The syllables assigned to this 
 first class, not admitting of any alteration in quan- 
 tity, may be called Immutable syllables. I shall 
 hereafter show their relations to the movements of 
 pitch, and to the functions of accent and emphasis. 
 
 To the second class belong most of those sylla- 
 bles which terminate by an abrupt element, and 
 which contain one or more subtonics or atonies, in 
 union with their essential tonic. The subtonics in 
 this case give a greater length than belongs to the 
 syllables of the preceding class, while the abrupt 
 element and the short tonic prevent an indefinite 
 prolongation. Of this class are "yet," " what," 
 "mate," "gra/-itude," " des /ruc-tion." In these 
 instances the syllables are longer than the immuta- 
 ble; and for the purpose of expression, the subtonics 
 may be slightly extended beyond their natural 
 length, in simple utterance. But if they should be 
 very considerably prolonged, something of the 
 same offensive drawl of pronunciation will be per- 
 ceived, which is experienced in the greatest de- 
 gree in the forced extention of the immutable class. 
 As those included by the present class admit of 
 some change of quantity, they may be called Mu- 
 table syllables. 
 
 To the third class belong all those syllables 
 which terminate with a tonic element, or with any 
 of the subtonics, excepting b, d, g. Of this nature 
 are "go," "thee," "for," "day," « man," "till," 
 "de lay;' "be-gm7e," "ex-treme," "er-ro-ne-ous." If 
 the speaker has a ready command over the subto- 
 nics 6, d and g, so as to give full audibility to 
 
152 OF THE TIME 
 
 their essential guttural murmur, their position, at 
 the end of a syllable, does not absolutely prevent 
 an indefinite prolongation, as in the words " deed,'* 
 " plague," " babe/' " restored." But the effect in 
 these cases is by no means to be compared with 
 that of increase in time, growing out of tonics and 
 other subtonics. Tn the above purer examples of 
 this class, it will be found, that to whatever neces- 
 sary degree the quantity may be prolonged, the 
 character of the syllables will still be preserved ; 
 nor will there be any of that unpleasant impression 
 which attends the extension of time, in the prece- 
 ding classes. It is the peculiar nature of these syl- 
 lables, that they seem to be the same under every 
 variety of time ; while the immutable and mutable, 
 in some cases almost lose their identity by a change 
 of quantity. From their allowable variety, the syl- 
 lables of this class may be said to be of indefinite 
 time ; or may be called Indefinite syllables. They 
 furnish important means for the expression of 
 speech ; some of its most effective elements, as will 
 be shown hereafter, being made on syllables which 
 admit of this indefinite prolongation. 
 
 I do not desire the reader to receive the forego- 
 ing classification, as one that should exclusively 
 govern his view of the syllables of the language. 
 The investigation of the causes of expression very 
 soon led me to more definite distinctions of quantity 
 than those of long and short ; which, after a millen- 
 nium and more, of pretending observation, we con- 
 tinue to transcribe from the record of the meagre 
 
OF THE VOICE. 153 
 
 analysis of Greek and Latin prosody. The pheno- 
 mena of expression suggested the divisions here 
 made ; and the propriety of them, on this ground, 
 may perhaps be hereafter acknowledged. How- 
 ever short of universality this proposed system 
 may reach, even its limited arrangement will be 
 necessary, for the explanation of future parts of this 
 essay ; and whether its sufficiency may be con- 
 firmed, or its errors corrected, I must still think it is 
 high time for the superannuated sages of classical 
 literature to throw aside the Greek and Roman 
 spectacles, in their prosodial researches; and to try 
 if time, with his new lights, may not have wrought 
 upon them, one of those renovations of sense, which 
 have now and then resuscitated the torpid percep- 
 tions of extreme longevity. 
 
 The power of giving the indefinite prolongation 
 to syllables, for the purposes of expression, is not 
 a common accomplishment among speakers. It is 
 true, the daily exercise of the voice is not destitute 
 of forcible expression ; but the thoughts of daily 
 discourse are generally those of mere narration or 
 description ; and the sentiments, those of active ar- 
 gument, or of contending interests, both of which 
 employ, for the most part, the short time of sylla- 
 bles, and the quick course of utterance. Still the 
 assertion that a long quantity is not easily practica- 
 ble, may seem to the reader, incomprehensible or 
 false : since all who are able to sing, protract their 
 notes to an indefinite length •, and there is no per- 
 son who does not utter interjections and cries in 
 the same manner. But the mode of prolongation to 
 x 
 
154 
 
 OF THE TIME 
 
 which I here allude, is that of the equable concrete 
 of speech. Three modes of the radical and vanish- 
 ing movement were formerly described as respec- 
 tively peculiar to speaking, singing and recitative. 
 Without having regard to the nature and uses of 
 these three functions, it is not easy to restrict them 
 to their appropriate places. A reader who has not 
 from practice, a facility in executing the prolonged 
 quantity of speech, will be liable, in protracting 
 his syllables, to fall into the intonation of song. 
 When persons of imperfect ear, and without a sing- 
 ing voice, by accident observe, remember and en- 
 deavour to imitate the melodial succession of an 
 air, they are apt to utter many of its notes, in the 
 equable concrete of speech : and it is difficult to 
 transfer the peculiar intonation of recitative to a 
 known song, except through the tedious process of 
 scholarship. Protracted cries are always made either 
 by the use of the note of song, or by a mode of pitch 
 to be called hereafter the Wave: and although the 
 prolongation of interjections is often in the proper 
 equable concrete of speech, it is generally made 
 in the movement of this wave or conjoined rising 
 and falling concrete. A long quantity in speech is 
 correct and agreeable, only when the concrete has 
 the same equable proportion of rise and diminution 
 which constitutes its character in syllables of short 
 duration. One of the many sources of delight, in 
 the voice of a finished actor, lies in the graceful 
 management of this essential agent of speech ? on 
 all protrcated quantities. 
 
OF THE VOICE. 155 
 
 The foregoing notice of the exclusion of the pecu- 
 liar intonations of song and recitative from speech, 
 furnishes one reason why those persons who possess 
 high accomplishment as singers, are nevertheless 
 indifferent readers or common place actors. I shall 
 in a proper place, endeavour to show other reasons 
 for the general want of interchangeable facility, in 
 the exercise of the arts of song and speech. That 
 to which I now allude, and which arises from the 
 different structures of the radical and vanish, is not 
 the least influential. The endowed singer has all 
 those means of expression which are engrafted on 
 the peculiar intonation of the note of song. But these 
 are not readily transferable to the equable concrete 
 of speech ; and while he is able to clothe every 
 sentiment of the composer, his attempts at recita- 
 tion, strip off or tear to pieces, every feeling of the 
 poet. 
 
 But to return from this account of the nature of 
 the concrete, to the consideration of the uses of its 
 varied times. The immutable, mutable and indefi- 
 nite times of syllables, have their appropriate mode 
 of fulfilling the purpose of expression. Future parts 
 of this essay will illustrate this proposition. It is 
 the opportunity which the indefinite time of sylla- 
 bles affords for the proper performance of some of 
 the concrete functions of pitch, enumerated in the 
 synopsis of the elements of expression, that is to be 
 regarded as the most important point in the time 
 of speech. Independently of the mode of expres- 
 sion by the length and shortness of syllables here 
 supposed, the full beauty and effect of recitation 
 
156 OF THE TIME 
 
 even in the quickness and slowness of utterance, 
 can never be displayed except by a voice possess- 
 ing a ready control over both these varieties of time. 
 Readers who are ignorant of the principles of quan- 
 tity, are yet aware of the necessity of a slow move- 
 ment, as a symbol of certain sentiments. They there- 
 fore endeavour to supply the deficiency of their 
 power to make, the proper long concrete, by slight 
 pauses between words, and even between syllables. 
 But nature and good taste allow no compensation 
 of this sort : they require much of the time which 
 characterizes deliberate utterance, to be spent on 
 the syllable itself, and reject every other mode as 
 offensive monotony or as affectation. 
 
 Eminent instances of the use of long and short in 
 the time of utterance may be shown, by considering 
 the syllabic construction of sentences in reference 
 to the function of expression: for since the execution 
 of some of the elements that are formed of concrete 
 pitch, requires the prolonged time of indefinite syl- 
 lables, it may happen that the sense calls for the 
 use of one of these elements, on the more limited 
 duration of a mutable or an immutable syllable. I 
 here illustrate my meaning by a passage from the 
 fourth book of Paradise Lost, where Satan is brought 
 before Gabriel. In the dialogue between them, one 
 of the replications of Satan is as follows: 
 
 " Not that I less endure, or shrink from pain, 
 Insulting angel! well thou knovv'st I stood 
 Thy fiercest, when in battle to thy aid, 
 The blasting vollied thunder made all speed, 
 And seconded thy else not dreaded spear. 
 But still thy words at random, as before, 
 

 OF THE VOICE. 157 
 
 Argue thy inexperience what behoves 
 
 From hard assays and ill successes past 
 
 A faithful leader, net to hazard all 
 
 Through ways of danger by himself untried: 
 
 I, therefore, I alone first undertook 
 
 To wing the desolate abyss, and spy 
 
 This new created world, whereof in Hell 
 
 Fame is not silent, here in hope to find 
 
 Better abode, and my afflicted powers 
 
 To settle here on earth, or in mid air; 
 
 Though for possession put to try once more 
 
 What thou and thy gay legions dare against; 
 
 Whose easier business were to serve their Lord 
 
 High up in heaven, witli songs to hymn his throne, 
 
 And practis'd distances to cringe, not fight." 
 
 I have marked in italics, the words on which an 
 indefinite quantity is required for the full measure 
 of expression. The word " insulting," when inter- 
 preted by the context, contains the mingled indica- 
 tions of complaint, pride and reproach ; and these 
 require an element of pitch to be mentioned here- 
 after, which is made with a long quantity, and 
 which consequently cannot be here employed with 
 satisfactory expression on the emphatic syllable 
 H suit.'' This sellable belongs to our class of mu- 
 tables, and cannot be prolonged to the necessary 
 degree, except by extending the natural time of the 
 monothong c-rr, which is the sound of the letter 
 " u" in this case, or by drawing out the subtonic 
 " 1 ;" either of which modes would deform pronun- 
 ciation. The second instance, marked in the muta- 
 ble syllable " dread,'' contains a declaration of 
 slight contempt •, and this, I shall say hereafter re- 
 quires an element which calls for a duration of voice 
 
158 °P THE TIME 
 
 not furnished by the natural quantity of the sylla- 
 ble. The last marked phrase of the foregoing pas- 
 sage affords a more conspicuous illustration of the 
 subject before us: for the words " not fight" are each 
 strictly immutable, and do not admit of prolonga- 
 tion, without the most disgusting departure from 
 correct pronunciation. Now the sentiments of this 
 phrase are those of strong contempt, and of exulta- 
 tion, the expressive symbol of which must be made 
 upon an indefinite time. A reader of discernment 
 and delicate feeling, can never satisfy his ear on 
 these words. 
 
 To a bad reader all sentences are alike, how- 
 ever improperly constructed for the use of the ele- 
 ments of expression. A good reader, who looks 
 abroad through all the ways of the voice, must often 
 find the tendencies of his utterance restricted by 
 the unyielding nature of an ill-timed phraseology. 
 The humblest exercise of art, and any mode of 
 quantity suffice to set forth the sense of an author ; 
 but the picture of passion, will be in many cases 
 imperfect, if made on the short time of syllables. 
 He who can assume the spirit of the poet, will not 
 be able to give the prompted expression to part of 
 the last line of the following passage. It is taken 
 from Gabriel's answer to Satan's apology for his 
 flight from Hell, formerly quoted, and is a comment 
 on the title of " faithful leader" vaunted by Satan. 
 
 name, 
 O sacred name of faithfulness profan'd ! 
 Faithful to whom ? to thy rebellious crew r 
 Army of Fiends,^ body to fit head. 
 
OF THE VOICE. J59 
 
 The six syllables of this last phrase are short, 
 and all the emphatic ones are immutable. They 
 contain a degree of admiration at the well marked 
 fellowship between a ringleader and his crew, min- 
 gled with scorn at the wicked faithfulness of the 
 rebellious outcast : and these sentiments, we shall 
 learn hereafter, cannot be eminently shown on the 
 abrupt shortness of the time here employed. With 
 an accomplished speaker, the management of this 
 phrase would be like the efforts of a musician of 
 feeling and skill, on a defective instrument : and the 
 different success of his voice, on the above short 
 syllables, and on indefinite quantities would be like 
 the inexpressive chattering of the harp or piano- 
 forte, compared with the rich resources of the vio- 
 loncello. 
 
 The abrupt and atonic elements produce, in dis- 
 course, many instances of syllabic construction that 
 hamper expression : But perhaps the greater num- 
 ber of sentences admit of the voices which their 
 sentiments require. For it is not absolutely neces- 
 sary that every word should join in the expression. 
 One or two well accommodated quantities some- 
 times sufficiently convey the sentiment of the sen- 
 tence. The first syllable of the following line has a 
 natural quantity, which, without impropriety, may 
 be doubled or more in expressive utterance ; and 
 the same may be said of " bleed." 
 
 Pardon me, thou bleeding piece of earth. 
 
 The circumstances of the scene from which this is 
 taken, inform us that Mark Antony's sentiments are 
 those of love, grief and contrition •, his feeling of re- 
 
160 OF THE TIME 
 
 venge does not appear until the next line. The utter- 
 ance of these sentiments, I shall show hereafter, 
 calls particularly for an extension of syllables. If I 
 am right in the interpretation, the words " pardon" 
 and " bleeding' ' are emphatic, since they respect- 
 ively picture the special object of the suppliant, 
 and the disastrous assassination, which, with self re- 
 proach, he had delayed to punish. The accented 
 syllables of these words admit the prolonged con- 
 crete, and the application of the proper element, 
 on them alone, spreads the coloring of expression 
 over the whole of the sentence. 
 
 In the preceding illustration, the reader may dis- 
 cover some grounds for the arrangement of sylla- 
 bles according to their time, in reference to the sub- 
 ject of expression. But there is another fact in the 
 history of syllabic quantity. We know that from 
 the restricted resources of language the same word 
 has in different sentences, a varied meaning. It is 
 still more commpn to find the same word imbued 
 with a different sentiment, in its changeable com- 
 binations with other words. Now as there are some 
 sentiments which are well represented by the short 
 and abrupt utterance alone, it follows that a word 
 or syllable, which on one occasion refuses to re- 
 ceive the required prolongation, may in another 
 place fulfil the designs of expression on its immu- 
 table quantity. It was shown in an example that the 
 word " fight'' was incapable of the extension neces- 
 sary for the full display of the sentiment of scorn. 
 When Hamlet in the violent scene with Laertes 
 says, 
 
OF THE VOICE. \Q\ 
 
 Why, I m\\ fight with him upon this theme, 
 Uutil my eje-lids will no longer wag: 
 
 the quick time of the whole sentence is generically 
 inclusive of the short time of its constituent sylla- 
 bles; and the immutable quantity of the word 
 " fight" sufficiently denotes by its abrupt force, the 
 mad but resolute rage of the prince. 
 
 Interjections are the only part of speech em- 
 ployed exclusively for the purposes of expression. 
 Those which are common to all languages, consist 
 of tonics, that freely admit of indefinite prolonga- 
 tion. Interjections are the instincts of animal voi- 
 ces; and nature has given them the condition of 
 sound suitable to the demands of feeling. Other 
 parts of speech are sometimes the pictures of mere 
 thought, and sometimes of sentiment: and so it 
 happens that there is a difference in the time of syl- 
 lables. If words had been invented for signs of 
 feeling only, most of them would have been made 
 with a prolonged voice. As the tonic elements may 
 be uttered either as long or short quantities, and as 
 the abrupt and atonic, in certain positions, necessa- 
 rily produce short time, it might be inferred that 
 a language which consists altogether of sounds, with 
 the tonic qualities, would be better suited to all the 
 purposes of the voice, than a language which con- 
 tains elements productive of immutable quantity. 
 But some sentiments are well represented by a 
 short quantity and sudden issue of sound : and the 
 abrupt elements are, in some of their positions, 
 merely the best contrived means for producing that 
 
162 
 
 OF THE TIME 
 
 suddenness with the greatest variety and force.* 
 And further, the atonies, though not in their own 
 nature explosive, yet arrest the concrete progress 
 of vocality, and thus allow a succeeding tonic rea- 
 dily to take on the abrupt opening. A language 
 made up of sounds, having the qualities of our tonic, 
 subtonic, atonic, and abrupt elements, is well ac- 
 commodated to the system of those expressive signs, 
 which nature has ordained throughout the whole of 
 vocal creation. 
 
 The design of employing the prolonged time of 
 the voice, in the emphatic places of discourse, with 
 a view to an expressive intonation, seems never to 
 have been thought of by ordinary writers : and it 
 has been so sparingly exhibited, if indeed it has 
 been at all contemplated by the elect of literature, 
 that it has never received formal notice either in 
 Rhetoric or in Elocution. Dramatists, to whose taste 
 and duty this remark is especially applicable, fre- 
 quently neglect that proper adoption of time, which 
 would afford an actor the means of putting the finish- 
 ing touches of the voice, to the vivid and forcible 
 picture of poetic composition. 
 
 The judicious use of the variations of time is the 
 very life of recitation, and the right hand of the 
 rhythmus of poetry and prose. 
 
 * Those who delight in searching for undiscoverable things, 
 may institute an inquiry, whether the abrupt elements derived 
 their existence in language, from the suddenness which anger 
 and other violent passions assumed, in instinctive utterance, at 
 that nonentity of date, the origin of languages. We here throw 
 away the theme : let Messala, the Roman, who wrote a whole 
 volume on one letter, come back to us and snatch at it 
 

 OF THE VOICE. 163 
 
 The human ear has cognizance of two distinct 
 modes of sound. First, by the perception of two or 
 more momentary impressions, with given pauses 
 between the aggregates, as in the following illus- 
 tration : 
 
 •• •• • • | •*• ••» • •• 
 
 Or of momentary impressions unequal in force, 
 alternately successive, as: 
 
 •••••• I ••••» I ••••!"•"• 
 
 Or secondly by the perception of two or more 
 sounds of unequal duration arranged in alternate 
 order, as: 
 
 1 1 1 
 
 We can reach no further in the investigation of 
 this subject, than to know that the measurement of 
 these varieties is an agreeable exercise of the ear 
 and judgment. 
 
 Now as the voice has the power of this momen- 
 tary percussion, and as syllables have different de- 
 grees of duration, both of the above forms of sound 
 may be applied to speech. The perception of the 
 former is called \ccent, and that of the latter Quan- 
 tity. To him who has equally exercised his ear in 
 these two modes of measurement, that which con- 
 sists in the alternations of quantity is by far the 
 most agreeable. For, in the first place, no momen- 
 tary sound or mere ictus, is musical ; whereas the 
 prolonged sounds of quantity may be so. Secondly, 
 if the perception of equal momentary sounds with 
 pauses between the given aggregates, — or of une- 
 
154 OF THE TIME 
 
 qual momentary sounds, alternately continued, be 
 agreeable, the alternate order of differing quanti- 
 ties will be more so. For, quantity may be made 
 to include the accentual functions ; since the forci- 
 ble ictus of accent may be applied to the beginning 
 of a prolonged syllable : and pauses may be inter- 
 posed between the aggregates that make up the 
 successions of quantity. 
 
 I have in this view regarded brute sound only - : 
 when quantity is considered as susceptible of ex- 
 pression, its claims over accent are incalculable. 
 
 I have introduced these remarks on the quantity 
 and accent of language, with reference to the use 
 of the voice in reading verse : because a principal 
 source of the difference between a good and a bad 
 reader therein, lies in the varied degrees of their 
 ability to command the accent and quantity of syl- 
 lables. 
 
 It may be supposed that I allude to the Latin and 
 Greek languages, when I speak of the quantity of 
 verse. I mean the English language, and the par- 
 tial, though unsought use of quantity, which at pre- 
 sent prevails in its measure : and I wish further to 
 intimate my anticipation of the future construction 
 of its versification, on the sole basis of quantity 5 if 
 the scholastic formalists of literature can be made 
 to believe that the subject of ancient prosody has, 
 for ages past, been exhausted ; that the labours of 
 wrangling compilation, are inferior to the works of 
 inventive improvement, and that the investigation 
 of their respective languages may produce for them 
 
OF THE VOICE. 165 
 
 the first births of genius, and the consequent undi- 
 vided heritage of fame. 
 
 About the time we are taught to measure the 
 syllables of Virgil, by the relations of long and 
 short, we are told that the genius of our own tongue 
 does not admit of the rhythmus of quantity — that 
 English prosody, together with that of other mo- 
 dern languages, is restricted to the use of the al- 
 ternate strong and weak percussion of accent. For 
 the sake of the benefit of the general principle in 
 some important matters, we do well, perhaps, to 
 rely implicitly, for a time, on the instruction of our 
 teachers ; but many may find reason to regret the 
 necessity of this confidence in particular instances. 
 From the finely governed and varied quantities of 
 Mrs. Siddons, I first learned, by beautiful and im- 
 pressive demonstration, that the English language 
 possessed similar, if not equal resources, with the 
 Greek and the Latin, in this department of the 
 luxury of speech : and I thus found myself indebt- 
 ed to the Stage for the opening of that source of 
 poetical and oratorical pleasure, which the more 
 solemn pretences, and the hack instruction of a col- 
 lege, either knew not or disregarded. It was whilst 
 listening to the recitation of this surpassing actress, 
 that I first felt the want of that elementary instruc- 
 tion which would have enabled me to see through 
 the whole of her excellence. I could not, however, 
 avoid learning from her, what the appointed elders 
 of my education should have taught me, — that the 
 essential basis of expressive intonation consists in 
 the extended time of utterance. It was then, that 
 
256 0F THE TIME 
 
 the design of this work was first contemplated ; and 
 it was the subsequent recollection of the dignified 
 protraction of her indefinite syllables, and the 
 smooth and accurate execution of her speaking con- 
 crete, which is even now in my imagination, that 
 led me to the analysis of the radical and vanishing 
 movement of the voice. 
 
 I must not be understood here,*as asserting that 
 the quantity of English syllables has not been re- 
 cognized by prosodians ; or that its beauty has not 
 been felt by a good ear, wherever it has been well 
 used accidentally, in English versification and in 
 harmonious prose. I mean to convey a regret that 
 its powers have been undervalued ; that it has been 
 thereby excluded from its place in elementary rhe- 
 torical instruction, and that the ear has thus been 
 deprived of one of its highest prerogatives of per- 
 ception, in poetry and speech. 
 
 I have sometimes been disposed to ask whether 
 a classical scholar is gravely in earnest, or only 
 vain of a college livery, in declaring his enjoyment 
 of Greek and of Latin rhythmus, whilst he is igno- 
 rant of similar qualities of neglected quantity, in his 
 own language. The Greeks and the Latins have 
 left us their grammar, their written words, sylla- 
 bles, and elements; but our uncertainty of the true 
 voice of these elements in their several combina- 
 tions, has given rise, among modern nations, to a 
 difference in the pronunciation of them. Assuming 
 the English mode, the subject of Greek and Latin 
 quantity may be resolved into these simple princi- 
 ples. Long syllables, or the temporal effects of 
 
OF THE VOICE. \QJ 
 
 long syllables, are made in two ways: First, by 
 the absolute duration of syllables, constituted in the 
 manner of those we called indefinite : Secoudly, by 
 such as were called immutable and mutable, fol- 
 lowed by a pause ; the time of pronunciation added 
 to the time of the pause, being equal to a long syl- 
 lable. Short syllables are made by the short-timed 
 pronunciation of indefinite syllables, or by immu- 
 table ones. Now there is nothing in this account of 
 ancient quantity, which is not true of the English 
 language. 
 
 But further, not only are these general princi- 
 ples of syllabic construction the same in Greek, 
 Latin, and English, but the very syllables them- 
 selves are common to these three languages ; nay, 
 I may say to all languages. If the reader will run 
 over any or every line of Homer and of Horace, 
 he will find very few syllables that do not form the 
 whole, or part of some word belonging to his own 
 tongue; not only as regards the elemental sounds, 
 but likewise as regards the most exact coincidence 
 of quantity. But it is on the accidents of syllables 
 alone, that the doctrine of quantity is founded, in 
 all languages. When, therefore, we deny that the 
 genius of the English language admits of the tem- 
 poral measure, we must come to this absurd con- 
 clusion, that identical sounds have, in Greek type, 
 the most finished fitness for quantity, and in English 
 have none at all * 
 
 * That it may not be thought I have exaggerated this conclu- 
 sion, I gi?e the following substantial support to it. In the chap- 
 ter on versification, in Baron Bielfeld's " Elements of Universal 
 
1 08 OF THE TIME 
 
 The remarks here made refer principally to the 
 sounds of syllables, separately considered. There 
 may be some differences in the several words of 
 these languages, that may render it easier to con- 
 struct a rhy thmus of quantity in one than in another: 
 but we speak now of the admission of the system of 
 quantity into English, and not of the comparative 
 ease of its execution when adopted. There may be 
 some facilities in the Greek for certain kinds of 
 measure, arising out of the greater length of the 
 generality of words in this language. The Greek 
 has certainly an advantage over the English in all 
 the purposes of vocal expression, and poetic quan- 
 tity, by the majority of its syllables being indefinite, 
 and by its making less use of the abrupt elements 
 
 Erudition," after many remarks on the subject of ancient quan- 
 tity and modern accent, which in nowise qualify the following 
 extraordinary assertion, the author says — " Properly speaking, 
 there are not, therefore, in modern languages, any sensible dis- 
 tinction of long and short syllables, but many that are to be 
 lightly passed over, and others on which a strong accent, or in- 
 flection of the voice, is to be placed." This was written towards 
 the close of the last century, by the " preceptor to a European 
 prince, and the chancellor of all the universities in the Prussian 
 dominions." Even before his time, some prosodians were not 
 without the sense of hearing ; and though, since the epoch of 
 his deep deafness, the existence of long and short syllables in 
 modern languages has been generally admitted, yet it is still 
 held to be impossible to make agreeable measure out of their 
 relations. 
 
 In candour, it should be stated that the Baron was a mere 
 compiler; but such writers generally represent current opin- 
 ions, and they always know more of books and other men's no- 
 tions, than is either known or coveted by original observers and 
 autocrats in thought. 
 
OF THE VOICE. 159 
 
 in those positions which produce immutable sylla- 
 bles. The Greek syllables have, in general, fewer 
 letters than English : and they more frequently 
 end with a tonic element. 
 
 The employment of quantity, in the harmonious 
 composition of English prose writers, produces the 
 full audible effect of portions of the regular mea- 
 sure of Greek and of Latin lines. If these occa- 
 sional passages of temporal rhythmus are well ac- 
 commodated to the genius of the English language, 
 I aver, I do not see why the studied contrivance of 
 a poet might not use those existing quantities, in 
 the continued course of verse. The following sen- 
 tence has not the accentual form of any of our es- 
 tablished metres, and is therefore, in its rhythmus, 
 purely English prose : — Rome, in her downfall, 
 blazoned the fame of barbarian triumphs. This 
 sentence derives its impressiveness, or, in the com- 
 mon term, its roundness as a period, from the pe- 
 culiar position of its long and short quantities. Now 
 this disposition is exactly that of a Latin and of a 
 Greek hexameter line, as may be seen by compa- 
 rison. 
 
 E» ^"'fTf I Pf ^we* [ r « j f>r,ooTi j Tixeo; o J ivttc, 
 
 Si nihTl | ex tant | a Lcet | urbe re | tlaqlli 
 
 Rome in her | downfall | blazon'd the j fame of bar j barian | triumphs. 
 
 If this last sentence be read with its proper pau- 
 ses, and with deliberate pronunciation, it will cor- 
 respond in measure with the long and short times 
 of the superscribed Latin and the Greek. I w 7 ould 
 not. however, think it strange, for anticipation 
 z 
 
]70 0F THE TIME 
 
 takes off the edge of surprise, if a classic scholar 
 should deny the identity of its temporal impression, 
 with that of the collated lines. We are so little 
 accustomed to regard English syllables in refer- 
 ence to their quantity, that it is difficult, at first, to 
 make it even a subject of auricular perception. 
 For he who, according to vulgar persuasion, be- 
 lieves that there is an openness in the senses to re- 
 ceive all the objects which are brought near them, 
 greater than that which exists in the mind for the 
 reception of new subjects of reason or reflection, 
 plainly indicates that he has no more than common- 
 place knowledge of the ways and powers of both 
 the senses and the mind ; since the senses have 
 equally their ignorance, obstinacy, and prejudice ; 
 they equally see plainly what has been seen, and 
 for a long time can see no more. A well cultivated 
 eye and ear, are as rarely found as a well discip- 
 lined mind ; for their respective functions, in all 
 subjects which engage these senses, are consequent 
 and inseparable. A wise master in human policy 
 and morals, would not find more difficulty, where 
 interest is not inimical, in effecting his designs of 
 melioration, against the restiveness of mankind, 
 than an original observer and an inventive genius 
 in natural philosophy would experience, from the 
 mass of the world, in soliciting an immediate acqui- 
 escence in the truth of newly divulged causes in 
 the visible phenomena of nature and of art. It is 
 an easy and a passive thing to look and to listen ; 
 but, if I may make an antithesis of these words, it 
 is another and a difficult exertion to see and to hear. 
 
OF THE VOICE. 171 
 
 In speaking of the indefinite syllables of the 
 English language, it was said that their time might 
 be varied without blemish of pronunciation 5 and it 
 was formerly shown, that the abrupt elements, 
 which generally terminate the immutable syllables, 
 have necessarily, in the occlusion of their voices, a 
 pause that allows an immutable syllable to hold the 
 place, and fulfil the function of a long one. With 
 these legitimate materials for the construction of a 
 temporal rhythmus in English versification, nothing 
 but deafness or prejudice, prevents our perceiving 
 that its institution has been strongly prompted by 
 nature, and is already half established in our poetry. 
 We allow a reader full liberty over the quantity of 
 syllables, for the sake of expression in speech ; and 
 song employs the widest ranges of time, on tonic 
 sounds j why should we refuse to the measure of 
 poetry, a less striking departure from the plain or- 
 thoepical pronunciation of the language. 
 
 Mr. Sheridan, who does not overlook the exist- 
 ence of quantity in the English language, and its 
 use in the expression of speech, but who, never- 
 theless, maintains that its genius is exclusively dis- 
 posed to the accentual measure, seems to ground 
 his opinion on the special rules of Greek and Latin 
 prosody not being applicable to the phenomena of 
 varying time in English pronunciation. He might 
 as fairly have concluded that the good English style 
 of his own lectures could not be as perspicuous as 
 the Latin, because his mode of construction was dif- 
 ferent from the hyperbatical scattering of the lat- 
 ter tongue. 
 
172 OF THE TIME 
 
 The broad inquiry on this subject is, are there 
 both long and short syllables in the English lan- 
 guage j and can these varying quantities be so ar- 
 ranged as to produce an agreeable rhythmus? The 
 brief answer to this question is, that we have, 
 equally with the Greeks and Romans, the varia- 
 tion of long and short, in syllables ; and it requires 
 other arguments against the practicability of em- 
 ploying it in metre, than those derived from its 
 having never yet been done. I would not choose 
 to contend with him who doubts that quantity ne- 
 cessarily belongs to every spoken language. The 
 ancients not only recognized it in theirs, but by a 
 deep attention to its nature, availed themselves of 
 its uses in the creations of literary taste. If the 
 Greek and Roman prosodists, instead of laying 
 down special rules for the quantity of particular 
 words, which may not be accommodated to ours, 
 had left us a little more of that philosophy of ele- 
 mental and syllabic sounds, which authorized or 
 instinctively produced the rules of their scansion, 
 the moderns would, in all probability, have seen its 
 application to their own languages. 
 
 There is some ground for the opinion, though 
 this part of history is not altogether clear, that the 
 restricted melodial nature of Greek music, its re- 
 lation to song, together with the care therein taken 
 to adjust the temporal correspondence of syllables 
 with notes, and its forming part of the liberal edu- 
 cation of Grecian orators, poets, and philosophers, 
 led to the close investigation of quantity, and final- 
 ly effected its institution as the basis of the poeti- 
 
OF THE VOICE. \ 73 
 
 cal composition of the Greeks. The modern ex- 
 tension of the science of music to the principles 
 and resources of the ingenious system of harmony, 
 has rendered it independent of the support of words; 
 and the nice measurement of their time has been 
 neglected, since the separation of the formerly uni- 
 ted duties of the composer and the poet. 
 
 I cannot pass by the conjecture, but I leave 
 others to determine its truth, that the establishment 
 of Greek rhythmus on the function of quantity, did 
 conduce, with other causes, to the improvement of 
 the euphony of that language. We know what al- 
 terations rhyme, and the accentual measure have 
 made in the pronunciation of English ; and there is 
 fair reason to believe, that one means of working 
 a change to greater harmony, would be, to found 
 its versification on quantity. The occasional wants 
 of poets would prompt them to change many of our 
 immutable syllables to indefinites; would suggest 
 the elision of atonic and of abrupt elements from the 
 ends of syllables ; and thus, by those large labours 
 which the mere critic seems not to contemplate, 
 and certainly never has accomplished, our lan- 
 guage might be invited towards that condition of 
 syllabication which constitutes, in part, the harmo- 
 ny of the Greek. We know that the diaeresis and 
 other licenses of Greek versification, to say nothing 
 of the dialects, were constantly used for the facili- 
 ties of poetic quantity, in that language ; and we 
 might inquire, whether the addition to its alphabet 
 of the Heta and Omega, was not part of the contri- 
 
174 OF TIIE TIME 
 
 bution, suggested and afforded by the circumstan- 
 ces of the temporal measure. 
 
 Those who are in the habit of poetical composi- 
 tion, in the common accentual method, know how 
 readily words of suitable accents are associated with 
 the demands of versification. Nay, the fluency of 
 the ear, if I may so call it, is in this matter so un- 
 failing, that if the sense of words be disregarded, 
 there will be no hesitation in sorting such unmean- 
 ing discourse, in any assumed accentual measure. 
 I mean, that a person with a quick poetical ear, 
 and a free command of language, will find no 
 difficulty in carrying on, for any duration, an ex- 
 tempore rhythmus of mere unrelated words or 
 phrases. But a person who is not in the practice 
 of metrical composition, even if he be aware, from 
 rule, of the requisite succession of accents, will 
 show as much delay in gathering words to fulfil his 
 accentual purposes, as the former would have, un- 
 der the present state of the English ear, in aptly 
 furnishing syllables for a temporal rhythmus. Habit 
 must have given to the Improvisatori of Greece, 
 the same elective affinity of ear, if I may speak so, 
 for the appropriate quantity of their verses, as the 
 extemporizing poets of later Italy had for their re- 
 quired accents. At least two-thirds of the accented 
 syllables of English words are indefinite in their 
 time, and may, at pleasure, be made either long or 
 short. This resource for measure may be employ- 
 ed. Until, therefore, we have a larger experience 
 upon the rhythmus of quantity, in modern versifi- 
 cation, and until the English ear knows more of 
 
OF THE VOICE. 175 
 
 the appreciable time of syllables than it can at pre- 
 sent boast, we may be justified in considering the 
 denial of the susceptibility of a temporal rhythmus 
 to modern languages, as a mere assumption. 
 
 I am aware that the number of monosyllables and 
 dissyllables in our language, exceeds that of the 
 Greek $ and this may possibly render the former 
 less fit than the latter, for the construction of cer- 
 tain svstems of measure. On this ground it has 
 been asserted that English words could not be ar- 
 ranged in an agreeable dactylic succession. This 
 may be the case, but we have too little slight in 
 the management of quantity, to justify a positive 
 opinion on this point ; and the trials which have 
 been made, are not quite decisive. Habit is a fore- 
 stalled and obstinate judge over existing institu- 
 tions, and often pronounces unwisely upon their 
 better substitutes. It is very certain that an ana- 
 paestic measure, founded on a mixture of accent and 
 quantity, and nearly identical in effect with the an- 
 cient full dactylic line, is well suited to the syllabic 
 and verbal condition of our language j and that a 
 very agreeable rhythmus is produced by it* Ad- 
 
 " Let us subjoin a word here, for our delusions and preju- 
 dices. The dactylic foot, and the anapaestic, fall with a similar 
 impression on the ear. The ancients used the former for themes 
 ■ highest dignity; and school boys are taught that it richly 
 and gravely fulfils its purpose. We use the anapaestic foot for 
 doggrel and burlesque, and believe too, that there is something 
 in its light skip peculiarly adapted to the familiar gayety of its 
 modem poetic use. Let a deaf worshipper of antiquity and an 
 English prosodist, settle this matter between them : for, to serve 
 a purpose, even the opposite ends of contradiction may be made 
 
] 76 OF THE TIME 
 
 mitting the above objection, it will not overrule 
 the design to establish the forms of Iambic and 
 Trochaic measure, now in use, on the basis of quan- 
 tity alone. 
 
 Although the accentual rhythmus is the avowed 
 system of English versification, entire lines are oc- 
 casionally found, so satisfactorily fulfilling all the 
 conditions of the temporal measure, that they 
 might be judged by the revived poetical ear of a 
 Greek. But such lines are always preceded and 
 followed by others, founded on the mingled func- 
 tions of both quantity and accent. A rhythmus 
 composed altogether of accent, if such a thing could 
 exist in speech, would be agreeable, though less so 
 than one composed entirely of quantity. A versi- 
 fication made up of both these functions, might give 
 no offence to a person uninformed of the nature of 
 quantity *, for, since syllables which are constructed 
 on the basis of quantity, may exhibit likewise the 
 effect of accentual stress, the system might pass 
 for one of entire accent. He who is skilled in 
 the art of measuring the time of syllables, will, 
 over this compounded rhythmus, be shocked by the 
 irregular and unexpected variation of its dissimilar 
 impressions. An ear of delicate prosodial organiza- 
 tion, which yet makes no analysis of its perceptions, 
 often experiences this rhythmic violence from Eng- 
 lish verse, but is ignorant of its cause. He whom 
 
 to meet. I can only say, in the words by which the Yezedi of 
 Persia, who worship the devil, briefly explained their faith, and 
 pertinaciously defended it against a Christian missionary—- 
 " Thus it is." 
 
OF THE VOICE. 177 
 
 nature has made a poet, by refinement of ear and 
 by copiousness of words, instinctively avoids, in 
 composition, much of the evil of these conflicting 
 systems. But writers who have only a poor un- 
 furnished ambition, who know nothing of sound, 
 and who promiscuously mingle in their lines, the 
 weight and the measure of syllables, commit dis- 
 tressing offence against those who, from some ne- 
 cessity, may use the patience to go through their 
 works. One of the charms of a good reader of 
 verse, consists in his power and practice of chang- 
 ing our metrical accents into conspicuous quanti- 
 ties, by protracting the voice on all those syllables 
 which have a stress in the measure, and will bear 
 prolongation. 
 
 From all that has been said on the comparative 
 natures of quantity and accent, and from the slow 
 progress of modern nations in distinguishing the 
 relations of the former, it is not an improbable con- 
 jecture, that, of these two metrical impressions, ac- 
 cent is more easily recognised and practised. Nor 
 would it be too free an extension of this conclusion, 
 to infer from the comparative ease of execution, 
 that the first rhythmic essays of all nations were 
 made in this mode of versification; and that the 
 Greeks themselves passed through this rattling 
 amusement of poetical infancy. We owe no obli- 
 gation to authority or fact, in opposition to this as- 
 sumption; and I could as soon be persuaded that 
 the first instrumental music of Otaheite was not the 
 clattering of shells, as that the earliest songs of 
 Greece were measured by the nice relationships 
 a a 
 
178 OF THE T1ME 
 
 of time. Our language is not, indeed, young in 
 duration, but it is still in its infancy on this point : 
 and many of those who have worked with good 
 wishes, but ineffectual means, towards its improve- 
 ment ; and who, by taste and authority, have been 
 qualified to listen to living voices, with progres- 
 sively meliorating influence upon them, have only 
 wandered off with an unavailing ear, among the 
 silent graves of language in the remote realms of 
 antiquity. We all feel an august delight over the 
 works of the distant dead. There is scarcely a 
 page of the poetic rhythmus of the Greeks and the 
 Romans, or a remaining trace of their plummet and 
 chisel, that might not make me forget, through in- 
 tense contemplation, the mere seclusion of a prison. 
 But I could as soon admit, that the modern zeal in 
 freighting our homeward ships with the fragments 
 of their temples; and the covetousness of nations for 
 the very purloined possession of their statuary, 
 ought to preclude the future use of the marble of 
 our mountains, for the accomplishment of equal or 
 transcending works of art, as that a just admiration 
 of classic measure should prevent the endeavour to 
 transfer to our own language, the admissible prin- 
 ciples of Greek and Roman poetry. 
 
 I have offered the last few pages of this section, 
 as no more than digressive and desultory remarks 
 on a subject intimately connected with the time of 
 the voice, and with the cultivation of an important 
 but neglected accident of speech. 
 
 The English language has an unbounded pros- 
 pect before it. The unequalled millions of a great 
 
OF THE VOICE. 179 
 
 continent must hold a wide community, in the plea- 
 sures and interests of its advancement. I cannot so 
 far undervalue the genius and emulation of that 
 great population which will hereafter form its lite- 
 rary class, as to suppose they will all merely vaunt 
 in retrospective vanity, over what has been done, 
 and net extend their views to other and deeper re- 
 sources of their art. But, in thus looking forward 
 to the establishment of English versification, on the 
 basis of quantity, I see the limitation of the poet's 
 abundance, by the substituted excellence of his 
 few but finished lines. Our measure is now drawn 
 from the two different sources of accent and quan- 
 tity. To construct a rhythmus by quantity alone, 
 will require more rejections, and a wider search in 
 composition ; more copiousness in the command of 
 words j more accuracy of car, and longer labour 
 for a shorter work. I am here speaking of the great 
 products of the pen. Of these, as of all perdurable 
 human excellence, labour must be the means ; and 
 the calculation of its extent will always form part 
 of the summing of judgment, in decreeing reward. 
 Let him who could patiently devote a life to laying 
 up store of " goodly thoughts 7 ' for Paradise Lost, 
 unravel the idler's fable about the inspiration of the 
 immortal works of man. Let them, who to the soul 
 of genius have joined the strong body of laborious 
 care, say, in what consists the true life and the em- 
 balming of fame : let them touch the sleeve of early 
 and voluminous authorship, and whisper one of the 
 useful secrets for accomplishing more to instruct 
 please, and less to perish 
 
SECTION X, 
 
 Of the Expression of Melody. 
 
 A comprehensive definition of melody, like that 
 of the same term in music, would properly repre- 
 sent it as produced by a variation in the time, pau- 
 ses, and pitch of the voice ; since the well appoint- 
 ed uses and disposition of these accidents, make up 
 the agreeable impression of speech. In two pre- 
 vious sections I have discussed separately the sub- 
 jects of time and pitch. I propose to consider here, 
 how far the pitch of melody is instrumental in the 
 work of expression. 
 
 The various successions of the radical pitch of 
 melody were, on a former occasion, traced to their 
 ultimate elements, and designated by the definite 
 terms of their phrases. I have now to show how 
 some of these phrases may be employed as the ap- 
 propriate signs of certain sentiments. The design 
 of this section does not embrace the consideration 
 of the cadence which is produced by the downward 
 tritone ; nor does the varied mingling of all the 
 phrases, in the melody of plain discourse, convey 
 the conspicuous impression which is here implied 
 by the expression of speech. 
 
 The monotone and the alternate phrase, are the 
 only modes of melodial progression which attract 
 the ear by a peculiarity of character, and thereby 
 fulfil any remarkable purpose of expression. 
 
OF THE EXPRESSION OF MELODY. 
 
 181 
 
 A predominance of the monotone in melody, is 
 suited to feelings of dignity, grief, tenderness, so- 
 lemnity, and serious admonition. 
 
 The phrase of alternation is accommodated to the 
 more active sentiments of anger, joy and facetious- 
 ness, and to the earnest strife of argument. It is, 
 however, to be taken into view, that the current 
 melody must not consist altogether of either of 
 these phrases. This would produce an offensive 
 sameness. The protracted monotone should be 
 occasionally broken by the rising or falling ditone; 
 and the alternation as frequently varied by a limit- 
 ed monotone. 
 
 An illustration of the dignified expression of the 
 monotone may be given, on that magnificent pic- 
 ture of Satan's imperial presence in Paudemonium, 
 at the opening of the Second Book of Paradise Lost. 
 
 High 
 
 on 
 
 a throne of 
 
 roy— al state, 
 
 which far 
 
 
 
 
 
 d d 
 
 4 V * 
 
 
 Out shone the wealth of Or— mus and of 
 
 lod, 
 
 \d d 4 4 4 dd dd 
 
 1 - - - 
 
 -* 
 
 Or where 
 
 the gor-geous East with rich--est hand 
 
 d 4 
 
 d d d * u- 4 4 d 
 
 
 Show— ers on her kings bar — ba— ric pearl and gold, 
 
 4 4444^ 
 
 Sa — tan 
 
 ex— ait — ed 
 
 sat. 
 
 9 
 
 dd 4 
 
 
 w V 
 
 V 
 
]52 OF THE EXPRESSION 
 
 The greater part of this melody is in monotone ; 
 I do not say the passage requires, exclusively, the 
 order here given to the variations from the pre- 
 dominant phrase, since an accomplished reader 
 might alter the arrangement with equal or supe- 
 rior effect. But I venture to claim that reader's 
 accordance with the confident assertion, that if an 
 equal amount in monotone, however disposed, be 
 not allotted to these lines, the utterance will be, 
 according to the degree of deviation, more or less 
 at variance with the sentiment of the poet, and the 
 rapt dignity of the reader's contemplation* 
 
 * With due apology for the digression, I beg leave to return 
 for a moment to the subject of the last section, by remarking, 
 that the poet, with a rich instinct of versification, has thickly 
 set the lines above quoted, with long quantities, in happy adap- 
 tation to the stately sentiment of the description. 
 
 I use here, rather remarkably, the term instinct of versifica- 
 tion, not in oversight of the bright intelligence with which this 
 extraordinary man executed every high design and every tittle 
 of his work; but because it is clearly seen, he did not intend to 
 construct the measure of his poem by the rules of quantity alone. 
 The development of the resources of the accentual measure by 
 Milton, was a new and absorbing labour. Had this advance- 
 step preceded him, the originality and restless enterprise of his 
 genius would most probably have-joined with the many princi- 
 ples of Greek and Roman composition, so happily transferred to 
 his own language, the accomplishment of the supposed impossi- 
 bility of adopting the mode of their rhythmus. In the above 
 example, where the majesty of his thought secured so much 
 homage from his ear, some of the quantities suddenly arrest 
 that perception of continued movement and deliberate dignity, 
 which the protracted time of the generality of the measure pro- 
 duces. The syllables « state," "rich* and "saf," are too short, 
 for the otherwise good iambic temporal rhythmus of these lines; 
 
OF MELODY. \$$ 
 
 The following notation of the description of Ab- 
 diel's encounter with Satan, from Milton's sixth 
 book, exemplifies the use of the alternate phrase, 
 
 and the word barbaric occasions some irregular contrariety in 
 the impressions of quantity and accent. In the abstract pro- 
 nunciation of this word, the first syllable, "bar" is somewhat 
 longer than the second, which, by its nature will not, in this 
 case, bear unusual extension. But the longest syllable is here 
 in the place of the weak syllable of iambic accent; and the im- 
 pressiveness of exceeding length thus reverses the succession 
 of the prevailing rhythmus. Nor does the simple meaning of 
 the epithet "barbaric," allow a sufficient degree of accentual 
 stress on the second syllable, to over-rule the impressiveness of 
 the greater length of the first. If the reader will substitute the 
 adjective " orient*' for " barbaric," and overlook the deteriora- 
 tion of style produced by the change, he will perceive, by com- 
 parison, the difference between the accentual and the temporal 
 rhythmus, which I have just endeavoured to explain. 
 
 Showers on | her kings | her or [ ient pearl | intl gold. 
 
 Now, whether the first and the fourth foot be considered re- 
 spectively in their order, a trochee and an iambus, as I have 
 marked them, or as a dactyl and an anaprtst, as they may be 
 read, consistently with the genius of our iambic measure, I do 
 assert that the admissible prolongation of the indefinite syllable 
 "or," produces a dignity of utterance, not equally eftectible on 
 the short time of the accented syllable of barbaric. And I add 
 further, that this line does fulfil the conditions of poetic quan- 
 tity, as completely as any line that ever was constructed with 
 Greek or with Roman words. 
 
 If the reader would know how certain words may be pro- 
 nounced as a foot or prosodial phrase, either of two or of three 
 syllables, let him recur to our principles of syllabication, for- 
 merly described. The word showers is one syllable, when the 
 " e" is omitted; the diphthongal tonic " ou,' ? vanishing directly 
 into the subtonic " r." If the sound of " e" is retained, that ele- 
 ment requires a radical, and the word becomes, thereby, of two 
 
184 
 
 OF THE EXPRESSION 
 
 in the expression of the earnest excitement neces- 
 sarily produced by the eventful scene: 
 
 So say — ing, a no— — ble 
 
 stroke he lift ed high, 
 
 4-4< 4 4 4 
 
 4 4444 
 
 Which 
 
 hung not, but so swift with tem— pest 
 
 fell 
 
 ^ 
 
 ^4**44*4 
 
 4 
 
 
 On the proud crest of Sa — tan, that no 
 
 sight 
 
 444 4 4** 4*4— 
 
 Nor mo — tion of quick thought, 
 
 less could his shield 
 
 4 4 444 4 
 
 * 4 * 
 
 * " 4 
 
 Such ru in in — ter — cept. 
 
 In this scheme, I have used a limited variation of 
 radical pitch, with the design to show plainly the al- 
 ternation. Good recitation would require a wider 
 
 syllables. The trissyllable " orient," is reduced to a dissylla- 
 ble, by withholding a radical from the sound represented by 
 "i;" and thereby dropping that sound as a distinct syllable. 
 Now " i," in the trissyllable, is expressed by the proper sound 
 of ec-1, and this element passing readily into the subtonic " y," 
 coalesces with the succeeding tonic to form one syllabic im- 
 pulse. The word " orient," in correct pronunciation, is a true 
 dactyl in quantity; I have set it as an iambus, not intending to 
 defend the propriety of the contraction, but for the purpose of 
 constructing thereby a regular iambic line, and to illustrate one 
 of the principles of English pronunciation. 
 
OF MELODY. 185 
 
 range: sitill the alternate phrase should predominate. 
 A prevalence of monotones throughout this pas- 
 sage, might represent the dignified courage and 
 calm security of an aggressor, confident of success : 
 but it would be misapplied and faded coloring for 
 the hurried mingling of hopeful watching and dread- 
 ful expectation, which the description of the huge 
 impetus is calculated to excite. 
 
 Besides these two modes of expression by parti- 
 cular phrases, there is a certain effect produced by 
 an ascent and descent of the melody, through the 
 whole extent of the voice. Common school books, 
 on the art of reading, specify the sentiments which 
 require the higher and the lower ranges of pitch. 
 My scheme leads me no further than to ascertain 
 and to illustrate the general principles of this sub- 
 ject. In the sixth section, on melody, I gave the no- 
 tation of a passage from Othello, in which the pro- 
 gression is represented gradually rising and falling, 
 through the whole compass of a voice, correspond 
 ing with the variation of force in the sentiment: it 
 is therefore unnecessary to trouble the reader with 
 a similar delineation. 
 
 b b 
 
SECTION XL 
 
 Of the Intonation at Pauses. 
 
 The term Pause, in elocution, is applied to that 
 occasional silence in discourse, which is greater 
 than the momentary rest between syllables. 
 
 Pauses are used for the more conspicuous display 
 of sense and sentiment, by separating certain words 
 or aggregates of words from each other. 
 
 Without entering here, into a circumstantial ex- 
 position of the philosophy of grammar, every sen- 
 tence may, in the most general view, be regarded 
 as resolvable into two constituent generic parts of 
 speech; the substantive, with its accidents of being, 
 and the verb, with its various modes of action: all 
 other symbols of thought being only specifications 
 of the attributes of that being and that action, 
 throughout the modes of time, place, degree, man- 
 ner, and all other possible relationships of things. 
 Now the pause separates the aggregates of words 
 which describe those existences and agencies, with 
 their qualifications: and whilst the continuity of ut- 
 terance within those divisions, gives unity to the 
 impression on the ear, the understanding remains 
 undistracted through the temporary restriction of 
 the scope of attention. The division of discourse, 
 by means of motion and rest, prevents the feeble- 
 
OF THE INTONATION AT PAUSES. 137 
 
 ness or confusion of impression which would result 
 from an unbroken procession of speech, no less 
 remarkably than the skilful disposition of color, 
 and light and space, disentangle the objects and 
 figures of the canvass from the unmeaning positions 
 and actions of a chaos and a crowd. 
 
 The extent of the sections of discourse, thus se- 
 parated by pauses, varies through all increasing 
 degrees, from the limits of a single word to the in- 
 clusion of a full member of a sentence. There are, 
 indeed, some purposes of expression which require 
 a pause even between syllables. It was shown, in 
 treating of syllabication, that the full opening of 
 the radical cannot be completely made, except it is 
 preceded by a momentary occlusion of voice. Now 
 the accented syllable of the word attack being an 
 immutable quantity, can receive a marked empha- 
 tic distinction, only by means of an abrupt explosion 
 of the radical, after a temporary pause. 
 
 The times of the several pauses of discourse vary 
 in duration, from the momentary syllabic rest, to 
 the full separation of successive paragraphs: the 
 degrees being accommodated to the requisitions of 
 the greater or less connexion of the sense, and to 
 the peculiar demands of sentiment. 
 
 All the parts of a continued discourse, which has 
 the least unity of purport, should bear some rela- 
 tion to each other. But these relations being seve- 
 rally more or less close, grammatical points were 
 invented to mark their varying degrees. The 
 common points, are, however, very indefinitely ef- 
 fective of their purposes, in the art of reading. 
 
188 
 
 OF THE INTONATION 
 
 They are described in books of elementary instruc- 
 tion, principally with reference to the time of 
 pausing , and are addressed to the eye, as indexes 
 of grammatical structure. The symbols of interro- 
 gation and of exclamation are said to denote pecu- 
 liarity of tone 5 yet even with this vague reference 
 to a rule, the ear is still without a guide in this im- 
 portant branch of elocution. The character and 
 efficacy of pauses consist, in a great measure, of the 
 phenomena of intonation ; and a just definition of 
 them would, perhaps, be more properly founded on 
 variations and distinctions, produced by the phrases 
 of melody, than on the different duration of the 
 time of rest. I am not informed that any other 
 writer, besides Mr. Walker, has taught the neces- 
 sity of regarding the inflections of the voice, in the 
 history of pauses. 
 
 The effect of pause, in relation to the separation 
 by rest, will be illustrated in the next section on the 
 Grouping of the voice ; and I now proceed to de- 
 scribe the condition of the melody or successions 
 of pitch, to be used at the different places of pause. 
 
 It is of much importance in speech, with regard 
 to mere variety of sound as well as to sense and ex- 
 pression, to apply a proper mode of intonation at 
 the several pauses of utterance. The phrases of 
 melody have here a positive signification, and often 
 mark a continuation or a completion of the sense of 
 discourse, when the construction alone would not 
 be decisive of its nature. 
 
 The triad of the cadence denotes a completion 
 of the sense, and is therefore inadmissible, except 
 
AT PAUSES. 1$9 
 
 on the last words of a series, containing an entire 
 meaning. But it does not follow that reciprocally it 
 must be always applied on the syllable* which ter- 
 minate an independent sense ; for in those forms of 
 com position called loose sentences, and in inverted 
 periods, there are members with this complete and 
 insulated meaning, which nevertheless do not admit 
 of the downward closing phrase. 
 
 The rising ditone indicates the most immediate 
 connexion of the parts separated by the time of 
 the pause. The phrase of the monotone denotes 
 another, but a diminished degree of relationship 
 between divided members : and the falling ditone 
 produces the fullest suspension of sense, without 
 obstructing its further continuation. The triad of 
 the cadence is the maximum of distinction among 
 the parts of discourse •, and the comparison of its 
 downward intonation with the courses of the other 
 phrases, may serve to explain the causes of the 
 varying indication of each, by showing the gra- 
 dations of departure from the form and direction 
 of the disuniting cadence. The degrees of connex- 
 ion between the members of sentences are so va- 
 rious, and the acceptation of them by readers may 
 be so different, that it would not be safe to propose 
 a scheme for appropriating definitely the kind of 
 phrase to every instance of pause. From present 
 knowledge on this subject, I would say generally 
 that the intonation of some pauses may be varied, 
 without exceptionably affecting either sense or 
 elocution ; and I am confident in asserting that there 
 
190 OF THE INTONATION 
 
 are cases in which the species of phrase is abso- 
 lutely unalterable. 
 
 The foregoing remarks on the use of the phrases 
 of melody, have not been made in allusion to 
 common grammatical punctuation. Writers on elo- 
 cution have long since ascribed the faults of read- 
 ers, in part, to the vague nature of these points, and 
 to the distracting effect of the caprice of editors in 
 using them. 
 
 In the notation of the following passage I shall 
 apply the phrases of melody, with reference both 
 to my own acceptation of the sense of the author, 
 and to the distinct and vivid picture, producible by 
 utterance, without regard to the directions of its 
 punctuation. It is thus pointed by the editor : 
 
 So spake the seraph Abdiel, faithful found 
 Among the faithless, faithful only he ; 
 Among innumerable false, unmoved, 
 Unshaken, unseduced, unteniGed, 
 His loyalty he kept, his love, his zeal ; 
 Nor number, nor example, with him wrought 
 To swerve from truth, or change his constant mind, 
 Though single. 
 
 When the reader looks upon the deviations of 
 the pauses in the subsequent scheme, from the 
 above editorial punctuation, I must beg him to 
 bear in mind, that whether his decision is favourable 
 to it or otherwise, it may still illustrate my idea 
 of the power and place of the phrases. If this be 
 accomplished, I shall not dispute about the free will 
 of taste, in the particular uses of these phrases. 
 My object in this essay, is to explain the general 
 
AT PAUSEfc 
 
 191 
 
 principles of the speaking voice: not to contend 
 with expositors and critics. 
 
 When I speak of the employment of a phrase of 
 melody, at a pause of discourse, it must be under- 
 stood that the phrase is to be applied to the last syl- 
 lables preceding the pause. Nevertheless, for parti- 
 cular purposes of expression, the monotone may be 
 continued on the succeeding syllable. 
 
 So spake the se raph Ab diel, faith — ful found 
 
 ^—4^-4—4-4-4 
 
 A — mongr the faith-less. Faith — ful on ly 
 
 he. 
 
 ^J-^ 4 4 * 4 
 
 
 
 A — mong in nu me — ra — 
 
 — ble false, 
 
 ud — moved, 
 
 4 4*4 4 4 
 
 _4 4 
 
 
 Un- 
 
 — sha — ken, 
 
 un- 
 
 — se — duced, 
 
 un— 
 
 — ter- 
 
 — ri — 
 
 — fied, 
 
 ■*- 
 
 4 4 
 
 4- 
 
 4 4 
 
 4- 
 
 4 
 
 4 
 
 -4— 
 
 His loy — al — — ty he kept, his 
 
 love, his zeal. 
 
 
 44 4 4 4 4 4 
 
 -^-^- 
 
 1 
 1 
 
 Nor 
 
 num — ber, 
 
 nor 
 
 ex- 
 
 — am — pie, 
 
 with 
 
 him 
 
 wrought 
 
 -*- 
 
 4 4 
 
 
 
 4 4 
 
 
 
 4 
 
 _i 
 
 To swerve 
 
 from truth, 
 
 or change 
 
 his con — stant mind, 
 
 * 4 
 
 4 4_ 
 
 4 ¥ 
 
 d d J 4 
 
 w 
 
 ^" W 
 
 Though sin gle. 
 
]92 OF THE INTONATION 
 
 The first pause at Abdiel is marked with a falling 
 ditone, because the included member does not ne- 
 cessarily produce the expectation of additional 
 meaning or qualification : and because this phrase 
 does not absolutely dissolve the grammatical con- 
 cord between the members which it separates. I 
 have set the triad of the cadence at " faithless," not 
 exclusively upon the right to assume the sense as 
 here completed ; but with a view to prepare for 
 the eminent display of the sentiment contained in 
 the remainder of the line. The editor has marked 
 the pause with a comma, and thus made the three suc- 
 ceeding words a dependent clause. I have regarded 
 this clause as an elliptical sentence ; not only be- 
 cause I might be justified in so doing by a gram- 
 matical resolution of it, but more especially in 
 order to promote the expressive effect of utterance. 
 These words reiterate the previous attribution of 
 faithfulness to Abdiel, with the further affirmation 
 of his singleness in virtue. This definite and empha- 
 tic restriction of the individuality of the subject, is 
 made with mingled sentiments of regret over the 
 rebellious rejection of truth, and of exultation that 
 Abdiel alone has the undivided merit of defending 
 it. There is a touch of feeling in these sentiments, 
 which even with all other due means for an appro- 
 priate utterance, cannot be answerably displayed, 
 except the phraseology of those sentiments is se- 
 parated from that of preceding and succeeding 
 thoughts, by the marked distinctions of the cadence. 
 If the word faithless be read with what is called, 
 in elocution, a suspension of the voice, (that is, not a 
 
AT PAUSES. 193 
 
 fall) the spirit of the clause or sentence which fol- 
 lows will be perverted or lost. Milton's tine ear 
 and his strong passions qualified him to be a good 
 reader ; and though he may not have been one by 
 practice, 1 would with difficulty believe that he 
 thought the passage we have been considering, 
 with the close sequence which is implied by the 
 editor's comma and semicolon. 
 
 The next pause alter " false," is preceded by the 
 rising ditone. The structure of this member evi- 
 dently creates expectancy, and the species of into- 
 nation indicates the continuation of the sense. 
 
 Of the four succeeding pauses, each rests on a 
 single word. The three first are noted with the 
 monotone, to foretel the continued progression of 
 the sense : the fourth, at u terrified," has the fall- 
 ing ditone, to denote a change, but not a close of 
 thought. In ordering these four pauses, variety 
 might be shown, without affecting the sense, by 
 giving to the two last syllables of " unshaken," a 
 rising phrase. The phrase at " kept" is the rising 
 ditone; for since {Hove" and u zeal" are equally, with 
 41 loyalty," the objectives of " kept/ and these objects 
 being disjoined by construction, no other phrase at 
 " kept," would so closely co-operate with the full 
 pause which I have set at " zeal," and thereby 
 tend to impress on an auditor the true syntax of 
 the sentence. 
 
 At " zeal," which is marked by the editor with a 
 
 semicolon, I have applied a period, and a form 
 
 of the cadence ; for this close, by throwing back 
 
 " love" and " zeal," as objectives, prevents their 
 
 c c 
 
194 OF THE INTONATION 
 
 bearing forward as nominatives to some expected 
 verb, which might not be obviated by a mere 
 suspension of voice at the semicolon. The use of 
 a cadence in this place puts the true grammatical 
 construction of the sentence altogether out of doubt 
 with the auditor. One can account for the employ- 
 ment of the semicolon at " zeal/' by presuming 
 that the editor considered the following word " nor" 
 as a connective. It certainly begins a new sense *. 
 and in regard both to its place and its immediate 
 repetition, may be looked upon as a poetical inver- 
 sion and a redundancy of negative. The remaining 
 part of the notation contains examples of the prin- 
 ciples just elucidated, and therefore needs no ex- 
 planation. 
 
 I have thus endeavoured to begin an effort to- 
 wards supplying a blank in elocution, by giving a 
 definite description of the modes of intonation, to be 
 joined with the rests of the voice ; and by illustra- 
 ting the manner in which we may frame principles, 
 to direct the use of the several phrases. Those 
 who desire knowledge of the structure of sentences, 
 for the purpose of applying these principles, may 
 consult books of rhetoric. Mr. Sheridan writes, 
 with his usual ability, on the nature of pause, and 
 gives numerous exemplifications of its proper use, 
 But he makes no analysis of that intonation which 
 he must have judiciously joined with it, in the ac- 
 complished practice of his voice. Mr. Walker has 
 also given a masterly treatise on this subject, in his 
 Rhetorical Grammar. He wisely saw the practical 
 utility of uniting with the doctrine of the temporal 
 
AT PAUSES. 195 
 
 purpose of pause, an inquiry into the applicable 
 modes of intonation. In a philosophical aspect of the 
 subject, his treatise contains no description of the 
 functions of pitch, beyond the general distinctions in- 
 to rise and fall, and turn, which had been made long 
 before his time. Mr. Walker undertook the investiga- 
 tion of the nature of speech, without possessing a dis- 
 criminating ear ; without sufficient familiarity with 
 the known distinctions of sound, and without seeming 
 to keep in mind the means of philosophical inquiry. 
 The example of the highest masters of science, had 
 taught that all he could aim to accomplish by his 
 research, would be, to observe the phenomena of 
 the voice, and to class them with known facts in the 
 history of sound. But the most precise nomencla- 
 ture of the properties of sound, if not the most com- 
 prehensive history of them, is contained in the sci- 
 ence of music : and Mr. Walker appears to have 
 had too feeble or too limited a perception of its clear 
 and abundant discriminations, to produce a recog- 
 nition of identity or analogy between the modes of 
 the speaking voice and the familiar phenomena of 
 musical sounds. 
 
 We may, perhaps, prudently despair, that even 
 the keenest inquiry will teach us the efficient causes 
 of the delicate structure of the vanishing movement; 
 the reason why the melody of speech is prone to 
 the diatonic progression, and why the voice so ac- 
 curately falls in with the definite intervals of the 
 musical scale. But it is certainly within the ability 
 of a disciplined and attentive ear, to discover whe- 
 ther certain sounds, supposed to be peculiar to the 
 
196 OF THE INTONATION AT PAUSES. 
 
 human voice, are similar to others that have been 
 accurately measured and definitely named, in the 
 classifications of music ; and consequently, whether 
 they might be designated by the same nomencla- 
 ture, as far as the terms of music are applicable to 
 the phenomena of speech. Such a mode of inves- 
 tigation, with its satisfactory results, being the whole 
 means and gains of a true and useful philosophy, 
 we might as well believe that the Newtonian dis- 
 coveries in optics, could have been effected without 
 a previous acquaintance with the laws of motion, 
 the variety of colours, and the relations of magni- 
 tude and number, — as look for a development of 
 the modes of the human voice, by him who is igno- 
 rant of the known distinctions of sound. 
 
SECTION XII. 
 
 Of the Grouping of Speech. 
 
 I have adopted a term from the art of painting, 
 to designate the instrumentality of pauses, and of 
 certain affections of the voice, in uniting the related 
 ideas of discourse, and in separating those which 
 are unrelated to each other. 
 
 The inversions of style, the intersections of ex- 
 pletives and the wide separation of antecedents 
 and relatives, which are allowed in poetry, may be 
 made sufficiently perspicuous, through the circum- 
 spection of the mind, and the advancing span of 
 the eye, in the deliberate perusal of a sentence. 
 But in listening to the speech or lecture of others, 
 we can employ no scrutinizing hesitation : and 
 though the memory may retrace, to a certain limit, 
 the intricacies of construction, the best discernment 
 carinot always anticipate the sense of a succeeding 
 member, nor the nature and position of its pause. 
 The higher poetry, in the contriving spirit of its 
 eloquence, gives many instances of extreme invo- 
 lution of style. A reader therefore, is frequently 
 obliged to employ other means, for exhibiting the 
 true relationship of words, besides that simple cur- 
 rent of utterance, which may be sufficient for the 
 clear syntax of a more natural idiom. 
 
198 O p THE GROUPING 
 
 The means by which deviations from the simple 
 construction of sentences may be rendered perspi- 
 cuous in delivery, are — Pauses, and their attendant 
 phrases of melody, which have been already in 
 part explained : — the reduction of the pitch and 
 force of the voice, for which I use the term Abate- 
 ment: — a quickness of utterance, which I here call 
 the Flight of the voice: and a mode of indicating 
 grammatical connexion, which may be named the 
 Emphatic Tie. These agencies are not newly 
 discovered or appointed uses of speech. I have 
 given to the terms abatement, flight, and em- 
 phatic tie, a definite meaning, and have summed 
 up the several means above enumerated, under 
 the generic term Grouping, in order to explain 
 their purposes by a metaphorical elucidation, and 
 to invite attention to these points of our subject, 
 by the institution of a definite nomenclature. 
 
 The most common method of grouping the rela- 
 ted parts of a sentence, under the bond of a given 
 condition of the voice, is that which is effected by its 
 continuity within the limits of pauses. This subject 
 is so extensively treated in the art of elocution, 
 that I give here but a single instance of the power of 
 the pause, in separating the confluent ideas of a 
 sentence, and in giving the proper independency 
 to each. Let us take, from the second book of 
 Paradise Lost, the description of Death's advancing 
 to meet Satan, on his arrival at the gates of hell. 
 
 Satan was now at hand and from his seat 
 The monster moving onward came as fast 
 With horrid strides. 
 
OF SPEECH. 199 
 
 I have omitted the punctuation of this passage : 
 and if it be correspondingly read without a pause, 
 it will not be absolutely destitute of meaning •, for 
 the auditor would understand the general course of 
 the action described. But that force of expression 
 which makes a vivid picture of the whole, through 
 the distinct individuality of its parts, will be entirely 
 lost. There are in this sentence four separate 
 groups of thought, which should be indicated by 
 three pauses. 
 
 Satan was now at hand — and from his seat 
 The monster moving— onward came as fast — 
 "With horrid strides. 
 
 The first division, ending with " hand," gives 
 notice of the rapid approach of Satan. The se» 
 cond represents the monster Death rising from his 
 seat, and is insulated by a pause at moving. This 
 clause is properly separated from the succeeding 
 words ; for though they describe the further move- 
 ment of Death, and in this view might seem to 
 forbid the separation, yet their principal aim is to 
 show the speed of his progress by comparing it 
 with that of Satan, and this justifies the distinction 
 Avhich is here made. The last division, " with horrid 
 strides," must be separated from the preceding: 
 for if it were read onward came as fast with horrid 
 strides, the immediate connexion of the manner of 
 movement with the declaration of the likeness be- 
 tween the time of it, in the two characters, might 
 authorize the conclusion that Death was striding as 
 fast as Satan was striding. Whereas the pause at 
 ; ' fast'' refers that mode of progression to Death alone 
 
200 0F THE GROUPING 
 
 agreeably to a previous part of the context, which 
 describes Satan as moving on " swift wings." 
 
 Some of the uses of the phrases of melody were 
 stated in the preceding section. I here offer one or 
 two examples of the effect of an appropriate melo- 
 dy, in carrying on the connexion of thought, and 
 in producing an immediate perception of gram- 
 matical concord : 
 
 On the other side, 
 Incensed with indignation, Satan stood 
 Unterrified, and like a comet bitrned, 
 That fires the length of Ophiuchus huge. 
 In the arctic sky. 
 
 If the phrase of the falling ditone be used at the 
 pause which must be made at " burned," it will break 
 -the close connexion between the relative " that" and 
 the antecedent " comet." But by applying the mo- 
 notone, the relationship between these two words 
 will be vividly impressed, notwithstanding the in- 
 terposed pause at " burned :" the grouping power 
 of the melody, in this case, counteracting the di- 
 viding agency of the pause. 
 
 A similar instance of the influence of the mono- 
 tone, in affecting the close connexion of the ante- 
 cedent with the relative, may be perceived at the 
 pause after " unheard," in the following lines ; 
 
 First, Moloch, horrid king, besmeared with blood 
 Of human sacrifice, and parents' tears ; 
 Though, for the noise of drums and timbrels loud, 
 Their children's cries unhealed, that passed through fire 
 To his grim idol. 
 
 Let us take one more example illustrative of the 
 principle of intonation here laid down : 
 
OF SPEECH. 0()1 
 
 Art thou that traitor-angel, art thou he 
 
 "Who first broke peace in heaven, and faith, till then 
 
 Unbroken ? 
 
 In this passage the phrase " in heaven" is inter- 
 posed between peace and faith, the two objectives 
 of broke. Now in order that the syntactical con- 
 nexion between these words may be impressively 
 shown, the slightest pause only is admissible after 
 " heaven," and a more conspicuous one must be 
 placed after a faith/' But the further expletive 
 " till then unbroken" is immediately connected 
 with " faith ;" and the only means by which this 
 close relationship can be represented in contraven- 
 tion to the delay of the pause after Ck faith, 5, which 
 was shown to be necessary for another point of per- 
 spicuity, is by using the phrase of the rising ditone 
 or the monotone on " faith." Thus the pause at this 
 word represents clearly the full government of the 
 verb " broke," whilst the phrase of melody at that 
 pause, prevents the intersection of rest, from dis- 
 solving the continuity of the previous sense with 
 the succeeding expletive. The pages of poetry 
 are full of instances of phraseology that require 
 the management of the voice here described. Mil- 
 ton and Shakspeare cannot be read well, without 
 strict attention to the apparent collision between 
 the purposes of the pause and of the sense, and to 
 the reconciling power of the phrases of melody. 
 
 The reduction of the Pitch and Force of the voice, 
 being generally combined in reading, I have, in this 
 section, designated them collectively, by a singly 
 term, — the abatement of the voice. Common ele* 
 
 Dd 
 
202 OF THE GROUPING 
 
 mentary books are sufficiently explanatory of the 
 nature and uses of this means, for exhibiting the 
 sense and sentiment of discourse. Its power of 
 grouping together the related parts of sentences, is 
 shown by the well known mode of utterance in a 
 parenthesis. 
 
 I come now to speak of the perspicuity which 
 may be given to a sentence, by what I have called 
 the flight of the voice. There is a familiar rule in 
 elocution, which directs us to use a quickened ut- 
 terance on the common explanatory parenthesis. 
 This function may be extended to other grammati- 
 cal constructions. I give it here the importance of 
 a name, and of a detailed discussion, from the in- 
 dispensible necessity of employing it, for the clear 
 display of the sense of some of those instances of 
 close trimmed phraseology, and extreme inversion, 
 which are occasionally found in the higher species 
 of poetical composition. 
 
 The extreme distortion of English idiom in the 
 following lines, must be exceedingly perplexing to 
 a reader 5 and, as far as I know, can be rendered 
 somewhat less embarrassing, only by the use of the 
 flight of the voice. The passage is taken from the 
 fourth book of Paradise Lost, at the end of Satan's 
 address to the sun. 
 
 Thus while he spake, each passion dimm'd his face 
 Thrice chang'd with pale, ire, envy, and despair ; 
 Which marr'd his borrowed visage, and betray'd 
 Him counterfeit, if any eye beheld. 
 
 Milton uses the word " pale/' here, and at least 
 in one other place of his poem, as a substantive. Its 
 
OF SPEECH. 203 
 
 common adjective meaning tends to throw some 
 confusion into the sentence. " Ire, envy, and des- 
 pair," are in apposition with passion, and are seve- 
 rally concordant with the distributive pronoun each. 
 Now the only manner in which I can approximate 
 towards a clear representation of this blameable 
 piece of latinity, is by making a quick flight over 
 the portion " dimm'd his face thrice changed with 
 pale j" by laying a strong emphasis on " each pas- 
 sion," and by applying the phrase of the rising di- 
 tone, with a considerable pause, at " pale." 
 
 After all, it is a hard picture to paint for a taste 
 that will have true colors — well laid on. 
 
 In the following example, I have marked, in ital- 
 ics, the part which requires the flight of the voice: 
 
 You and I have heard oar fathers say 
 There was a Brutus once, that would have brook/d 
 The eternal Devil to keep his state in Rome, 
 As easily as a king. 
 
 The word u easily," here qualifies the verb 
 " brook'd ;" and I know no mode of showing this to 
 the auditor, but by the rapid flight here directed. 
 A London edition of Shakspeare, from which I 
 quote this passage, has a pause after Rome. The 
 rationale of the flight, which lies in allowing the 
 least possible lapse of time between the utterance 
 of related words, suggests the obliteration of this 
 pause, and the addition of a slight one after " easi- 
 ly." This tends to prevent the adverb from pass- 
 ing as a qualification of " keeping his state," which 
 certainly cannot be the sense of the author; but 
 which, at a glance of hearing, might be mistaken 
 
204 0F TIIE GROUPING 
 
 for it, without the aid of the altered pause and the 
 flight. This is not the place to speak of the nice 
 points of emphasis and of melody, to be connected 
 with the flight of this passage, in order to give full 
 lustre to its effect. 
 
 Say first, for Heaven hides nothing from thy view, 
 Nor the deep track of hell. 
 
 To make it appear, at once, in speech, that the 
 u deep track of hell" is, equally with " heaven," a 
 nominative to u hides," the phrase of the monotone 
 must be used at " view," in addition to the flight of 
 the voice, on the portion marked in italics ; — nor 
 should there be a pause at " view," as given by the 
 editor. 
 
 If the mere grammarian may conceive objections 
 to any of these proposed alterations of punctuation, 
 I must beg him to recur to the design of this sec- 
 tion. We speak now of the means of addressing the 
 ear, and its jealous demands sometimes justify a ne- 
 glect of the constructive punctuation of a sentence; 
 when the pauses directed by it are not absolutely- 
 necessary, from the sense in these cases being ob- 
 vious without them. The art of reading well ad- 
 mits of the resource of compensating for voluntary 
 faults on some points, by the accomplishment of 
 eminent effects on others. 
 
 By the grouping of Emphasis, or what I here 
 call the Emphatic tie, I mean the application of 
 emphasis to words, which would not, otherwise, re- 
 quire distinction, merely for the purpose of associ- 
 ating those ideas which cannot, by any other mode 
 
OF SPEECH. :205 
 
 of vocal syntax, if I may so speak, be brought to- 
 gether, or exhibited in their natural grammatical 
 dependence. The process of this function may be 
 easily understood : for related words, however dis- 
 joined in composition, are at once brought within 
 the field of hearing, in their real relationships, 
 whenever they are raised into attractive import- 
 ance, by force or any other kind of emphasis. 
 
 The following stanza, from Collin's " Ode on the 
 Passions," will illustrate the nature of this mode of 
 grouping: 
 
 "When Cheerfulness, a nymph of healthiest hue, 
 
 Her bow across her shoulder flung, 
 
 Her buskins gemm'd with morning dew, 
 
 Blew an inspiring air, that dale and thicket ruDg- 
 
 The hunter's call, to Faun and Dryad known. 
 
 These two last lines have an embarrassing con- 
 struction to a reader. Tlie phrases " inspiring air," 
 and " hunter's call," are in apposition ; but there 
 intervenes a clause, which might make "rung" 
 pass for an active, instead of a neuter verb, and 
 thereby render " call" the objective to it. To show, 
 therefore, that by the " hunter's call" is meant the 
 " inspiring air," previously mentioned, the words 
 marked in italics should receive strong emphasis. 
 This is the best mode for restoring to the ear that 
 natural order which is inverted in the composition. 
 
 This emphatic tie is often employed in combina- 
 tion with other of the means of grouping. Thus, in 
 the examples of the flight, it is necessary that the 
 relationships between the words " each passion," 
 
206 OF THE GROUPING OF SPEECH. 
 
 and "ire, envy, and despair," between "brook'd" and 
 " easily," and between cc heaven" and " deep track 
 of hell," should be joined by the emphatic tie. 
 
 In the present section, and in the two preceding, 
 we have been occupied, more by considering the 
 audible means of displaying the sense of discourse, 
 than by pointing out the signs of expression. But 
 the delineation of sense must, in all cases, be co- 
 existent with the representation of what is distinc- 
 tively called sentiment. 
 
 In this section, and in other parts of this essay, I 
 have been induced to select examples for illustra- 
 tion, from the prime works of poetry ; inasmuch as 
 the strength and variety of their execution, afford 
 the widest field for the use of the remarkable func- 
 tions of speech ; and because I am persuaded, that 
 if the principles which I am endeavouring to pro- 
 mulgate, be comprehended by the reader, he will 
 have no difficulty in applying them to the less in- 
 tricate modes of prose. Yet I must again repeat, 
 that I have taken upon myself the part of a physio- 
 logist, not of a rhetorician. 
 
SECTION XIII. 
 
 Of the Interval of tlie Octave. 
 
 Lx the foregoing history of expression, the part 
 performed by the variations of Pitch was described, 
 only as it appears in the radical and vanishing move- 
 ment, through the interval of a single tone. 
 
 In speaking of the diatonic use of the concrete, 
 and of its progress in the melody of simple narra- 
 tive, it was said that the vanish never rose above 
 the interval of a tone ; and that the variations of the 
 radical pitch, whether upwards or downwards,never 
 exceeded the limits of this same interval. Now 
 such unpassionate narrative as was then supposed, 
 is rarely found in any continuance : but the mode 
 and occasions of the exceptions having been re- 
 served for future explanation, I avoided confusing 
 the subject then in hand, by restrictive remarks, 
 which could not have been understood without 
 much digressive explanation. The wider intervals 
 of pitch which are used for expression, are now to 
 be described. 
 
 By the term Octave, which is set at the head of 
 this section, is meant the concrete rise of the voice, 
 from any assumed place, through superior parts of 
 
£03 OF THE INTERVAL 
 
 the scale, until it ends or vanishes in the eighth 
 degree, or in the octave to that radical at which it 
 began. This concrete interval is employed for the 
 expression of interrogation ; and it is further used 
 as one of the means for distinguishing words, by the 
 function which is called emphasis. The octave is 
 not limited to those phrases alone which carry the 
 common grammatical notation of a question. There 
 are some declaratory sentences which are made' 
 interrogative, by intonation ; and there are many 
 occasions in discourse, on which the sentiments of 
 the speaker are so nearly poised between certainty 
 and doubt, that he admits, by an interrogative move- 
 ment, the hesitation of inquiry, in the very confi- 
 dence of assertion. The octave being the widest 
 interval of the speaking scale, is significative of the 
 greatest vehemence or earnestness of an interroga- 
 tive sense. It is likewise the appropriate mode of 
 intonation, if the question is accompanied with sneer, 
 contempt, mirth, raillery, and the temper or tri- 
 umph of quick and of peevish argument. 
 
 From the time required in drawing out the in- 
 terval of an octave, it must be obvious, that this 
 mode of interrogation can be executed conspicu- 
 ously, only on a syllable capable of prolongation — 
 How then can the interrogative expression be given 
 on a short and immutable syllable? 'The process 
 by which this is done, will be described hereafter, 
 with particular reference to interrogative senten- 
 ces. It may be here transiently illustrated, by the 
 following notation : — 
 
OF THE OCTAVE. 209 
 
 pggf 
 
 In this scheme, it is visible that the discrete 
 change or skip of radical pitch, is made from that 
 line which is on a level with the radical pitch of 
 the concrete octave, used in a sentence, to a line 
 along the height of the vanish of that same octave. 
 Now immutable syllables, in an interrogative sen- 
 tence, are transferred to the pitch of an octave by 
 the radical change ; and thus receive the expres- 
 sive coloring of that interval, though less remarka- 
 bly than the indefinite syllables which pass through 
 the concrete rise. As the number of short syllables 
 exceed the long ones, in most sentences, the dis- 
 crete change, here spoken of, must be the predomi- 
 nating mode of interrogative intonation. The above 
 notation shows further, that after the radical pitch 
 has assumed the line of the vanishing octave, the 
 voice proceeds in the diatonic melody on that line, 
 until the occurrence of a syllable which requires 
 and will bear the concrete rise ; when the radical 
 pitch descends to form a new octave concrete. It 
 appears then, that the rule of intonation, laid down 
 when speaking of the melody of simple narration, 
 is not that of the melody of interrogative sentences; 
 for these employ a more extended concrete inter- 
 val, and a wider discrete transition in their changes 
 of radical pitch. 
 
 When the octave is used for the purpose of em- 
 phasis, the voice immediately descends after its 
 e e 
 
210 OF THE INTERVAL OF THE OCTAVE. 
 
 concrete rise on the emphatic word, to the original 
 line of radical pitch, as in the following notation: — 
 
 But this matter of emphasis is lo be treated more 
 particularly, and to be illustrated hereafter. 
 
 I have to remark finally, on the use of the con- 
 crete octave and its radical change, as the means 
 of interrogative and emphatic expression, that as 
 this highest interval of the scale is employed for 
 the most earnest degrees of these purposes, it is of 
 less frequent occurrence in speech, than the follow- 
 ing intervals of the fifth and the third. 
 
SECTION XIV. 
 
 Of the Interval of the Fifth. 
 
 The concrete rise by intonation to the Fifth 
 place of the musical scale, is used as the means of 
 expression in speech. This is not the place to in- 
 quire, why the speaking voice fixes on certain 
 points as the limit of its progress through the scale. 
 There is a theory of harmony which might be as- 
 sumed as the ground of contentious, and, perhaps, 
 of unsuccessful argument, on this subject. This 
 proclivity of the voice does, however, exist ; and 
 the place of the octave, the fifth, and three other 
 points, to be mentioned hereafter, are the several 
 limits, set by nature, to the concrete intervals of 
 speech. 
 
 The radical and vanishing fifth, like the octave, 
 is used for interrogation and for emphasis. It has, 
 however, less of the smart inquisitiveness which is 
 implied by the octave. It is the most common 
 mode of interrogative intonation. It may express 
 the question with sentiments of wonder and admi- 
 ration. It has none of the flippancy of the octave. 
 It is equally capable of energy, and is always more 
 dignified in its appeal. The remarks made in the 
 last section, on the subject of the change of radical 
 
2\2 OF THE INTERVAL 
 
 pitch, in interrogation and emphasis, apply to the 
 like uses of the fifth. That is, in interrogative 
 sentences, after the voice has made a discrete 
 change by radical pitch, through the interval of a 
 fifth, the succeeding melody may continue at its 
 elevation, till again brought down for the purpose 
 of a new concrete rise: and after the use of the fifth 
 for emphatic distinction on a single word, the pitch 
 immediately returns to the original line of the cur- 
 rent melody. 
 
 From the preceding account of the intonation of 
 the octave and of the fifth, we learn that their effects 
 are cognizable under two modes — the concrete rise, 
 and the radical change ; that the former of these 
 modes is impressed more remarkably on the ear; 
 and that the distinction between the interrogative 
 and emphatic use of these intervals, consists in the 
 difference of the number of syllables, to which these 
 intervals are applied. 
 
 The intonation of the octave, whether by con- 
 crete or by radical pitch, was said to be of rare oc- 
 currence j since a rise of eight notes above the or- 
 dinary course of the melody, carries most speakers 
 into the falsette. And even with those in whom the 
 rise does not exceed the natural voice, the change 
 to that high pitch would often be offensively ludi- 
 crous, from its sudden contrast ; or, it would be in 
 danger of breaking into the falsette in its variations-, 
 or, it would be out of the limits of skilful execution 
 by the speaker. These reasons do not prevail 
 against an occasional transition of radical pitch 
 through the ascent of the fifth 5 the variation being 
 
OF THE FIFTH. 213 
 
 less striking in contrast, and the interval of a fifth 
 above the common range of the voice being rarely 
 beyond practicable management. 
 
 Besides the above described uses of the octave 
 and fifth, there are, in common life, some cant 
 modes of exclamation, and other familiar and vulgar 
 voices which are made on these intervals. I de- 
 cline to take further notice of them. 
 
SECTION XV. 
 
 Of the Interval of the Third. 
 
 The concrete Third, like the two last named 
 intervals, is used in asking a question, and in the 
 intonation of emphasis. But the strength of its in- 
 dication is less than the fifth. It is merely the sign 
 of simple interrogation, in its most moderate degree; 
 and carries with it none of those sentiments which, 
 jointly with the question, were allotted to those 
 other movements. 
 
 Besides the exceptions to the rule of the plain 
 diatonic melody, in the use of the octave and fifth, 
 it must now be added, that the general current of 
 the tone is further varied, by the introduction of 
 the interval of the concrete third, and by the change 
 of radical pitch through the extent of this interval. 
 It is more frequently used than either of the two 
 former ; for, although it is more rarely emplojed 
 than the fifth, in interrogation, it is the most com- 
 mon form of emphatic intonation. In pointing out 
 the phrases of melody, it was said, that the rising 
 tritone, or upward succession of three tones, on as 
 many syllables, was occasionally employed. Now 
 the union of the constituents of this tritone on one 
 syllable, makes the proper radical and vanishing 
 
OF THE INTERVAL OF THE THIRD. 215 
 
 third of this section. It is the concrete junction of 
 the three tones which creates their impressive 
 powers \ for if the phrase " Go you there," be ut- 
 tered with the rising tritone, or with one syllable 
 successively, a tone above the preceding, it will 
 still have the character of an imperative sentence. 
 But if the first word should move through the space 
 of the tritone by a concrete rise, and the two 
 others should be uttered at the top of that concrete, 
 by the radical change, the sentence would be in- 
 terrogative. The same would be the case if the 
 second word had the concrete, and the last the ra- 
 dical change •, or, if the two former were to have 
 the common diatonic melody, and the last alone the 
 concrete rise. These would be the different pro- 
 cesses for effecting the interrogative expression, 
 according as the sense might require the emphasis 
 on different words. 
 
 There is a mode of replication in common speech, 
 especially used by the Scots, consisting of a repeti- 
 tion of the affirmative yes, or aye, in the radical and 
 vanishing third \ and whilst the words would pay 
 the courtesy of an assent, the interrogative nature 
 of the intonation still insinuates the hesitation of 
 doubt or surprise. If the sentiments which dictate 
 these words should be of unusual energy, the ex- 
 pression may assume the form of the fifth, or octave. 
 
 When the reader will hereafter have acquired 
 the prefatory knowledge which is necessary for the 
 full comprehension of the nature of emphasis, it 
 will be definitely explained, in what manner and 
 on what occasions the octave, the fifth, and the third. 
 
216 OF THE INTERVAL 
 
 are employed, in this important function of correct 
 and impressive speech. But it may belong to this 
 place to remark, that as the emphasis which is given 
 to the prominent words of concessive, conditional, 
 and hypothetical sentences, carries with it, in a 
 measure, the latent sentiment of an interrogatory, 
 its application may properly be illustrated here. 
 The following examples of conditionality and con- 
 cession, call for a high interval on the words mark- 
 ed in italics. 
 
 Then when I am thy captive talk of chains, 
 Proud limitary Cherub! but ere then 
 For heavier load thyself expect to feel 
 From my prevailing arm, though Heaven's king 
 Ride on thy wings. 
 
 So in the hypothesis of the following sentence : 
 
 If 1 must contend, said he, 
 
 Best with the best, the sender, not the sent. 
 
 And the same with the exceptive phrase marked 
 in these lines : 
 
 The undaunted fiend what this might be, admired; 
 Admired, not feard. God and his Son except, 
 Created thing nought valued he, nor shunn'd. 
 
 It is not to the purpose to show here, which of 
 the high intervals is to be set respectively on the 
 strong words of these examples. The citations 
 were made, merely to inform that the third or fifth, 
 or octave, is to be used on the emphatic syllables 
 of such sentences. 
 
OF THE THIRD. 217 
 
 It may perhaps be useful, in this place, for the 
 reader to take a retrospect over the subject of me- 
 lody, as it has thus far been described ; and to look 
 upon it as consisting of the diatonic succession for- 
 merly enumerated, varied by the occasional intro- 
 duction of the higher intervals of the octave, 
 fifth, and third. In speaking of the melody of sim- 
 ple narrative, the possible phrases of that style 
 were reduced to six elementary forms. It may be 
 thought that the further use of these higher inter- 
 vals, in the transitions of pitch, justifies an ad- 
 ditional nomenclature, for the phrases which are 
 employed in expression. It does so; and the phrase 
 of the eighth, of the fifth, and of the third, whether 
 the transition be made by the concrete rise, or by 
 the radical change, are the terms by which these 
 new forms of melodial progression in speech may 
 be designated 
 
 Ff 
 
SECTION XVI. 
 
 Of the Intonation of Interrogative Sentences. 
 
 Having ascribed the powers of interrogation to 
 the octave and fifth and third, I defer, for a mo- 
 ment, the history of the remaining elements of pitch, 
 in order to point out the mode of employing those 
 intervals, in the course of an interrogative sentence; 
 that we may thereby learn how they -are related to 
 the current melody, and to the close of the ca- 
 dence. 
 
 With a view to exhibit the forceful effect of the 
 interrogative intervals, when unsupported by those 
 grammatical constructions which generally indicate 
 a question, let us take the following sentence : 
 
 Give Brutus a statue with his ancestors. 
 
 This sentence is significative of an intention to 
 honour the patriot, and is imperative in that pur- 
 pose. But if the versatile plebeian should, the next 
 moment, have a new light of discernment, he might 
 deny the tribute, by repeating the very words of 
 his decree, with the sneering intonation of a ques- 
 tion — 
 
 Give Brutus a statue with his ancestors? 
 
 The different modes of the voice in these two in- 
 stances, would be apparent to every hearer : nor 
 
OF THE INTONATION, &c. £19 
 
 could the altered intention of the speaker, in the 
 last case, be mistaken. The conspicuous effect of 
 this line, when read in the latter way, proceeds from 
 the use of the rising interval of the fifth on each of 
 the syllables ; and it shows the power of that rise 
 in changing an imperative to an interrogative 
 expression. I say, the interval is used either con- 
 cretely or by a radical change, on each syllable of 
 the sentence. In this way the question is com- 
 pletely and strongly conveyed ; for should the 
 fifth be employed upon every word except the 
 last, and should this be uttered with the diato- 
 nic triad, the sentiment of the speaker will be lost. 
 If the interrogative effect be given to the last 
 word, and omitted on the others, it will, in some 
 degree, denote an inquiry ; but much less forci- 
 bly than when the intonation is applied to every 
 syllable. The preceding examples were given, 
 merely to show the effect of the higher intervals, 
 when compared with the simple concrete of the 
 tone or second, in a diatonic melody. A description 
 of the manner of applying these intervals, for the 
 purposes of interrogation, is reserved for an ap- 
 proaching page. 
 
 Before we enter on this proposed analysis, the 
 purposes of elementary instruction require some 
 notice of the different degrees of the interrogative 
 expression 5 since some sentences demand its em- 
 ployment on every syllable, whilst others are fully 
 significative of the question, by its partial applica- 
 tion. But to be more definite. By the term Tho- 
 rough interrogative expression, I mean the use of 
 
£20 OF THE INTONATION 
 
 the intended interval on every syllable of the sen- 
 tence. By Partial interrogative expression — the 
 use of the interval on one or a few syllables -, others, 
 and particularly those at the close, having the me- 
 lody of plain declarative discourse. 
 
 The proper reading of the questions contained in 
 the following selections, may serve to illustrate the 
 nature of the above named division. When Cla- 
 rence enters, guarded, at the end of the opening 
 soliloquy of King Richard III, Gloster thus addres- 
 ses him : — 
 
 Brother, good day! what means this armed guard 
 That waits upon your grace? 
 
 Here the interrogative intonation is heard only 
 on the clause, what means this armed guard; the 
 rest of the sentence has both the current and ca- 
 dence of the common diatonic melody. 
 
 When the queen, in the third scene of the first 
 act, says : 
 
 By Heaven, I will acquaint his majesty 
 Of those gross taunts I often have endured, 
 
 Gloster retorts: 
 
 What! threat you me with telling of the king? 
 
 This proud and angry question must have the in- 
 terrogative intonation throughout its current, with 
 the unfinished rising at the close, or it will not ex- 
 press the spirit of the speaker. 
 
 As the characteristic mode in each of these ques- 
 tions cannot be interchangeably transferred, and as 
 every question has either an appointed universality 
 
OF INTERROGATIVE SENTENCES. ££1 
 
 or a restriction, in the degree of its expression, it 
 is a necessary inference, that some directive prin- 
 ciples must be operative on good readers, in desig- 
 nating the places and marking the limits of this ex- 
 pression. I have only transiently investigated this 
 curious subject of speech. The result of my obser- 
 vation persuades me, that the subject itself is not 
 beyond the purpose of this essay ; though I have 
 not, at present, time nor need to make this matter 
 extended in contemplation, and satisfactory in sys- 
 tem. I therefore beg the reader to receive the fol- 
 lowing remarks, as suggestions upon points of in- 
 quiry ; and as hesitating proposals, which will be 
 cheerfully submissive under correction, and readily 
 revocable before the influence of a broader view, 
 and a more discriminating analysis. 
 
 If I perceive rightly the relationship between 
 the intonation and the words of a question, the cir- 
 cumstances which direct the thorough and the par- 
 tial use of expression, arise out of the following con- 
 ditions of the form and spirit of the phraseology. 
 
 Sentences are employed with an interrogative in- 
 tention, under various modes of construction. They 
 are framed assertively, and derive the power of a 
 question solely from intonation : or they are made 
 by the reversed position of the natural order of the 
 nominative and verb : or by joining certain pro- 
 nouns or adverbs with the preceding condition : or 
 they are of a positive or negative texture : or they 
 may embrace expletive or assertive clauses, in 
 connexion with the phrase containing the point 
 of the question : or they may include two or more 
 
222 OF THE INTONATION 
 
 questions connected by a copulative or disjunctive 
 conjunction : or finally, two or more interrogative 
 sentences may separately succeed each other in 
 series. 
 
 With respect to the sentiment or spirit of the 
 phrase, an inquiry may be grounded on the real 
 ignorance or doubt of the interrogator : or it may 
 intimate a knowledge of the subject ; nay, in an 
 extension of this condition, a question is sometimes 
 put as a triumphant mode of assertion. Interroga- 
 tions may be urged with great earnestness, or ad- 
 dressed in a moderate temper ; they may be made 
 with surprize or scorn or exultation. 
 
 These are some of the varieties under which 
 interrogative sentences appear. I exclude from 
 this view, all those interjective clauses and appeal- 
 ing exclamations which careless editors or incom- 
 petent correctors of the press frequently mark 
 with a note of interrogation. 
 
 If we try the experiment of utterance, in the 
 various cases above mentioned, we may be able to 
 deduce some general rules on this subject i or fur- 
 nish approximations towards them, for the assistance 
 of future researches. Let us measure the success of 
 the following attempt. 
 
 It may be laid down as a rule, without an ex- 
 ception, that where the sentence has the assertive 
 construction, it requires the Thorough expression. 
 In addition to an example of this case, given in 
 a preceding page, I here offer an illustration from 
 King Richard III, in which nearly the same words 
 are used as an assertive and as an interrogative 
 
OF INTERROGATIVE SENTENCES. 223 
 
 phrase. In the third scene of the first act, Gloster 
 says to the queen : 
 
 You may deny, that you were not the cause 
 Of my lord Hastings' late imprisonment. 
 
 Rivers. She may my lord ; for — 
 
 Gloster. She may lord Rivers ? 
 
 The reason of this rule is obvious. For if the 
 interrogative expression be applied exclusively to 
 any one of the words of this sentence, except the 
 last, it will constitute a mere declaration, with the 
 emphasis on the word so marked. If the expres- 
 sion be made on the last, while the other words 
 run in the diatonic melody, the reading will fall 
 short of the sense of the phrase, if it should not, 
 indeed, misrepresent it : for under this condition 
 the unexpected rise at the close, instead of the con- 
 sistent termination by the cadence, will produce an 
 anomaly of utterance irreducible, by me at least, 
 to any design of expression. 
 
 When a sentence is constructed with the inter- 
 rogative pronouns or adverbs, and embraces none 
 of those sentiments which, I am presently about to 
 say, call for the Thorough expression, it generally 
 appears under the Partial form. 
 
 JVho hath descried the number of the traitors? 
 How came these things to pass? 
 What sum owes he the Jeu- ? 
 
 It will perhaps be admitted, that these instan- 
 ces do not require so strong and diffused a light 
 of intonation, as was given in the foregoing ques- 
 
224 OF THE INTONATION 
 
 tionary form of a plain declaration. Some of the 
 exceptions to the generality of this rule will be 
 mentioned, in speaking of the varying sentiments 
 of an interrogative phrase, and of its final empha- 
 tic syllable. If there could be any purpose in deter- 
 mining the reason of this rule, it might be worth 
 ascertaining, to what point the question is particu- 
 larly directed, in sentences constructed with the 
 adverb and with the pronoun ; and whether the ex- 
 istence or action of the subject is not admitted in the 
 inquiry : the uncertainty being only about the per- 
 son or thing, and the manner, time, place, or degree 
 of its existence or agency, which are especially 
 couched in the adverb and pronoun. 
 
 When the question is made by the nominative 
 being placed after the verb or auxiliary, either the 
 ^Partial or the Thorough intonation is employed. I 
 need not illustrate the varieties of this case : the 
 reader can readily recur to examples of the rule, 
 and judge of its correctness. The propriety of the 
 choice of diverse modes of intonation, in questions 
 falling under this head, must be determined by the 
 nature of the sentiment, the place or places of the 
 emphasis, and the form of the sentence, whether 
 it be short and simple, or extended and complex. 
 
 Questions constructed with pronouns or adverbs, 
 or with the reversed nominative, are made directly 
 to the point of inquiry, or indirectly by a negative, 
 to its opposite. The intonation of such questions 
 has the Thorough or Partial expression, according 
 to the spirit or the emphasis of the sentence. The 
 
OF INTERROGATIVE SENTENCES. 225 
 
 reader may run over the dialogue of the drama and 
 find examples enough for the proof or correction 
 of what is said on this point. 
 
 When a sentence, besides the point of the ques- 
 tion, has additional members or phrases which con- 
 tain an address to a person, or assertions or exple- 
 tives, or causes, the expression is generally partial, 
 as in the following instances : 
 
 Of address : 
 
 Why with some little train, my lord of Buckingham r 
 
 Of assertion : 
 
 Why did you laugh then, when I said, Man delights not me ? 
 
 Of expletive: 
 
 What's Hecuba to him, or he to Hecuba, 
 That he should weep for her? 
 
 Of cause: 
 
 What of his heart perceive you in his face, 
 By any likelihood he showed to-day? 
 
 The reason of this rule may be easily pointed 
 out. Though these additional clauses do modify, 
 in some degree, the leading point of the question, 
 yet they do not, in their separable membership, 
 carry an interrogation, which that portion of the 
 sentence, called here the point of the question, does. 
 
 When two or more questions of moderate tem- 
 per are connected by conjunctions, or when with- 
 out this union by particles, they succeed in series, 
 it is not necessary that each constituent should bear 
 
226 OF THE INTONATION 
 
 the degree of expression which an insulated posi- 
 tion of it might require. 
 
 K. B-ichard. Give me thy hand. Thus high, by thy advice, 
 And thy assistance, is king Richard seated:— 
 But shall we wear these glories for a day? 
 Or shall they last, and we rejoice in them? 
 
 Are you call'd forth from out a world of men. 
 To slay the innocent? What is my offence? 
 Where is the evidence that doth accuse me? 
 What lawful quest have given their verdict up 
 Unto the frowning judge? or who pronounced 
 The bitter sentence of poor Clarence' death? 
 
 If this rule is not contravened by conditions 
 which require universally the thorough expression, 
 the question, in such instances of conjunction and 
 of series as the above, is sometimes sufficiently 
 marked, if some of the constituents of the series 
 carry an interrogative interval on a single word ; 
 which reduces the expression to the state of a de- 
 clarative sentence, having an emphatic word, so 
 signalized by the given interval. Perhaps the rea- 
 son of the rule may lie in this : when the mind or 
 ear of the auditor is in the humor of the question, 
 if I may so speak, the interrogation is sufficiently 
 indicated by the grammatical construction of the 
 sentence. 
 
 With respect to the sentiment or the spirit of 
 an interrogation, there are some notable properties 
 which seem to govern the use of intonation. 
 
 When the question is prompted by the ignorance 
 or uncertainty of the speaker, and when it contains 
 a real inquiry, it generally bears the thorough ex- 
 
OF INTERROGATIVE SENTENCES. £0,7 
 
 pression. Consequent]}', the sentiment of this case, 
 will, in man j instances, overrule the formulae which 
 were laid down, for the partial intonation of senten- 
 ces constructed with pronouns or adverbs, or with 
 the inverted position of the nominative case, or for 
 sentences following in conjunction or series. 
 
 Then make a ring about the corpse of Caesar, 
 And let me show you him that made the will. 
 Shall I descend? And will you give me leave? 
 
 Knowest thou not any, whom corrupting gold 
 Would tempt unto a close exploit of death? 
 
 Although in the stated form of this rule, I have 
 ascribed to it only a general operation, yet, when 
 the question is made with much earnestness, the 
 bearing of the rule is universal. 
 
 The extent of intonation appropriated to those 
 questions which are made argumentatively, or in 
 the way of a confident appeal, varies from the full 
 thorough expression, through all the degrees of its 
 partial use, to that application of the interrogative 
 interval on a single word of a sentence, which con- 
 stitutes the mere emphasis of a diatonic melody. 
 
 When a question is vehemently rpade, under any 
 construction of the sentence, and however nume- 
 rous such questions are, either in conjunction or 
 in series, the rule may be received as very gene- 
 ral, which assigns to the expression the thorough 
 extent. 
 
 Show me what thou'lt do! 
 Woo't weep? vvoo*t fight? woo't fast? woo't tear thyself? 
 
22B OF THE INTONATION 
 
 Woo't drink up Esil? eat a crocodile? 
 I'll do't. Dost thou come here to whine? 
 To outface me with leaping in her grave? 
 
 The reader may find full illustration of this rule, 
 by turning to Shylock's noted parallel between the 
 Jew and the Christian, with his earnest resolve 
 upon revenge — in the first scene of the third act of 
 the Merchant of Venice. 
 
 If a question be addressed in a moderate temper 
 of inquiry, the speaker will generally affect the 
 partial mode of expression. When Hamlet says to 
 Guildenstern, 
 
 Will you play on this pipe? 
 
 the composure of mind, and the rank of the prince, 
 mingle in the question the mild authority of a re- 
 quest, with the doubt of an inquiry; and this is per- 
 haps properly represented by the use of the inter- 
 rogative intonation on the first part of the sentence, 
 with a subsequent reposing descent of the diatonic 
 cadence. It is true, the instrument is brought into 
 the scene, and the question is thereupon put, with 
 a view to the consequent quibble ; and on this 
 ground, perhaps, the word pipe might be regarded 
 as emphatic. Still the emphasis may be made by 
 a stress or force of voice on the last constituent of 
 the triad, as well as by the ascent of the interroga- 
 tive interval. 
 
 When a question is made in surprise, indignation, 
 pride, scorn, and other emotions of a similar spirit, 
 it generally receives the thorough expression. I 
 cannot transcribe from the first act of Hamlet, so 
 
OF INTERROGATIVE SENTENCES. 229 
 
 much as it furnishes to illustrate the influence of 
 wonder, on the intonation of a question. But if the 
 reader will turn to the scene between Hamlet, Ho- 
 ratio, and the two officers, he will find, that from 
 the moment Horatio informs Hamlet of his having 
 seen his father, there follows, on the part of the 
 prince, a long succession of questions, with both the 
 declaratory and interrogative construction ; which 
 all require the most marked use of the thorough 
 expression. With like earnestness, Cleopatra, in 
 the play which bears her name with Antony's, 
 says to Proculeius, the friend of Caesar, 
 
 Know sir, that I 
 Will not wait pinioned at your master's court — 
 Nor once be chastised with the sober eye 
 Of dull Octavia. Shall they hoist me up, 
 And show me to the shouting varletry 
 Of censuring Rome? Rather a ditch in ^Egypt 
 Be gentle grave unto me. 
 
 The repulsive indignation of this question cannot 
 be fairly painted, without the fullest measure of in- 
 terrogative coloring. 
 
 If the last syllable of a question is emphatic, and 
 if its intonation is not forcibly directed to the par- 
 tial expression, by some one of the preceding rules, 
 particularly by that which concerns the series, that 
 last syllable bears the interrogative interval. And 
 if the sentence be short or consist of a single mem- 
 ber, the expression will have a thorough applica- 
 tion. In the dialogue between the murderers of 
 Clarence, the second speaker exclaims and asks. 
 
 — What ! shall we stab him as he sleeps ? 
 
£30 0F THE INTONATION 
 
 From the answer of his companion, it is plain 
 that the question points at the act of sleeping, and 
 this produces an interrogative emphasis on the last 
 word. If the inquiry had been whether the victim 
 should be stabbed or strangled, the word stab 
 would carry the emphatic intonation, and the sen- 
 tence might end with the diatonic cadence. 
 
 Having thus endeavoured to bring the subject 
 of interrogative sentences, as regards the entire or 
 the partial application of their expressive intona- 
 tion into something like a systematic form, I must 
 leave the correction of the errors of the effort, and 
 the amplifying of its approved hints, to the obliga- 
 tory duty of the rhetorician. 
 
 Let us now proceed to consider more particularly 
 the manner in which the interrogative intervals are 
 applied to the individual syllables of a sentence. 
 
 As prefatory to this investigation I must here 
 make some remarks on the use of the radical and 
 vanishing movement, when applied to the short and 
 the immutable syllables of the language. I for- 
 merly suggested the modes of trial, by which the 
 existence of the various concretes might be exem- 
 plified on long syllables : and I likewise asserted 
 that no syllable could be uttered without passing 
 through the radical and vanish, under some form of 
 intonation. We have now reached a point in our 
 subject, at which the reader may receive the proof 
 of this assertion, as respects the equable concrete 
 of speech. 
 
 I must suppose that the reader is familiar with 
 the effect of the concrete rise through the third or 
 
OF INTERROGATIVE SENTENCES. 231 
 
 fifth or octave which constitutes the interrogative 
 expression. Now let him take the immutable syl- 
 lable, u cat," which is one of the shortest in the lan- 
 guage, and pronounce it as if he were making a 
 simple address to the animal. Again, let him utter 
 it as a question : and he will perceive that with 
 whatever rapidity it may be pronounced, he can 
 still accomplish, on it, the peculiar effect of the in- 
 terrogative intonation. There is therefore in the 
 last experiment some accident of the voice which 
 is not heard in the first. The distinction between 
 the two cases arises solely from the use of a wider 
 transit of the concrete progress in the latter. For 
 it may be readily shown that it does not proceed 
 from any peculiarity in the quality, nor from a cer- 
 tain degree in the force of the voice : and that it is 
 not produced solely by a change of the syllable 
 to a high place of pitch, without its concrete 
 movement, may be ascertained by the following 
 experiment. Let the reader, rise through the 
 musical scale, in the ordinary way of running the 
 gamut, by repeating the above given syllable, on 
 the successive notes of the scale ; he will perceive 
 that to whatever height he ascends, the intonation 
 will not produce the interrogative expression. I 
 know not to what the interrogative effect, which 
 may be heard on an immutable syllable, is to be 
 ascribed, if not to a rapid flight of the voice through 
 a concrete interrogative interval. The audible effect 
 justifies the conclusion •, though the increments of 
 time, and of space on the scale, which are so dis- 
 tinctly perceptible in the movement of the slower 
 
2S2 0F THE INTONATION 
 
 concrete, are in this case of the immutable syllable, 
 altogether beyond my power of measurement. 
 
 It will appear in the trials above proposed, that 
 the interrogative effect is producible on the short- 
 est syllables : and such experiments will warrant 
 the general conclusion, that every interval of the 
 scale is practicable on every syllable in speech. 
 But it is to be remarked that the use of the wider 
 intervals on short syllables, when compared with 
 their application to long and indefinite ones, has a 
 feebleness of interrogative expression directly pro- 
 portional to the rapidity of their flight ; and conse- 
 quently that the long and distinctly measurable 
 concrete on indefinite syllables produces the strong- 
 est expression of interrogation. But it is desirable, 
 with regard to sentences bearing the thorough ex- 
 pression, that it should be equally diffused : and as 
 all the syllables of a sentence are not by length 
 qualified to bear the slow and most eminent inter- 
 rogative concrete, it follows that other means, be- 
 sides those already described, must be employed 
 in the intonation of short syllables, for the purpose 
 of fulfilling strongly and uniformly the expressive 
 design of an uttered question. The means for 
 strengthening the comparative feebleness of inter- 
 rogative expression on short syllables, consists in 
 raising them, by the change of radical pitch, to the 
 line of the summit of the slow concretes, which 
 are allotted to the indefinite quantities in a sen- 
 tence : as the following notation of a case of tho- 
 rough expression will exemplify : 
 
OF INTERROGATIVE SENTENCES. 233 
 
 Give Bru tus a sta — tue with bis an— ces — tors ? 
 
 &=£ 
 
 In this scheme the interrogative intonation is 
 made by the fifth on every syllable. To the two 
 first, which are indefinite and emphatic, the slow 
 concrete is applied. On the third, which is short, 
 and therefore cannot bear the slow concrete, the 
 momentary rapid movement through the fifth takes 
 place, whilst at the same time it is transferred by 
 the radical change, to the height of the preceding 
 vanish. The melody continues at this height on 
 all the following syllables, which are unemphatic, 
 or which if emphatic (as may be said of " stat") 
 are of immutable quantity. At the indefinite sylla- 
 ble u an" the radical pitch descends, for the purpose 
 of rising on that syllable by the slow concrete : and 
 the two final short quantities terminate the intona- 
 tion by the radical change and the rapid vanish. 
 
 It is by this method then, viz. the union of the 
 radical change with the rapid concrete, that a full 
 and forcible power of interrogative intonation is 
 given to those syllables which are too short to admit 
 of the slower and more measurable movement. 
 
 If the reader would be better satisfied, as to the 
 execution of the function of the radical change, and 
 the perception of its effect, through an exemplifica- 
 tion on a single word, let him deliberately pro- 
 nounce the noun " convict,'' as if it were an earnest 
 question. The syllable " con" being an indefinite 
 h h 
 
234 OF THE INTONATION 
 
 quantity, and emphatic, will be distinctly heard to 
 rise concretely from a given point of pitch, to the 
 place of the fifth or octave, according to the earnest- 
 ness of the expression: and the immutable syllable 
 " vict," will be heard at the height of that previous 
 vanish. If u vict" be kept down at the level of the 
 radical of " con," and if it be there uttered, with the 
 rapid concrete rise, carefully guarding against the 
 descent to a close, the interrogative effect will in- 
 deed still be perceptible, but in a degree far infe- 
 rior to the keen questioning of the former mode of 
 intonation. 
 
 It is not difficult to assign the reason why the in- 
 terrogative effect of the rapid concrete is enhanced, 
 by its being taken on the higher places of the scale. 
 For the rise by the slow concrete, is after all, but a 
 peculiar mode of change from a low to a high place 
 of pitch: and though that peculiar continuous mode 
 is plainly distinguishable, in its degree of expres- 
 sion, from a discrete ascent to the same height, still 
 an essential though not the exclusive power of the 
 former function, is, its designating that higher place. 
 Now this power is the sole efficient in the radical 
 change ; and like two discrete notes on a musical 
 instrument, when heard in immediate succession as 
 the extremes of a wide interval of the scale, it does 
 produce an effect closely resembling that which 
 arises from a concrete transition of sound between 
 the same extremes. If to this effect of the radi- 
 cal change, be added the coincident and co-opera- 
 ting expression of the rapid concrete, the combined 
 effects become equivalent to that interrogative ex- 
 
OF INTERROGATIVE SENTENCES. £35 
 
 pression which is given by the longer concrete on 
 an indefinite syllable. 
 
 As the rapid concrete on a short syllable, wheth- 
 er it be emphatic or not, does, however moderately, 
 produce an interrogative impression, it may be 
 used, without the radical change, in those cases 
 which do not require a strongly marked intonation 
 of the question. That is, all the interrogative sylla- 
 bles of sentences which bear the partial expression, 
 (for a thorough expression is generally forcible,) 
 may be kept at about the same line of radical pitch. 
 But the syllables so disposed must still perform 
 their rapid concrete in the appropriate interroga- 
 tive interval: and it will generally be found that the 
 moderate temper of such questions receives the 
 abated expression which was ascribed to the Third, 
 in the history of that interval. 
 
 Besides that certain succession of radical change 
 which has been noted and explained, there is this 
 other mode, in the application of the general prin- 
 ciple of its construction. If the first part of a sen- 
 tence should consist of short quantities, which resist 
 extention through the slow concrete, the interroga- 
 tive expression may be made, by the voice setting 
 out at once on the high pitch, and descending after- 
 wards at the first emphatic syllable of long quantity, 
 which will bear the slow concrete. Thus, if we take 
 the two first symbols of intonation from the prece- 
 ding example, and set over the remaining notation, 
 the following phrase, as an earnest question : 
 
 Pitt a statue with his ancestors? 
 
236 OF THE INTONATION 
 
 the reading will have the just interrogative expres- 
 sion. 
 
 Perhaps the reader is now prepared to under- 
 stand me when 1 say generally, That the current 
 melody of interrogation, in those sentences which 
 require the Thorough expression, is made by the 
 use of the slow concrete interval of the third or 
 fifth or octave, on the long and emphatic syllables : 
 and by a change of the radical pitch, together with 
 the rapid concrete of the same interval, on those 
 which are short and unemphatic or unaccented : 
 that in those sentences which are restricted to the 
 Partial expression, the intonation is made by a simi- 
 lar use of the above named constituents of inter- 
 rogation, in connexion with the phrases of the 
 common diatonic melody : and that in both these 
 cases of the Thorough and the Partial extent of 
 expression, the interrogation may be constituted 
 solely by the Third, or the Fifth, or the Octave ; 
 or more than one of these intervals may be used in 
 the same sentence, accordingly as the emphatic 
 force and the sentiment of the several words re- 
 quire, on the one hand, the same expression, and, 
 on the other, an appropriation of the peculiar pow- 
 ers of the different intervals to the varying demands 
 of those words. 
 
 Let us now learn the mode of constructing the 
 cadence of interrogative sentences : or, as some of 
 these sentences have not that peculiar characteris- 
 tic of close or discontinuation which belongs to the 
 cadence strictly so called, let us learn the manner 
 of intonation on their three final syllables, 
 
OF INTERROGATIVE SENTENCES. 237 
 
 If the sentence bears the Thorough expression, 
 the close is made in one of the following ways. 
 
 When the three last syllables are unemphatic, or 
 immutable, or are the unaccented syllables of an 
 emphatic word, the interrogative effect is produced 
 by a radical change and rapid concrete of these 
 three final syllables : these syllables, in their ex- 
 alted pitch being carried on in the phrase of the 
 monotone or rising ditone. For since the interro- 
 gative expression should always create that per- 
 ception of continuation which is contradistinguished 
 in character from the close of the Triad, the above 
 named phrases do add their peculiar power, in this 
 respect, to that of the rapid concrete, to give the 
 required continuation of voice at the end of the 
 sentence. This species of close is exemplified in 
 the ensuing notation : 
 
 He said 
 
 ~7 r 
 
 you 
 
 were 
 
 —i 
 
 in — 
 
 com- 
 
 — pa — ra — ble ? 
 
 -t-r-r 
 
 4 4 r * ~ 4 * 4 * 
 
 A / 
 
 4 A 
 
 The same case of Thorough expression being 
 supposed: if the antepenultimate syllable be empha- 
 tic, and of indefinite quantity, it will assume the 
 slow concrete, and the two last will take on the ra- 
 dical change and the rapid concrete ; as is shown by 
 the notation of the word " ancestors" in a preceding 
 example. 
 
 If, in a like case, the penult be a long quantity 
 and emphatic, it will rise by the slow concrete *, and 
 the last will have the rapid movement with the ra- 
 
238 0F THE INTONATION 
 
 dical change. This mode of intonation may be well 
 understood without a notation of it ; and I here take 
 occasion to remark that it will be unnecessary to 
 annex an illustration by the staff, to all the succeed- 
 ing descriptions within the present subject. 
 
 If the last syllable of a sentence which bears 
 the thorough expression, be emphatic and capable 
 of the slow concrete, it will end with that continu- 
 ous interval. Under this condition the three last 
 syllables may go through the downward tritone, as 
 in the following scheme: 
 
 Give Fab ius a tri umph for his de — lay? 
 
 \^±M ±m 
 
 In such instances the final rise of the octave, fifth 
 or third, as the case may be, will create the precep- 
 tion of continuation, and thus counteract the tenden- 
 cy of the radical descent, through three successive 
 downward tones, to produce a close: for it is a con- 
 dition of the perfect cadence, that the vanish of its 
 last concrete should be in a feeble downward into- 
 nation. 
 
 When the expression is Partial, and when the last 
 clause of the sentence does not bear it, it is obvious 
 that the melody of that clause must be of the com- 
 mon diactonic species, and should therefore termi- 
 nate with the appropriate triad. But sentences with 
 the partial expression sometimes have one of the 
 three final syllables emphatic: in which case the 
 emphatic syllable may call for the interrogative 
 
OF INTERROGATIVE SENTENCES. 239 
 
 expression. Under this condition the following will 
 be the forms of the cadence. 
 
 If the antepenultimate syllable be emphatic, and 
 indefinite, it will bear the slow concrete interval; 
 and the two last will successively descend from the 
 radical of that concrete, and form with it, a proper 
 diatonic triad. 
 
 If the penult be emphatic and bear the slow con- 
 crete, the last syllable will have its radical pitch a 
 tone below that of the preceding, and by its down- 
 ward feeble vanish will produce the close of the 
 triad, the emphatic syllable which bears the inter- 
 rogative intonation, being in its radical pitch, a tone 
 below the antepenultimate. This mode, however, 
 is not common: for if the expression by the concrete 
 interval comes so near the close, it is generally 
 continued, by the last syllable taking the radical 
 change. 
 
 When the last syllable is emphatic and of indefi- 
 nite time, the cadence is made in the same manner 
 with that of the last instance, in the preceding case 
 of thorough expression. 
 
 The history here given of interrogative intona- 
 tion embraces the leading points of its use in speech. 
 I leave the discovery of more particular phenome- 
 na, and the exhibition of the reason and rule of 
 their variety, for the observation of others. What 
 is here done may seem to be too much. For the 
 present age, I believe it is. But this is a concession 
 altogether irrelative to the progress of knowledge, 
 and to the pleasure derived from its development. 
 A novel history of nature, in the dignified confi- 
 
240 OF THE INTONATION, &c. 
 
 deuce of even its humble contributions, no more 
 asks the favour of those who read, than nature her- 
 self asks the gratitude of those who enjoy her boun- 
 ties. She gives what she gives, for her own purpo- 
 ses, without distracting her self-energized dispensa- 
 tions, by the subordinate and humanly contrived 
 spring of expected approbation. The true and hon- 
 est history of nature should be in all things but 
 the image of her; and perhaps he would both do 
 and enjoy more, in the work of discovering and 
 describing her, who could catch a portion of the un- 
 obsequeous spirit with which she bestows, and who 
 could put on some of her indifference, to the thought- 
 less praise or blame of those who receive. 
 
SECTION XVII. 
 
 Of the Interval of the Second, 
 
 1 return from the foregoing account of the use of 
 the higher intervals of pitch, in the construction 
 of interrogative melody, to the enumeration and 
 description of other intervals of more limited ex- 
 tent • but of no less essential efficacy in the scale 
 of intonation. 
 
 The rising interval of the second, or the proper 
 radical and vanishing tone, has in previous parts of 
 this essay been largely spoken of, both as regards 
 its nature and position in speech. I here reconsider 
 the subject of this interval, with a view to complete 
 the enumeration of all the concrete spaces of the 
 speaking scale: and to join one or two additional 
 remarks to the recapitulation of its qualities and 
 uses. It is the basis of what I have called the di- 
 atonic melody; and in correct and agreeable elocu- 
 tion, is more frequently used than any other inter- 
 val: since it is appropriate to all those parts of dis- 
 course which convey the plain thoughts of the speak- 
 er; if these may be contradistinguished from those 
 emphatic meanings and sentiments, which I design- 
 ed to embrace under the head of Expression. Al- 
 though I thus exclude the Tone, when used in its 
 simplest state, from among the especial agents of 
 
242 0F THE INTERVAL 
 
 expression, I shall show hereafter, that it may re- 
 ceive a stress, on different parts of its concrete 
 course, which gives a marked coloring to its into- 
 nation : and it has already been told, in the section 
 on time, that the extension of the voice on sylla- 
 bles of long quantity, produces a deliberate enun- 
 ciation, a dignity and a smoothness which give the 
 highest qualities of the diatonic melody, without a 
 departure from its characteristic simplicity. 
 
 In an early part of this essay, I asserted that the 
 radical and vanish are necessary functions of utter- 
 ance \ or in other words, that no impulse of the 
 voice can be given, without going through the con- 
 crete. I have since shown the means for ascertain- 
 ing the passage of this concrete through the higher 
 intervals of the scale, both in the protracted and 
 the rapid time of syllables. When I assert that im- 
 mutable syllables, in a diatonic melody, do pass in- 
 stantaneously through the concrete second or tone, I 
 am bound to confess that I cannot measure the steps 
 of the transition. Yet I am led to the opinion by 
 the following reasons. — 
 
 Every case of concrete utterance of a tone, in 
 which the increments of time and motion are per- 
 ceptible, has manifestly the radical and vanishing 
 progression. Now if the time of this manifest con- 
 crete is gradually shortened, in repeated pronuncia- 
 tion, till the syllabic impulse becomes, as it were, 
 a mere point of sound, the effect of this instant 
 impulse on the ear does not differ materially from 
 that of the last degree in which the increments 
 of the concrete progress are discernible. 
 
OF THE SECOND. £43 
 
 But further, I have shown that the interrogative 
 intervals of the third, the fifth, and the octave, 
 might be passed through on an immutable syllable. 
 This was proved by the peculiar effect of the in- 
 terrogative voice being distinctly cognizable on this 
 sort of syllable: and I shall show, in the next sec- 
 tion, that the smaller interval of the semitone, the 
 peculiar expression of which may be recognised, 
 whatever is the time of utterance, does likewise 
 pass through the concrete, on the shortest syllables. 
 Now we can scarcely refuse to the Tone, the attri- 
 bution of that concrete movement on momentary 
 syllables, which belongs to all the other intervals 
 of the scale, when uttered in the same momentary 
 impulse. This however, is certain: — there is one 
 mode of enunciation of immutable syllables clearly 
 distinguishable from their utterance through the 
 concrete space of the semitone, the third and other 
 higher intervals. This maybe a mere point of voice; 
 but for the above reasons, I do believe it to be a 
 rapid concrete passage through the second or tone. 
 
 Perhaps the reader may desire to know particu- 
 larly, to what portions of discourse the Tone or 
 second is applied, and with what continuity the di- 
 atonic melody, which consists in a play on this 
 Tone, is used. In describing and illustrating this 
 melody. I represented it as extended through suc- 
 cessive sentences. The diatonic movement is how- 
 ever, rarely found of long continuation: the cur- 
 rent of the Tone being intersected by the interpo- 
 sition of concretes with a different range of pitch. 
 I have already said that the higher intervals of the 
 
244 0F THE INTERVAL 
 
 v » 
 
 scale are used for interrogative expression ; that 
 they are likewise applied to single words, as one 
 of the modes of emphasis ; and I shall show that 
 other elements of pitch are occasionally introduc- 
 ed for this same purpose of emphatic expression. 
 Now as these occasions for using the other inter- 
 vals occur in most discourse, it will be found that 
 the diatonic melody generally exists in detached 
 portions j the continuity of the melody in the tone 
 or second being broken by those other intervals : 
 and this interruption will be more or less frequent, 
 according to the degree of expression contempla- 
 ted in the discourse. A Gazette advertisement, a 
 legal instrument, and the purely communicative 
 style of plain narrative and of description may ge- 
 nerally be read in the thorough diatonic melody. 
 But there are few compositions which are address- 
 ed to taste, that have not their melody varied by 
 the more or less frequent occurrence of the color- 
 ing of other intervals than the second. According 
 to the line I have endeavoured to draw between 
 thoughts and sentiments or feelings, and consistent- 
 ly with their appropriate intonation, it might be 
 supposed that the demonstrations of Euclid should 
 be read in one continuous stream of diatonic melo- 
 dy ; but even these are perpetually varied by the 
 higher intervals, introduced upon conditional and 
 hypothetical phrases. — The fragments of diatonic 
 melody, occurring in prose declamation, in poetry, 
 and in the drama, are generally small: and conver- 
 sation, when not didactic, nor designedly solemn, 
 nor unavoidably dull, almost banishes the melody 
 
OP THE SECOND. 245 
 
 of the tone, in the vivid coloring of its highly in- 
 flected intonation. 
 
 Since I have assigned restrictively, the interval 
 of the second, in the form of the diatonic melody, 
 to a certain complexion of discourse ; and since 
 it is desirable that this melody should be executed 
 with the greatest propriety and elegance, it may 
 not be amiss to point out the mode of managing 
 the second, for the attainment of these qualities. 
 
 The diatonic melody being deprived of the re- 
 sources of the higher intervals, and other modes of 
 intonation, by which more sentimental discourse is 
 expressively adorned, is limited to the means of 
 excellence, arising out of the skilful ordering of 
 time and stress. — The different forms of stress 
 which may be applied to a concrete rise of the 
 second, will be described in a future section. The 
 other principal means for adding dignity and grace 
 to the delivery of a passage of diatonic melody, 
 and for effecting a well measured rhythmus, is by 
 the adjusted variety of length, in the quantity of 
 syllables. It is not, however, by the prolongation 
 alone, that the clear and agreeable enunciation of 
 syllables is effected, in an inexpressive diatonic 
 melody. It is necessary that this length should be 
 made with the equable movement which peculiar- 
 ly constitutes the intonation of speech : and further, 
 that the voice, in this equable rise of the tone, 
 should have that full opening and subsequent gradu- 
 al diminution, which suggested its subdivided dis- 
 tinction by terms, into radical and vanishing move- 
 ment. He who has not cultivated his voice in 
 
246 INTERVAL OF THE SECOND. 
 
 these particulars, will find it difficult to give the 
 extreme protraction of an indefinite syllable, with 
 its co-existent qualities of equability and vanish. 
 He will, on trial, be very apt to carry out a long 
 quantity, after the manner of the intonation of song 
 or recitative. Being now acquainted with the three 
 directions of the radical and vanishing movement, 
 the light and guidance of a special purpose in study 
 and practice, instead of the faultering blindness 
 of imitation, may lead us to an unerring command 
 over the equable concrete of speech. 
 
 The power of making long quantities on indefi- 
 nite syllables, with the precision of boundary and 
 the smoothness and nicety of vanish belonging to 
 the best execution of this equable movement, is 
 one of the most attractive and the, rarest accom- 
 plishments of a speaker. The skilful performance 
 of this concrete function, in the impressive fulness 
 and dignity of the Orotund voice, gives the ac- 
 knowledged satisfaction to a discerning ear, when a 
 finished actor first breaks his silence in the dia- 
 logue 5 even though it be by a solitary syllable. 
 With this temper of voice, his opening efforts 
 cleave their way at once to approbation ; and need 
 no working on a dull material through the tedious 
 whetting of a whole act, to bring it to an edge. 
 
SECTION XVIII. 
 
 Of the Interval of the Semitone; and of the Chro- 
 matic Melody founded thereon. 
 
 The smallest but not the least important division 
 of the scale, through which the radical and vanish- 
 ing movement may be heard, is the interval of the 
 semitone. In the second section of this essay, I 
 described the means by which the reader can ac- 
 quire a distinct perception of this concrete interval. 
 It was there said, that, if in ascending the scale, the 
 effect of the transition from the seventh to the 
 eighth place be compared with the syllabic utter- 
 ance of a plaintive sentiment, their identity would 
 be acknowledged. Now the interval from the 
 seventh to the eighth, in the diatonic scale, is a 
 semitone. This interval is used in speech for the 
 expression of complaint, pity, grief, plaintive sup- 
 plication, and other sentiments congenial with 
 these. 
 
 The power of the semitone, together with its 
 definite place and range of interval, may be made 
 manifest, by dividing the word u fire" into two syl- 
 lables, and by ascending the scale with the alter- 
 nate use of these syllables — Thus: 
 
 Fi yer Fi yer 
 
248 0F THE CHROMATIC MELODY 
 
 Now the two places of the semitones, which are 
 here each marked by a brace, will give the word 
 " fire'' as it is uttered through the streets, in the out- 
 cry of alarm. The intonation by the concrete semi- 
 tone, is universally, the symbol of nature for animal 
 distress : and in the above mode of exemplification 
 on the scale, its effect is very different from that of 
 the concrete passage of the word through the space 
 of a whole tone, between the first and second points 
 of the scale. Among a multitude of voices, where the 
 alarm is given by public cry, this utterance through 
 the second is occasionally heard : and I am sure some 
 of my readers may be able to call to mind the ef- 
 fect of its dissonant difference from the intonation 
 of the great majority. I cannot exemplify it by 
 the pen : but when the attractive nature of a par- 
 ticular cry does not consist in quality or in shrill- 
 ness, it generally arises from this misapplied form 
 of pitch. The genera of mankind always show forth 
 their indices; and though there may sometimes 
 be error in judging of the full aggregate of quali- 
 ties thereby, there is often truth, and always, cau- 
 tion, and economy of opinion in the use of the rule. 
 Be this as it may, I never hear the cry of " fire 1 ' 
 made through the interval of a whole tone, with- 
 out a persuasion of the general impotence or defor- 
 mity of that voice or that ear, which can, in this 
 particular, so far transgress the ordination of nature. 
 
 The semitone is employed for the expression of 
 gentleness of feeling : and never for that of great 
 energy, harshness or impetuosity of thought. It af- 
 fects generally the slow time and long quantity in 
 
OF SPEECH. 049 
 
 utterance. The interjective exclamations of pain, 
 grief, love and compassion are prolongations of the 
 tonic elements on this interval. But it can be exe- 
 cuted, and the effect of it is distinctly perceptible, 
 as I hinted in the last section, on the short time 
 of immutable syllables. For it will be found on 
 experiment, that the syllable " cat," or any similar 
 immutable, can be uttered in a plaintive or com- 
 plaining tone, even in its shortest time. Since then 
 thisplaintiveness, when made with long quantities, 
 on which the transition may be distinctly mea- 
 sured, is always produced by the concrete semi- 
 tone, and not by a movement through any other 
 known interval of the scale ; it may be fairly con- 
 cluded, when tli is plaintiveness is heard on an 
 immutable syllable, that the semitone is rapidly 
 performed, even though the succession in the mo- 
 ments of its time is imperceptible. 
 
 In the next section, I intend to speak of the na- 
 ture and uses and various intervals of the downward 
 vanishing movement. But it is necessary to con- 
 sider here transiently the downward vanish of the 
 semitone ; since its function is involved in the sub- 
 ject of the chromatic melody of speech which I am 
 about to describe. 
 
 The downward radical and vanishing semitone 
 may be exemplified, by beginning at the top of the 
 scale, with the word " fire," divided as above into 
 two syllables, with the addition of the subtonic 
 " y," and descending by the alternate use of these 
 syllables. The sound in the concrete passage from 
 the eighth to the seventh, will have a plaintive 
 Kk 
 
250 OF THE CHROMATIC MELODY 
 
 character, though somewhat different from that of 
 its upward progress through the same interval. 
 Whereas the concrete passage downward through a 
 whole tone, between the second and first, will not 
 produce that plaintive effect. From this account 
 it may be understood, that if the voice should rise 
 concretely through a semitone, and afterwards in 
 continuation should descend through it, the effect as 
 far as regards expression, would be an iteration of 
 movement, and a prolonged influence of the plain- 
 tive character. Now as the sentiment which dic- 
 tates the semitone generally affects a slow time and 
 an extension of syllabic quantity, the expression of 
 this interval is generally made by the continuity 
 of its upward and downward concrete movement. 
 This structure answers two important purposes. Tt 
 creates a stronger impression of the sentiment : and 
 by doubling the interval, it allows a prolongation of 
 quantity, without endangering the integrity of the 
 equable concrete, by the liability of a long quantity, 
 to pass into the intonation of song or recitative. 
 The expressive character of this doubled semitone 
 may be exemplified by making an immediate 
 return in the downward direction, after having 
 ascended to the top of the scale. For the high- 
 est interval of the scale being a semitone, if the 
 concrete ascent be continued with an unbroken 
 current, into a return upon that interval, as the 
 commencement of the descending scale ; and if we 
 pause after this first downward step, we shall per- 
 ceive an effect of intonation exactly resembling 
 
OF SPEECH. 25| 
 
 that which belongs to the plaintive utterance of a 
 protracted syllable of speech. 
 
 The sentiments which are naturally expressed 
 by the semitone are sometimes restricted to indivi- 
 dual words ; sometimes they extend over phrases 
 and sentences, and even throughout entire sections 
 of' discourse. These last occasions requiring the 
 semitone on every syllable, necessarily produce a 
 melody consisting of a continued succession of that 
 interval. In the sixth section the diatonic melody 
 was represented as formed by the progression of 
 pitch through the interval of a whole tone. That 
 which is here spoken of being through a semitone, 
 may be called the Semitonic or Chromatic melody. 
 Like the former it is subdivided into the current 
 melody, and that of the cadence. The movement 
 of its current resolves into six sorts of phrases, 
 similar to those in the diatonic progress. But as 
 the change by radical pitch in the chromatic cur- 
 rent, is through the interval of a tone, only when it 
 descends, and not when it ascends, as will be shown 
 presently, the misnaming may be scanned, but it 
 must be pardoned, when I call the several semito- 
 nic phrases by the terms assigned to the elements 
 of the diatonic melody. 
 
 The doctrine of key and of modulation is the same 
 in the two melodies. A similar appropriation of 
 phrases to the pauses of discourse, for continuing or 
 suspending or closing the sense, is used in each ; 
 and the same rule for varying the phrases of the 
 current melody, in the production of an agreeable 
 
252 
 
 OF THE CHROMATIC MELOD1* 
 
 effect, is applicable to both. But as the sentiments 
 which dictate the use of the semitone and its melo- 
 dy are always more grave or depressed than those 
 associated with the diatonic, the former more fre- 
 quently affects the phrase of the monotone. 
 
 In speaking of the diatonic melody I divided its 
 constructive parts into the concrete pitch and the ra- 
 dical pitch. The same distinctions may be made in 
 the progression of the chromatic melody. Its concrete 
 is always essentially formed upon the interval of 
 a semitone. Its radical pitch, if I have not been 
 deceived, is conducted in the following manner. 
 When the current melody descends, the step of the 
 radical change is made downward, over the space 
 of a whole tone. But when the melody ascends, the 
 discrete transition is over the space of a semitone. 
 The truth of the former case will be acknowledged 
 on executing the downward ditone of a chromatic 
 melody, and comparing its effect with that of the 
 two first constituents of the triad of the diatonic ca- 
 dence : for it will be found that if the downward 
 radical pitch of a chromatic melody be followed by 
 another downward radical similar to the first ; or in 
 other words, if we attempt to make a downward 
 tritone in a plaintive intonation, the triad of the 
 cadence will be thereby so nearly accomplished, 
 that it will solicit for its consummation, only the 
 faint downward vanish of that triad on its last con- 
 stituent. Now the triad of the cadence, in its tri- 
 partite form, is constructed of the successive descent 
 of whole tones. 
 
OP speech. 253 
 
 The following considerations lead to the conclu- 
 sion that the radical change in the upward direction, 
 is in some cases made by the step of the semitone. 
 By reference to the mode of ascent in the vocal 
 scale, it will be found, that in executing the semi- 
 tones, the notes next above them begin at the top 
 of the concrete of the previous semitone; and as 
 every concrete of a chromatic melody is a semi- 
 tone, it follows, by the rule of the scale, that each 
 successive syllable of a chromatic progression, 
 when the radical pitch rises, must be at the distance 
 of a semitone above the preceding. 
 
 But it has been shown that the concrete pitch 
 of this melody is, in slow utterance, generally con- 
 tinued into the returning downward vanish of the 
 semitone. On this occasion the above reasons for 
 the semitonic radical change do not apply. Whether 
 in this case of the returning downward concrete, 
 the radical change upward is by the semitone or 
 the tone, I am not prepared to decide, with that 
 confidence which I have felt on all the points of 
 observation within the preceding pages of this 
 work. On the whole, however, there is not much 
 change of radical pitch in this melody ; since the 
 monotone is its prevalent phrase. 
 
 It was taught in a previous section, that in the 
 diatonic melody special purposes of expression 
 call occasionally for the introduction of the interval 
 of the octave, the fifth and the third. It will be ask- 
 ed, perhaps, if these intervals are ever found in 
 the course of a chromatic melody : and if so, how 
 they are engrafted on it They have a place in it ? 
 
254 0F THE CHROMATIC MELODY 
 
 both for the purpose of interrogation and of empha- 
 sis ; and are applied in the following manner. 
 
 As it is the end of this melody to give the plain- 
 tive effect of the semitone, if an emphatic or inter- 
 rogative word should require any one of the above- 
 mentioned intervals, the expression of the semitone 
 and of that higher interval should be conjoined. 
 But by the mode of using the interrogative inter- 
 vals in the diatonic melody, that is by their direct 
 ascent, they would overslide the semitone and its 
 plaintive expression would be thereby lost. These 
 two effects therefore, are conjoined, for the purpose 
 of chromatic interrogation and emphasis, by carry- 
 ing the voice through the upward and downward 
 semitone on the appointed syllable \ and by leading 
 it afterwards in continuation from the extremity of 
 the downward vanish, through the upward concrete 
 of the octave or the fifth or the third, as the intend- 
 ed expression of the interrogation or emphasis 
 may require. If the peculiar keenness and force of 
 expression which was ascribed to the octave is re- 
 collected, it must at once be supposed that it is rare- 
 ly found among the signs of semitonic interrogation: 
 the more abated power of the third or fifth being 
 commonly used for this purpose. Perhaps the read- 
 er may not be dissatisfied if I here think it unneces- 
 sary to set forth this subject of the chromatic melo- 
 dy, by a scheme of notation. The precision I have 
 endeavoured to give to the terms of the descrip- 
 tion, will I hope enable him to understand it with- 
 out delineation ; or to mark the tablature for him- 
 self. 
 
OF SPEECH. 255 
 
 The cadence of a chromatic melody, or the close 
 of a pathetic or plaintive current of utterance is 
 made by a peculiar construction of the triad. 
 
 The reader will find on trial, that there is no 
 other mode of reaching the satisfactory pause of 
 discourse, on three distinct syllables, than that 
 which was described in the history of the diatonic 
 cadence ; and which consists in the radical descent 
 of whole tones, as noted in the first and second 
 sorts of cadence, in the sixth section. — Consequent- 
 ly the chromatic triad must be made by a similar 
 radical descent, since a downward triad of three 
 semitones, would make no more than a tone and a 
 half. But the concrete pitch, or vanish of these 
 radicals, which thus descend by a tone, is made 
 through the space of a semitone ; and the plaintive 
 character of the melody is thus communicated to 
 its close. 
 
 It deserves to be remarked here, that a passage 
 which requires the intonation of the chromatic mel- 
 ody, may sometimes be terminated by the plain di- 
 atonic triad ; whether that close be made by its tri- 
 partite separation, or by conjoined constituents, as 
 was illustrated in the history of that cadence. In- 
 deed it may be further observed, that insignificant 
 and slightly marked particles in a chromatic sen- 
 tence, may bear a radical and vanishing whole tone, 
 without deducting much from the expressive effect 
 of the proper semitone, in the important words 
 and long quantities of the sentence. Of these plain 
 forms of the diatonic cadence, which may be occa- 
 sionally applied to a chromatic melody, I have al- 
 
25® OF THE CHROMATIC MELODY 
 
 ready spoken in the sixth section. I here take no- 
 tice of those forms of the close which carry the 
 plaintive expression. 
 
 The chromatic close may be made on a single 
 long syllable : or it may be allotted to two sylla- 
 bles : or the space of its descent may be divided 
 between three. 
 
 If the three constituents are joined severally to 
 three syllables, the cadence is made by taking the 
 radicals at the interval of a whole tone in descent 
 from each other; and by giving to each of the con- 
 stituents, except the last, the rising vanish of the 
 semitone; the last having the feeble downward 
 vanish, such as belongs to the diatonic cadences. 
 This is exemplified in the following notation : in 
 which the lines and spaces still designate the differ- 
 ence of a whole tone, except in the measuring of 
 the concrete issue of the points, and of the upivard 
 change of radical pitch ; both of which must be 
 taken as indicative of the space of a semitone. 
 
 Pit— ty the 
 
 sor — 
 
 —rows 
 
 of a poor 
 
 old 
 
 man. 
 
 sir* 
 
 -4- 
 
 4 
 
 4 4 4 
 
 4 
 
 
 
 W 
 
 ^ 
 
 It is true that the concrete semitonic rise, in con- 
 tinuation with a subsequent fall below the radical, 
 may be given to the last constituent, and that a 
 plaintive expression may thereby be communica- 
 ted to it : but in this case the perception of the close 
 will not be so complete as when made in the man- 
 ner of the above notation. 
 
 The tripartite chromatic cadence may also be 
 
OF SPEECH. 257 
 
 made by assuming the above construction, and by 
 joining the constituents through a downward van- 
 ish: the plaintive character still flowing from the 
 semitonic rise of its two first constituents, thus: 
 
 A poor old man. 
 
 2 
 
 When the plaintive close is spread over two syl- 
 lables, the first constituent rises through a concrete 
 semitone, and the voice is continued from this van- 
 ish, into the last syllable, which ends in a feeble 
 downward movement, in this manner : 
 
 A 
 
 poor 
 
 
 man. 
 
 f 4 * ^\ 
 
 
 
 
 s ^ 
 
 The chromatic cadence may be made on a sin- 
 gle long syllable : but its effect is bad, and it is per- 
 haps never used in correct speech, except for some 
 special design of expression, which has no neces- 
 sary connexion with the mere cadence. The inad- 
 missible nature of this cadence arises from the use 
 of the upward semitone, which must be heard on 
 the first part of that syllable, for the purpose of 
 giving a plaintive construction to the close. Now 
 the continuation of this rising semitone into the 
 downward third produces an element of expression, 
 if I may so call the combination, which may indeed 
 carry the power of a close : but it does at the same 
 time, join with it an intonation of affected mockery, 
 altogether foreign to the desirable and appropriate 
 character of the simple cadence. 
 l1 
 
258 0F THE CHROMATIC MELODY 
 
 There is still another form of the Chromatic close, 
 resembling the skipping cadence of the diatonic 
 melody. It consists of a concrete semitone on the 
 antepenult syllable, and an immediate discrete 
 descent by radical pitch to the final constituent of 
 the triad ; omitting the second altogether. It is un- 
 necessary to give a diagram of this form, since it 
 is shown by the last example of notation, when de- 
 prived of the concrete junction of the two consti- 
 tuents. It is rarely used as a close ; and only when 
 some peculiar emphasis, as, of surprise, may hap- 
 pen to lie on the last word of the sentence. 
 
 As in the diatonic cadence, so in the chromatic, 
 there are different degrees of fulness or complete- 
 ness of the close : and these depend on the con- 
 struction. That entire consummation which is de- 
 manded at the utter period of discourse, is effected 
 by the tripartite form of the first of the above no- 
 tations. The second which is still tripartite, but 
 which has its constituents conjoined by the down- 
 ward vanish, has perhaps a character of somewhat 
 less repose than the first -.since the radicals in this 
 case, are less distinctly marked by the explosive 
 fulness which belongs to them when they are not 
 conjoined ; and it is this conspicuous display of the 
 descent of the radical pitch which gives the full 
 exhaustion to the close. The third construction 
 represented above, is the most feeble form of the 
 chromatic cadence ; for being made upon two syl- 
 lables, it has less of the character which is derived 
 from the change of downward radical pitch. This 
 
OF SPEECH. 259 
 
 mode of cadence then falls short of the expression 
 necessary for a close, at the cessation of discourse. 
 In closing this history of the five enumerated 
 intervals of pitch, and of their uses in the purpo- 
 ses of elocution, I have only to add, that, as far as 
 my observation goes, I believe the intervals of the 
 Fourth, Sixth, and Seventh are used in speech for 
 peculiarities of expression similar to those of the 
 intervals which adjoin them, and which have been 
 described above. The third, fifth and octave which 
 are adjacent to those omitted intervals, are the 
 most easily seized by the ear, not only in the mea- 
 surement of the discrete steps of an instrumental 
 scale, but also in the recognition of the boundary 
 of the continuous slide, in the human voice. It is 
 on this account I have limited the enumeration in 
 the preceding sections, to certain five intervals of 
 the natural scale. I have not satisfactorily ascer 
 tained the properties of the remaining three, if in- 
 deed they possess any that are peculiar : and I have 
 not thought the investigation worth further trouble 
 
SECTION XIX. 
 
 Of the Downward Radical and Vanishing Move* 
 ment. 
 
 The functions of pitch hitherto described are 
 performed principally by a rising progress of the 
 concrete, or of the radical change. 
 
 In an early page of this essay it was shown that 
 the voice moves in a reverse direction \ that the ra- 
 dical, opening with its characteristic fulness on a 
 given place in the scale, descends through its des- 
 tined interval, with that equable concrete structure 
 and diminishing force which characterizes the up- 
 ward vanish. We must now consider the varieties 
 of form in the downward concrete, the occasions of 
 its use, and the qualities of its expression. 
 
 The downward progress of the voice is made 
 through all the intervals named in speaking of its 
 rise : and in like manner with the rise, the descend- 
 ing transition is made both by a concrete move- 
 ment, and by a discrete change or leap of the radi- 
 cal pitch. The effect of the descent, whether done 
 concretely or by discrete skip, may be manifested, 
 and the characteristic expressions of the different 
 intervals may be rendered precisely cognizable, by 
 means of the following experiments. 
 
 Let the reader express himself familiarly on the 
 exclamatory phrase, " well done," in the way of 
 
OF THE DOWNWARD MOVEMENT. 
 
 261 
 
 high astonishment : taking care that the first word is 
 assumed at a high pitch ; that the last has an unusual 
 prolongation of quantity ; and that the words are 
 uttered as if they formed the close of a sentence. 
 If the intonation of the word "done" be according to 
 the design here given, it will exemplify the down- 
 ward concrete of the octave. Again let him give 
 the oscitant interjection, " heigh ho," with that de- 
 gree of emphasis which may throw these two words 
 on the extremes of the compass of the natural 
 voice. He will thereupon find that the transition 
 from the elevated pitch on " heigh" to the inferior 
 place of " ho," will be by a discrete or skipping de- 
 scent. Now this transition, where the intonation 
 is pointedly marked as above proposed, is commonly 
 made by the downward radical pitch of the Octave. 
 
 The downward Fifth', both in its concrete pitch 
 and in its discrete radical change, may be made audi- 
 ble by employing a somewhat less vivid coloring 
 of intonation than the last, on these same words. 
 
 The concrete descent of the Third may be heard 
 by pronouncing the word " No," as if it were the 
 last word of a sentence ; observing to give it some 
 length, and to exclude from the utterance every 
 expression except the simple indication of the ca- 
 dence. The downward radical pitch or skip of the 
 third, may be exemplified by pronouncing the 
 phrase " made an attack," as if it were a full close, 
 giving the syllables " made an at," in the monotone, 
 and making the satisfactory close on " tack." For, 
 in this case the syllable " at" is the first constituent 
 of the triad : and being by its short quantity inca- 
 
%Q2 0P THE DOWNWARD RADICAL 
 
 pable of a concrete descent to fill up the close, the 
 voice of necessity leaps over the place of the second 
 constituent and terminates the cadence on " tack" 
 in the proper point of the third. 
 
 The effect of the downward concrete second or 
 tone may be made familiar, by attending to the last 
 constituent of a diatonic cadence, in its tripartite 
 form. The radical change of the second may be 
 heard in the descent of the constituents of the same 
 cadence ; since its radicals succeed each other by 
 the difference of a tone. 
 
 The downward concrete of the semitone was 
 described in the last section, as being plaintively 
 obvious in the vocal transition from the eighth to the 
 seventh place of the scale. If it is true, as I have 
 ventured to assert of the chromatic current melody, 
 that its change of radical pitch in a downward course 
 is like that of its cadence, a whole tone, it follows 
 that we have no instances in speech, of the discrete 
 downward pitch of the semitone. 
 
 If the reader is by this time expert in ascend- 
 ing both concretely and discretely, through each 
 of the intervals of the scale, he may after rising, 
 immediately return through the same interval, 
 whilst the impressions of its extremes are fresh on 
 his ear; and thus in another manner become 
 familiar with the different extent of the down- 
 ward movement, both in its concrete and discrete 
 progress. 
 
 I have been speaking of the downward move- 
 ment when made on long quantities : but like the 
 rising direction, it may be shown on immutable 
 
AND VANISHING MOVEMENT. OfJS 
 
 syllables: the transit through the given interval 
 being rapidly performed. Yet it must be remarked 
 that when the characteristic expression of an inter- 
 val is required on immutable syllables, the transition 
 is generally made by the change of radical pitch. 
 
 The expressive powers of the downward radi- 
 cal and vanish, will be assigned in a subsequent con- 
 sideration of the particular intervals of the scale. 
 As a general remark on its character, it may be 
 said in contradistinction to the effect of the Third, 
 Fifth, and Octave, which have an interrogative 
 meaning, that the downward progress of the same 
 divisions of the scale represents a degree of posi- 
 tiveness of affirmation quite the reverse of the 
 doubt contained in a question. Still this positive- 
 ness is not its sole expression, since it may be united 
 with other sentiments which are represented, as 
 will be shown presently, by certain modifications 
 of the course of the concrete Thus in the phrase 
 " well done," used above for illustration, there 
 seems to be conveyed the highest degree of confi- 
 dence, in the award of approbation. Some other 
 inquirer may hereafter give the true cause of the 
 determinate effect of this element. I cannot how- 
 ever avoid offering here the suggestion, for I wish 
 to be cautious in touching analogical argument, 
 that the positiveness of character which belongs to it 
 may arise from its conjoining with its emphatic im 
 port a certain degree of the final impression of the 
 cadence: for this seems to foreclose the expectation 
 of further doubt or reply, by the satisfactory repose 
 of the ultimate intonation on a finished sense. In 
 
264 0F THE DOWNWARD MOVEMENT. 
 
 corroboration of this suggestion let us bring to mind 
 that the replications of doubtful argument in dia- 
 logue, and the diffidence of mutual civility between 
 the speakers, are not marked so freely with com- 
 plete cadences, as the termination of the sense of 
 the respective phrases would otherwise bear. But 
 we know that when the assertions become authori- 
 tative from truth, or dogmatic from opinion, the 
 closing intonation of the cadence is employed as 
 the definite seal of self-confident affirmation. 
 
 The downward vanish is used for the purpose of 
 emphasis, as will be particularly marked in a future 
 section. It has nearly an equal power of attraction 
 over the ear, with the upward vanish. The expres- 
 sions of wonder, admiration, surprize and exclama- 
 tion, when not conjoined with an interrogative 
 meaning, are generally made by a form of this ele- 
 ment ; the extent of the interval being proportional 
 to the degree of energy in the sentiment. As the 
 downward concrete is formed in the same manner 
 with the rising, having, metaphorically speaking, 
 but a different direction, we may ascribe the same 
 qualities of construction to both. The same explo- 
 sive fulness should mark the radical ; there should 
 be the same equable movement in its descent j the 
 same delicate and smooth diminution and final va- 
 nish into silence. 
 
 After these general remarks on the subject, we 
 proceed to the history of the particular intervals of 
 the downward movement. 
 
SECTION XX. 
 
 Of tlie Interval of the Downward Octave. 
 
 This interval, in addition to the expression, as- 
 cribed generally to the downward movement, con- 
 veys in the colloquial uses of the voice, the vivacity 
 of facetious surprise, as in the instance of the phrase 
 "well done," given above. It is in this case the 
 very picture of amazement, and if I may so speak, 
 raises the brow and opens the eye of the voice. 
 In its more dignified uses, there is the highest de- 
 gree of admiration or astonishment, either alone, 
 or united with other sentiments. Thus the aston- 
 ishment and positiveness marked by this interval 
 may be coexistent with the complacent feeling of 
 mirth and sociability, or with the repugnant sen- 
 timent of fear or contempt or hatred, or in short, 
 with almost any state of mind which is not contra- 
 dictory to that astonishment and positiveness. For 
 though these superadded sentiments have other 
 symbols in expression, yet when they go with this 
 high degree of astonishment, the downward octave 
 is the true and only sign of the combination. 
 
 But as the same interval can thus represent differ- 
 ent sentiments, it may be inquired, whether some 
 modification of its structure may not be necessary ; 
 m m 
 
266 0F THE D0WNWARD OCTAVE. 
 
 and if so, how it is modified. It is modified in this 
 manner. I shall show particularly in a future sec- 
 tion, that the concrete movement, whether the di- 
 rection be upward or downward, can bear with dis- 
 tinguishable audibility, a force of voice on the be- 
 ginning or on the middle or on the end of its progress 
 through a prolonged quantity. The names and fur- 
 ther uses of these three kinds of stress will be given 
 hereafter. Now in the appropriation of these forms 
 of the downward octave to the different sentiments 
 which were said to be within its expression, I assign 
 the simple or natural form of the radical and vanish 
 to the feeling of extravagant mirthful wonder. When 
 the force is laid on the middle of its course, by a 
 swell at that place, the expression becomes more 
 repulsive with its wonder. And when the force is 
 applied to the lower extremity, reversing thus the 
 natural structure of the radical and vanish, it in- 
 creases the degree of the repulsion, and mingles 
 with it some slight affection of anger or of scorn. 
 The characteristic thus assigned to the octave, 
 might at once assure us that it is of rare occurrence. 
 It may be found occasionally in the intensity of col- 
 loquial excitement, and in the fervor of the drama : 
 but never perhaps in the course of narrative or 
 description, since the strained energy of its expres- 
 sion must be the real or the personated pouring out 
 of the heart. 
 
SECTION XXI. 
 
 Of the Interval of the downward Fifth. 
 
 The expression of the last described interval 
 is marked by a quaint sentiment of familiarity, or 
 by an excessive degree of violence. The Fifth 
 has in many respects a similar meaning ; but it 
 clothes its sentiments of smiling surprise and of ad- 
 miration, whether it be passive or repelling, with 
 more dignity than is borne by the octave. This 
 interval is often used on imperative phrases. Its 
 concrete, like that of the octave, may be modified 
 in meaning by the different applications of stress. 
 The following derisive exclamation of Gabriel to 
 Satan, in the fourth book of Paradise Lost, is pro- 
 perly made by the natural form of the fifth ; that 
 is, by the stress on the radical or opening portion 
 of the interval, whilst the vanish dwindles away 
 in its descent. 
 
 Courageous chief! 
 The first in flight from pain ! 
 
 The syllable ra, here signalized by italics, is 
 made by the natural or unaltered radical and va- 
 nish of the falling fifth. 
 
 When the Queen says to Hamlet 
 
 If it be, [that is, if death be the common lot] 
 Why seems it so particular with thee? 
 
26S OF THE INTERVAL 
 
 Hamlet returns 
 
 Seems, Madam, nay it is.' I know not seems. 
 
 Now the is, here marked in italics, when uttered 
 with the downward concrete of the fifth, represents 
 most perfectly the positive affirmation and surprise 
 of the speaker, at the misconception of his real 
 state. But the solemn feeling of the prince, which 
 rejects, with some little indignation, the profanity 
 of the supposition, that there is any formal show 
 in the deep rt ality of his grief, cannot be expressed 
 by the natural form of the radical and vanish. 
 There is a light and pleasant surprise in this mode 
 of the concrete which would misrepresent the sen- 
 timent. But if the voice is swelled to a greater 
 stress as it descends, the grave severity and digni- 
 fied conviction of the speaker become at once con- 
 spicuous. The intonation of this line may be thus 
 delineated : 
 
 Seems, Ma dam, nay it is! I know not seems. 
 
 ^ 
 
 I have in this reading set a rising third, or the 
 most moderate form of interrogative expression, to 
 the first word ; for there is in it a slight sentiment 
 of inquiry. The succeeding clause, which contains 
 a most positive affirmation, has the downward fifth ; 
 and the whole scheme is calculated to show the 
 opposite powers of expression in the rising and 
 falling intervals, 
 
OP THE DOWNWARD FIFTH. 269 
 
 This is not the place to represent the notation of 
 stress : therefore I have drawn the natural radical 
 and vanish of the fifth. In a future section I shall 
 show the reason, why the radical of the downward 
 movement is here set so far above the line of the 
 current melody. 
 
 The discrete transition of the falling fifth, or the 
 change of radical pitch through that interval, has 
 somewhat of the expression of its concrete form. 
 It is applied on those syllables which will not bear 
 the prolongation, necessary for the concrete ; and 
 on the occasions of its employment, the two ex- 
 tremes of the interval are made on two different 
 syllables. The following notation will exemplify 
 the radical change or skip of the falling fifth : 
 
 But 
 
 Bru — tus 
 
 says 
 
 he 
 
 was 
 
 am biti — ous. 
 
 
 
 -4 
 
 ¥ 
 
 ^- 
 
 IT + 
 
 ff 
 
 
 ^ 
 
 
 1 
 
 * 
 
 
 
 
 
 
 If I have a right conception of the manner of 
 exhibiting the sentiment of this line, I would say, 
 it requires the intonation of grave surprise rather 
 than that of contemptuous contradiction, with which 
 it is sometimes read. The craft of Antony's ora- 
 tion turns upon the excitation of odium against the 
 conspirators, by the favourable and moving repre- 
 sentation of Caesar's virtues, more than by the co- 
 loring of the crime of his assassins. And though 
 in the well known burden of the speech, they are 
 reported as honourable men, certainly not with the 
 least good will in the title, still, the vocal curl of 
 
270 0F THE DOWNWARD FIFTH. 
 
 sneer, which we sometimes hear on this phrase, is 
 inappropriate and affected. At least this may be 
 said of it, as it occurs in more than the first half of 
 the speech : and when at last the speaker is en- 
 couraged to bolder sentiments and declarations, 
 they are those of quick and keen revenge; which 
 wastes no time in the winding circumflex of con- 
 temptuous intonation. But whatever may be said 
 of the other parts of the speech, I must claim for 
 the line above noted, the mode of intonation which 
 expresses the surprise of the speaker, that any one 
 could so violently reverse the fair conclusions from 
 motives and actions : leaving to the audience to in- 
 fer, from this surprise, that some other than ordina- 
 ry or honest reasons must have influenced Brutus 
 to make the ascription of ambition to Caesar. If the 
 notation of the passage be made in the common dia- 
 tonic melody, with the difference of a tone only in 
 the changes of its radical pitch, it will become a 
 mere report of a saying of Brutus, without the least 
 show of the sentiment I have ascribed to it, and en- 
 deavoured to justify. 
 
SECTION XXII. 
 
 Of the Interval of the Downward Tliird. 
 
 In general description, this interval may be said 
 to carry the moderated expression of the fifth. 
 
 The dignity of vocal character, like that of per- 
 sonal gesture, consists not only in the abatement of 
 force, and in the slowness of time, but in a limita- 
 tion within the widest range of movement : And as 
 there is more composure and solemnity in that form 
 of interrogation which is made by the rise of the 
 third j so the expression of surprise and admiration 
 which belongs to the downward intervals, is in its 
 most subdued and dignified degree, when heard on 
 the falling third. 
 
 One of the remarkable functions of the concrete 
 descent of the third, is that which is performed on 
 a syllable of long quantity, when found at the end 
 of a sentence, or of a clause of discourse which 
 contains a complete sense, but which may not be 
 marked by the grammatical notation of a period. 
 This use of the third was noticed and illustrated in 
 the sixth section, and there described as consti- 
 tuting the feeble cadence. Its character has this 
 double effect : it seems to indicate that the sense 
 may be taken as terminated at its place ; and yet it 
 does not altogether destroy the expectation of a fur- 
 
272 0F THE INTERVAL 
 
 ther continuation. No one would suppose on hear- 
 ing this cadence, that the discourse was finished. 
 As the rising third is sometimes used for empha- 
 sis alone, independently of its interrogative import ; 
 so the falling third may be employed, as the means 
 of emphatic distinction, merely for the purpose of 
 varying the effect of intonation. This may be illus- 
 trated by the following notation : 
 
 None 
 
 but 
 
 the 
 
 brave ! 
 
 None but 
 
 tbe brave ! 
 
 
 { 
 
 
 
 tf 
 
 4 ^ 
 
 4 
 
 W 
 
 
 4 
 
 9 4 
 
 None but the brave ! de serve the fair. 
 
 There is certainly no inquiry conveyed by these 
 words : yet I have set the rising interval of the 
 third on one of the emphatic syllables. But there is 
 a feeling of admiration in the case which may be 
 expressed by the upward third, as was said in 
 speaking of that interval. And it will be shown 
 hereafter that all emphatic words, whatever other 
 sentiments they may happen to comprehend, do 
 carry with them something of the admirable. On 
 this ground then all the emphatic repetitions of 
 the word brave might receive the same interval. 
 I have varied the intonation by setting the plain 
 rising second to the first brave, the downward third 
 to the second, and the rising third to the last : and 
 this appropriation together with the falling third 
 on the word none, does satisfy my ear with its agree- 
 
OF THE DOWNWARD THIRD. £73 
 
 able variety. Speakers who are not aware of the 
 efficacy of intonation, or who cannot skilfully com- 
 mand it, seek to effect the necessary variety in this 
 case, by the transfer of emphasis. They apply it 
 in the iteration, successively and variously to none 
 and but and brave. If I have a proper conception of 
 the poet and any discrimination of the duties of the 
 voice, I would say, even if there were no other 
 means of variety than this change of emphatic 
 stress, that it should not be used. The repetition of 
 a phrase is a mark of fulness of feeling or of its 
 rising energy, not of the change of sense. Nay, I 
 might say, that there is a sort of reciprocity in the 
 relations of sense and feeling: by which the energy 
 of feeling insures a permanency of the sense ; and 
 by which, conversely, identity in the sense pro- 
 duces a continued if not a rising energy of feeling. 
 The change of meaning, which is sometimes given 
 to the above sentence, by placing the emphasis 
 differently in repeating the phrase, has to me a too 
 strongly marked affectation of variety, and too pal- 
 pable an indication of thoughtful contrivance : and 
 shows a restricted resource in the means of mana- 
 ging the voice. The full command of quantity, and 
 of the various elements of expression, renders it 
 easy to relieve the ear from monotony of utterance 
 on this passage, without changing or distorting the 
 sense of the author : which, if the composition was 
 a prompting of poetry, and not a mere trick of va- 
 riety, must have been intended to be identical ill 
 all the repetitions. 
 In the above notation. I have shown nothing of 
 n n 
 
274 0F THE INTERVAL 
 
 the uses to be made of time and force : though both 
 are available in this case, and give additional means 
 for variety. 
 
 What is here saiaofthe downward concrete third, 
 in respect both to its character in the cadence and 
 to its being substituted for the rising third, in the 
 purposes of emphasis, may be said of the down- 
 ward radical pitch of the third. But there is a pe- 
 culiar use of this radical pitch of the third, for ef- 
 fecting the full consummation of the cadence, which 
 must not be overlooked. In speaking of the ca- 
 dence I remarked that its different species denote 
 a completion of the sense in various degrees of re- 
 pose : the feeblest impression being that made by 
 the concrete third on the last syllable of the sen- 
 tence ; and the tripartite cadence, in which each of 
 the radicals are heard distinctly in successive des- 
 cent, being the most marked indication of the pe- 
 riod. It is possible, however, to increase the char- 
 acteristic of the close by additional means. A gradu- 
 al descent of the current melody, as it approaches 
 the cadence, is sometimes employed with that in- 
 tent J and properly. But another and more elegant 
 and impressive mode is to apply the downward rad- 
 ical change of the third, on some syllable preceding 
 the cadence, as in the following notation. 
 
 Through E den took 
 
 their 
 
 sol 1 
 
 — ta — ry way. 
 
 € * * 
 
 4 
 
 J <a 
 
 f ' ^ _f- 
 
 • * - - * 
 
 If this line be read with the diatonic radical sue- 
 
OF THE DOWNWARD THIRD. £75 
 
 cession throughout, the cadence, by its tripartite 
 form will indeed mark a completion of the sense ; 
 but the application of a downward radical change 
 of the third on took, gives that warning of the pe- 
 riod, or that note of preparation, which produces 
 the utterly reposing termination which must be felt 
 by the speaker and is required by the audience, 
 on this last line of Paradise Lost. 
 
 Other cadences denote, in various degrees, the 
 conclusion of a particular sense. This, Prepared 
 cadence, if I may so call it, implies that the sub- 
 ject itself, of a paragraph, a chapter, or a volume, 
 is finished. 
 
 Let us here take a view of the various kinds of 
 cadence. 
 
 In the sixth section, five modes of the diatonic 
 cadence were enumerated. Now as the Prepared 
 form just described may be united with each of 
 these, there may be ten distinct species : to say 
 nothing of the chromatic. These are severally em- 
 ployed by accomplished speakers, to give just ex- 
 pression to the close ; or merely for the purpose of 
 variety. If it would add precision to this subject, 
 some of the forms of the cadence might be speci- 
 fically named. 
 
 The first form described in the sixth section may 
 be called the rising triad, or tripartite form : be- 
 cause it consists of three constituents ; and two of 
 them have the upward vanish. 
 
 The second form may be called the falling triad. 
 
 The third may be called the first Duad : because 
 
276 0F THE DOWNWARD THIRD. 
 
 it has but two constituents ; the first embracing the 
 space of two tones. 
 
 The fourth may be called the second duad : be- 
 cause with only two constituents, the last occupies 
 the place of two tones. 
 
 The fifth may be called the Monad form of the 
 cadence, from the space of the three constituents 
 being executed on one syllable. 
 
 I do not expect the reader to be able to distin- 
 guish all these modes of the cadence : nor indeed is 
 it necessary. Some of them, however, cannot be 
 mistaken. The prepared form when set before the 
 falling triad, is the most complete close ; and this 
 is clearly separable from the monad, or what I 
 call the feeble cadence, which gives the faintest 
 indication of the period. I believe no ear will con- 
 found the effect of either of the triads, the monad 
 and the prepared cadence. 
 
SECTION XXIII. 
 
 Of the downward Second and Semitone. 
 
 I have classed these intervals under the same 
 head, on account of the limited extent of the re- 
 marks here made on each. They have a high im- 
 portance in speech, but it is principally as appen- 
 dages to the rising movement of the same intervals, 
 in that form of intonation which has been called the 
 circumflex, but which, in the next section will be 
 named the Wave. 
 
 The most remarkable use of the downward se- 
 cond or tone, is as the last constituent of the cadence, 
 when made either in the diatonic or chromatic spe- 
 cies. It may be applied also to the two other con- 
 stituents : and it is used occasionally in plain melo- 
 dy, for the purpose of varying the impression of 
 the rising second, which, in the history of that me- 
 lody, was given as its characteristic. 
 
 The downward semitone is sometimes employed 
 for the purpose of variety, in the current of a chro- 
 matic melody. It is also used on the constituents 
 of a chromatic cadence ; the radical descent of this 
 cadence being by the skip of a whole tone ; and the 
 downward vanish on the last or closing constituent, 
 being through the space of that same second or 
 tone. 
 In terminating the history of the downward inter- 
 
278 THE DOWNWARD SECOND AND SEMITONE. 
 
 vals, I cannot avoid declaring an increasing admi- 
 ration at the nicely adjusted means, and the sim- 
 ple, yet compoundable elements which have thus 
 far been pointed out as the symbols of expression. 
 I have not extended the analysis to the entire 
 detail of the subject ; being contented to encour- 
 age the intelligent and persevering reader to- 
 wards a work of greater range and precision, by 
 setting before him what has been accomplished in 
 a case of supposed impossibility. For I am persuad- 
 ed that there does exist a more complete and 
 beautiful system of nature, for the ordering of speech, 
 than is here pointed out. He who chooses to follow 
 the path thus opened, may fortunately find himself 
 among the first comers to an ungathered field : a 
 field which has been unapproached and unclaimed 
 only because it has been believed by the indolent, 
 to be barren or inaccessible ; or because the eye 
 of the curious has been turned from the leading 
 road of nature by the delusive directions of authori- 
 ty. For what does the term, genius for discovery 
 mean, besides the art of forgetting ourselves and 
 others, and looking exclusively and perseveringly 
 at our work ? Too many, alas ! imagine they are 
 doing all these things, when they are only thinking 
 of notoriety and hunting after the favorable opinion 
 of mankind. 
 
SECTION XXIV. 
 
 Of the Wave of the Voice. 
 
 By the Wave of the voice, I mean the junction 
 of the upward and downward movement in conti- 
 nuous utterance. This function was known to the 
 Greeks : and is noticed by modern writers, particu- 
 larly by Mr. Steele and by Mr. Walker, under the 
 term, Circumflex accent. 
 
 As the wave is composed of the two opposite 
 courses of pitch, each of which has various species 
 of intervals, and as the direction of the outset of 
 the voice and the number of its flexures may vary, 
 the reader must expect to find in the history of this 
 symbol, numerous and somewhat complicated sub- 
 divisions. 
 
 The Wave is a very frequent element in expres- 
 sion, and performs high offices in speech. It there- 
 fore becomes him who would not be a pretender 
 in elocution, and who is willing to turn from the fal- 
 terings of spontaneous effort in art, to the fnlness, 
 the purpose, and the precision of scientific order 
 and rule — it becomes him not to overlook the in- 
 vestigation of the wave. 
 
 In order to represent this matter clearly, let the 
 several upward and downward movements, which 
 by their continuity make the wave, be called the 
 constituents. It is plain then that the constituents 
 
280 0F THE WAVE 
 
 may be, octaves or fifths or thirds or seconds or 
 semitones. 
 
 Further, as the upward and downward concrete 
 may be of different dimensions, it follows that the 
 wave may be constituted of an upward and down- 
 ward movement of the same interval \ or these con- 
 stituents may differ from each other in extent of 
 pitch. Thus the wave may consist of a rising and a 
 falling third conjoined, or of a rising second continu- 
 ed into a falling third. These varied modes of con- 
 struction give rise to a distinction of the wave into 
 Equal and Unequal. 
 
 It will be found on experiment, that the wave 
 with its first constituent ascending, and its second 
 descending, has a different character of expression 
 from one, which by first descending, has a reverse 
 course of its constituents. Of the variety thus pro- 
 duced, let the former case be called the Direct 
 wave, and the latter the Inverted. 
 
 I have thus represented the wave as consisting 
 of two constituents only ; but it may have three or 
 even more ; for the direct may have a subsequent 
 rising interval, and the inverted, a subsequent fall- 
 ing one. If there are but two constituents the wave 
 may be called Single, and if three, the Double wave. 
 If there are more than three, as may happen in 
 some cases, to be pointed out presently, it may be 
 called the Continued wave. 
 
 By reflection on these distinctions, we may dis- 
 cover their reciprocal relations. Thus the equal 
 and the unequal wave may each be direct and in- 
 verted—and single and double. The direct and in- 
 
OF THE VOICE. <>81 
 
 verted, may each be equal or unequal — single or 
 double. And the single and double may each be 
 equal or unequal, — direct or inverted. 
 
 But perhaps these relationships will be better 
 understood from the tabular view in the next page. 
 
 o o 
 
282 
 
 OF THE WAVE 
 
 Single, 
 
 Equal, 
 
 o 
 
 8< 
 
 a 
 
 o 
 o 
 
 Direct, 
 
 f Octave, 
 | Fifth, 
 4 Third, 
 | Second, 
 L Semitone. 
 
 g ( Octave, 
 
 « ic | Fifth, 
 
 Inverted,? j= { Third, 
 
 to 3 I Second, 
 
 £ ^ Semitone, 
 
 Direct, 
 
 o.S 
 
 Id 'C 
 
 Double, g 
 
 Inverted, 
 
 £^ 
 
 fa 
 
 Octave, 
 
 Fifth, 
 
 Third, 
 
 Second, 
 
 Semitone, 
 
 f Octave, 
 
 | Fifth, 
 <{ Third, 
 j Second, 
 ^ Semitone, 
 
 Unequal, g 
 
 Direct, 
 
 Single, 
 
 g f Octave, 
 S * Fifth, 
 c .e <{ Third, 
 £ -g I Second, 
 ,fc L SemitoDe, 
 
 « be 
 
 Inverted, 
 
 Octave, 
 
 Fifth, 
 Third, 
 Second, 
 L Semitone, 
 
 Double, 
 
 ( 
 
 1 f Octave, 
 
 3 
 
 | & 1 Fifth, 
 
 a 
 
 0) 
 
 Direct, g .5 <J Third, 
 
 B 
 
 **.g j Second, 
 .§ . 1 Semitone, 
 
 "S 
 
 § 
 
 © - 
 
 
 0) 
 
 
 © 
 
 £ f Octave, 
 « be 1 Fifth, 
 
 
 C 
 
 Inverted, a-jj \ Third, 
 
 ■££ Second > 
 •Js I Semitone 
 
 '1 
 
 a 
 
OF THE VOICE. 283 
 
 In the preceding table, I have marked only the 
 first constituent of the unequal wave. I therefore 
 subjoin a further view of a scheme of the second 
 and third constituents of the unequal wave, in its 
 single and its double forms. I beg the reader to 
 take this delineation as the history of what is per- 
 formed by the voice, in the multiplicity of its com- 
 binations 5 not as the record of a point of any prac- 
 tical utility. 
 
 In thus penetrating the recesses of nature, I must 
 be allowed to describe her most minute phenomena, 
 however presently useless it may be. I do assert 
 then, that nearly all of the conditions here noticed, 
 may be made designedly by a skilful use of intona- 
 tion •, and they are perpetually made in daily dis- 
 course, by the instinctive efforts of speech. But the 
 expression of the unequal wave, as far as I can per- 
 ceive, is limited to a few sentiments : most of the 
 varieties here given, being only permutationsof con- 
 stituents, answering the same purpose. Whether 
 these symbols, which are not specially significant 
 with us, have ever among nations been made the 
 signs of ideas or feelings, is yet to be told. We have 
 heard, but the account is altogether vague, that the 
 Chinese change the meaning of the same elemental 
 or syllabic sound, eight or ten times, by the vari- 
 ety of intonation. Do they draw upon any of our 
 forms of this merely ideal table of the unequal 
 wave? 
 
284 
 
 OF THE WAVE 
 
 The first constit- 
 uent being 
 
 The second con- 
 stituent being 
 either a 
 
 The third con- 
 stituent being 
 either a 
 
 Single, 
 
 Direct, 
 Inverted, 
 
 an octave. 
 
 Semitone or 
 second or 
 third or 
 fifth, 
 
 I Semitone or 
 
 Direct, > A Fifth. \ a f°°? d or 
 Inverted, third or 
 
 octave, 
 
 
 Direct, \ A Third. 
 Inverted? 
 
 Direct, 
 Inverted, 
 
 " A Second. 
 
 1 
 
 Direct, f A Semitone. 
 Inverted, 
 
 Semitone or 
 second or 
 ^ fifth or 
 octave, 
 
 Semitone or 
 third or 
 fifth or 
 octave, 
 
 Second or 
 third or 
 fifth or 
 octave, 
 
 Double 
 
 Direct, 
 Inverted, ' 
 
 Direct, 
 Inverted, 
 
 Direct, 
 Inverted, 
 
 ( Semitone or 
 
 _i . Second or 
 
 An Octave. <( Third or 
 
 j Fifth, 
 
 2d or 3d or *th 
 Sem. 3d or 5th 
 Sem. 2d or 5th 
 Sem. 2d or 3d, 
 
 A Fifth. 
 
 A Third. 
 
 (Semitone or 2d 3d or 8th 
 J second or ] Sen.. M or «u» 
 1 third or | Sem * ** or 8th 
 
 octave, I Sem. 2d or 3d, 
 
 Semitone or f *» **«'* 
 
 second or J Sera. 5th or Ith 
 
 Fifth or 
 octave, 
 
 Direct 
 Inverted 
 
 Direct, 
 Inverted 
 
 
 A Second. 
 
 Semitone or 
 
 third or 
 ' | Fifth or 
 I octave, 
 
 Sera. 2d or 5th, 
 3d or 5th or 8th 
 
 Second or 
 \ third or 
 A Semitone. ! fifth or 
 I octave 
 
 i 
 
 K 
 
 Sera. 5th or 8th 
 
 Sem 3d or 8th 
 
 Sem 3d or 5th, 
 
 d or 5thof 8ih 
 2d or 5th or 8th 
 2d ox 3d or 8th 
 2d or 3rd or 5th- 
 
OF THE VOICE. 285 
 
 From a comprehensive view of this table it will 
 be manifest to the reader, that there are several 
 different manners in which these functions may be 
 arranged. Any of the distinctions given above 
 might be taken as the generic heads of the wave ; 
 and the others might be included as species. Thus 
 we might take the five intervals as the heads of as 
 many sections. Then under each, for instance the 
 octave, we might consider, first, the equal forms of 
 this interval, and its combination with other inter- 
 vals in the unequal form •, secondly its direct and 
 inverted, and thirdly its single and double forms. 
 Or we might take the distinction into single and 
 double as the two generic heads, and under each of 
 these, enumerate the species, as being equal or 
 unequal, direct or inverted : and so of any other 
 assumed order of these distinctions. There is how- 
 ever a complexity in this subject, which is not re- 
 ducible to the same plain system employed in the 
 history of the more simple elements. 
 
 I shall, according to the arrangement in the table, 
 divide the phenomena of the wave into two great 
 classes, the Equal and the Unequal ; and subdivi- 
 ding each of these by the five intervals of the scale, 
 I shall under the heads of these intervals, consider 
 the direct and the inverted, the single and the dou- 
 ble forms of this element. 
 
 The pains which have been taken to define the 
 technical terms of this essay, and the many illustra- 
 tions which have been given, must have rendered 
 the nomenclature and picture of the scale quite 
 familiar to those who really desire to learn. The 
 
286 0F THE WAVE OF THE VOICE. 
 
 description may therefore be so easily understood, 
 that it is unnecessary to give the notation of the 
 wave. The reader may mark it for himself, and 
 apply it to those syllables that convey the senti- 
 ments which will be hereafter assigned to its dif- 
 ferent forms. I shall give some examples of its use 
 in a future section on emphasis. 
 
SECTION XXV. 
 
 Of the Equal Wave of the Octave. 
 
 By the designating term of this section is meant 
 the continuous movement of the voice, in the suc- 
 cession of its upward and downward direction, 
 through the interval here named. It may be either 
 single, consisting of two constituents ; or double, 
 consisting of three : though this double form is 
 scarcely used. It may also be differently construct- 
 ed, by the first constituent ascending, and the se- 
 cond descending, which was called the direct wave; 
 and by the reverse order of movement, which was 
 called the inverted wave. 
 
 In order to understand the nature of the expres- 
 sion of the wave, let us recollect that this element 
 is compounded of a rising and a falling interval, 
 the respective expressions of which have already 
 been described. Now it will be found that the wave 
 generally partakes of the powers of its constitu- 
 ents ; and further, that by its continuous flexure it 
 enables the voice to carry on a long quantity with- 
 out the risk of falling into the intonation of song or 
 recitative. 
 
 It is proper to state in this place that the wave, 
 in all its forms, is modified by the application of 
 force upon different parts of its course. I shall 
 speak particularly hereafter of the variation of the 
 
ggg THE EQUAL WAVE OF THE OCTAVE. 
 
 power of the concrete by stress. I remark now 
 generally that it may be applied at the beginning 
 or the end of the line of the wave, or at the place 
 of junction of its constituents ; and that the addition 
 of force to its termination gives to the several spe- 
 cies of the equal wave, a coloring of temper and 
 of scorn, which they do not possess in the natural 
 or dwindling form of the concrete. 
 
 The equal wave of the octave in its single form 
 is not used, as far as I know, except for common 
 colloquial mockery. In its double form it has the 
 same expression, under a more continued quantity. 
 If any distinction may be made between its direct 
 and inverted forms, the latter from its ending in an 
 upward concrete carries the power of interroga- 
 tion: whilst the former from its downward final 
 movement, has the positiveness which was ascribed 
 to the falling intervals when uncompounded. If the 
 direct and inverted wave of the octave be double, 
 the rule on this point will be reversed ; for the di- 
 rect will then end with the rising movement. 
 
 On the whole, this element, in all its ways, be- 
 longs more to the mere history of speech than to 
 its elegancies ; and may rather, in point of use and 
 expression, be classed among vulgar mouthings. 
 
SECTION XXVI. 
 
 Of the Equal Wave of the Fifth. 
 
 I have said enough of the nature of the wave 
 and of intervals, to make it unnecessary to define 
 this element. Its nomenclature alone is sufficiently 
 descriptive of its structure. Nor need I say parti- 
 cularly of this nor indeed of the succeeding section- 
 al heads of the wave, in what manner their single 
 and double, their direct and inverted forms are 
 made. 
 
 The equal wave of the fifth in each of its modes 
 is used as one of the means of emphatic distinction ; 
 and has therein an expression varying with its 
 form. The equal single direct wave of the fifth con- 
 sists of an ascending and descending concrete, 
 which have in their separated state, respectively, 
 the sentiment of interrogation and surprise. But 
 the conjunction of the opposite movements of those 
 concretes, takes from the ascending interval, its in- 
 dication of a question, and leaves the impressiveness 
 of surprise or admiration on the syllable to which 
 it is applied. But there is another effect produced 
 besides this annulling of interrogation. We have 
 already learned that there is some difference be- 
 tween the expression of the rising and the falling 
 p p 
 
290 OF THE EQUAL WAVE 
 
 concrete. The former is more cheerful and ani- 
 mated in its cast, the latter more deliberate and 
 grave. Now if the discourse in which an impres- 
 sive intonation of the fifth is to be used, is of a dig- 
 nified character, that impressive intonation is given 
 to the emphatic syllable by a continuation of the 
 upward into the downward flow of this interval, in 
 the form of its direct wave. But further, this wave 
 is used instead of the separate rise or fall of its in- 
 terval, for the purpose of giving more quantity to 
 the syllable which bears it. I alluded to the em- 
 phasis of the simple fifth, in the thirteenth section, 
 without a special reference to time : but if the sen- 
 timent of the phrase is such as to require an unu- 
 sually long quantity, this wave or the continuous 
 downward turn of the fifth, takes the place of that 
 simple ascending interval, which, in unskilful into- 
 nation, might be liable to pass into song. 
 
 The inverted wave of the fifth has the expression 
 of surprised interrogation, arising out of the termi- 
 nation of the last constituent, in the upward vanish 
 of an interrogative interval. 
 
 There is not much difference between the ex- 
 pression of the single and the double wave of the 
 fifth, except in the change of structure produced 
 by the addition of a third constituent. The double 
 direct here assumes an interrogative expression, 
 from the vanishing rise of its last constituent ; and 
 the double inverted has the meaning of surprise 
 from its downward termination. Perhaps there is a 
 little scorn conveyed by the double forms of the 
 equal wave of the fifth. This is certainly the case 
 
OF THE FIFTH. 291 
 
 when the last constituent receives greater stress 
 than the others. On the whole, however, this dou- 
 ble form is not very frequently used as a symbol 
 of expression. 
 
SECTION XXVII. 
 
 Of the Equal Wave of the Third. 
 
 This wave, as regards its degree of expression, 
 bears such a relation to that of the last section, as 
 the simple rise of the third bears to the simple 
 rise of the fifth. 
 
 In all its forms, whether single or double, direct 
 or inverted, the expression resembles respectively 
 the different species of the equal wave of the fifth. 
 The third, however, has in its several forms, a 
 moderated degree of the characteristic expression 
 of the similar forms of the fifth. From its reduced 
 degree, it is of more frequent occurrence as the 
 means of emphasis in unimpassioned lecture, than 
 the fifth or the octave, which belongs especially to 
 the spirit of colloquial dialogue, and to the forceful 
 emphasis of the drama. It likewise serves, as the 
 other intervals of the wave, to spread out the quan- 
 tity of deliberate and dignified discourse. 
 
SECTION XXVIII. 
 
 Of the Equal Wave of the Second. 
 
 We come now to consider the most frequent and 
 one of the most important forms of the wave. 
 
 In speaking of the expressive power of melo- 
 dy in the tenth section, it was said that the predo- 
 minance of the phrase of the monotone was instru- 
 mental in the expression of dignity and solemnity : 
 and the first few lines of the second book of Mil- 
 ton, were noted, in illustration of this principle. I 
 must now add that a long quantity, on the accented 
 and emphatic syllables, is an essential condition in 
 the accomplishment of that dignity of expression. 
 But it is necessary, for the full perfection of this 
 character, that a certain mode of intonation should 
 be set upon these long quantities ; and the requisite 
 mode is that of the Equal wave of the second, either 
 in its single or double, its direct or inverted form. 
 
 The diatonic melody was formerly described 
 as if the vanish of every syllable was upward, 
 whatever the character of the plain discourse might 
 be. It has since been shown that the downward 
 vanish of a tone is occasionally introduced with a 
 view to vary the current. The difficulty of making 
 a perspicuous arrangement in a subject altogether 
 new, and of giving a full description of parts, 
 which are nearly related, but which must be sue- 
 
£94 OF THE EQUAL WAVE 
 
 cessive, has obliged me to proceed in that way of 
 gradual and partial development, of frequent re- 
 consideration, and of addition, which distinguishes 
 the elementary order of this essay. Consistently 
 with this chosen order, I have now to add that the 
 rising movement of the voice whatever be the in- 
 terval, (except the semitone,) has more gayety of 
 expression than the downward progress. Hence 
 discourse of an easy and sprightly character, of 
 quick time, and of short quantity, is generally 
 carried on with the rising vanish of the employed 
 interval ; as may be seen in foregoing representa- 
 tions of the diatonic melody. But if the discourse 
 should be of a grave cast, and should necessarily 
 call for long quantities, as indeed happens in some 
 of the examples which we have noted with the 
 simple rise, then the wave of the second is to be 
 used. The descent of the interval after its rise, 
 forming the direct wave, takes off the light and fa- 
 miliar expression which belongs to the simple rise 
 of the second : whilst the length of the quantity 
 being consumed by the contrary flexures, the voice 
 is still kept within the rule of the equable intona- 
 tion of speech. 
 
 What is here said of the use of the direct wave 
 of the second, in adding dignity and solemnity to a 
 diatonic melody, is also true of the inverted second. 
 For if the reader be able to make the rise and con- 
 tinued fall through a tone, or reversely, the fall 
 and the rise, on any chosen literal element or word, 
 he will observe a difference in the effect. But each 
 case will be equally destitute of that striking into- 
 
OF THE SECOND. QQ5 
 
 nation, which belongs to the wider intervals, whe- 
 ther upward or downward, and which would be 
 incompatible with the avowed character of the dia- 
 tonic progress : except for the occasional purpose 
 of emphasis. But these two contrary forms of the 
 wave of the second, without adding any high color- 
 ing to the melody, serve to give variety to the in- 
 tonation of solemn discourse. 
 
 I am not aware that the double form of the equal 
 wave of the second has any peculiar expression or 
 power beyond that of the single form, except in 
 extending the quantity of syllables. Indeed, the 
 unusual protraction of quantity in the diatonic me- 
 lody, instinctively produces the double form of the 
 wave ; since the voice may take this serpentine 
 line, through the second, without producing any un- 
 pleasant snarl, similar to the double wave on some 
 of the higher intervals. 
 
 I spoke above of a continued form of the wave, 
 or a progress of the line of contrary flexures be- 
 yond the term of three constituents. It is in the 
 use of the equal wave of the second, in the diato- 
 nic melody, that this extension is most conspicuous 
 and useful ; if indeed it be in any other case admis- 
 sible. For should any extraordinary expression of 
 solemnity of emphasis on an indefinite syllable re- 
 quire an unusually protracted quantity ; and should 
 the time of the syllable not be exhausted, when 
 the voice has passed through the three constituents 
 of the double wave, it must necessarily be carried 
 on in the note of song or recitative, or it must con- 
 tinue in the flexure of the wave. If it take the 
 
296 OF THE EQUAL WAVE 
 
 form of the flexures, the bad effect of either of the 
 two former cases will be avoided : nor will this 
 multiplied repetition of the rise and fall, through 
 this small interval of a tone, produce any positive 
 or unpleasant impression. 
 
 I have ascribed an importance to the subject of 
 this section, because it opens the way to one of the 
 most useful principles in the art of reading well. I 
 have all along kept in view a distinction between 
 the plain melody formed by the rise or fall of the 
 voice through the interval of a tone, and a melody 
 produced by the use of other intervals which 
 endow the utterance with what was distinctively 
 called Expression. There are very few readers 
 able to execute this plain melody, in the beautiful 
 simplicity of its diatonic construction. Some give 
 constantly the rise of the third, or the semitone : 
 or set on every emphatic word, one of the forms 
 of the wave. Perhaps these faults rise from an at- 
 tempt to give a greater degree of dignified expres- 
 sion or of variety, to the simple melody, than an 
 unpracticed reader is able to effect, by the manage- 
 ment of the second alone : and in this attempt, some 
 of the above mentioned elements of intonation are 
 fallen upon, which produce a disgusting monotony. 
 For the impressiveness of these higher intervals 
 leaves such deep tracks on the ear, that, when un- 
 duly repeated, their identity becomes conspicuous 
 and offensive. Whereas the simple interval of the 
 tone, like the smaller particles of speech, may be 
 frequently repeated without producing a tiresome 
 impression : and the use of the several forms of the 
 
OF THE SECOND. 297 
 
 equal wave of the second throws sufficient variety 
 into this diatonic melody, without destroying its cha- 
 racteristic plainness. They give time and dignity, 
 whilst the simple rise belongs to a shorter quantity, 
 and to a gayer kind of expression. 
 
 No one, who has not made an analysis of this 
 subject, or has not had its peculiar effect distinctly 
 pointed out, can be aware of the unpretending force, 
 diversified succession, and severe simplicity of the 
 diatonic melody, when conducted on the principles 
 of the radical change formerly laid down ; and va- 
 ried by the appropriate disposition of the single 
 rise and fall, the direct and inverted wave, and cer- 
 tain modes of stress to be described in a future 
 section. Upon the plain level of this melody, the 
 occasional expression of the higher elements comes 
 with all the power which variety of impulse, and 
 measurable contrast must necessarily produce. 
 Whereas he who is constantly dealing out his se- 
 mitones, thirds, fifths, and wider waves, allows no 
 repose to the ear •, and when the real occasions for 
 their application occur, the sensibility to their con- 
 templated influence is exhausted 
 
 <*q 
 
SECTION XXIX. 
 
 Of the Equal Wave of the Semitone. 
 
 • The chromatic melody was formerly described 
 as consisting of the repetition of the radical and 
 vanish of the semitone. But it was even then stated, 
 that the intonation is made by the conjunction of 
 the rising and the falling interval, for the purpose 
 of giving a more remarkable impression of the 
 plaintiveness of this symbol, and for adding length 
 to the quantity of syllables. In the varieties of its 
 construction, the semitone is like the other species 
 of the wave. Its direct, inverted and double forms 
 are used to add greater dignity and feeling to the 
 quality of the simple rise ; and at the same time to 
 furnish means for diversifying the current of the 
 melody. 
 
 The mingling of the reverse forms of the wave, 
 for this last purpose, is peculiarly necessary in the 
 chromatic species ; for the continued repetition of 
 an impressive interval and the predominance of 
 the phrase of the monotone make it desirable to 
 vary as much as possible the character of the wave, 
 without destroying the essential nature of its plain- 
 tive constituent. Now this is effected, in a degree, 
 by the above named appropriate disposition of the 
 direct and inverted wave of the semitone. For 
 these contrary directions have a difference of cha- 
 
THE EQUAL WAVE OF THE SEMITONE. 299 
 
 racter which may be perceived by comparative 
 trials; and a delicate and critical ear will be struck 
 with the effect of a well ordered variety of these 
 elements, even though it might not be able to point 
 out its causes, nor devise or repeat its approved 
 arrangement. 
 
 It may be said on the subject of this and the pre- 
 ceding section, that whenever a good reader ex- 
 tends at will, the quantity of his syllables, and surely 
 no one can read well without the faculty of doing 
 this, he does instinctively give the intonation of 
 these waves, in all deliberate and solemn utterance : 
 whilst on the other hand, his voice assumes the 
 simple rise and fall of these intervals, without the 
 continuous flexure, in delivering those lighter and 
 more energetic sentiments which naturally suggest 
 a shorter time of syllables, and a more rapid transi- 
 tion of discourse. 
 
 If such are the spontaneous and satisfactory efforts 
 of the voice, it may be asked, why we should labour 
 so deeply in an analysis, which, when compounded 
 again into practice, will no more than meet the 
 fulfilment of natural endeavor. I have said these 
 points of intonation are accomplished by a good 
 reader ; one in whom nature has established that 
 admirable conformity between the spirit which 
 identifies itself with the thoughts and feelings of 
 the author, and the organ which executes the audi- 
 ble picture of its sympathies : by one, who, when 
 he feels the uneasiness of error, will give even 
 painful industry for its correction ; and who, in his 
 self-directed labours, is unconsciously following the 
 
300 THE EQUAL WAVE OP THE SEMITONE. 
 
 order, and effecting much of the purpose of scien- 
 tific analysis and rule. 
 
 But how shall he find out or preserve his way, 
 who has not the natively inspired grace of improve- 
 ment; who searches for right, without knowing 
 what is wrong ; and who copies both the faults and 
 merits of an individual example, instead of reach- 
 ing forth, under the direction of well devised pre- 
 cept, to gather excellence by a comprehensive se- 
 lection. It is to such a person that the development 
 of the accidents of speech becomes indispensable. 
 To him the connexions of system, the precision of 
 definition, and the fulness of history afford those 
 aids, which the keen economy of observation, and 
 the winged thrift of genius may not require. 
 
SECTION XXX. 
 
 Of the Wave of Unequal Intervals. 
 
 By the term here employed I mean to denote 
 that element of expression, which consists of lines 
 of contrary flexure, but which is compounded of 
 differing intervals. Thus, if the voice rises through 
 a second, and then in continuation falls through a 
 third : or if it falls through a given interval and 
 rises through a different one, it is to be called the 
 Unequal Wave. 
 
 It will at once be perceived that there is a direct 
 and an inverted, a single and a double form of this 
 element : and that the possible combinations of its 
 constituents are so various, that the complex enu- 
 meration of them would be altogether useless, ex- 
 cept the expression of each of their permutations 
 could be pointed out. But I am not aware that the 
 varieties of expression bear the least proportion in 
 number to the multiplied species of this symbol. 
 It embraces indeed wonder, admiration and inter- 
 rogation, in different degrees, according to the 
 extent of the interval and the direction of its last 
 constituent. I am not however able to assign to the 
 unequal wave, any peculiarly characteristic senti- 
 ment, except that of strongly marked scorn, and 
 other feelings which are congenial with it. This 
 
302 0F THE WAVE 
 
 expression, as was formerly remarked, is in a 
 slight degree conveyed by the curling of the cur- 
 rent of the equal wave, and even by the simple 
 rising and the falling fifth and octave, when there 
 is much stress, or an aspiration laid upon their va- 
 nishing extremes. But the most striking sign of 
 contemptuous sentiment consists in a wide variation 
 of the extent of the intervals of the wave 5 especi- 
 ally if the wave is double and the intonation strong- 
 ly aspirated, or has a guttural energy on its last 
 constituent. 
 
 This wave of unequal intervals is found in the 
 representation of the higher passions of the drama, 
 and in the peevishness and colloquial cant of 
 common life : but it should be rarely used in that 
 moderate temper which belongs to the greater 
 part of written discourse. It has a vulgar earnest- 
 ness and a quaint familiarity which renders it ad- 
 verse to a grave design of speech. 
 
 If the expression of scorn is required in a cur- 
 rent melody of dignified or solemn utterance, it is, 
 when under the direction of nice feeling and taste, 
 generally made by the proper application of stress 
 and aspiration to the simple rise or fall of the third 
 or fifth, which gives the more moderate expression 
 of this sentiment; at furthest, in such a case, the 
 expression is not carried beyond the aspirated 
 structure of the single equal wave. 
 
 Having given a general view of the unequal 
 wave, in the tabular scheme, I here speak of one 
 or two of its species. If there is any thing neces- 
 sary to complete the practical purposes of this 
 
OF UNEQUAL INTERVALS. 3Q3 
 
 subject, beyond this limited specification, and the 
 general remarks which I have made, I leave the 
 detailed discrimination as a work for future obser- 
 vers. 
 
 There is a use of the unequal wave, to which I 
 alluded in speaking of the chromatic melody, which 
 forms an exception to the ascription of the senti- 
 ment of scorn to this symbol. It is that of its em- 
 ployment in the course of this melody, for the pur- 
 pose of interrogation. For in this case it is neces- 
 sary to give, on the same syllable, the intonation 
 both of plaintiveness and of the question ; and this 
 grafting can be accomplished, only by subjoining 
 to the equal direct wave of the semitone, or to the 
 first constituent of its inverted form, the rise of the 
 third, or fifth or octave. But it is proper to remark 
 here, that this as well as other forms of the une- 
 qual wave, can pass as unexpressive of scorn, only 
 by giving it without the aspiration, and without the 
 stress on its last constituent. 
 
 There is likewise an instance of the unequal 
 wave, by which the cadence of a chromatic melody 
 is made on one syllable : for in this case the voice 
 rises through the interval of a semitone, and then 
 in continuation descends concretely to form the 
 third for the close. And it may be recollected that I 
 said, this mode of intonation was not to be used, on 
 account of its peculiar expression being unsuitable 
 to the general condition of the cadence. From the 
 expression of its constituents, it bears the sentiment 
 of plaintive or querulous surprise, and consequently 
 is admissible on the last long quantity of a chro- 
 
3Q4 OF THE WAVE 
 
 matic sentence, only when this sentiment is set 
 forth in its final word. If however the element 
 be increased in force towards its close, and if it be 
 aspirated, it will bear more conspicuously the ex- 
 pression of querulous scorn. 
 
 The wave, in every form, requires more than 
 any other element the basis of a long quantity. We 
 may therefore understand why long quantities are 
 necessary for reaching the full dignity of utterance, 
 since these alone are capable of bearing the wave : 
 the dignity being produced by the junction of the 
 higher intervals, on emphatic words, and by the 
 wave of the second or the semitone, in the conti- 
 nued current of the diatonic or chromatic melody. 
 With the light of this principle, the reader may see 
 on what defensible ground I formerly asserted, that 
 the majestic movement of the first line of the second 
 book of Paradise Lost, was shocked by the occur- 
 rence of the word " state.'' 
 
 High on a throne of Royal state which far. 
 
 All the accented syllables of this line except 
 " state" are of indefinite quantity, and will bear the 
 equal wave of the second. The same is true of 
 nearly all the syllables in the three succeeding 
 lines of the passage : and with the exceptions here 
 alluded to, the whole is admirably fitted, in its 
 time, for the vocal representation of this magnifi- 
 cent description by the Never-equalled Poet. 
 
 From an inattention to this point of quantity, it 
 often happens that poets use syllables of immutable 
 time, in those emphatic places which call for the 
 
OF UNEQUAL INTERVALS. 395 
 
 expression of the wave. The case in the following 
 example, which was cited in the ninth section, will 
 now be better understood. 
 
 And practiced distances to cringe, nut fight 
 
 The sentiment of scornful exultation conveyed 
 by the words " not fight," here requires a form of 
 the unequal wave on each of these syllables ; but 
 from the limitation of their quantity, it is impos- 
 sible to apply these elements, without the most dis- 
 gusting departure from correct pronunciation. 
 
 In speaking of the various ascending and de- 
 scending concrete intervals, it was shown that a 
 similar, though diminished effect of intonation was 
 produced by the leap or change of the voice, from 
 the radical of any concrete to the top of its vanish, 
 without passing through the intermediate space. 
 Now since the wave is only the junction of the 
 concretes of its constituents, it might naturally be 
 supposed that some expression analogous to the 
 effect of the concrete wave, may be produced by 
 radical changes to the extremes of its flexures. A 
 correspondence of this kind may be displayed on 
 some of the forms of the wave. Thus in the case 
 of the words " not fight" given above, some approxi- 
 mation may be made towards the required expres- 
 sion of the continued concrete, by giving the par- 
 ticle " not" on a certain place of pitch, and " fight" 
 at the distance of a third or a fifth in discrete radi- 
 cal pitch below it ; and by subsequently ending this, 
 word with a rapid concrete rise of the second : thus 
 producing a kind of discrete form of the unequal 
 r r 
 
306 OF THE WAVE 
 
 single inverted wave of the third or fifth and se- 
 cond, as represented in the tabular view. This 
 mode of intonation comes nearer to the required 
 expression of the phrase than if the line was termi- 
 nated by the common triad of the cadence : for this 
 would be utterly destitute of the expression of that 
 contemptuous insinuation, which is intended in this 
 proud exultation of Satan. 
 
 Another example which was given in the eighth 
 section may serve still further to illustrate this at- 
 tempt to reach, by radical skip, the proper power 
 of the impracticable concrete. 
 
 Faithful to whom? To thy rebellious crew ? 
 Army of Fiends, fit body to fit head. 
 
 The words here marked in italics carry the sen- 
 timents of admiration and scornful compliment, and 
 would be intonated by a good reader, with an alter- 
 nate skip of the radical pitch through the rise and 
 fall of a third or fifth : for in this way only, that is 
 by marking the extremes of intervals, which, with 
 extendible syllabic quantity would be given as a 
 continued wave, can that open eye of wonder, and 
 snarling of scorn, be substitutively executed. But 
 even with all the assistance from the radical skip, 
 the reader, if he possess the soul of elocution, will 
 still find it imprisoned within these words. 
 
 I wish here to recal the attention of the reader 
 to the subject of syllabication, which was treated of 
 in the fourth section. It was there said, that the 
 various accidents of syllables are governed by the 
 function of the radical and vanishing movement. I 
 
OF UNEQUAL INTERVALS. QQJ 
 
 then hinted that it is not the upward and the 
 downward concrete alone which limit the flow of 
 syllabic sound j but that the impulse is practicable 
 through another form of pitch. We are now pre- 
 pared to hear that the unbroken current of the 
 voice, may be carried through the contrary move- 
 ments of the wave, without destroying that single- 
 ness of impression which constitutes one of the 
 characteristics of a syllable. 
 
 I said enough on the subject of elemental utter- 
 ance, to make this matter explicable by a few 
 words. The wave is a continuous sound, and con- 
 sequently affords no opportunity for the silence- 
 breaking outset of a new radical, which, with a 
 consequent vanish would produce another syllable. 
 For it was shown that the interruption of utterance, 
 whether made wilfully by pause, or necessarily by 
 the occurrence of an abrupt or an atonic element, 
 is unavoidably the end of one syllable, and the pre- 
 face to the beginning of another. 
 
 After the description which has thus far been 
 given of the individual functions of the speaking 
 voice, we may lake a more comprehensive view of 
 the subject, by recapitulating the account of these 
 elements as they appear in the connected current 
 of discourse : and thereby show them in the joined 
 relations of synthesis, as well as in the separate in- 
 dividuality of decomposition. 
 
 We speak to communicate our ideas, and, if the 
 difference of the cases be allowed, to express our 
 feelings or sentiments. Language should therefore 
 have a set of symbols for each of these modes. But 
 
308 0F THE wave 
 
 as it is difficult, if not impossible, to draw a definite 
 line of distinction between mere thoughts and sen- 
 timents ; so the oral symbols which represent them 
 cannot be absolutely disjoined in arrangement. I 
 have, however, endeavoured to give a practical 
 division founded on some of their obviously dissi- 
 milar phenomena. 
 
 That which I call the plain diatonic melody, 
 consists of a simple rise through the concrete of a 
 tone, varied by the occasional use of the downward 
 tone; with a radical pitch playing in its several 
 phrases ; and a termination of the melody by the 
 descent of the cadence. The smoothness and beau- 
 ty of delivery, in this case, is largely dependent on 
 that construction of the radical and vanish which 
 displays a full and well marked opening of the con- 
 crete and a gradual diminution of its force. These 
 are the elements employed and this their disposi- 
 tion, for reading plain narrative or description : and 
 I am sure that if the definitions of astronomy, title 
 deeds of property, and gazette advertisements, be 
 not read in this style of intonation, the effect will 
 be unsuitable to their passionless thoughts. 
 
 In the above cases, as well as in the wider range 
 of subject to which the diatonic melody is applied, 
 the movement of utterance is supposed to be with 
 a tripping step and the quantity not unusually pro- 
 longed. If however the thoughts should have some 
 bearing of importance, and call for more impres- 
 siveness, an increase of quantity in the accented 
 syllables, together with a general slowness of the 
 
OF UNEQUAL INTERVALS. 309 
 
 time will be assumed : the concrete still continuing 
 in a rising though protracted form. 
 
 Should this deliberate movement be further 
 urged by the influence of sentiments of solemn 
 dignity, the melody will assume the form of the 
 mingled progression of the direct and inverted 
 equal wave of the second. There is much of the 
 church service which should be read in this plain 
 protracted intonation. It conveys in full, the senti- 
 ments of august composure and solemnity and ve- 
 neration. The proper management of these con- 
 trary directions of the wave gives sufficient variety 
 to the melody : whilst it is free from those forceful 
 impressions of the higher intervals of the scale, 
 which would break the stately ease and designed 
 simplicity of the movement. I believe the account 
 of this last style of melody, includes the true his- 
 tory of the production of graceful dignity of voice ; 
 which is in vain attempted through the breadth of 
 o's and aitfs in mouthing ; strong percussive accents 
 with long pauses ; the waves of wide intervals ; and 
 that heartless affectation which moves without mo- 
 tive or rule, in unexpected transition from the 
 strongest cushion-beating emphasis, or stage vocife- 
 ration, to the frustrated significancy of a mysterious 
 whisper. 
 
 Though the above forms of melody are here re- 
 presented as being used independently of any other 
 mode of intonation, yet it must be understood that 
 notwithstanding the plainest kind is often employed 
 exclusively throughout discourse : yet even this, 
 but more especially the dignified diatonic of the 
 
310 OF THE WAVE 
 
 wave, is found mingled with the symbols of higher 
 expression. For it may happen that these melodies 
 may contain a question ; which must be made, ac- 
 cording to its grammatical construction, or to the 
 sentiment which dictates it, with a greater or less 
 use of the intervals of the third or fifth or octave. 
 And though they may embrace no interrogation, 
 some words may require to be distinguished above 
 the rest : and in that emphatic distinction there may 
 be couched a sentiment of surprise, or positive- 
 ness, or serious or mirthful admiration, or scorn. 
 Now the emphatic syllables of words which mark 
 these sentiments, are so distinguished by the rising 
 and falling intervals of the scale, and by the various 
 forms of the wave: this effect being produced either 
 by the concrete or the discrete intonation of these 
 emphatic symbols. 
 
 There is another interval of the scale, the semi- 
 tone, which is used for the emphatic distinction of 
 single words, and which conveys a sentiment of 
 complaint or pity or tenderness or submissive sup- 
 plication. But the more general use of this semi- 
 tone is upon phrases, sentences, and even through- 
 out the long track of discourse. This is called the 
 chromatic melody. It too has its structure of a sim- 
 ply ascending concrete, which gives the least de- 
 gree of the sentiments of this melody, on its least 
 prolonged quantities. It has also the higher wrought 
 and more dignified degree of expression, belonging 
 to the equal wave of the semitone, in the variations 
 of its direct and inverted, its single and its double 
 forms. There are some parts of the church service 
 
OF UNEQUAL INTERVALS. 3H 
 
 which contain the sentiments of humbly penitent 
 complaint and imploring submission ; these call for 
 this solemn wave of the chromatic melody. 
 
 There are other elements which serve to make 
 up ihe phenomena of correct, elegant and expres- 
 sive speech. These were considered under the 
 terms, of quantity of voice ; of melody or the run 
 of the radical pitch on its different phrases; of 
 pauses and of the proper phrases of intonation to 
 be used at them ; and of the grouping of the voice, 
 or the means of impressing on an auditor more de- 
 finitely the syntactical relation of words and phrases, 
 by means of pause, emphasis and the variations of 
 time and force. 
 
 This summary includes the elements which have 
 thus far been enumerated. There are some import- 
 ant functions, yet to be described, which will fur- 
 nish us with the symbols of other sentiments 
 
SECTION XXXI. 
 
 Of the Tremor of the Voice. 
 
 If the reader has borne in mind the definitions 
 contained in the first section of this essay, he may 
 perhaps have reflected that the functions of pitch 
 which have been analyzed are, severally, pheno- 
 mena of the concrete and discrete scales, and of the 
 chromatic. I design to speak now of an element of 
 expression derived from the Tremulous scale. 
 
 This scale consists of a rise and fall through the 
 octave, by the successive steps of that particular 
 play in the throat which in common language is 
 called gurgling. I have not invented the term 
 tremor as significative of a mode of the voice : but 
 I here first give its analysis, and decree its system- 
 atic arrangement, as conducive to the establishment 
 of principles, for the attainment of correctness and 
 elegance of speech. 
 
 In speaking of the tremulous scale, I gave a very 
 general account of its construction. I must now be 
 more particular. 
 
 It has more than once been affirmed in this es- 
 say, that every effort of the voice is unavoidably 
 made through the radical and vanishing movement: 
 and I hope it has been satisfactorily shown, that the 
 effect of the various intervals of the scale may be 
 distinctly recognized, even on the shortest immuta- 
 ble syllables. 
 
OF THE TREMOR OF THE VOICE. 313 
 
 Since then each of the tonic and subtonic elements 
 when uttered in their shortest time does always 
 pass through the concrete, it follows that, however 
 quickly successive any one of them may be repeat- 
 ed, each impulse of the iteration must be a concrete 
 interval. If therefore the tremor be made on any 
 of the above named elements, the successive con- 
 stituent impulses of that tremor will each be a 
 rapid concrete of some one interval of the scale. 
 Taking the names of the intervals as the terms for 
 designation, there may be a tremor of the semitone, 
 of the second, of the third, of the fifth and of the 
 octave. That is each of those successive percussions 
 may rapidly rise or fall through those intervals re- 
 spectively. Yet this is not all, for the utterance is 
 here supposed to be continued on one line of radi- 
 cal pitch, the vanishes rising therefrom to their 
 respective hights : whereas, whilst the iteration is 
 going on in any one interval, for instance the se- 
 cond, the series of rapid seconds, so made, may be 
 raised or depressed through the whole compass of 
 the voice. This change of pitch in the tremulous 
 movement is made in two ways. 
 
 First : The iteration, or these Tittles of sound, if 
 I may so call them, may be made on one line, sup- 
 pose at the lowest note of the voice. From this line 
 the voice may leap upward through the interval of 
 a tone : and after some tremor on this line may pass 
 upward in succession by the proximate degrees of 
 the scale through the whole extent of the voice. la 
 this way it is manifest that the ascent is merely 
 through the diatonic scale of song, with the addition 
 
 s s 
 
314 OF THE TREMOR 
 
 of the tremor on each of the stated places of the 
 scale. 
 
 Secondly: The ascent through the scale may be 
 made by each tittle of the tremor being taken suc- 
 cessively above the last, at a less distance than the 
 tone or even the semitone. In this way, by an equa- 
 ble progress of the tremor, the whole compass of 
 the voice may be traversed without showing mark- 
 ed degrees or points except those of the rising tit- 
 tles themselves. 
 
 I know of no means for ascertaining the dimen- 
 sions of the space in this change of pitch of the tre- 
 mor. It may be inferred that it is considerably less 
 than a semitone : For if any cognizable interval, for 
 instance, a third, be assumed as a space to be run 
 through, (and this may be judged of by familiariz- 
 ing the ear with the effect of the interval in its skip 
 from first to third, and by comparing this with the 
 rise of the tremor) it will be perceived, that though 
 the voice gradually ascends by the tremulous steps; 
 yet the number of these steps is greater than five, 
 the amount of the semitone points included between 
 the extremes of this third. The iterations are too 
 many then, to allow us to suppose the space trav- 
 ersed, to be greater than a semitone ; and it is not 
 exactly this last interval. For if it was so, it would 
 communicate a plaintive or semitonic character to 
 the tremor, even though the concrete or rapid van- 
 ish of the tittles themselves might be any other in- 
 terval than that of the semitone. 
 
 What has been said of the concrete of the tremor 
 and of the minute interval by which it skips in an 
 
OF THE VOICE, 315 
 
 upward direction, is to be understood of the pro- 
 gress of the voice in a downward course. In this 
 case, of the change of pitch by the downward steps, 
 the rapid concrete may ascend or descend : for the 
 reader will find on trial, that whilst thus descend- 
 ing he can give the tremor, either with the effect 
 of the rising interrogative intervals, or of the posi- 
 tiveness or surprise of the downward vanish. 
 
 After this description of the mode of ascent and 
 descent of the tremor, the reader is prepared to 
 see through its whole construction. 
 
 The tremor then consists of a number of impul- 
 ses of sound, of the least assignable duration, which 
 nevertheless do pass concretely, through the various 
 intervals of the scale, and which rapidly succeed 
 each other. These impulses being iterations on the 
 same line of pitch; or being a series of sounds rising 
 or falling through the scale by very small discrete 
 intervals. 
 
 That the tremor is so constructed, may be learn- 
 ed from experiment-, for it will show that the 
 voice may be continued in the tremulous function 
 without rising or falling : and that it may on that 
 tremor be also carried to the lowest audible pitch, 
 or to the highest reach of the falsette. And further, 
 that the constituent tittles of the tremor, however 
 momentary, do pass rapidly through concrete in- 
 tervals may be proved by trial : for the plaintive 
 effect of intonation, which is producible only on a 
 semitone, may be given to every part of the ascend- 
 ing series of the tremor, when it moves through 
 the whole compass of the voice; and in like manner 
 
31G OF THE TREMOR 
 
 the plain effect of the tone, and the interrogative 
 expression of the third or fifth or octave, may be 
 given to this rising series. Now as the skip or the 
 ascent is not a semitone, or tone, or other higher 
 interval, but a very minute space as was said above, 
 it is plain, the effects here spoken of cannot be 
 made by the minute skip, but that they result from 
 the momentary transit through those intervals on 
 the constituent tittles of the tremor. 
 
 It was upon the ground of this mode of progres- 
 sion, so different from the concrete movement and 
 from the discrete steps by the tone and the semi- 
 tone, that I ventured, in the first section, to desig- 
 nate this discrete chattering function of variation 
 in pitch, the Tremulous scale. 
 
 As it has been stated that this tremulous func- 
 tion may be exhibited either in a rising or falling 
 movement, it is scarcely necessary to add that it 
 may be carried through the compounded form of 
 the wave. Let us then after the analogy of our pre- 
 ceding nomenclature, call the rise or fall of the 
 series of iterations, the Radical pitch of the tremor : 
 and the rapid transit of each of the momentary 
 sounds or tittles, its Concrete pitch. 
 
 The uses and power of the tremor, in the work 
 of expression, can be better explained after a pre- 
 fatory consideration of the functions of Laughing 
 and Crying. 
 
 The pure and unpronounced act of Laughing 
 consists in the use of the tremulous scale, such as 
 it has been described, both in its concrete and radi- 
 cal pitch. Its concrete pitch may be any of the in- 
 
OF THE VOICE. 317 
 
 tervals of the scale, except the semitone ; and its 
 radical pitch may either be continued on the same 
 line, or it may rise or fall through the whole com- 
 pass of the voice. In speaking of the application 
 of concrete intervals to immutable syllables, it was 
 shown how the space of the transit might be re- 
 cognized ; and the reader may practically apply it 
 here, in discriminating the intervals which are 
 used in laughter. 
 
 If the concrete pitch be that of the tone, and if 
 the tremor on it be continued in the same line of 
 radical pitch, the function may indeed bear the 
 name of laughter, but it will be a mere phlegma- 
 tic chuckling in the throat. Whilst the concrete is 
 still in the tone, if the iterations of the radical pitch 
 move through the larger spaces of the scale, the 
 expression of the laugh will become more sprightly 
 and colored. But when the third or the fifth is 
 used in the concrete pitch, and the radical itera- 
 tions are carried through the wide intervals of the 
 scale, it gives the utmost indication of vivid excite- 
 ment. 
 
 Laughing is generally made on one of the tonic 
 elements, but it may be executed on the subtonics, 
 and even in a whispering manner on the atonies. 
 It is made on all places within the compass of the 
 voice, but it generally affects the falsette. Suppo- 
 sing the quality of the voice to be given, that mode 
 of laughter will be most agreeable and varied and 
 spirited, which is made by a tremor of well accent- 
 ed tittles, distinctly separated from each other ; with 
 a concrete pitch, in varying succession, through 
 
318 OF THE TREMOR 
 
 every interval except the semitone ; and playing 
 through the whole range of compass, in its radical 
 pitch : the expression being still further colored 
 by variations in force or loudness of utterance, as 
 the tremor moves through its radical course. 
 
 Crying is made by a movement through the sim- 
 ple rise or fall of the semitone, or through its direct 
 or inverted wave. No other interval is used in 
 this function : The act of crying has two modes : it 
 may be in the concrete or in the tremulous scale. 
 Infants cry in the first manner, by a mere pro- 
 tracted quantity on some tonic element, carried 
 through the above named semitonie movements. 
 It is a long time before the tremor is heard in 
 their voice. The first step towards it, is in the 
 convulsive catch of sobbing. By degrees this in- 
 creases in frequency, and the cry becomes at last 
 composed of the rapid iteration of the tremor. 
 
 The tremulous function of crying, like that of 
 laughing, consists of a concrete and of a radical 
 pitch. That is, its rapid concrete semitone may 
 successively ascend or descend through the whole 
 compass of the voice, by such minute discrete steps 
 as were ascribed to the radical pitch of laughter. 
 The tremulous mode of the cry give the strongest 
 characteristic of this function. 
 
 It sometimes happens that children whilst crying 
 in the tremulous movement, do from some momen- 
 tary change of sentiment, and without pause of the 
 tremor, pass into laughter. Here a cheerful senti- 
 ment necessarily produces a change of the tremor, 
 from the semitone to the second or other higher in- 
 
OF THE VOICE. 3]g 
 
 terval. And in a paroxysm of hysteria, the transi- 
 tion from the semitone to other intervals is so 
 frequent and rapid, that the hearer is often at a 
 momentary loss, to say which function is in opera- 
 tion. Under this state of variation, a person may 
 properly be said to laugh and cry in the same breath. 
 The association of the semitone, whether in its 
 simply prolonged or in its tremulous form, with the 
 sentiment of distress is so strong, that though cry- 
 ing may have ceased, still if the feeling of distress 
 has not passed away, there is a kind of mental 
 hiatus in the attempt to return even to the diatonic 
 intonation of speech. The chromatic will rather 
 be assumed. There are persons, who, for the sake 
 of sport or fraud, play the part of crying. If they 
 are habitual mimics, and have flexible voices, they 
 may deceive. But nature will often be honest, 
 where her artificial counterpart called humanity 
 would be the knave. Crafty men are so well aware 
 that the lips may mar the underplots of the heart, 
 that they are obliged to guard the ruling passion 
 by silence. When mirth or sorrow is in the mind, 
 it is hard to stop the emanation of its habitual ex- 
 pression. He who would be to others an unsus- 
 pected hypocrite in his voice, must mask even his 
 sentiments to himself. 
 
 After the foregoing account of the use of the 
 tremor or single elements, in the functions of laugh- 
 ing and crying, it is not difficult to foresee the effect 
 of its application to syllabic utterance, in the cur 
 rent of discourse. 
 
 When the semitone of speech is given under the 
 
320 OF THE TREMOR 
 
 form of tremor, it increases the force of the expres- 
 sion which belongs to the concrete of that interval, 
 in the chromatic melody. For since crying is the 
 ultimate voice of distress, its tremulous character- 
 istic is adopted as the means of marking an intensity 
 of feeling, in the excess of complaint and grief, and 
 the ardor of distressful or tender supplication. 
 Tremulous speech is the utmost practicable crying 
 upon words. 
 
 To exhibit the engrafting of the tremor on a syl- 
 lable, let the reader pronounce the word " name," 
 in tremulous movement through the simple rise or 
 fall, or the wave of the semitone. He will perceive 
 that the tremor is made equally on the tonic, and 
 each of the two subtonic elements which constitute 
 the syllable. 
 
 The tremor on the semitone may be used par- 
 tially in a sentence, to mark emphatically the plain- 
 tive sentiment of a single word : or it may be used 
 in continuation throughout portions of discourse. 
 If it is worth while to give a term to this last named 
 condition of speech, it may be called the tremu- 
 lous chromatic melody. The following stanza, in 
 which the tremor of age is supposed to be joined 
 with that of supplicating distress, may, when read 
 with the coloring of dramatic action, afford a proper 
 example of this melody. 
 
 Pity the sorrows of a poor old man, 
 Whose trembling limbs have borne him to your door, 
 Whose days are dwindled to the shortest span ; 
 Ogive relief and heaven will bless your store. 
 
 Here the tremor of the semitone may be applied 
 
OF THE VOICE. 321 
 
 to every syllable capable of prolongation, which is 
 the case with all except those of " pity" and " short- 
 est :" but even these may with a pardonable exten- 
 sion, receive it. For it must be understood, that some 
 particular purposes of expression allow a breadth 
 of quantity on those immutable syllables and unem- 
 phatic and unaccented words which in dispassion- 
 ate utterance would bear but the shortest time. 
 
 The occasional use of the tremor of the semi- 
 tone on individual words will be noticed in the fu- 
 ture section on emphasis. 
 
 When the tremulous function on the syllables of 
 discourse, is made through the second, third, fifth 
 or octave, or through the wave of these intervals, 
 it joins the sentiment of derision, mirth, joy or ex- 
 ultation to that of interrogation, surprise, command, 
 or scorn conveyed by the smooth concrete of those 
 intervals. In short, it is the introduction into speech 
 of what is transferable in the function of laugh- 
 ter ; and it adds thereto, all the meaning and force 
 of its satisfaction. 
 
 The tremor on these higher intervals is used 
 principally for emphasis, as will be illustrated here- 
 after : though in playful discourse, it is sometimes 
 heard in continuation on more than one syllable, 
 and occasionally even on short sentences. 
 
 There is a use of this laughing tremor, if I may 
 so call its execution on these intervals, which de- 
 serves notice. 1 mean that hysterical exclamation 
 which is heard in the higher scenes of the drama. 
 In this case, the tremor seems to be subservient to 
 all species of expression • for there is scarcely a 
 t t 
 
322 0F TIIE TREMOR 
 
 passion, whether of joy or suffering, in which it 
 may not be effectively used. One can understand 
 readily why this vehement expression should mark 
 the excess of those feelings which are naturally 
 connected with laughter : but it is not at once mani- 
 fest why nature should so reverse the ordination of 
 her signs, as to give the concrete tremor of the se- 
 cond or higher interval, to those sentiments which 
 in cases of less excitement instinctively receive 
 the semitone. Let us try to explain this matter. 
 
 The occasions on which this hysteric laugh is 
 employed, are those of the highest possible inten- 
 sity of distress. Now by the ordinary rule of mo- 
 derate expression, the tremulous semitone should 
 be used : and with this indeed the expression does 
 generally begin. But as the feeling increases in 
 vehemence, the mind becomes so far overruled by 
 its excess as to dissever the natural association : and 
 the voice, giving way to ttie mere habit of employ- 
 ing the higher intervals for keen expression, leaves 
 the concrete tremor of the semitone for the more 
 free expansion and piercing energy of the third or 
 fifth or octave. This is the reason why in hysteria, 
 which is usually brought on by distress, or other 
 strong emotion, the ordinary course of expression is 
 averted ; and whilst the more moderate motions 
 of the disease are signified by the semitonic in- 
 tonation, its higher gusts are characterized by an 
 idiotic laugh. On the whole, although this last 
 mentioned form of expression, when under skilful 
 management and taste, is often both proper and ef- 
 fective, yet as it is generally accompanied with 
 
OF THE VOICE. 323 
 
 considerable grimace, is a positive thing, and can 
 be well heard in the remote corners of the gallery, 
 it is too apt to be contrived for gathering in the 
 eyes and ears of a barren audience, by actors, who 
 without feeling its rarely appropriate occasions, 
 are yet by accident master of its mechanical execu- 
 tion. 
 
 It requires more than common facility of voice 
 to perform the tremor with precision and elegance. 
 Its full efficacy and most graceful finish is accom- 
 plished by giving it the greatest number of breaks 
 of which the assumed interval is susceptible; by 
 making the constituent tittles in fluent succession, 
 with a distinct accent, with equal time and force, and 
 with a ready power of ascent and descent through 
 the scale. 
 
 As the tremor may be applied to all the inter- 
 vals both ascending and descending, and to their 
 combination in the wave : and as these elements 
 bear different kinds or various degrees of expres- 
 sion, it follows, that the character of the tremor 
 may appear under other modifications than those of 
 joy and sorrow. For if it be set upon a downward 
 interval, say of the fifth, the expression will be of 
 a graver cast than when heard on a rise of the same 
 extent : and on the rising second it will have less 
 gaiety than belongs to the tremulous fifth or octave. 
 
 After the preceding view of the simple intervals 
 and of the tremor, the reader may be able to fore- 
 see and to recognise the effect of any other detail- 
 ed combinations. If with all I have said he cannot 
 do this for himself, it would be to no purpose to do 
 
324 OF THE TREMOR OF THE VOICE. 
 
 it for him. It is a fair office to stand prompter to a 
 pausing, yet a ready comprehension : but it is a 
 groaning service to be obliged to push on a fee- 
 ble or unwilling intellect to the last syllable of its 
 part. 
 
SECTION XXXII 
 
 Of Force of Voice. 
 
 The words loud and soft, strong and weak, are 
 used in common language, to signify the variations 
 of sound comprehended under the generic term at 
 the head of this section. 
 
 This subject may be set in two aspects. Force 
 of voice may be applied to phrases, or to one or 
 more sentences, in order to distinguish them by 
 degree, from adjacent phrases or sentences in dis- 
 course. It may likewise be limited to single words, 
 to syllables, and to certain parts of the concrete 
 movement, to distinguish them from other words 
 and syllables, and from other parts of the con- 
 crete, endowed with varied degrees of force. The 
 detailed history of this limited application, will be 
 given in the six following sections. Under the pre- 
 sent head I speak transiently of it, when used on 
 phrases and sentences. 
 
 Writers on elocution, and school books on the art 
 of reading, give general rules for enforcing and 
 reducing the voice, on continued passages. It is 
 not necessary to swell the bulk of this volume, by 
 transcribing them. It may not however be useless 
 to run over the process by which a philosophical 
 inquiry might be conducted, for the purpose of 
 reaching the principles that govern the association 
 
326 OF FORCE OF VOICE. 
 
 of certain degress of force, with the circumstances 
 of the speaker, or with affections of the mind. 
 
 From the wide reach of an intense exertion of 
 the voice, there is an obvious propriety in its em- 
 ployment, when distance is pictured in discourse. 
 The indication of nearness, on the contrary, is well 
 expressed by an abatement of that intension. 
 
 Secrecy muffles the voice against discovery: and 
 doubt, whilst it leans towards a positive declaration, 
 cunningly prepares the subterfuge of an undertone, 
 that the impression of its possible error may be 
 least exciting and durable. 
 
 Certainty, on the other hand, in the full desire 
 to be heard, distinctly assumes all the impressive- 
 ness of strength. 
 
 Anger in like manner uses force of voice, be- 
 cause its charges and denials are made with a wide 
 appeal, and in the sincerity of passion: and if I may 
 make distinctions on this point, the same mode is 
 employed in uttering those feelings which are 
 blended with anger, such as: hate, ferocity and 
 revenge. 
 
 All those sentiments which are unbecoming or 
 disgraceful, smother the voice to its softer degrees, 
 in the desire to conceal even the voluntary utter- 
 ance of them. 
 
 Joy is loud in calling for companionship, through 
 the overflowing charity of its satisfaction. 
 
 Bodily pain, fear and terror are also strong in 
 their expression: with the double intention, of 
 summoning relief, and repelling the offending cause 
 when it is a sentient being. For the sharpness 
 
OF FORCE OF VOICE. 397 
 
 and vehemence of the full strained cry is univer- 
 sally painful or appalling to the animal ear. 
 
 In thus amusing the reader with fancies, for so 
 I ought to call them, I have perhaps ventured too 
 far into the vain and presumptuous doctrine of Fi- 
 nal causes. But though we have therein tempo- 
 rarily strayed, let us not forget the duties of phi- 
 losophy: It is her office to inquire how things exist; 
 the knowledge of why they so exist, must be the 
 last act of favor which time will bestow. Our steps 
 over the works of man may go hand in hand with the 
 comprehension of their final causes : for the author 
 may point out the narrow purpose of their parts. 
 But the final causes of nature will be unfolded, 
 only in the last recapitulating chapter of her infi- 
 nite revelation. 
 
 From this cursory notice of force, when used on 
 the aggregates of words in discourse, I pass to con- 
 sider in the following sections, the circumstances 
 under which force or stress may be laid on single 
 words or syllables, and on different parts of the ra- 
 dical and vanishing concrete. It will be shown, that 
 an attentive and well disciplined ear has the ability 
 to perceive the different effects of stress, when set 
 on the beginning, the middle and the end of the 
 concrete movement, or when heard in immediate 
 succession at its extremes : that force of utterance 
 may be so continued throughout the concrete, as to 
 alter the characteristic feebleness of the vanish : 
 and that whilst the relative structure of radical and 
 vanish, formerly described, remains the same, force 
 
328 OF FORCE OF VOICE. 
 
 may magnify proportionally the whole of the con- 
 crete. 
 
 These functions of force are successively denom- 
 inated, in the six ensuing sections — the Radical, 
 the Median, the Vanishing, and the Compound 
 stress, the Thorough stress and the Loud concrete. 
 
SECTION XXXIII. 
 
 Of the Radical Stress. 
 
 The Radical stress consists in the abrupt and for- 
 cible emission of the voice at the beginning of the 
 concrete movement. 
 
 The Natural radical and vanish, described in the 
 second section, which I here call natural, to distin- 
 guish it from the other forms enumerated above, 
 was indeed represented as having an initial fulness •, 
 but the function of stress, now under consideration, 
 is characterized by a higher degree of force and a 
 more sudden explosion, in the first opening of the 
 voice : whilst the subsequent vanish is carried on 
 in the diminishing structure of the natural concrete. 
 There are so few speakers, able to give a radical 
 stress to syllabic utterance, with this momentary 
 burst which I here mean to describe, that I must 
 draw an illustration from the effort of coughing. It 
 will be perceived that a single impulse of coughing, 
 is not in all points exactly like the abrupt voice on 
 syllables ; for that single impulse is a forcing out of 
 almost all the breath: yet if the tonic element a-we 
 be employed as the vocality of coughing, its abrupt 
 opening will truly represent the function of radical 
 stress when used in discourse. 
 
 The clear and forcible radical stress can take 
 place only after an interruption of the voice. It 
 tt u 
 
330 OF THE RADICAL STRESS. 
 
 would seem as if there was some organic occlusion 
 in the larynx, by which the breath is barred and 
 accumulated for the purpose of a full and' sudden 
 discharge. This occlusion is most under command, 
 and the explosion is most powerful, on syllables 
 beginning with a tonic element, or with an abrupt 
 one preceding a tonic : for in this last case, an ob- 
 struction in the organs of articulation is combined 
 with the function of the larynx, above supposed. 
 When a syllable begins with a subtonic, or an ato- 
 nic which is not abrupt, the full degree of explosion 
 is not practicable, as in <c manful," " foster." If such 
 words are pronounced with vehement stress, there 
 is always an interruption of the voice after the ini- 
 tial element, in order that the tonic may receive 
 the full force of a radical explosion. This account 
 may serve to explain more particularly the part 
 which is performed, in intonation, by subtonic ele- 
 ments, at the beginning of syllables. For it was 
 said in treating of syllabication that the subtonic 
 does not always make a part of the concrete move- 
 ment : but if it has more than a momentary quan- 
 tity, it is continued upon a line of pitch, previously 
 to the opening of the succeeding tonic with a pro- 
 per radical function. This is the case on most occa- 
 sions, for though it is possible for a tonic to be open- 
 ed so gradually, as to allow its being engrafted on a 
 subtonic which has previously risen partly through 
 the concrete, still there is so much of the abrupt 
 fulness in the usual utterance of a tonic element, 
 that it generally assumes to itself the first point in 
 the interval. 
 
OF THE RADICAL STRESS 33 J 
 
 If an immutable syllable beginning with a sub- 
 tonic is prolonged by oratorical license, the sub- 
 tonic is made to rise with a concrete movement 
 through the designed interval. Thus it is with the 
 words "let" and "pluck" when so prolonged: yet 
 in these cases, with a view to join all the constitu- 
 ents of the syllable into one impulse, the tonics 
 must be given in the feeblest effort of the vanish. 
 For should they be pronounced without this cau- 
 tion, it will be perceived that after the initial 
 subtonics have ascended, the tonics, with the sub- 
 sequent atonies, if struck with force, will, in reality, 
 produce another rapid immutable syllable, succeed- 
 ing one which has been formed by the concrete 
 ascent of the subtonic: a subtonic, as I have said, 
 being susceptible of the concrete movement, both 
 through a simple inflection, and through the wave. 
 
 The power of giving a strong, full and clear ra- 
 dical stress on the tonic element, is not a common 
 accomplishment among speakers; yet the free and 
 proper management of this function is of eminent 
 importance in elocution. Its two principal purpo- 
 ses are, — to give a distinct articulation: and to 
 form the distinguishing accent on immutable sylla- 
 bles. These syllables admitting of only a faint dis- 
 play of the peculiar effect of the slow concrete, 
 and being incapable^ as will be said hereafter, of 
 bearing the other modes of stress-, the abrupt or 
 explosive enforcement of the radical is their prin- 
 cipal means for distinction. 
 
 Having pointed out the instrumentality of the 
 radical stress in the work of articulation, this is per- 
 
332 OF THE RADICAL STRESS. 
 
 haps the proper place to describe particularly the 
 phenomena which constitute distinct pronunciation. 
 
 This subject has three divisions: the First em- 
 braces the consideration of the specific sounds 
 which the changeable decrees of human conven- 
 tion give to the alphabetic elements. The Second 
 regards the subject of radical stress: and the Third, 
 the appropriation of the several constituent ele- 
 ments of a syllable, to the concrete movement. 
 
 The first of these matters is under the rule of 
 every body, and therefore is very properly to be 
 excluded from the discussions of that philosophy 
 which desires to be effectual in its instruction. How 
 can we hope to establish a system of elemental 
 pronunciation in a language, when great masters 
 in criticism, condemn at once every attempt, in so 
 simple and useful a labour as the correction of its 
 orthography! 
 
 Supposing then the sound of the elements to be 
 precisely that which temporary authority has de- 
 term ined, the clearness of pronunciation will depend, 
 
 Secondly, on the effective execution of the ra- 
 dical stress. Although it will be said presently, 
 that every element should be heard in the syllabic 
 impulse, yet the tonic, from its very nature, is gene- 
 rally the most remarkable in the compound. The 
 characteristic of the syllable, therefore, lies in a 
 great measure, within this element; and a full ex- 
 plosive radical stress being laid on it, contributes 
 much to distinct enunciation. It is this which draws 
 the cutting edge of words across the ear, and star- 
 tles, even stupor, into attention. It is this which out- 
 
OF THE BADICAL STJRESS. 333 
 
 voices the motions and rustlings of an assembly, 
 and lessens the fatigue of listening: and it is the 
 sensibility to this, through a general instinct of the 
 animal ear, which gives authority to the groom and 
 makes the horse submissive to his angry accent. 
 Besides the fulness, loudness and abruptness of the 
 radical stress, when employed to give distinct arti- 
 culation, the tonic sound itself should be a pure 
 vocality. For when it is mixed with an aspiration, 
 the quality of utterance loses that brilliancy, if I 
 may so call it, which serves to increase the impres- 
 sive effect of the explosive force. 
 
 Thirdly. The doctrine of syllabication, set forth 
 in this work, suggests additional means for effecting 
 what is called distinct articulation. In order to 
 ensure a clear and striking utterance, the syllable 
 should not only be loud, but each elementary con- 
 stituent should be so distinct as to prevent the 
 possibility of confounding syllables which have the 
 same tonic elements, but which differ partially or 
 universally in their subtonics. Now this is to be 
 done by distributing the time and space of the con- 
 crete properly among the elements of the given 
 syllable. This will be best explained by particular 
 instances. I have heard an actor of some eminence 
 pronounce the word "plain" by prolonging the voice 
 on the " 1," and subsequently terminating the syl- 
 lable by a momentary transit on u ain." Though in 
 this case, the " P was clearly audible, the rapid 
 flight and blending of the " a" and " n' rendered 
 the effect of the whole syllable both faint and con- 
 fused. The consequence of this kind of pronun 
 
334 0F THE RADICAL STKESS. 
 
 ciation, for it was a general fault with the player to 
 whom I allude, was, that if he turned his face from 
 the audience whilst speaking, many of his words, 
 though forcible enough in mere sound, were unin- 
 telligible to an attentive ear at mean distances in 
 the theatre. A practice like this obstructs the 
 equable flow of the concrete, and overrules the 
 proper apportionment of time to its syllabic consti- 
 tuents. For if each of the elements of the word 
 u plain" have an equal portion of the concrete, the 
 utterance will at once be distinct. 
 
 The principles of articulate utterance under this 
 third head, may be exemplified in the following 
 sentence : 
 
 Not that I loved Ceesar less, but that I loved Rome more. 
 
 If we give emphatic importance to the word 
 "more," by the mere extent of quantity, and not 
 any striking peculiarity of intonation ; and if this 
 quantity be spread upon the unequal wave, with a 
 view to give the feeble cadence to the dignified 
 protraction of the word; — Then if, in the appor- 
 tionment of the elements, the "m" be carried 
 through the rise of the second, and continued 
 downward for some distance through the third : the 
 " o" and "r" being rapidly made at the termination 
 of the wave, — under these conditions, I say, the 
 word will not be well articulated. But if the time of 
 the wave be divided into three parts about equal, 
 and the "m," "o'' and "r" be severally assigned to 
 these parts, the utterance will have all required 
 distinctness. 
 
OF THE RADICAL STRESS. 535 
 
 There are many immutable syllables beginning 
 with a subtonic, which a reader, in the current of 
 dignified utterance, is sometimes prompted to pro- 
 long beyond the limit of plain lexicographal pro- 
 nunciation. When this practice is assumed by ora- 
 torical license, the added quantity is generally 
 expended wholly on the initial subtonics. Thus if 
 the syllables not, met, reek, lit, that and vig, be 
 unusually prolonged, there will be less departure 
 from fixed pronunciation, by giving the quantity to 
 the subtonics, than to the tonics. But still there 
 will be a want of that distinctness by which a syl- 
 lable is immediately recognized : for syllables are 
 known in part, by the habit of their quantity, both 
 as regards the absolute time of the whole, and the 
 comparative time of their elemental parts; and these 
 points, upon the supposition before us, are widely 
 varied. Now in the above instances, the time of the 
 several elements, which strictly should be about 
 equal, is in extreme disproportion : for whilst the 
 subtonic is extended to what we have called an 
 indefinite quantity, the tonic and the following ab- 
 rupt element have only their proper momentary 
 duration. 
 
 And this which is here assigned as the cause of 
 indistinctness in speech, will be shown, in a future 
 section to be still more frequently a cause of inar- 
 ticulate pronunciation in the efforts of the Singing 
 voice. 
 
 In the two cases of the words " plain" and 
 " more" it is recommended to divide the time of 
 the concrete equally among the elements ; and this 
 
336 0F TIIE RADICAL STRESS. 
 
 is necessary for the correct pronunciation of many 
 other syllables, having a similar construction. But 
 we cannot give a universal rule on this point, since 
 some indefinite syllables such as " men" " run" 
 " lin" " gel" have their prolongation on the subto- 
 nic elements, and will not bear any addition to their 
 short tonics. 
 
 The radical stress may be exhibited both on im- 
 mutable and on indefinite syllables ; in the former 
 case, from the shortness of the quantity, the func- 
 tion produces, as it were, a mere explosive point 
 of sound. 
 
 This stress may be given to all the intervals both 
 rising and falling, and to the beginning of the wave. 
 
 From what has been said, it must not be under- 
 stood that the radical stress is used merely to give 
 the distinction of loudness to immutable syllables : 
 the enforcement likewise extends to the various 
 sentiments embraced by them. But this mode of 
 stress is more particularly a symbol of the highest 
 degrees of passion. 
 
SECTION XXXIV. 
 
 Of the Median Stress. 
 
 It was said, the Radical stress is principally ef- 
 fective in distinguishing immutable syllables. Long 
 quantities admitting of other modifications which 
 may attract the ear, more rarely require the initial 
 explosive fulness. They receive their stress, with 
 greater embellishment, from an enforcing of utter- 
 ance on the middle portion of the concrete move- 
 ment. 
 
 As a pause is always the preface to abruptness, 
 the peculiar character of the radical stress, can 
 have no place in the course of the continuous inter- 
 val. The median stress is therefore a gradual 
 strengthening and subsequent reduction of the 
 voice, similar to what is called a swell in the lan- 
 guage of musical expression. There is this differ- 
 ence between them. The swell of song is some- 
 times made on a note continued on the same line 
 of pitch : whereas the median stress is always in 
 either an upward or downward course; or about the 
 junction of these directions in the wave. 
 
 This element of force is applied to all the inter- 
 vals of the scale : but its very construction indicates 
 the necessity of protracted time for its execution, 
 and therefore that it is most distinguishable on the 
 greater intervals. It is obvious even on the simple 
 x x 
 
338 OF THE MEDIAN STRESS. 
 
 rise and fall of the second, when its syllabic quan- 
 tity is unusually prolonged. But the quantity of this 
 interval as well as that of the semitone is rarely 
 extended to any considerable degree in its simple 
 state. Those dignified sentiments which require 
 length, direct the employment of the waves of 
 these two intervals. But the power of the median 
 stress is not thereby lost, for in this case it is ap- 
 plied to about the middle of the course of the con- 
 cretes : that is about the junction of the two lines 
 of contrary flexure. What is here said of the wave 
 of these two intervals, mav be affirmed of the wave 
 of all intervals of the scale. If the median stress is 
 applied to the double wave, it must be on the course 
 of a downward or upward constituent, according as 
 the wave may be direct or inverted ; for the two 
 constituents will be respectively the middle por- 
 tions of the whole space of sound. 
 
 The median stress is applicable to the intervals 
 of the tremulous scale : and in effect, only enforces 
 by greater loudness, the tittles in the middle of any 
 given interval, or at the junction of a single wave, 
 or on the middle constituent of a double one. When 
 thus employed, it adds degrees in impressiveness 
 to the sentiments signified by the tremor, and fur- 
 nishes variety to the ear. 
 
 In as much as force, generally speaking, may be 
 used conjointly with other means of expression ; its 
 principal purpose is to enhance the power of those 
 other means. Thus if the median stress is laid on 
 the semitone, it gives force to its plaintiveness : if 
 on the downward concrete, it adds to the degree 
 
OF THE MEDIAN STRESS. 339 
 
 of its wonder or positiveness : if on the rising third 
 or fifth or octave, it sharpens the spirit of interro- 
 gation. Such is likewise the effect of the radical 
 stress ; the energetic effort of which sometimes 
 amounts even to violence. But the median stress 
 now under consideration, sets forth the intension of 
 the voice, in a form of greater dignity than all the 
 other modes. The radical stress having an abrupt 
 opening and the vanishing, as I shall say 'presently, 
 having a sudden termination, there is a sharp ear- 
 nestness in their manner which is not conveyed by 
 the median : the aim and power of which " in the 
 very torrent of expression," is to " beget a tem- 
 perance which may give it smoothness." 
 
 Here pardon me, reader, when I pass from in- 
 struction to eulogy. 
 
 If she could now be heard, 1 would point in il- 
 lustration, to Britain's great Mistress of the voice. 
 Since that cannot be, let those who have not for- 
 gotten the stately dignity of Mrs. Siddons, bear wit- 
 ness to the effect of the graceful vanish of her con- 
 crete, and of that swelling energy by which she rich- 
 ly enforced the tones of joy, and surprise, and indig- 
 nation. But why should I be so sparing in praise, 
 as to select her eminent exemplification of the sin- 
 gle subject before us ; when it seems to ray recol- 
 lection that a whole volume of elocution might be 
 taught by her instances. 
 
 It is apparently a partial rule of criticism, but 
 when drawn from delicate perceptions, made wise 
 by cultivation, it is the best — to measure the merit 
 of actors, by their ability to give with audible exact- 
 
340 OF THE MEDIAN STRESS. 
 
 ness, that same expression of the poet, which the 
 soul of the hearer is whispering to itself. Such is 
 the rule, which, in my early days of ignorance, but 
 not of insensibility, set up this great Woman's voice 
 as the mirror of poetic feeling ; in which one might 
 recognise himself, and love the equal picture as 
 his own. All that is smooth, and flexible, and vari- 
 ous in intonation ; all that is impressive in force, and 
 in long drawn time ; all that is apt upon the counte- 
 nance, and consonant in gesture, gave their united 
 energy, and gracefulness and grandeur, to this one 
 great model of ideal elocution. Hers was that 
 height of excellence, which, defying mimickry, 
 can be made imaginable only by being equalled. 
 
 Such was my enthusiastic opinion, before a scru- 
 tiny into speech had developed a boundless scheme 
 of criticism ; which at the same time that it admits, 
 there may be some hidden cannon of nature, pro- 
 ducing occasional instances of rare accomplishment 
 of voice ; yet assures us that nothing but the in- 
 fluence of some system of principles, arising out of 
 well observed instinct, can ever produce multipli- 
 ed examples of excellence, or give to any one the 
 perfection of art. There is a power in science which 
 searches, discovers, amplifies, and completes; and 
 which all the strength of spontaneous effort can ne- 
 ver reach. I do not wish to be asked, how this " most 
 noble mother of the world,"* — with the best gifts 
 
 * I refer here, to the salutation of Coriolanus to Volumnia : 
 for it is in this character Mrs. Siddons always comes upon my 
 memory ; imbodying the pathos, the matron dignity and the in- 
 dignation, together with the other moral solemnities of the scene 
 of intercession in the Volscian camp. 
 
OF THE MEDIAN STRESS. 34 1 
 
 from nature, but still through the scanty doctrine of 
 her times, restricted to the hazardous school of im- 
 itation — would be accounted by the side of anoth- 
 er Siddons making her selections of sentiment and 
 taste, from the familiar rudiments and the measura- 
 ble functions of the voice ; and able by the authori- 
 ty of deep-drawn rules to be a rational critic over 
 herself. Though I rely on the surpassing efficacy 
 of scientific principles, still in the contentment of 
 recollection, I would not wish to answer this ques- 
 tion. 
 
 The vision of the Great Actress is before me ! If 
 I am beset by an illusion which another hearing 
 might dispel, I rejoice to think I can never hear 
 her again. 
 
SECTION XXXV. 
 
 Of the Vanishing Stress. 
 
 Our description of the concrete of speech repre- 
 sented it as formed by an initial fulness, and a gra- 
 dual decrease in force of voice. It may already 
 have occurred to the reader, that the construction 
 indicated by the term Vanishing Stress, annuls, in 
 this case, the general law of the concrete. It is 
 true it does. But I thought, the adopted term, even 
 with this verbal contrariety, would be more imme- 
 diately intelligible, if not more exactly significative 
 of the function, than any other newly invented no- 
 menclature. The vanishing stress does indeed ex- 
 hibit a reversed progression of force, by a gradual 
 increase from the radical, to the extreme of the 
 vanish. This mode of production must necessarily 
 give something like an abrupt termination, with a 
 fulness of sound, at the extremity of the concrete : 
 for the description of the case affirms its gradual 
 enlargement till the end. 
 
 The peculiar vocal effect of the vanishing stress 
 may be illustrated by the natural function of Hic- 
 cough. I choose this mode of making the reader 
 familiar with the perception, because the function 
 has received, in this instance, but without attention 
 to its construction, a conventual name, and because 
 it may be readily imitated for the purpose of expe- 
 
OF THE VANISHING STRESS. 343 
 
 riment. The hiccough, then, is produced by the 
 gradual increase of the guttural sound, until it is 
 suddenly obstructed by an occluded catch, some- 
 what resembling the element fc, or g, If this mode 
 of sound be compared with a single act of cough- 
 ing, the difference between the vanishing and the 
 radical stress will be conspicuous. The hiccough, 
 however, does not resemble the proper vanishing 
 stress of speech in all points ; for this last function 
 does not necessarily end like the hiccough, except 
 the syllable which bears it is terminated by an ab- 
 rupt element. The hiccough may be made on all 
 intervals of the scale. In ordinary cases, it assumes 
 that of the second : but if it is attended with great 
 distress, as sometimes happens in disease, it is heard 
 through the interval of the semitone. 
 
 The effect of the vanishing stress in discourse, 
 may be very conspicuously observed in the speech 
 of the natives of Ireland, many of whom employ 
 it, in the form of the simple rise or fall, or wave, 
 on all the principal words of a sentence. It is this 
 function which produces that quick and peculiar 
 run of syllables, heard in the earnest pronunciation 
 of the lower orders of that people. 
 
 The vanishing stress is practicable on each of 
 the rising and falling intervals of the scale. When 
 used on the wave, it must be understood as occur- 
 ring on the last constituent. 
 
 This stress being one of the modes of force, its 
 power consists in giving to the peculiar expression 
 of the several intervals, a greater degree of inten- 
 sion than belongs to their natural concretes. Thus 
 
344 OF THE VANISHING STRESS. 
 
 in the second, which has no peculiar expression, it 
 only adds that Irish jerk which deforms without en- 
 forcing speech. On the third, and fifth, and octave, 
 it gives intensity to the spirit of interrogation. On 
 the downward course of these intervals, it enhan- 
 ces the degree of surprise and positiveness ; and 
 on the wave it increases the expressions which be- 
 long to its various constructions. 
 
 The effect of the vanishing stress on a semitone, 
 may be heard in the act of Sobbing. This is made 
 on a guttural sound gradually increasing in force 
 and terminated in some cases by an occluded catch. 
 Now when the vanishing stress on the semitone is 
 used in discourse, it is, as it were, a sobbing on 
 words •, and serves to mark intensively, the distress- 
 ful character of the simple concrete. Distress and 
 complaint may require enforcement, when uttered 
 with that quickness of time which does not admit 
 of the doubled impression of the semitone produc- 
 ed by the wave of this interval. This increased 
 effect may be given to the simple movement in 
 quick time, by the vanishing stress; which brings 
 out in high relief the dimensions of the interval, 
 and the mournful display of its expression. 
 
 Upon this subject, it may be remarked in relation 
 to all the intervals, that the nature of discourse 
 sometimes requires so quick a time that only the 
 simple rise or fall can be employed : and yet, it 
 may be highly necessary to designate a given inter- 
 val strongly and clearly. This can be accomplished 
 by the vanishing stress. For a hasty utterance of 
 grief and interrogation, which has time for flight 
 
OF THE VANISHING STRESS. 345 
 
 only in one direction, will, for the purpose of 
 marking its several symbols on the ear, apply this 
 terminative force to the simple rise and the fall of 
 the semitone, third, fifth, and octave. 
 
 It was stated that the radical stress is effective, 
 principally in distinguishing short quantities. On 
 these the vanishing stress is not cognizable. It re- 
 quires a longer time ; and its application thereon, 
 gives an equal degree of force with the median 
 stress : but it has much less dignity and grace than 
 the gradual swell of this last named element 
 
 *y 
 
SECTION XXXVI. 
 
 Of the Compound Stress. 
 
 Besides the perceptible function of stress, when 
 laid exclusively on the beginning or middle, or end 
 of the concrete, it is within the power of the culti- 
 vated and attentive ear, to recognize the abrupt 
 opening of the radical, and the full termination of 
 the vanishing stress, when used in succession on the 
 same syllable. The best reference I can make in 
 illustration of this element, is to the vocal grace, 
 called a Shake : for I shall endeavour to show here- 
 after that the characteristic action of this grace 
 consists in a rapid iteration of the concrete when 
 impressed with both the radical and vanishing 
 stresses. 
 
 This compound stress may be used on the nar- 
 row intervals of the scale, if they are applied to 
 syllables of long quantity ; but it is more definitely 
 audible on the wider spaces of the fifth and octave. 
 Its character may likewise be heard on the various 
 forms of the wave ; in which cases the final stress 
 is severally laid on the last constituents. 
 
 After what has been said of the modes of stress, 
 oNwhich this under consideration is but a compo- 
 sition, it is scarcely necessary to remark, that it 
 affords means for adding greater force to the repre- 
 sentation of the sentiments indicated by its consti- 
 
OF THE COMPOUND STRESS. 347 
 
 tuents when used singly on a syllable. And though 
 the effect of the alternate radical and vanishing 
 stress is beautifully exemplified in the shake of 
 song ; and may be made manifest in the speaking 
 voice : yet this compound function, on a short quan- 
 tity, cannot be distinguished from the simple radical 
 abruptness ; nor indeed is there, in this case, time 
 for its existence. 
 
 Let us suppose that a syllable of long quantity 
 conveys the sentiment of angry or authoritative in- 
 terrogation ; and that the fifth with protracted into- 
 nation is the interval chosen for this interrogative. 
 The sharpness of effort required here as the symbol 
 of anger or of the authoritative sentiment would be 
 rightly represented by the radical stress; whilst 
 the full marked extent of the interval under the 
 increased force of the vanish, would give a corres- 
 ponding energy and impressiveness to the interro- 
 gation. The compound stress is, however, by no 
 means an agreeable mode of force. There is a snap- 
 pishness in its intonation, which will always be 
 avoided by a good reader, except on those rare 
 occasions, that especially call for the peculiarity of 
 its expression. 
 
SECTION XXXVIL 
 
 Of the Thorough Stress. 
 
 By this mode of force in the construction of the 
 concrete, we are to understand, a continuation of 
 the same full body of voice throughout its whole 
 course. 
 
 It may be readily distinguished from the median, 
 the vanishing and the compound forms of stress, 
 when these are set on long quantities, and may 
 therefore claim a separate notice in a philosophical 
 analysis of speech. But I cannot point out any 
 peculiar expression in it, which is not conveyed 
 by the compound stress, or by the radical when 
 applied on short syllables. 
 
 This Thorough force may be given to all the 
 intervals of the scale ; and when spread over the 
 wave, it is to be regarded as equalizing the stress 
 throughout all its constituents. 
 
SECTION XXXVIII 
 
 Of the Loud Concrete. 
 
 By the Loud concrete, I mean that stress which 
 distinguishes a given syllable from adjacent ones : 
 the parts of the concrete still retaining the compa- 
 rative structure of the radical and vanishing move- 
 ment. It is, in short, what was called the natural 
 concrete, magnified by force. It is not distinguish- 
 able as an element of stress, on a very short quan- 
 tity : the radical stress being the proper mode of 
 intension on such syllables. 
 
 As far as I know, it has no peculiar quality of 
 expression. It is introduced here, only because it 
 will be referred to, in a future section, on accent. 
 
 All the modes of stress which have thus been 
 enumerated, may be applied to the various tremu- 
 lous concretes, and to the tremulous wave. They 
 give energy and variety to the tremor on the high- 
 er intervals, which serves for laughter, for interro- 
 gation, and for emphasis : and to Ihe tremor on the 
 semitone, which makes the function of crying, and 
 of plamtiveness in speech. 
 
SECTION XXXIX. 
 
 Of the Time of the Concrete, 
 
 The radical and vanishing movement has been 
 represented as having an equable continuation of 
 time, throughout its progress : and as having there- 
 by a marked distinction from the varied proportions 
 of the radical and vanish, in Recitative and Song. 
 
 The purposes of expression sometimes demand 
 a change of this equability of the concrete, into a 
 quicker utterance of its beginning, or middle, or 
 end. This condition of time is closely connected 
 with the application of the different modes of stress: 
 for it is difficult to give stress without running into 
 quickness of time ; and it is as difficult to give quick- 
 ness of time, without marking the rapid part of the 
 concrete with stress. The connate relation of these 
 functions is most conspicuous in the radical stress : 
 for its sudden burst is necessarily followed by a 
 momentary quickness of utterance. The median 
 and the vanishing stress, when strongly emphatic, 
 likewise carry with them a rapid run of time : for 
 there is in this forcible execution of these last 
 named functions, an endeavour to reach, as far as 
 can be on an unbroken concrete, the explosive na- 
 ture of the radical. These fitful gusts of breath, if 
 I may so call the quick transit through the radical 
 median and vanishing places, may be employed. 
 
OF THE TIME OF THE CONCRETE. 35 [ 
 
 like the stress itself which respectively accompa- 
 nies them, on all the intervals of the scale, and at 
 the same places of the wave on which the stress is 
 applied. There may also be a compound quick 
 time of the concrete, attendant on the compound 
 stress, in the prolonged movements of speech. 
 
 On the whole, regarding the time of the concrete 
 separately from stress, I cannot recommend it as a 
 matter of any importance in the work of expression. 
 I promised to analyze speech. This quickness was 
 perceived \ and I have therefore transiently noticed 
 it. 
 
SECTION XL. 
 
 Of the Aspiration, 
 
 We have thus far learned that five accidents 
 of sound, — Quality, Time, Pitch, Abruptness and 
 Force, together with the absence of all impression 
 in the Pause, do by their separate and their min- 
 gled influences produce the varied efforts of speech 
 already described. 
 
 The works of nature are cunning patterns of 
 combination : and the function which is now to be 
 considered, will make a new disclosure of the 
 means of diversifying the effect of these elementary 
 agents. The subject of this section does properly 
 belong to the head of quality of voice. But since 
 it has received a place and name among the alpha- 
 betic elements, and has peculiar properties, I give 
 it here a separate discussion. I shall therefore en- 
 deavour to show that the element symbolized by 
 the letter " h," or as it is called the Aspiration, has 
 eminent powers of force and exprsesion. 
 
 By calling " h" a mere breathing, some system- 
 atic writers have imagined they insured the right 
 to reject this element from the alphabet. Let it be 
 said, in truth, that the aspiration is suited only to 
 near audience ; and wants the fine vocal qualities 
 of the tonics. But whilst " harrow" and " arrow" 
 shall owe the difference of their meanings re- 
 
OF THE ASPIRATION. 353 
 
 spectively to the presence and absence of the ele- 
 ment, that breathing will fulfil the purpose of ar- 
 ticulation, though it should not conform to the full 
 definition of it. Notwithstanding, the defects of the 
 aspiration cannot be denied, under the cold mea- 
 surement of orthoepy, it is still pre-eminently enti- 
 tled to notice as a powerful agent in oratorical ex- 
 pression. 
 
 The element " h" is slightly susceptible of pitch 
 and abruptness : but it admits freely of time. 
 Through the exercise of this function it must be re- 
 deemed from an alleged insignificance, by furnish- 
 ing the expressive interjection of sighing. It admits, 
 to a certain degree, of the variations of force ; exhib- 
 iting most remarkably, under the calls of emphasis, 
 the median stress. In uncompounded words it is al- 
 most exclusively found at their beginning ; where 
 its force may be most effectually exerted. This 
 element is frequently a constituent of those words 
 which have universally an energetic meaning, as 
 " havoc,'' " horror" and huzza ;" and it exists in 
 most of the interjections in all languages. 
 
 Besides the abovementioned instances of its ex- 
 pression, where common orthography has given it 
 a literal place, it is in certain cases of emphasis en- 
 grafted on the several tonics and subtonics. For 
 though the aspiration, as we have seen, does serve 
 the purpose of a distinct constituent of words ; yet 
 it may be associated with each of those elements 
 which have a vocality, without destroying their in- 
 dividual characters. The pure quality of the tonic 
 is indeed impaired by the union ; for the excellency 
 z z 
 
354 0F THE ASPIRATION. 
 
 of this species of element was negatively defined, 
 by declaring its freedom from aspiration : but the 
 loss of purity is supplied by other advantages of 
 the association. 
 
 There is some inexplicable mechanism of the 
 organs of speech, by which a strenuous pronuncia- 
 tion of the tonic elements becomes semi-aspirated. 
 If we suppose the word " horrible" to be deprived 
 of its aspirate, it will be found impossible to give 
 the fragment " orrible," in prolonged and energetic 
 exclamation, without restoring, in a great degree, 
 the abstracted element. How far this unavoidable 
 function operated to introduce the aspirated ele- 
 ment, for the expression of the force of instinctive 
 animal feeling, which may have prevailed at what 
 is called, the origin of language, I leave to the ever- 
 lasting disputes of those who look for truth in fancy, 
 and who tease themselves in the pursuit of undis- 
 coverable things. 
 
 Vociferations on syllables which do not ortho- 
 graphically contain the aspiration, nevertheless as- 
 sume it, and corrupt thereby that pure quality of 
 the tonics which characterizes their abated utter- 
 ance. Nay, in the excessive force of such exertions 
 of the organs, the voice is sometimes lost, from the 
 atonic aspiration overruling the tonic vocality. The 
 nature of the conjoined functions, thus exhibited in 
 the vehement force of the voice, may be illustrated 
 by the subtonics a y" and " w" which are respec- 
 tively a compound of the aspiration with the mono- 
 thongs " ee-1" and oo-ze." The other three mono- 
 thongs " e-rr" " e-nd" " t-n," when united with the 
 
OF THE ASPIRATION, 355 
 
 aspiration, become obscurely the basis of the several 
 other subtonics. And though the subtonics are thus 
 supposed to be, in a manner, formed by the mingling 
 of vocalities with aspiration, they are yet capable 
 of a further addition, for the purposes of force or 
 oratorical expression. 
 
 The diphthongal tonics do not receive the aspira- 
 tion with the same effect as the monothongs : since 
 there is something in the nature of the diphthongs 
 which prevents as great a change as takes place in 
 the monothongs, by their union with the aspiration. 
 I said that the aspiration in its simple state, had 
 a certain degree of pitch. In union with the tonics, 
 it is able to move through all the intervals of the 
 scale, and to take on all the forms of stress. 
 
 In order to show how far this element assists in 
 the operations of speech let us keep in mind what 
 was said above, on the spontaneous connexion be- 
 tween a vehement exertion of the voice and its aspi- 
 ration ; and consider, further, the two following 
 forms of expression. 
 
 There is a sort of facetious or contemptuous com- 
 ment of surprise and incredulity, consisting of an 
 effort of aspiration made by the tongue and lips, 
 like whistling j and which has all its qualities ex- 
 cept shrillness. The pitch of this aspirated move- 
 ment is that of an unequal direct wave : the first 
 constituent being a tone or higher interval, accord- 
 ing to the spirit of the expression ; and the second 
 being generally a descent to the utmost audible 
 place of the aspiration. 
 
 The other effort of aspiration to which I alluded, 
 
356 OF THE ASPIRATION. 
 
 is made by the larynx, without any designed con- 
 junction of the lips and tongue. It is the function 
 of Sighing : and its pitch is sometimes the simple 
 rising, but more frequently the falling concrete 
 through a second or wider interval according to 
 the intensity of the feeling which prompts it. This 
 is well known to be the symbol of distress, grief 
 and anxiety ; and of exhaustion and fatigue, both of 
 mind and body. Now since these different cases 
 include the general powers of expression, in the 
 simple and natural aspiration, we can therefrom 
 infer what will be the effect when this breathed 
 element is joined with the vocality of speech. 
 
 It may seem an exception to the consistencies of 
 nature, that a qualit} 7 of voice, which, under the 
 form of whisper, is the symbol of the desire of con- 
 cealment, should be found united with the most for- 
 cible exertion of the organs. Such, however, is the 
 fact 5 for when the aspiration is conjoined with loud- 
 ness of voice, in some of the vehement modes of 
 stress, it becomes the sign of the highest vocal vi- 
 olence. If, therefore, this union is set on any of the 
 rising or falling intervals of the scale, it gives an in- 
 crease to the power which belongs to the chosen in- 
 terval ; and if I do not mistake, adds the sentiment 
 of eagerness, or sneer to those intonations, which, 
 in their purely vocal form, severally convey sur- 
 prise, interrogation, irony, and command. 
 
 Should this aspiration be given with an abate- 
 ment of voice, approximating thereby towards the 
 whisper or the sigh, it produces a different expres- 
 sion, according to the extent of the interval, When 
 
OF THE ASPIRATION. 357 
 
 the second, or higher portion of the scale is em- 
 ployed, it becomes the eminent symbol of earnest- 
 ness or of apprehension. Thus, if the following 
 lines be pronounced with a pure vocality of the el- 
 ements, the expression will fall short of the feel- 
 ing of the speaker : 
 
 " Hah ! dost thou not see, by the moon's trembling light, 
 Directing his steps, where advances a knight. 
 His eye big with vengeance and fate ? 
 
 Nor would the point be gained, if the reading 
 should be characterized by an aspirated vociferation. 
 But if the utterance is reduced in force, and at the 
 same time aspirated, the earnestness of attention 
 and appealing interrogation, becomes immediate- 
 ly obvious in this created huskiness of voice. 
 
 When this abated voice is aspirated on the tremu- 
 lous movement of the second or higher interval, it 
 may convey the sentiment of fear. When this same 
 abatement is aspirated in the simple concrete or 
 wave of the semitone, it is, as it were, a borrow- 
 ing from the sigh ; and therefore adds the higher 
 coloring of its expression to the plaintiveness or 
 the distress which is borne by the simple vocality 
 of the semitonic movement. But when the tremu- 
 lous intonation is joined with the aspirated semi- 
 tone, the voice exerts its ultimate means for mark- 
 ing the deepest sadness, within the limits of crying 
 and tears. 
 
 It is this element especially, which carries the 
 sentiment of contempt : and hence the ability to 
 imbne nearly every interval of intonation with its 
 expression. Even the simple movements which in- 
 
358 OF THE ASPIRATION 7 . 
 
 dicate surprise, interrogation, and emphatic asser- 
 tion, may, by means of the aspiration, be made con- 
 temptuous: but the repulsive sentiment is more 
 strongly marked when applied to the forms of the 
 wave 5 the bearing of scorn being most conspicuous 
 on its unequal structure. 
 
SECTION XLL 
 
 Of the Emphatic Vocule. 
 
 In that section where the elements are enume- 
 rated, we learned, that when the occlusion of or- 
 gans, by which the abrupt elements are made, 
 is removed, there is a slight issue of voice which 
 completes the articulate structure of these sounds. 
 This slight voice was called the Vocule. Like all 
 other voices it is susceptible of force. Its higher 
 degrees of stress constitute the element named at 
 the head of this section. The emphatic vocule 
 marks great energy of sentiment : and naturally fol- 
 lows those emphatic words which close with one of 
 the abrupt elements. 
 
 Three of the vocules are vocal, and three aspi- 
 rated. The vocules of " k" " p" and " t," which 
 constitute the last class, are often changed from an 
 aspiration to vocality, in an attempt to give strong- 
 er emphasis to their termination. No other than 
 the most vehement feeling will justify the use of 
 this element of force, at the end of an emphatic 
 word •, and the most cautious management is neces- 
 sary in order to prevent the expression from fall- 
 ing into the character of rant or affectation. 
 
 It was stated formerly that when an abrupt ele- 
 ment precedes a tonic, the vocule is lost in the to- 
 nic, which issues, as it were, from the abrupt element; 
 
3(30 OF THE EMPHATIC VOCULE. 
 
 this last being only a mode of the commencement 
 of that tonic sound. This is the case when an ab- 
 rupt element is found about the beginning of a 
 word ; and at the end of any syllable except the ul- 
 timate. And in these places it is proper. But a 
 similar junction of the vocule at the termination of 
 a word, with a tonic at the beginning of a following 
 syllable, is apt to confuse pronunciation, by destroy- 
 ing that clear limit which should give a separated 
 individuality to every word of a sentence. The 
 fault to which I allude, is sometimes even design- 
 edly assumed in enunciation, in order to remedy 
 the want of physical energy in another particular 
 of utterance. Persons who are called upon to give 
 the utmost sharpness to their accents, and who have 
 not the practical skill to explode the voice sudden- 
 ly on a tonic, avail themselves of the facility of 
 bursting out from an abrupt element, into the tonic 
 of a succeeding word. Thus if the phrase " bad 
 angels," should require force, either for emphasis 
 or for a distant auditory, it would, with a view to 
 this explosion be pronounced " bad-dangels." But 
 as the arrangement of elements is a casual thing, 
 it must happen that the same word will occur in 
 discourse, both with and without a preceding ab- 
 rupt element : and besides, the common exertion of 
 force does not require this coalescence. These cir- 
 cumstances will prevent the effect of the junc- 
 tion from becoming familiar to the ear, and thus pass- 
 ing for a proper and constant orthoepial charac- 
 ter of the word. A forcible pronunciation accord- 
 ing to this method, will, therefore, in some cases, 
 
OF THE EMPHATIC VOCULE. 361 
 
 create mistakes in the sound of words ; and lead 
 in most instances, to that momentary hesitation, 
 which is incompatible with an exact perception of 
 oral discourse. 
 
 If what has been said, on the subject of distinct 
 articulation, as effected by the full and clearly form- 
 ed radical stress, be thoroughly applied, the design- 
 ed purpose of this junction of tonic with abrupt el- 
 ements may be accomplished without interfering 
 with the perception of a clear outline in the boun- 
 dary of words. For this demarcation is necessary 
 towards that distinct and deliberate utterance which 
 characterizes the dignified departments of an exalt- 
 ed elocution. 
 
 In the rapid energy of colloquial discourse, and 
 in the passionate haste of elevated delivery, this 
 coalescence of the elements is more liable to occur: 
 nor in these instances can it always be avoided. 
 
 3 A 
 
SECTION XLIL 
 
 Of the Guttural Emphasis. 
 
 In speaking of the mechanism of the voice, it 
 was shown that the retraction of the root of the 
 tongue, together with a closure of the pharynx, 
 produces a contact of the sides of the vocal canal 
 above the glottis, and thus gives rise to a harsh vi- 
 bration, from the gush of air through the straitened 
 passage. The peculiar sound alluded to, is made 
 on the tonic elements, the varieties of which may- 
 be distinguished, notwithstanding their combina- 
 tion with the noise, produced by the compression 
 of the sides of the throat. I have called this func- 
 tion of the voice, the Guttural emphasis, on account 
 of its causal mechanism, and from its being a forcible 
 expression of the sentiment which dictates it. 
 
 This guttural element is practicable on all the 
 intervals of the scale : and it adds to their formerly 
 described characters, its own peculiar expression. 
 This expression consists in the strongest degree of 
 contempt, disgust, aversion or execration; and 
 these sentiments are most strongly marked on the 
 intonations of the wave. 
 
 When this guttural grating is given with the 
 exploded radical stress, it makes the speaker him- 
 self feel, in its disruption from his organs, that the 
 effect must spread widely around him : and whilst 
 
OF THE GUTTURAL EMPHASIS. 3^3 
 
 it assaults the air with its percussion, that it must 
 break through the ear, into the understanding and 
 heart of an audience. 
 
 Having thus described the particular species into 
 which the generic affections of Pitch and Force are 
 subdivided : and having pointed out some of the oc- 
 casions for their application in speech, we are now 
 prepared to consider the special points of these func- 
 tions, which are comprehended under the terms 
 Accent and Emphasis. This detail will form the 
 subjects of the two following sections. 
 
SECTION XLIII. 
 
 Of Jlccent. 
 
 Accent is defined in philology, to be the distin- 
 guishing of one syllable of a word from others, by 
 the application of a greater force of voice upon it. 
 This is a true, but limited account of accent : for it 
 will be found on analysis that the accentual charac- 
 teristic consists in a syllable being brought under 
 the special notice of the ear. This may be done by 
 force \ but it will be shown presently that it may 
 be likewise effected through other audible means. 
 
 No word when uttered singly, except it be in el- 
 iptical construction, conveys any intelligible mean- 
 ing. Accent, which is one of the qualities of individu- 
 al words, cannot therefore embrace what is properly 
 called expression. When the conspicuousness of a 
 syllable, whether made by force or other means, 
 carries with it a remarkable meaning or a feeling, 
 it constitutes the function called Emphasis. 
 
 If the difference, thus stated, between accent 
 and emphasis is accurately pointed out, accent may 
 be defined in general terms, to be the inexpressive 
 distinction made between the syllables of a word. 
 This simply audible prominence may be given to 
 syllables by the radical stress, the loud concrete, 
 and a longer quantity on the noted syllable. 
 
OF ACCENT. 365 
 
 In the first place. The radical stress constitutes the 
 accent on immutable syllables. The word u victo- 
 ry," has three short syllables, and the accent on the 
 first consists of this mode of stress : the brevity of 
 the syllable not admitting the perception of a con- 
 tinuation of loudness. If therefore any distinction is 
 to be made by force, the syllable must burst with 
 the requisite fulness into a momentary existence. 
 The accent may be transferred to either of the 
 other syllables, by giving the highest degree of 
 abruptness respectively to each. 
 
 Secondly. Syllables which have length sufficient 
 to render the radical and vanishing movement cog- 
 nizable, admit of accentual distinction by the loud 
 concrete. In the word "Padington, ' the three sylla- 
 bles are of moderate length, and about equal. As 
 the first has quantity sufficient to prevent the ne- 
 cessity of adopting the explosive radical stress, its 
 audible relief in pronunciation can be brought out 
 by the loud concrete alone. In this example the 
 accent may be easily transferred to either of the 
 other syllables, by a slight increase of force : and 
 it is to be remarked, of syllables to which the loud 
 concrete is applicable, that they readily receive at 
 the same time an addition of the radical stress. But 
 the former mode of distinction being adequate to 
 the inexpressive denoting of accent, there is no 
 call for the further help of the radical abruptness, 
 except on occasions which require the expressive 
 distinction of emphasis. 
 
 Thirdly. When the time or quantity of one 
 syllable of a word exceeds the rest, that syllable 
 
366 OF ACCENT. 
 
 readily receives the accent, and even when unas- 
 sisted by loudness or abruptness sometimes neces- 
 sarily assumes it. If the word " victory" be pro- 
 nounced with the usual degree of radical stress, on 
 the first syllable, and the second be subsequently 
 prolonged as if written " vic-Joe-ry, the distinguish- 
 ing impression of the accent, which in this case may 
 be called the Temporal accent, will be postponed to 
 that second syllable; even though it be uttered with 
 all comparative feebleness, and with all possible 
 omission of abruptness. Words which consist of 
 syllables of equal time, such as a needful," " em- 
 pire," " farewell" and " amen," easily undergo a 
 change of accent, merely by a slight addition to the 
 length of either syllable. When the word "heaven" 
 is pronounced correctly as if written " hev-vn," the 
 longer quantity of the first syllable assumes the ac- 
 cent -j but when divided improperly, into two equal 
 syllables as in u hev-ven," the place of the accent 
 is doubtful ; or the word may be said to have two 
 equal accents. 
 
 These are the three modes of accentual distinc- 
 tion : accent being the prominent and fixed feature 
 which serves to identify a word, without enliven- 
 ing its utterance by any peculiar sense or expres- 
 sion. Now as these means are sufficient to give an 
 importance to syllables, without adding to them any 
 particular meaning or feeling, which is the scope 
 of emphasis, we may see the line of separation 
 between these functions. It is true that emphasis 
 which employs all the elements of expression, can- 
 not exist without accent; for these significant and 
 
OF ACCENT. 367 
 
 expressive elements, have, through pitch and time 
 and stress, an alluringness to the ear, which consti- 
 tutes the defined character of accent. 
 
 I have pointed out only the radical stress and the 
 loud concrete as the causes of accent, derivative 
 from force, since the median, the vanishing, the com- 
 pound, and the thorough, are more commonly used 
 as the means of expressive stress : and in the plain 
 example of a single word, surely no one does em- 
 ploy these last named elements. It is proper to re- 
 mark further, that although the modes of accent 
 have been represented as independent of pitch, still 
 they do not exclude the mere inexpressive forms of 
 that accident of the voice. Thus the radical stress 
 and the loud concrete do move rapidly through a 
 tone : and the temporal distinction of plain accent 
 when very remarkable, generally takes the form of 
 the direct or inverted wave of the same interval. 
 For this, as was shown in its proper place, gives 
 dignity to utterance by means of its deliberate 
 movement ; but has no peculiar expression incom- 
 patible with the simple diatonic melody. 
 
 Since it appears that the use of the three modes 
 of accent, is in a considerable degree governed by 
 the time of syllables, it is desirable to know the 
 circumstances which render these modes severally 
 applicable ; make them easily changeable ; and fix 
 the preponderance of their influence. 
 
 The temporal qualities of syllables were arrang- 
 ed under three classes. — The immutable, mutable, 
 and indefinite. The radical stress is the means of 
 distinguishing immutable syllables. The loud con- 
 
308 OF ACCENT. 
 
 crete may be given to the mutable : since they have 
 sufficient length to exhibit force of voice without 
 the necessity of an abrupt explosion. Indefinite 
 syllables, by their capability of prolongation, admit 
 of the attractive distinction of the temporal accent. 
 In speaking of the time of syllables, it was said 
 that those of indefinite quantity are sometimes pro- 
 nounced equally short with the immutable. Thus, 
 " lo," in " loquacity," and " lo" used as an emphatic 
 interjection, exemplify the extremes of duration. 
 Now it follows from this, that the radical stress may 
 sometimes be used on an indefinite syllable, in 
 its shortest time : as it is in the accent of the word 
 " illative." 
 
 In some words, consisting of a long and a short 
 syllable, the accent of stress and of quantity readi- ' 
 ly give way to each other, at the option of utter- 
 ance. Thus in the noun " perfume," the length of 
 the last syllable yields to the stress on the first, But 
 in the verb " perfume," the stress as easily gives 
 way to the temporal accent on " fume." 
 
 Of all the modes by which one accented syllable 
 of a word is embossed upon the ear, if I may so 
 speak, in higher relief than others, the most com- 
 mon is that of the temporal impression. I mean, 
 that in the English language, the accented syllable 
 in words is generally the longest ; and the excess 
 of length alone, without any apparent radical ab- 
 ruptness, or increase of force on the whole concrete,, 
 above the neighbouring syllables, is sufficient to an- 
 swer all the purposes of accentual distinction. The 
 
OF ACCENT. 369 
 
 majority of writers, without sufficient examination, 
 have resolved all accents into excess of force. 
 
 In as much as the radical accent belongs to short 
 syllables ; and as the loud concrete may be arbitra- 
 rily applied on all but short syllables, it may be in- 
 quired — which of the modes has the most influence 
 in pronunciation, or has the controlling or exclud- 
 ing power. In most words, this overbearing pow- 
 er is readily mutable, by an increased application 
 of the qualities which distinguish each mode : as in 
 the words " commemoration," " perlieu/ 1 " Cordo- 
 va," " Ontario;" the accent, of whatever kind, being 
 in these instances as easily practicable on one syl- 
 lable as on another. But in words having such a 
 temporal arrangement as occurs in " beguile,'' " in- 
 deed," "delay," and " revenge," the temporal ac- 
 cent cannot be deprived of its supremacy, by a 
 radical stress on the first syllable, except through 
 an irksome effort of the organs in exploding the 
 first, and abbreviating the last. For it is sometimes 
 necessary to reduce the quantity of one syllable, 
 in order that the radical stress may take the lead 
 on another. The accent of the word " Emanuel," 
 lies in the quantity of the second syllable. There 
 is scarcely any force of abruptness can transfer the 
 accent to " e," whilst " man," retains its length. 
 If this be shortened, the first syllable " e," may, 
 through a strong radical stress, be made the lead- 
 ing accent ; but the word wills carcely be recognis- 
 ed in the change. 
 
 In regarding the circumstances of accent, it ought 
 to be borne in mind that the difference in kind of 
 3 B 
 
370 0F ACCENT. 
 
 the elementary sounds, may, in some cases, be mis= 
 taken for a difference in force ; since to many an 
 ear, ee-l and a-le might seem to be surpassed by ou-r 
 and a-we. 
 
 It is also to be remarked, that there are differ- 
 ent degrees of susceptibility among the elements, 
 in receiving the accentual quality. The tonics most 
 easily and conspicuously take on each of the three 
 modes of accent. The abrupt elements assist the 
 explosive effort of the tonics ; but are utterly inca- 
 pable of the loud concrete, and the temporal ac- 
 cent. The subtonics have little or no power, in the 
 radical stress ; but accomplish all the purposes of 
 quantity. And the atonies are feeble instruments 
 of the accentual distinction, whether its aim be at 
 time or stress. 
 
 The impressive agency of accent on the ear, is 
 fixed by the orthoepy of the English language, on 
 one or two of the syllables of all words with more 
 than one syllable. It is a great source of variety 
 in speech ; is the principal instrument of our ver- 
 sification ; and when skilfully disposed, by the ad- 
 justment of a delicate ear, produces, with the as- 
 sistance of quantity, the delightful rhythmus of har- 
 monious prose. 
 
 Some grammarians and rhetoricians, with whom 
 the intelligent Mr. Sheridan is to be ranked, have 
 set forth a rule, that when the accent falls on a con- 
 sonant, the syllable is short : and long when on a 
 vowel. Whilst I was at school, I could not under- 
 stand this great prosodial principle : now, I per- 
 ceive it has no meaning. For if accent be various- 
 
OF ACCENT. 371 
 
 produced by radical stress, the loud concrete, 
 and by quantity, a distinction of literal place can- 
 not give the variety which the rule supposes. The 
 abrupt stress will always be made on a tonic (or 
 vowel) notwithstanding the syllable may be open- 
 ed on a preceding subtonic or abrupt element. The 
 loud concrete must be made on all the elements of 
 the syllable without distinction : and the accentual 
 impression by quantity must consist of the united 
 time of tonics and subtonics when the syllable is 
 constructed with these different elements. But all 
 this is only a denial of the truth of the rule, on the 
 grounds of the phenomena of accent, which have 
 been pointed out in this section. Let us see how 
 the principle corresponds with the fact of pronun- 
 ciation. In the word <c action," the abrupt stress is 
 on a vowel, (tonic) and yet the syllable is short : 
 and in the word " revenge,'' the greatest impres- 
 sion is from subtonics (consonants,) and yet the syl- 
 lable is long. The history of the error may proba- 
 bly be this — writers knowing that loudness of voice 
 would attract the ear, supposed that where a syl- 
 lable was pre-eminently heard, it must be through 
 the means of greater stress. And without noticing 
 the fact, that duration in syllables may equally draw 
 attention, with excess of force, they ascribed the 
 length to the accent, instead of observing that the 
 length alone of the syllable might produce that ef- 
 fect in utterance which we call accent. 
 
 Mr. Walker has given a theory of accent, in 
 which he makes it dependent on his inflections, or 
 the Greek and Roman indefinitely described rise 
 
372 0F ACCENT. 
 
 and fall of the voice. If the preceding history of 
 intonation is true, and if it has been clearly com- 
 prehended, the reader must at once conclude that 
 the functions of sound which produce the impres- 
 sions called accent, have no fixed relationship to a 
 rise of the voice or to its fall : for they may be made 
 with every essential characteristic under these two 
 conditions of movement; their junction into the 
 wave j and under all the changeable phrases of me- 
 lody. 
 
 Much has been said by authors on the subject of 
 accent. But I began this analysis of the human 
 voice, with a resolution to speak after nature ; not 
 after men. If therefore the reader is desirous to 
 know the opinions of others, he may obtain them, 
 with a due obligation to the books in which they 
 are recorded. 
 
SECTION XLIV 
 
 Of Emphasis. 
 
 That function which Rhetoricians call Empha- 
 sis, is defined to be — a stress of voice on one or 
 more words of a sentence, distinguishing them by 
 intensity or peculiarity of meaning. Some writers, 
 without seeming to care much about the point, in- 
 definitely attribute to emphasis, a characteristic 
 intonation : and Mr. Walker imagined he specified 
 this idea of tone throughout all its conditions, when 
 he made an erroneous application of the upward 
 and downward slide, described by Aristoxenus. 
 
 But authority aside ; let us try to do something 
 to the purpose, by observing the thing. 
 
 It was stated that accent is the fixed but inex- 
 pressive distinction of syllables by quantity and 
 stress : alike both in place and nature, whether the 
 words are pronounced singly from the columns of a 
 vocabulary, or connectedly in the series of dis- 
 course. 
 
 Emphasis may be defined to be the expressive 
 but occasional distinction of the syllables of words, 
 and consequently of the words themselves, by quan- 
 tity, quality, each of the modes of stress and each 
 of the modes of intonation. 
 
374 0F EMPHASIS. 
 
 This notable function belongs essentially to the 
 current of discourse ; but it may be employed on 
 solitary interjections and on single words which 
 stand as eliptical sentences. It will appear hereaf- 
 ter, that emphasis is no more than a generic term, 
 including the specific denomination of the particu- 
 lar uses of every accident of the voice : for it will 
 be found that there is no audible effort of the voice 
 which is not used as the symbol for emphatic 
 thoughts and sentiments. 
 
 The conditions of sound which constitute accent, 
 being included among the enumerated causes of 
 emphatic distinction, it may be inferred, that in 
 these particulars, accent and emphasis cannot differ 
 from each other. The quantity, radical stress and 
 loud concrete, employed as the means of emphasis, 
 have indeed the same elemental nature, as in ac- 
 centual agency, but their purposes in the former 
 case invest them all with that higher degree of their 
 special qualities, which gives them the character 
 of emphasis. 
 
 For a detailed account of the particular occasions 
 of emphasis the reader is referred to libraries. They 
 contain many rhetorical works, setting forth this 
 part of the subject, with comprehensiveness, per- 
 spicuity and taste. It is the aim of this essay rather 
 to point out and to measure the vocal material of 
 emphasis. 
 
 Emphasis as was stated above, produces its effect 
 upon the ear, by means of the quality and time of 
 sound, the modes of stress and the varied interval? 
 
OF THE RADICAL EMPHASIS. 375 
 
 of intonation. The particular enumeration of these 
 means will be given under the following heads. 
 
 Of the Radical Emphasis. 
 
 When an immutable syllable bears the accent of 
 a word which is remarkable by sense, sentiment or 
 antithesis, the audible distinction can be made only 
 in three ways : by quality of voice ; a wide change 
 in the phrase of melody ; and the abrupt enforce- 
 ment of the radical stress. The two former modes 
 of emphasis on short syllables, will be noticed in 
 their proper places. The last is here illustrated. 
 
 And with perpetual inroads to alarm, 
 Though inaccessible, his fatal throne; 
 Which, if not victory, is yet revenge. 
 
 If the strongly contrasted feature of the word vic- 
 tory, is not represented by guttural emphasis, or as- 
 piration, or any other available quality; or if it does 
 not receive the peculiar coloring, effected by a 
 change of radical pitch upward or downward 
 through the skip of a third, fifth, or octave — If, I 
 say, these are not used, the syllable " vie" must be 
 raised into importance by means of the sharp radi- 
 cal stress : at least no other can be operative whilst 
 the syllable is limited to its natural quantity. 
 
 It is true, even an immutable time, as formerly 
 said, may be carried rapidly through any interval 
 of the scale ; still if this rapid movement is not join- 
 ed with the radical change, it does not deserve to 
 be taken into account in this case. 
 
 Although the radical distinction is here spoken 
 
376 0F THE MEDIAN EMPHASIS. 
 
 of as applicable to immutable syllables : it is plain 
 from its nature, that it may be laid on those of in- 
 definite time. But since these admit of the more 
 agreeable modes derived from intonation, they less 
 frequently require the strong explosion of the ra- 
 dical. 
 
 This emphasis is the symbol of sentiments of 
 anger, violence, and their relatives ; and is the 
 common mode of enforcement, whatever is the time 
 of the syllable, when the spirit of discourse directs 
 a rapid utterance. 
 
 Of the Median Emphasis. 
 
 The prominent display of the sense of a word, 
 by a gradual increase and subsequent diminution 
 of voice, can be effected only on syllables of inde- 
 finite time. It gives an importance equal to that 
 of the radical stress, but it exhibits the element of 
 force in an aspect of greater smoothness, dignity 
 and grace. In the following sentence, the word 
 " sole" contains a sentiment of warm and serious 
 admiration, which is finely set forth by means of 
 this emphasis. 
 
 Wonder not sov'reign Mistress, if perhaps 
 Thou canst, who art sole wonder! 
 
 Though the median mode of force may be exe- 
 cuted on the simple rise and fall of intervals, when 
 considerably protracted, yet it is most frequently 
 made on the wave. In the present case the into- 
 nation of the word " sole" is through the wave of 
 the second \ the swell being at the junction of its 
 two constituents. 
 
OF THE VANISHING EMPHASIS. 377 
 
 The reader will please to bear in mind, that in 
 assigning the mode of reading, in this passage, as 
 well as in those which will be cited in illustration 
 of all other modes of emphasis, I have been, and 
 shall be governed by the principles of elocution 
 laid down in this volume : for if these examples be 
 read in any of those various ways which result from 
 spontaneous and presumptuous endeavour in this 
 art, I shall in all probability be misunderstood. On 
 this ground I would allot to the lines above quoted, 
 that plain and respectful character which arises from 
 the utterance of protracted quantities in the diato- 
 nic melody •, giving to the emphatic syllable the 
 importance of greater time ; and smoothly enhanc- 
 ing it by the swell of the median stress. 
 
 Of the Vanishing Emphasis. 
 
 The words which bear this mode of stress are 
 characterized by a degree of violence, nearly equal 
 to that which was said to belong to the radical em- 
 phasis. Why then are they distinguished from each 
 other by name? The radical is perceptible on im- 
 mutable syllables ; the vanishing cannot be recog- 
 nised upon them. Some extent of quantity is re- 
 quired for its display : and though the sentiment of 
 quick energy, which prompts it, generally appro- 
 priates it to a simple concrete, of that duration 
 which is just sufficient for its production, still it is 
 sometimes, effectively made on the utmost prolon- 
 gation of the single movement or the wave. 
 
 In the following examples this inversion of the 
 natural concrete, may be employed as the symbol 
 3 c 
 
378 OF THE COMPOUND EMPHASIS. 
 
 of the ardor of impatience, and of threatning re- 
 venge. 
 
 Oh ye Gods J ye Gods! must I endure all this ? 
 
 Oh ! that I had him, 
 With six Aufidiuses, or more, his tribe, 
 To use my lawful sword. 
 
 If the words here marked in italics, be read in 
 the manner contemplated by me, they will be heard 
 in that Irish provincialism, which was said to char- 
 acterize in a degree, this species of intonation. 
 
 This vanishing force, is perhaps often used for 
 the hasty energy of a question. For since the wider 
 spaces of the scale are the symbols of interrogation, 
 the reach of the interval is more clearly impressed 
 by the full and emphatic boundary, than by the 
 feebler attraction of the natural vanish. 
 
 Perhaps the reason of the expression of the van- 
 ishing emphasis, may be found in this, — From the 
 ordinary habit of the voice in the concrete, it is 
 difficult to execute its final fulness and force, with- 
 out giving a rapidity of time which adapts it to the 
 active sentiment, it is here employed to represent. 
 
 Of the Compound Emphasis. 
 
 A degree of emphatic distinction by stress, 
 stronger than any of the preceding modes may be 
 appointed to syllables of indefinite time, which be- 
 gin with a tonic element. Such a syllable under 
 the direction of vehement feeling, may receive its 
 force from both the radical and vanishing stress: as 
 in the following urgent call. 
 
OF THE THOROUGH EMPHASIS. 379 
 
 Arm warriors arm for fight, the foe at hand, 
 Whom fled we thought, will save us long pursuit 
 This day. 
 
 The words here marked in italics are exempli- 
 fied as cases of this double element of stress. It is 
 however more particularly appropriate to the vio- 
 lence of interrogative sentiments. In the thirty- 
 sixth section I gave the reason for this; and I have 
 here only to cite an occasion for its use. 
 
 Here is your husband like a mildewed ear 
 Blasting his wholesome brother. Have you eyes? 
 
 The intense spirit of this short question, requires 
 the Thorough intonation : and the emphatic im- 
 portance of the last word, leads the voice to impress 
 upon its radical the force of contemptuous rage, 
 and upon its vanish the special quality of an inter- 
 rogative pitch. 
 
 This is not the place to speak of the degree of 
 aspiration which is mingled with the utterance, 
 from the deep sentiment of scorn in the question. 
 
 On the whole, I confess that the discrimination 
 of this mode of emphasis, in the current of pronun- 
 ciation, is not so easy, as that of the preceding. Still 
 it does exist as an element of force. Its effect is pe- 
 culiar to itself: and by deliberate analysis is clearly 
 resolvable into the above named constituents. 
 
 Of the Thorough Emphasis. 
 
 In detailing the assignable forms of force, I gave 
 those of the thorough stress, and the loud concrete, 
 as distinguishable from the rest and from each other. 
 
880 OF THE ASPIRATED EMPHASIS. 
 
 But I do not feel disposed to insist upon the im- 
 portance of these distinctions, for the practical pur- 
 poses of elocution. They exist however, and exert 
 their influence upon the ear, and understanding. 
 Yet they are not so forcefully in degree nor speci- 
 fically in quality, distinguishable from the radical 
 and the compound stress, and from each other, as 
 to require the special exemplification which has 
 been made of those other elements. Any peculiarity 
 which may be found in the two functions under 
 consideration, is relative to the time of syllables : 
 for when a syllable is not so short as to require the 
 emphasis of the radical stress, nor of sufficient length 
 to admit of the protracted modes of force, the re- 
 quired distinction may be effected by the loud con- 
 crete : as in the marked syllable below. 
 
 This knows my Punisher : therefore as far 
 From granting he, as I from fogging peace. 
 
 Of the Aspirated Emphasis. 
 
 In the section on aspiration, one of the expres- 
 sive effects of that element, was shown in the earn- 
 estness which is thereby spread over the whole of 
 a sentence. But the same sentiment is sometimes 
 carried in a single word ; thus constituting the as- 
 pirated emphasis. Many words claim this empha- 
 sis from the essential energy of their meaning ; and 
 these, in some cases, have the literal mark of aspi- 
 ration, as " havoc," " horror," " huzza.'' A similar 
 remark may be made with regard to some of the 
 interjections. I need not quote instances of aspi- 
 rated utterance in the exclamations of passion, nor 
 
OP THE EMPHATIC VOCULE. 3gj 
 
 in the pure breathing of a sigh : the pages of the 
 drama are full of examples. 
 
 In the following dialogue from Julius Caesar, the 
 effect of the aspiration, in marking an earnest sen- 
 timent, is sufficiently obvious, on the word " fear" 
 which is set in italics. 
 
 Brutus. What means this shouting r I do fear, the people 
 
 Choose Caesar for their king. 
 Cassius. Ay, do you fear it ? 
 
 Then must I think you would not have it so. 
 
 And again, in the tent scene, the earnest repug- 
 nance of Cassius is manifested in the aspiration of 
 the word " chastisement." 
 
 Brutus. The name of Cassius honors this corruption, 
 
 And chastisement does therefore hide his head. 
 Cassius. Chastisement! 
 
 If the aspiration is combined with the vanishing 
 stress on a simple concrete, or on any of the forms 
 of the wave, it communicates an expression of sneer, 
 contempt, or scorn. 
 
 The aspiration may be applied to syllables of 
 every variety of time j to all the modes of force ; 
 and to all intervals of intonation. 
 
 Of the Emphatic Vocule. 
 
 When an emphatic word terminates with an ab- 
 rupt element, and is followed by a pause, that slight 
 issue of sound which we have called the Vocule, 
 generally receives a continuation of force from the 
 emphatic word : and this, by its extraordinary in- 
 crease, becomes the mark of high vocal excitement. 
 
382 OF THE GUTTURAL EMPHASIS. 
 
 There are some occasions on which this ele- 
 ment may be used, with a view to press into a syl- 
 lable all the force of emphasis. But it comes so 
 close to affectation, that I long hesitated about its 
 classification, as a fault, or an assistant enforcement 
 of speech. 
 
 I will not say absolutely, it ought to be heard in 
 the following lines, from the close of the third scene 
 of the third act of Othello. But if the word " hate," 
 be pronounced with the force required by the sen- 
 timents of the Moor, the emphatic vocule will be 
 very apt to follow the organic opening of the atonic 
 abrupt element. 
 
 Yield up, love, thy crown, and hearted throne 
 To tyrannous hate ! swell, bosom, with thy fraught. 
 
 Of the Guttural Emphasis. 
 
 The sentiments of disgust, aversion, execration, 
 and horror, give their expression to an emphatic 
 word, by joining the peculiar quality of sound, here 
 named, with other modes of distinction. "It is most 
 frequent on the daily occasions for revolting inter- 
 jectives : but it is sometimes found engrafted on 
 the syllabic utterance of discourse. I am disposed 
 to think it might be used on the word " detestable," 
 in the following lines, from that dreadful maledic- 
 tion upon Athens, at the opening of the fourth act 
 of Shakspeare's Timon. 
 
 Nothing I'll bear from thee 
 But nakedness, thou detestable town! 
 
 When this element is compounded with the high- 
 
OF THE TEMPORAL EMPHASIS. 3§S 
 
 est powers of stress and aspiration, it produces the 
 most impulsive blast of speech. 
 
 Of the Temporal Emphasis. 
 
 When the quantity of an emphatic syllable is 
 long, and admits of indefinite extension, when the 
 word conveys merely a discriminative meaning, 
 without any peculiar sentiment or passion, or 
 when the distinction has the sole purpose of an 
 emphatic tie, the impression may be made by the 
 influence of time alone, as in the following address 
 
 Hail holy Light, offspring of Heaven first-born, 
 Or of the Eternal, coeternal beam, 
 May I express thee unblamed ? 
 
 Or more conspicuously in Abdiel's warning to 
 Satan. 
 
 For soon expect to feel 
 His thunder on thy head, dei'owringfire. 
 Then, who created thee lamenting learn, 
 When who can M?zcreate thee thou shalt know. 
 
 In this example, the long quantities of the accent 
 ed syllable of "thunder," and "devouring/' are 
 given as instances of the emphatic tie ; by which 
 the apposition of two subjects, notwithstanding the 
 intervening clause, is shown in its true syntax by 
 the voice. Perhaps these words, as well as those 
 others marked with quantity alone, might, in the 
 opinion of a critic, receive the additional distinction 
 of a forceful or intonated mode of emphasis. It may 
 be learned from the speech at large, that Abdiel is 
 
384 OF THE TEMPORAL EMPHASIS. 
 
 no longer the ci fervent angel" contending with the 
 apostate. He is now the herald of the decrees of 
 the Almighty. The warm spirit, the hopes and the 
 fears of argument, have given place to grave admo- 
 nitions, and to the solemn declarations of an ordain- 
 ed judgment -, and the mode of unimpassioned, but 
 conspicuous distinction by temporal emphasis ap- 
 pears well accommodated to the utterance of the 
 " unmoved, unshaken, unseduced, unterrified," and 
 prophetic Seraph. 
 
 The reader must have seen how closely connect- 
 ed the various accidents of speech are ; and that 
 however wishfully the attempt is made, to bring 
 them down to the state of single constituents, it is 
 impossible to represent each separately in the ne- 
 cessary illustrations. I am pretending here to 
 speak of the simple extension of quantity as the 
 means of emphasis, when in reality that quantity is 
 effectual, as an attractive agent, even in its plainest 
 form, through the influence of one of the formerly 
 described elements of intonation. It must there- 
 fore be taken into the account of the temporal em- 
 phasis, that, — though the protraction of syllables 
 may be made in the simple rise or fall of an inter- 
 val, still the common form of a very long quantity 
 is that of a direct or inverted w T ave. When time is 
 extended on interrogative syllables, or on those 
 which carry positiveness'or command, or which 
 form a monad cadence, the intonation is drawn 
 through the simple course of the upward or down- 
 ward third or fifth or eighth. But in the plain em- 
 phasis of time, such as that employed in the above 
 
OF THE EMPHASIS OF PITCH. $35 
 
 examples, and such generally as may be used in 
 the diatonic melody, which admits of no peculiar 
 expression except that of serious dignity, — the ex- 
 tension of the indefinite syllable is always made 
 by the direct or inverted wave of the second. 
 
 Of the Emphasis of Pitch. 
 
 It was stated generally in speaking of the pitch 
 of the voice, that the several intervals of the scale 
 were used as the means of emphasis. We should now 
 proceed to the illustration of this subject : but as the 
 intervals of the rising third, fifth, and octave, were 
 said to be the symbols of interrogation, and as they 
 have this signification even when applied to one 
 word of a sentence, it certainly becomes a matter 
 of inquiry, how the interrogative characteristic in 
 discourse is to be distinguished from the emphatic. 
 There must be even to the common ear, some cri- 
 teria to which reference is unconsciously made j 
 for notwithstanding, the frequent employment of 
 these elements in their different meanings, these 
 meanings are rarelv confounded. But our discrimi- 
 nations in this matter have been four footed instincts; 
 let us try to enoble them a little, by giving them 
 the support and exalted step of principles. 
 
 The various modes of constructing interrogative 
 sentences were described in the sixteenth section. 
 
 As the emphatic employment of the intervals of 
 pitch is on a single word of a sentence, or at most 
 on two or three, there is no liability to mistake cases 
 of emphasis, for those of declarative and earnest 
 interrogation, which always bear the thorough into- 
 3 D 
 
386 0F THE EMPHASIS OF PITCH. 
 
 nation. It was shown formerly that the partial 
 expression is never applied except to questions 
 made by the pronoun or adverb, or by the inverted 
 nominative : therefore, questions of this sort, even 
 when intonated by a solitary third, or fifth, or oc- 
 tave, are not liable to be confounded with cases of 
 emphasis formed upon these same intervals, in sen- 
 tences which have not the above described gram- 
 matical construction. 
 
 Many phrases which have the form of a question, 
 seem nevertheless to hang doubtfully between an 
 interrogative and an assertive meaning. When such 
 phrases can be fairly resolved into an interjective 
 appeal, or into that assurance in argument, which 
 dictates a negative interrogatory, the positive tem- 
 per of the sentiment generally calls for an intona- 
 tion in the downward concrete. The following pas- 
 sages are by editorial punctuation, marked with an 
 interrogative sign. Whereas the above named con- 
 ditions seem to me to apply so clearly here, that 
 I would exclude the interrogative intervals, and 
 would designate these virtual affirmations by the 
 positiveness of a downward intonation. 
 
 What should be in that Caesar ? 
 Why should that name be sounded more than yours r 
 
 Casca. What night is this ? 
 
 Cassius. A very pleasing night to honest men. 
 Casca. Who ever knew the heavens menace so r 
 
 Shylock. Ay, his breast : 
 
 So says the bond! Doth it not noble judge ? 
 Nearest his heart, those are the very words. 
 
OF THE EMPHASIS OF THE OCTAVE. 387 
 
 In the first of these instances, Cassius does posi- 
 tively mean that there is nothing in that Caesar, nor 
 in his name. In the second, Casca would say, it is a 
 dreadful night; and the heavens were never known 
 to menace so. And in the last, Shylock means, you 
 know it noble judge. If therefore the interrogative 
 intonation should be applied either thoroughly or in 
 part to these phrases, the intended positiveness of 
 conviction, will not be reached in expression. Sen- 
 tences of this sort call for the grammatical note of 
 exclamation. 
 
 We go on now to the enumeration of the intervals 
 of pitch, which serve the purpose of emphasis. 
 
 Of the Emphasis of the Octave. 
 
 If the concrete rise of the Octave should be set 
 on a single syllable of a current diatonic melody, 
 it will, by the peculiarity of its sound, conspicuously 
 distinguish that syllable above others formed on the 
 interval of a tone ; and will thus be brought within 
 the meaning of the term emphasis, even though it 
 be altogether destitute of any excess in force. 
 
 The reader may remember what was said on the 
 subject of the intervals of the scale being appreci- 
 able, even in the momentary flight of an immutable 
 syllable. But it has been shown likewise, that such 
 short syllables generally take on the expression of 
 the octave, by a skip of radical pitch, from the level 
 of current speech to the height of that interval above 
 it. The emphasis of the octave appears therefore 
 under the form of the slow concrete, and that of the 
 
388 0F THE EMPHASIS OF THE OCTAVE. 
 
 change of radical pitch : and it may be well to have 
 it understood here, that the same varieties exist in 
 the emphasis of the other higher intervals of the 
 scale. 
 
 I cannot say that the octave is employed emphati- 
 cally, except for the special enforcing of one word 
 above others, in an interrogative sentence : and this 
 indeed but rarely ; for there is a kind of musical 
 cant in its long drawn accent, which excludes it 
 from those elevated purposes of speech which it is 
 the design of science to analyze and improve. 
 
 The octave it was remarked formerly, carries 
 the spirit of a quick, a taunting or a mirthful inter- 
 rogative; and is perhaps never used in a calm, se- 
 rious and dignified question. It would be admissible 
 in the following sneering exultation of Shylock 
 over Antonio. 
 
 Monies is your suit. 
 What should I say to you? should I not say? 
 Hath a dog money ? Is it possible 
 A cur can lend three thousand ducats ? 
 
 Every word of the two last questions will bear 
 an interrogative intonation : but the terms dog and 
 cur being emphatic allusions to the previous rating 
 of Shylock by Antonio, they carry a revengeful 
 triumph, and an immediate antithesis to their for- 
 mer purpose, by being run up to the piercing treble 
 of the octave. It is possible, some readers might be 
 disposed to set a more dignified mode of intonation 
 on these questions. I only say they will bear what 
 is here given, without making preference the sub- 
 
OF THE EMPHASIS OF THE OCTAVE. 389 
 
 ject of discussion. The readings proposed through- 
 out this essay are for illustration, and their design 
 is fulfiled, whether or not they exactly accord with 
 common opinion. There is a best in the works of 
 every art : but the latitude of their variation, within 
 the pale of principles, has an ample, and liberal 
 scope, which generally takes in many of the un- 
 successful searches after excellence. Over such 
 failures the intelligent critic will be neither quar- 
 relsome nor severe. 
 
 The emphasis of the octave when formed by a 
 change of radical pitch, is exemplified in the fol- 
 lowing lines : 
 
 Show me what thou'lt do : 
 Woot weep? woot fght? woot fast ? woot tear thyself? 
 
 The exasperated energy of Hamlet, in his en- 
 counter with Laertes, calls for the highest pitch of 
 interrogation on the words here marked ; but the 
 correct pronunciation of these words does not ad- 
 mit of the slow concrete. To fulfil the purposes 
 of expression they are to be immediately transferr- 
 ed by radical change to an octave above the word 
 " woot," which is set in its several places, at the com- 
 mon level of the voice. The emphatic syllable, 
 when thusr aised, is still further endowed with the 
 character of the interrogative interval, by a rapid 
 flight through the concrete octave, agreeably to the 
 account given of this process in a former section. 
 In short, the first seven words of the second line 
 do really skip, alternately ascending and descend- 
 ing, between the extremes of an octave. 
 
390 OF THE EMPHASIS OF THE FIFTH. 
 
 Whilst these lines are before us, it may be well 
 to draw attention to the contrast between the two 
 modes of pitch in the octave : for the word " tear," 
 being an indefinite quantity, admits freely of the 
 protracted concrete; and the voice, after being 
 hampered on the preceding abrupt intonation, is 
 here restored to its gliding movement. 
 
 Of the Emphasis of the Fifth. 
 
 The relation which the interval of the concrete 
 fifth bears to the octave, was shown formerly as re- 
 gards its interrogative character. As the symbol of 
 emphatic sense or passion in a word, the fifth is 
 less attractive to the ear than the octave : for it has 
 not the piercing rise of intonation which belongs to 
 the latter interval. If, however, it is less alluring 
 than the octave, it is more dignified in giving its 
 importance to a syllable. In the following lines 
 from Satan's address to the sun, the emphasis on 
 " thee," may be made by the concrete fifth. 
 
 Evil be thou my good : by thee, at least 
 Divided empire with Heaven's king I hold. 
 
 I have said here, (and I beg the same latitude 
 for other cases) that a certain symbol of emphasis 
 may be employed : since, on many occasions, the 
 means of emphasis may be varied. Thus, in the 
 present example, the syllable " thee," might be 
 made in the wave of the fifth or the third, or even 
 the second ; but under this last substitution, the 
 want of that eminence which is given by the rise 
 of the fiflh, must be supplied by a long quantity. 
 
OF THE EMPHASIS OF THE THIRD. 39 [ 
 
 and by the use of the radical or median or vanish- 
 ing stress on the wave so employed. 
 
 In the following lines, the emphasis of the fifth 
 is perhaps not absolutely unchangeable to any other 
 mode j but it certainly produces a brightness of 
 picture, which seems best suited to the feeling of 
 the word, and which cannot perhaps be so well ef- 
 fected in any other way. 
 
 Tears like the rain-flrops may fall without measure, 
 But rapture and beauty they cannot recall. 
 
 The emphasis of the fifth, by a skip of radical 
 pitch, is well exemplified in that line which was 
 used to show the radical stress. 
 
 Which, if not rictory, is yet revenge. 
 
 Here the force required on the word " victory," 
 claims all the assistance which intonation can lend 
 to its abrupt stress : and it is given by setting the 
 short syllable " vie'' at a discrete fifth above the 
 place of u not.'' 
 
 I need not give an instance of the emphatic ap- 
 plication of the fifth, to an interrogative sentence. 
 The principle of the scheme has been developed : 
 books are filled with examples ; and the reader can 
 therefore make the illustration. 
 
 Of the Emphasis of the Third. 
 
 The striking intonation of the octave and the 
 fifth is suited to the earnest spirit of colloquial ut- 
 terance, and to the forcible sentiments of the dra- 
 ma. The rise of the voice through the third, though 
 
^92 UF THE EMPHASIS OF THE THIRD. 
 
 still denoting both interrogation and emphasis, pro- 
 duces a less intense, but a more dignified impres- 
 sion on the ear, in the purposes of its application. 
 The emphasis of the third is perhaps the most com- 
 mon of the three higher intervals of the scale : since 
 it is usual in that moderate manner of discourse, 
 which constitutes the greater share of the reader's 
 duty. 
 
 The rise of the third may be set on the word 
 ; ' he," in the following lines. 
 
 Who first seduced them to that foul revolt r 
 The infernal Serpent: he it was, whose guile, 
 Stirred up with envy and revenge — 
 
 There are some phrases simply interrogative ; 
 which convey none of those other sentiments for- 
 merly ascribed to the octave and the fifth. The em- 
 phatic distinction in these cases, is made with the 
 moderately attractive influence of the third. 
 
 Dost thou think Alexander looked o" 1 this fashion i 1 the earth? 
 
 If, in this example " Alexander," " this fashion," 
 and " earth," be taken as emphatic, the distinction 
 will be most becomingly made by the third. If the 
 intonation on these words should be in the higher 
 interval of the fifth or octave, it would imply an 
 eagerness of inquiry, and a light familiarity of ad- 
 dress, not suggested by the sense of the question, 
 nor consistent with the temper of Hamlet's moral- 
 izing reflections. 
 
 It is scarcely worth while to illustrate the radical 
 
OF THE EMPHASIS OF THE SEMITONE. 393 
 
 skip of the third In relation to emphasis. The 
 word " victory," in a preceding example, may be 
 executed in this discrete interval, if the reader 
 should think the fifth, which is there used, too 
 high : for it may serve to explain either case accord- 
 ing to the degree of energy which may be ascribed 
 to it. 
 
 It was shown in the fifteenth section, that the 
 third is appropriately employed on the emphatic 
 words of conditional, concessive, and hypothetical 
 phrases. To which it may now be added, that there 
 is no emphatic word, whatever are the sentiments 
 embraced by it, which may not receive the intona- 
 tion of the third as a means of adding color to the 
 expression, if that third is not forbidden by a call 
 for the wave, or some form of the downward van- 
 ish. 
 
 Of the Emphasis of tlie Semitone. 
 
 I omit here, alloting a head to the subject of 
 the tone or second. The reader must by this time 
 be so well acquainted with the construction of the 
 diatonic melody, as to admit, that if the second is 
 the common form of the concrete, in all discourse 
 which carries no important or peculiar expression, 
 the simple rise through that interval cannot as far 
 as regards pitch, be emphatic. Indeed the ether 
 intervals owe their attractive power to their con- 
 trast with this general current of the simple second. 
 It is true a syllable is made emphatic by quantity; 
 and that quantity is commonly a prolongation 
 3 E 
 
394 OF THE EMPHASIS CF THE SEMITONE. 
 
 through the doubling of the second into the form 
 of the wave. But the impressiveness is here a qua- 
 lity of time, not of intonation. 
 
 As the semitone has a peculiar expression, it 
 could fulfil the condition of emphasis, when laid 
 upon a single word in the course of a diatonic me- 
 lody. It rarely happens however that a word is 
 found thus insulated : for if a plaintive sentiment 
 issues from one word, it generally spreads its ef- 
 fect over the whole of the sentence ; thus constitut- 
 ing the chromatic melody, and thereby destroying 
 the important solitariness of the semitone. 
 
 There are however other modes of emphasis in 
 a chromatic melody. It may be by stress in all its 
 forms ; and by time, for the semitone is set on syl- 
 lables of all quantities. It may likewise be effected 
 by intonation, in the following manner. 
 
 If a syllable calls for an emphasis of pitch in a 
 chromatic melody, that emphasis cannot be a con- 
 crete rise through the second, third, fifth or eighth : 
 for these movements would destroy the plaintive- 
 ness, which by the conditions of the case should 
 exist. But if a syllable of the chromatic melody be 
 elevated by a discrete radical change, from the level 
 of the current to a third, fifth or octave above it ; 
 and if when thus raised, it be there made, however 
 rapidly, in the concrete of the semitone, it is evi- 
 dent that the plaintive or chromatic character 
 will be preserved : and since the given syllable, by 
 the transfer of the radical pitch, is raised to a more 
 acute point of the scaJe, it is in another manner 
 
EMPHASIS OF THE DOWNWARD CONCRETE. 3§5 
 
 conspicuously impressed on the ear, and thus fully 
 answers to the definition of emphasis. 
 
 Of the Emphasis of the Downward Concrete. 
 
 We have said that the downward movement of 
 the voice conveys the expression of surprise and 
 positiveness, and is the mode of making a cadence 
 on a single long syllable. But something further on 
 the mode of applying this concrete, for the purpose 
 of emphasis in the course of a current melody, is 
 now to be learned. 
 
 The downward concrete is a mode of emphatic 
 distinction ; carrying in its wider intervals a strong 
 degree of attractiveness, but limited to certain kinds 
 of discourse. Thus it cannot be applied, in cases of 
 thorough interrogative intonation : nor is it in its 
 simple forms used in the chromatic melody. When 
 necessary in this last instance, for denoting surprise 
 or positiveness, it may be introduced as a constitu- 
 ent of the unequal wave : for the rise of the semi- 
 tone as the first constituent, will preserve the char- 
 acter of the chromatic melody - y and a subsequent 
 continuation downwards, through the eighth, or 
 fifth or third, will join to this melody, the peculiar 
 expression of the falling concretes. As far as I have 
 observed the downward movement, it may be em- 
 ployed as the means of emphasis in all other kinds 
 of discourse. 
 
 In illustrating this function of the voice, in a fore- 
 going section, the following example was quoted: 
 
 Seems, madam, nav, it is J I know not seems. 
 
396 EMPHASIS OF THE DOWNWARD CONCRETE. 
 
 Now in assigning a concrete fifth to an emphatic 
 syllable of this line; and on other occasions, giving 
 a notation of the downward third, and the radical 
 skip of both these intervals, I represented the fall 
 as taking place from the line of the current melody. 
 This is not exactly the case : but as I was then 
 taking a physiological view of the downward move- 
 ment, I did not wish to anticipate the history of 
 emphasis. 
 
 If " is" in the above line be pronounced in the 
 monad or feeble cadence ; that is, if the descent 
 through a third be made on this word as if it were 
 the close of a sentence, it will not have that em- 
 phatic force (stress and time being aside in this 
 consideration) which is required by the sense. It 
 cannot be, then, the simple descent of the voice 
 from the line of current melody, which gives im- 
 pressiveness to this downward emphasis. 
 
 The full effect of the downward concrete, as an 
 emphatic symbol, is produced by commencing its 
 radical on a line of pitch above the current melody, 
 and descending to that line or below it, according 
 to the degree of expression. The height at which 
 the outset or radical of the descending concrete is* 
 to be taken, will depend on the degree of positive- 
 ness or surprise contemplated in the emphasis. 
 Whether the effect of the downward concrete pro- 
 ceeds from its affinity to the nature of the cadence, 
 I will not decide. It is certain however that there 
 is something like an ultimate affirmation in a very 
 positive assertion : it being as much as to say, the 
 affirmation or negation of this quality or action is 
 
EMPHASIS OF THE DOWNWARD OCTAVE. 397 
 
 beyond doubt, therefore let no more be said about 
 it. 
 
 It may perhaps be asked, — why the downward 
 vanish, emphatically used in the current melody, 
 does not produce the effect of a cadence, and thus 
 intersect the sense of discourse. It is to be recol- 
 lected that the feeblest form of the cadence consists 
 in the concrete descent through the third, conse- 
 quently the downward emphasis can at most amount 
 but to this feeble form. And it is to be further 
 borne in mind, that the proper cadence is continu- 
 ed downward from the line of the current melody : 
 whereas the emphatic downward concrete, begins 
 at a point of pitch much above the line of the me- 
 lody, and does not always descend below it. 
 
 Of the Emphasis of the Downward Octave. 
 
 After what has been said generally of the down- 
 ward emphasis, it is scarcely necessary to state that 
 the octave, when set on a long syllable, gives the 
 highest degree, of this species of emphasis. The 
 word u hell" in the following lines requires the oc- 
 tave : 
 
 So frown'd the mighty combatants, that Hell 
 Grew darker at their frown. 
 
 This is taken from the fine description of the 
 threatful hostility between Satan and Death, in 
 the second book of Paradise Lost. And who ever 
 gives this part with a forcible and somewhat dra- 
 matic effect, will find it impossible to bring out the 
 
398 EMPHASIS OF THE DOWNWARD OCTAVE. 
 
 full sense of the poet, except by the above directed 
 intonation. The intention of the author, if I dare to 
 interpret it, is not to represent, without marking 
 its degrees, an increase of darkness produced by 
 the figurative gloom of the brows of the combatants. 
 Such a picture would be too tame and trite for this 
 dreadful edge of battle. The thought becomes 
 worthy of the occasion, when the frowns, are said 
 to be able to blacken the deep darkness even of 
 Hell. 
 
 So much for the description and illustration of 
 the concrete pitch of the downward octave. But 
 the transition for the purpose of emphasis is made 
 on immutable syllables, by a change of radical 
 pitch from an assumed point above the current me- 
 lody. The following passage from the second book 
 of Milton, may serve for illustration : 
 
 Far less abhorr'd than these 
 Vex'd Scylla, bathing in the sea that parts 
 Calabria from the hoarse Trinacrian shore. 
 
 I know not how others might attempt to make 
 out the picture of this first line : but I can in no 
 way satisfy my ear with it, except by a concrete 
 rise through the octave on " far," by giving " less" 
 at the top of that interval, and then descending by 
 the discrete skip of an octave in radical pitch to 
 " ab ;" thus returning to the level of the radical of 
 " far," or to the line of the current melody. It is not 
 the place, but I may here say that " horr'd," is to 
 be executed in the concrete downward emphasis 
 of the octave. 
 
Nor uglier follow the night hag. 
 
 r EMPHASIS OF THE DOWNWARD FIFTH. 399 
 
 A similar intonation is appropriate to the passage 
 which follows in the text of the poem, 
 m 
 h, 
 sa 
 : 
 
 In the examples here shown, I say nothing of the 
 modes of stress or of the aspiration which might 
 be necessary for the full vocal display of these pas- 
 sages. My business is with that single element, the 
 downward movement. 
 
 If it be asked, — why the descent by the radical 
 pitch has not the effect of the cadencial close ; — it 
 may be answered, that it does indeed approximate 
 towards the nature of a cadence ; but it is still a 
 feeble one, and not sufficient to cut off the sense of 
 discourse. For the descent is from a point assumed 
 above the current line, and the downward reach 
 is to about the level of that line : whereas the true 
 and final cadence is made by a descent of three 
 tones below that line. 
 
 Of the Emphasis of the Doivnioard Fifth. 
 
 The similarity of this element with the last, the 
 difference consisting in degree only, renders it unne- 
 cessary to do more, than quote a phrase in which 
 the less energetic emphasis of the downward fifth 
 may be employed. The word " courageous," in the 
 following extract from the dramatic contention be- 
 tween Gabriel and Satan, at the close of the fourth 
 book of Paradise Lost, bears this downward fifth on 
 its accented syllable. 
 
 Courageous chief 
 The first in flight from pain ! 
 
460 EMPHASIS OF THE DOWNWARD THIRD. 
 
 The radical change of the downward fifth is ex- 
 hibited in the reading of the following lines from 
 the first act of Julius Caesar. In the second scene 
 after Cassius has brought out from Brutus a proud 
 declaration of his love of honor, he says 
 
 I know that virtue to be in you, Brutus, 
 As well as I do know your outward favor. 
 Well, honor is the subject of my story. 
 
 Now, the sentiment here conveyed, that this hon- 
 or is the very matter he desires to speak of, is to 
 be made out by the downward emphasis on the 
 word subject. But the accented syllable of this 
 word is too short to bear the concrete. The ex- 
 pression is therefore to be accomplished through a 
 discrete intonation by assuming the first syllable 
 " sub/' at a fifth above the current melody, and re- 
 turning to the line of that melody, on u ject," by 
 the radical skip of a fifth. Some other forms of 
 emphasis may, in a manner, show the sense of this 
 line. But I am very confident, if the experiment 
 be made before an ear of judgment and taste, that 
 none will give the bright picture of the sentiment 
 which is effected by the mode of intonation here 
 proposed. 
 
 Of the Emphasis of the Dowwnard Third. 
 
 The third bears an abated degree of the sense 
 and sentiment conveyed by the preceding intervals. 
 Thus, in the following word " amaze," from the 
 part of Cassius just referred to, the concrete third 
 may be aptly used. 
 
EMPHASIS OF THE DOWNWARD THIRD. 4QJ 
 
 Ye Gods, it doth amaze me, 
 That a man of such a feeble temper should 
 So get the start of the majestic world. 
 
 Now, if the reader will intonate the indefinite 
 syllable " maze," by bringing the concrete down 
 from a third above the current melody : and again 
 by falling concretely from the line of the current 
 melody, to a third below it, he will perceive distinct- 
 ly the difference between the downward emphasis 
 of the third, and the close of the feeble cadence. 
 
 The emphasis of the downward third by change 
 of radical skip, may be made by a transition from 
 " that" to " too/' in the following phrase. 
 
 Cassius. They shouted thrice ; what was the last cry for : 
 Casca. Why, for that too. 
 
 Here the word " that," is to be raised above the 
 line of pitch of the preceding words. 
 
 The reader may recollect that the prepared ca- 
 dence was noted by the downward radical change 
 of the third, preceding the triad. Now, although this 
 change is the skip of a third, and the voice falls 
 from the line of the current melody; still it does 
 not produce a cadence at its place. For the low- 
 est constituent of this phrase of the third, if I may 
 so call it, does not end in a feeble downward tone, 
 but in an upward vanish, similar to the rest of the 
 melody. This downward radical skip has all the 
 effect of an emphasis, by forcibly impressing on the 
 ear the most complete accomplishment of the close. 
 3 F 
 
402 OF THE EMPHASIS OF THE WAVE. 
 
 The downward second being a common constitu- 
 ent of the diatonic melody, has no emphatic quali- 
 ties. It serves to give variety to the current, by 
 occasionally taking the place of the rising concrete. 
 When given to the last constituent of a downward 
 tritone, it makes the tripartite cadence. 
 
 The downward semitone has peculiarity sufficient 
 to mark a strong emphatic distinction : but I am 
 not aware of its being ever introduced, in a solita- 
 ry manner, into the diatonic melody : and in the 
 chromatic it merely serves the purpose of variety, 
 similar to that of the downward second in the dia- 
 tonic current. 
 
 Of the Emphasis of the Wave. 
 
 The junction of opposite concretes produces a 
 positive effect upon the ear, which gives emphatic 
 distinction to the words on which it is applied. 
 
 If one were to draw the rules of reading from the 
 mass of mankind, and not from cultivated and rare 
 examples of excellence, it would be necessary to 
 add to the two formerly described kinds of ineJody, 
 that of the wave • since there are many speakers 
 who apply the higher species of this element of 
 intonation, to every long and emphatic syllable of 
 discourse. Such a practice, to say the least of it, 
 certainly prevents the employment of the impres- 
 sive kinds of wave, as the means of emphasis. 
 
 The wave expresses, according to its forms, sur- 
 prise, interrogation, mirthful wonder, sneer and 
 
OF THE EMPHASIS OF THE WAVE. 493 
 
 scorn : and is emphatically used on long quantities 
 which embrace these sentiments. 
 
 The dignified diatonic melody is made, as has 
 been shown, by the wave of the second : but this is 
 only a method of adding the gravity of the down- 
 ward second, to the lighter effect of the ascent of 
 that interval : and of producing that length in sylla- 
 bles which is essential to solemn utterance, without 
 incurring the risk of falling into the note of song 
 or recitative. Consequently this wave of the second 
 cannot be enumerated among the means of em- 
 phasis. The other waves of higher intervals serve 
 also the purpose of giving time and dignity ty utter- 
 ance, by doubling the intervals on which they are 
 respectively founded. But they have a striking 
 peculiarity when heard in the diatonic melody: giv- 
 ing thereby to the words which bear them, an em- 
 phatic distinction. 
 
 If the sentiment of scorn is contained in dignified 
 discourse, it is to be expressed by the use of the 
 vanishing stress, or by aspiration, joined with either 
 the simple rise or fall of the concrete, or with the 
 direct or inverted form of the single wave. For 
 there is a degree of levity and familiarity in the 
 double wave, which is unsuitable to the kind of dis- 
 course from which we are here excluding it. 
 
 In considering the emphasis of the wave, I shali 
 not attempt to illustrate all its forms. If the reader 
 has been careful to follow me in the analysis of this 
 element, he will be able to make out all these 
 things for himself: and there are too many varie- 
 
404 EMPHASIS OF THE EQUAL WAVE. 
 
 ties of the wave to justify any thing like an entire 
 enumeration of them. I shall name a few species. 
 
 Of the Emphasis of the Equal single Wave of the 
 Octave. 
 
 I cannot at this moment give an example, from 
 serious composition, of an octave in the above form. 
 The piercing drawl of its intonation is only com- 
 mon in the play of vulgar snarlings, if indeed it is 
 ever employed for any other purpose. It expresses 
 an active sense of surprise ; and when heightened 
 by the vanishing stress, aspiration or guttural em- 
 phasis*, it has the additional meaning of sneer and 
 scorn. There is a difference in the effect of this 
 symbol, according as it is made on a low or a high 
 pitch of the voice. In the latter place, it has more 
 of the character of raillery or mirthful comment 
 than of canting contempt. 
 
 If the single equal octave is inverted, the em- 
 phasis has the character of interrogation, from the 
 ascent of the last constituent. 
 
 Of the Emphasis of the Equal single wave of the 
 Fifth. 
 
 This element carries a degree of admiration, 
 but less than that of the octave : as in the follow- 
 ing example from the contest between Satan and 
 Death. 
 
 And breath'st defiance here and scorn, 
 Where I reign king ? and to enrage the more, 
 Thy king and lord ! 
 
EMPHASIS OF THE UNEQUAL WAVE. 4Q5 
 
 Whoever will read the whole passage with the 
 dramatic power which its com position justifies, will 
 find he may set the element now under considera- 
 tion, on the syllable " thy," as the full expression 
 of the positiveness, vaunting authority and self-ad- 
 miration of the Goblin. 
 
 In order to show the difference in character be- 
 tween this direct wave, and its inverted form, let 
 the latter be substituted in the above reading. The 
 interrogative effect produced by the ascent of its 
 last constituent, will not only obscure the soul of 
 the poet, but absolutely cross out his sense : for it 
 will make Death ask a question, when he intends 
 to be unanswerably affirmative. 
 
 I need not consume time by giving an example 
 of the wave of the Third in its equal single form. 
 If we suppose an abatement in the degree of ex- 
 pression, all that was said of the character of the 
 wave of the fifth, may be affirmed of it. It is more 
 commonly employed than the fifth. 
 
 Of the Emphasis of the Unequal single Wave. 
 
 I said formerly that the unequal wave is used 
 as the symbol of admiration, surprise or interro- 
 gation, according as its course is direct or invert- 
 ed : in the wide variation of the dimensions of its 
 constituents, and in its junction with vanishing stress 
 or aspiration or guttural emphasis, it becomes the 
 most eminent mark of scorn. The last word of the 
 following contemptuous retort of Coriolanus on the 
 Volscian general who had called him a " boy of 
 
406 EMPHASIS OF THE UNEQUAL WAVE. 
 
 tears," might perhaps be given as an instance of 
 the ascent of a fifth and the subsequent descent of 
 an octave. 
 
 False hound ! 
 If you have writ your annals true, 'tis there 
 That, like an eagle in a dove-cote, I 
 Fluttered your Voices in Corioli ; 
 Alone I did it. — Boy ! 
 
 I say nothing here of the strong aspiration, ne* 
 cessary to blow out the scornful feeling of the 
 speaker. I have heard this syllable pronounced on 
 the Stage, with the simple downward emphasis. 
 But there is more cool wonder and self-satisfaction 
 in this intonation, than belongs to the Roman's vex- 
 ed baying of his revilers, and to his vehement re- 
 tort of a half acknowledged charge of inconstancy 
 of purpose. 
 
 In the following lines, from the contention be- 
 tween Brutus and Cassius, the word " yea" may 
 bear a direct unequal wave, consisting of the rise of 
 a tone or third, connected with the fall of a third 
 or fifth. 
 
 For, from this day forth, 
 I '11 use you for my mirth, yea, for my laughter, 
 When you are waspish. 
 
 If this word be given without aspiration or van- 
 ishing stress or guttural voice, I do not know that 
 the expression will differ much from the equal 
 wave. The sneer must therefore depend on the 
 union of some one of these last named elements 
 with the simple utterance. 
 
 The following is an example of an unequal wave 
 
OF THE EMPHASIS OF THE TREMOR. 407 
 
 whose first constituent is a semitone; and the second 
 a downward third or fifth, according to the force 
 required by the sentiment: 
 
 You wrong me every way, you wrong me, Brutus. 
 
 I have turned over all the books within my reach 
 without being able to find a sentence for illustrating 
 a case of the double wave. Serious and elevated 
 discourse can have all its purposes of feeling and 
 sense fulfilled without it: and it is not the design 
 of this essay to point out to children and drolls, the 
 scientific mode of derisively imitating the surprise 
 of their neighbours, by the curling mockery of this 
 vulgar element. 
 
 I have nothing to say about the Time of the con- 
 crete as a means of emphasis. These variations of 
 time are perceptible by strict attention : but they 
 are so closely united with the modes of stress, that 
 the separate consideration of them would be an unne- 
 cessary refinement. 
 
 Of the Emphasis of the Tremor. 
 
 The tremor may be applied to a succession of 
 syllables, and thus, in a manner, constitute a tremu- 
 lous melody. But we have here to consider its oc- 
 casional application to one or two words in a cur- 
 rent melody. 
 
 When the tremor is made on a tonic element, in 
 any interval except the semitone, it is the symbol 
 of laughter : and consequently, in syllabic utterance 
 it joins to the sense of the words on which it is set, 
 the expression of joy and exultation 
 
108 OF THE EMPHASIS OF THE TREMOR. 
 
 Thou art the ruins of the noblest man, 
 That ever lived in the tide of times. 
 
 There is a sentiment of exultation, and a super- 
 lativeness of compliment in this eulogy, which can- 
 not be properly expressed by the smooth movement 
 of the concrete. The first syllable of the emphatic 
 word " noblest," when uttered with the tremulous 
 intonation of the wave of the third or second, gives 
 the vocal consummation to the feeling which sug- 
 gests the exceeding measure of the praise. 
 
 When the tremor is formed of a single tonic, in 
 the semitone or its waves, it constitutes the function 
 of crying. When employed in the syllabic intona- 
 tion of the chromatic melody it sets a more marked 
 distinction on those emphatic words which express 
 the sentiments of tenderness, grief, supplication, 
 and other connatural states of feeling. 
 
 The following passage is taken from a dramatic 
 part of Paradise Lost, in the tenth book ; and if 
 read with the personal action of the dialogue, calls 
 for the highest coloring of the semitone, and of 
 the tremulous movement. 
 
 Forsake me not thus, Adam ! witness, Heaven, 
 What love sincere, and reverence in my heart 
 I bear thee, and unweeting have offended, 
 Unhappily deceived ! Thy suppliant 
 I beg, and clasp thy knees ; bereave me not, 
 Whereon I live, thy gentle looks, thy aid, 
 Thy counsel in this uttermost distress, 
 My only strength and stay. Forlorn of thee, 
 Whither shall I betake me, where subsist ? 
 While yet we live, scarce one short hour perhaps, 
 Between us two let there be peace ; both joining.. 
 
OF THE EMPHASIS OP THE TREMOR. 499 
 
 As joined in injuries, one enmity 
 
 Against a foe by doom express assigned us, 
 
 That cruel Serpent. On me exercise not 
 
 Thy hatred for this misery befallen ; 
 
 On me already lost, me than thyself 
 
 More miserable ? Both have sinned ; but thou 
 
 Against God only; I, against God and thee; 
 
 And to the place of judgment will return, 
 
 There with my cries importune Heaven, that all 
 
 The sentence, from thy head removed, may light 
 
 On me, sole cause to thee of all this wo ; 
 
 Me, me only, just object of his ire ! , 
 
 Eve " ended weeping," and her supplication was 
 made " with tears that ceased not flowing." And 
 tears in speech are never made without more or 
 less tremor in the voice. If the semitonic tremor 
 should be made throughout this passage, the effect 
 would be monotonous, and the characteristic con- 
 crete of speech would be lost in the agitated voice 
 of crying. The mingled efficacy of these functions 
 may be appropriately shown by using the tremor 
 only on the judiciously selected emphatic words. 
 It may be well to remark that the above lines are 
 not entirely subservient to the manner of delivery 
 here suggested : for the syllables of some of the 
 words which carry the deepest feeling of contrition 
 and supplication, have not sufficient quantity to 
 allow the eminent intonation of the tremor. The 
 word " beg," and the accented syllable of " utter- 
 most," though capable in a degree, of the tremor, 
 still they abruptly abridge.the craving of sentiment 
 and the scope of the voice. The words c£ bereave," 
 ''only,' 1 " forfom:' " thee," and « more," through 
 S G 
 
410 A RECAPITULATING VIEW OF EMPHASIS. 
 
 their indefinite quantity give ample measure to into- 
 nation. On these then and others, which might be 
 designated, the tremor maybe effectually set, whilst 
 all the other parts of the melody, not so marked, 
 must have the smooth concrete of the semitone. 
 
 A Recapitulating view of Emphasis. 
 
 Upon a close consideration of the foregoing sub- 
 ject, it will be found difficult to draw a definite line 
 of separation between words which are emphatic, 
 and the common run of the melody: in as much as 
 some of the fainter cases of emphasis may scarcely 
 differ from the simply accentual and temporal dis- 
 tinction of syllables. 
 
 To what case then is the term emphasis to be ap- 
 plied ? Not to that of every syllable which differs 
 in any degree from its neighbour. For by this rule 
 we may regard half the words of language as em- 
 phatic : since they are perpetually varying from 
 others by slight degrees of force and quantity • and 
 since some important elements of pitch when not 
 assisted by time and stress, are occasionally applied 
 to syllables, without producing thereby any extra- 
 ordinary distinction. There are, however, certain 
 characteristics of vocal sounds which unerringly call 
 the attention of an auditory. High powers of stress, 
 extreme length in quantity, wide intervals of pitch, 
 and any peculiar quality of voice, when set on cer- 
 tain words, may be considered as the constituents 
 of emphasis. But at what degree on the respective 
 scales of these elements, the emphatic character 
 
A RECAPITULATING VIEW OF EMPHASIS. 4H 
 
 begins, cannot be assigned, and perhaps need not 
 be known. 
 
 The subject of emphasis may be viewed under 
 several aspects : and they are here pointed out, with 
 the design to contribute towards future philosophi- 
 cal inquiry on this question. — Somewhat more time 
 than I dare devote to these matters, would be re- 
 quisite for deducing the general rules of nature, 
 and for making a systematic scheme on this sub- 
 ject. But if enough has not been already said in 
 this department, I am not unwilling to leave some- 
 thing to be done by others. 
 
 Emphasis has, in the preceding parts of this sec- 
 tion, been regarded as expressive of certain senti- 
 ments and thoughts, through the agency of the se- 
 veral accidents of the voice. 
 
 Emphasis may likewise be considered in refe- 
 rence to its general purposes. These are First. 
 To raise one or more words above the level of the 
 rest of the sentence, witjiout regard to their special 
 relationships or antithesis. Secondly. To contrast 
 certain words with each other, or to contradistin- 
 guish them. Thirdly. To supply an elipsis, and there- 
 by complete to the ear, that construction which is 
 imperfect in grammar. Fourthly. To mark the syn- 
 tax in those cases where it might be doubtful with- 
 out the assistance of emphasis. 
 
 Another view of this subject might be grounded 
 on an analysis of the parts of speech. Thus when 
 an emphasis is laid on the article, it contradistin- 
 guishes a subject as definite or indefinite, as singu- 
 lar or plural. — When made on a noun, it may either 
 
412 A RECAPITULATING VIEW OF EMPHASIS, 
 
 express a direct opposition between some of the 
 various accidents of this part of speech, or it may 
 raise one substantive-thought above the rest of the 
 sentence, without the immediate suggestion of any 
 special antithesis, — On pronouns its distinctions are 
 relative to gender, number, case and person, or it 
 may indicate, as on the article, the definite nature of 
 a subject-On the verb it may show the relationship 
 of states of being, acting and suffering, of time and 
 number ; or, may distinguish without palpable an- 
 tithesis. — On the adverb it may give the contra- 
 distinctions of time, place, negation, affirmation and 
 inference. — On the preposition it may mark the an- 
 tithesis of motion, position and cause. — On conjunc- 
 tions it may show the contrasts of conjunctive and 
 disjunctive relations; and of condition. — On the in- 
 terjection, emphasis serves only for unrelated dis- 
 tinction, and does not, as far as I know, embrace an 
 antithesis. 
 
 On the whole, whatever t is the meaning of any 
 part of speech, emphasis may not only raise it into 
 importance, and contradistinguish it from some 
 other meaning, but may likewise be employed to 
 supply an elipsis, and to point out the syntax. 
 
 I have read somewhere, — that every case of em- 
 phasis includes contrast. This certainly is not true 
 of emphatic interjections, at least I am not able to 
 discern the antithesis in them : and with regard to 
 the cases included under the detail of the other 
 parts of speech, there are many instanr.es in which 
 the contrast is not brought before attention notwith- 
 
A RECAPITULATING VIEW OF EMPHASIS. 413 
 
 standing it is admitted that such antithesis is abso- 
 lutely included in the thought. 
 
 It is not within the range of my design to illus- 
 trate all the cases of emphasis which have been set 
 forth in the above survey of species, suggested by 
 the philosophy of the parts of speech. I here ex- 
 emplify only the four general heads of the Purpo- 
 ses of emphasis, given above. 
 
 First. The distinction of one word above others, 
 without the striking perception of antithesis, is here 
 shown. 
 
 But see ! the angry victor hath recall'd 
 His ministers of vengeance and pursuit, 
 Back to the gates of Heaven. 
 
 This first phrase is interjective ; but I cannot con- 
 ceive with what c< see," is in contrast. Surely Sa- 
 tan in drawing the attention of the eyes of Beelze- 
 bub, did not mean to signify, that he should not 
 touch, taste, or otherwise perceive the recall of the 
 pursuit : And to suppose " see," to be in antithesis 
 to his not having looked before, is a mere refine- 
 ment. The case is the same with most interjections, 
 whether they are properly the simple tonic ele- 
 ments, or with greater latitude, any of the several 
 parts of speech. 
 
 Secondly. The marked antithesis is exemplified 
 in the following lines : 
 
 I yielded, and from that time see 
 How beauty is excelled by man\y grace. 
 And wisdom, which alone is truly fair. 
 
 This is the most frequent form of emphasis 
 
414 A RECAPITULATING VIEW OP EMPHASIS. 
 
 Thirdly. The use of strong emphasis in an elipti- 
 cal sentence is remarkable in the following instance. 
 
 Into what pit thou seest ! 
 From what height fall'n ! so much the stronger proved 
 He with his thunder. 
 
 Taking these lines as a complete construction, 
 they are ungrammatical, and unintelligible. It is 
 scarcely necessary to suggest that the poet meant 
 to say, " see to what a dreadful pit we are doomed, 
 consider from what an immeasurable height we 
 have been hurled, and the degree of his superior 
 strength may be proved." Or thus, " as far as the 
 horrors and the depth of this pit are removed from 
 the bliss and height of heaven, so far has the thun- 
 der of the Almighty surpassed the strength of our 
 arms." Now, this full meaning can be clearly 
 brought out from the eliptical phraseology of the 
 poet, only by one mode of intonation. If the word 
 " what," in its two places be given with an empha- 
 sis of the downward octave, forcibly aspirated, and 
 with a loud concrete ; and if the succeeding words 
 within the notes of admiration, be also intonated 
 with downward vanishes, the true astonishment of 
 the sentiment and the measure of the conquest will 
 be shown. And further, if a cadence and a pause 
 be made at " fall'n," and if " so much" be strong- 
 ly emphatic, the reference of the comparison to the 
 strength of the thunder, will be perceived ; and the 
 sense will come upon the ear, in that laconic elo- 
 quence with which it was condensed and felt in the 
 imagination of the poet. 
 
A RECAPITULATING VIEW OF EMPHASIS. 415 
 
 Fourthlv. When the structure of a sentence is so 
 
 «/ 
 
 much involved as to produce a momentary hesitation 
 in an audience, about the concord or government, 
 the syntax may be rendered perspicuous by means 
 of emphasis, as in this example : 
 
 He stood, and called 
 His legions, Angel forms, who lay entranced 
 Thick as Autumnal leaves that strow the brooks 
 In Vallombrosa, where the Etrurian shades 
 Higli over-arched embower ; or scattered sedge 
 Afloat, when with fierce winds Orion armed 
 Hath vexed the Red-sea coast. 
 
 If this passage stood thus " Thick as autumnal 
 leaves, in Vallombrosa, or scattered sedge afloat," 
 &c. there could be no hesitation about the construc- 
 tion. But the chain of parenthetic specifications be- 
 tween " leaves'' and " or,''together with the pic- 
 turesque association, and the beauty of the phraseo- 
 logy, — make us for a moment lose sight of that in- 
 tended transition to another subject of illustration, 
 which should be immediate and perspicuous. For 
 the substitutive sense of the conjunction " or," is 
 not at once so plain, that the phrase " scattered 
 sedge," might not, in the moment of utterance, be 
 prospectively taken as a nominative in some new 
 course of the subject. But if the clause " thick as au- 
 tumnal leaves," which shows a comparison, be em- 
 phatically raised into memorable notice, and if the 
 succeeding words, extending to the semicolon, be 
 hurried, yet becomingly, the subsequent emphasis 
 on "scattered sedge afloat,'' will at once refer the ear 
 back to the last similar distinction of the voice, on 
 
|16 A RECAPITULATING VIEW OF EMPHASIS. 
 
 " autumnal leaves/' and thus indicate that the an- 
 gel forms lay likewise as thick as the scattered 
 sedge afloat. 
 
 This element of expression, for so it is, was called, 
 in the section on Grouping, the Emphatic tie : and 
 certainly in the present case it has no other object 
 than to join these dissevered thoughts; for in a more 
 natural and perspicuous connexion there would be 
 no call for the emphatic distinction. 
 
 Having thus enumerated the various modes of 
 time, quality, stress and intonation, by which certain 
 words or syllables of a sentence are brought con- 
 spicuously before the ear, the reader is prepared 
 to receive the term emphasis with a wider defini- 
 tion than is usually given to it. 
 
 Emphasis is a generic term for the extraordinary 
 impressiveness of the sense or sentiment of words : 
 the species of impression being founded on the va- 
 ried accidents of the voice. 
 
 From this view it appears, that Emphasis and 
 what we have called Expression, may be considered 
 in most cases, as convertible generic-terms : since 
 emphatic words differ from those which are unem- 
 phatic, through those functions which constitute the 
 proper expression of speech. 
 
 The preceding analysis will enable us to display 
 the whole compass of the art of reading, with some 
 amplitude of plan and precision of delineation : 
 Words, as symbols of meaning, may be considered 
 under three aspects : as representatives of simple 
 thought ; as indicative of an enforcing of thought : 
 
A RECAPITULATING VIEW OF EMPHASIS. 4^7 
 
 and as expressive of passion. The progress of the 
 voice in speaking, is called melody. The course of 
 melody under the direction of simple thought, is 
 through the interval of a tone in the radical change, 
 with a concrete rise of a tone from each of those radi- 
 cals. But the portions of discourse which represent 
 simple thought, are limited : those thoughts are to 
 be enforced, and passions are to be expressed. The 
 tenor of the simple diatonic melody is therefore of- 
 ten interrupted, by an occurrence of higher inter- 
 vals of the scale, both in the concrete and discrete 
 forms. Thus it appears that those transitions of pitch 
 which were called phrases of melody, and were 
 said to be six in number, are multiplied by the use 
 of some of the above mentioned elements of empha- 
 sis. For on the principle which suggested the name 
 of the ditone, we have by the employment of the 
 radical change of higher intervals, the Phrase of the 
 Third, and Fifth, and Octave, both in an upward 
 and downward direction. 
 
 If the reader has understood rightly the descrip- 
 tion of the functions of the voice, the pages of the 
 historian and the poet, will suggest to him the occa- 
 sions for their application. The ways of simple na- 
 rative, the places and modes of stress and of intona- 
 tion in expression, have been exemplified, in refer- 
 ence to the sense and sentiment of discourse. If the 
 scheme is sufficiently clear, the reader may trace 
 the general outline of utterance : and if his mind is 
 large and liberal enough to let in other thoughts 
 than those of interest and daily fame, he may 
 herein possess and enjoy, at least the picture of 
 3 H 
 
418 A RECAPITULATING VIEW OF EMPHASIS 
 
 a simple and beautiful system of nature, if he can- 
 not by practical means offer it for sale or applause. 
 The possession of a good ear, together with a 
 resolute practice, will be necessary for the precise 
 recognition, and skilful employment of the enume- 
 rated elements. But a full understanding of the 
 mere theory of speech, as laid down in this essay, 
 without an accomplished practical execution of its 
 rules, will enable one to overlook the exercises of 
 others, with the decisive commendation or censure 
 of an intelligent criticism : to carry the steady arm 
 of principles, against the self-conflicting councils, 
 and changeful orders of authority : to hold out 
 against error with the real defences of opinion; and 
 to associate the delightful but passing perceptions 
 of the ear, with the continued and busy pleasures 
 of mental discrimination. 
 
 When the ingenuous reader reviews the pre- 
 ceding history, I must beg him to bear in mind its 
 design. The purpose was to analyze the functions 
 of speech, without a strict limitation of the search 
 to those points which might be readily cognizable 
 in ordinary utterance, or practically important in 
 oratorical instruction. I have recorded no pheno- 
 menon, the discovery of which has not been the 
 result of patient experiment. There are some 
 parts of the detail that will at once be recognised 
 by the competent critic : others will be afterwards 
 received into the growing familiarity of his obser- 
 vation : and some of the descriptions, even if per- 
 ceived in deliberate trial, will still be considered 
 as niceties of disputable application, and beyond 
 
A RECAPITULATING VIEW OF EMPHASIS. 419 
 
 the assigning power of rule. As a physiologist, I 
 conceive I have done no more than my duty in this 
 record, however presently useless some of its mi- 
 nutiae may be. Much of the accumulated wealth of 
 science is not at interest ; but the borrowers may 
 one day come. I am ready to admit, that some dis- 
 tinctions in this history, may be practically disre- 
 garded. Thus I have described the several forms 
 of stress as palpably differing functions ; and they 
 are absolutely so made in speech : yet I have not 
 ventured to insist on the importance of the differ- 
 ence in all cases. So in the discrimination of the in- 
 tervals of the scale, I have endeavoured to give the 
 true physiological account of these functions : but I 
 have not taken upon me to exclude the fourth, sixth 
 and seventh from the speaking voice. Nor would 
 I wish it to be thought that the several intervals, 
 may not on some occasions, be all used as substitutes 
 for each other, without affecting the force or preci- 
 sion of speech. I was also far from ascribing parti- 
 cular expressions to the numerous possible forms of 
 the wave. 
 
 In thus opening the way for a change of elocu- 
 tion from an imitative art, with its inherent de- 
 fects, to a science with all its constituent usefulness 
 and beauty, it was necessary to set forth every ex- 
 isting function : that the materials might thereby 
 be furnished towards the future establishment of a 
 system of instruction, for those who have the rare 
 aim in scholarship of seeking high accomplishment, 
 through the abundant encompassing of principles, 
 and the condensing economy of systematic means. 
 
420 A RECAPITULATING VIEW OF EMPHASIS. 
 
 That the inquiry into this subject has produced 
 much that will be imperceptible to the first scruti- 
 nies of the general ear, I must be convinced from 
 the past history of human improvement. The work 
 of vocal mystery, has been at all times so despair- 
 ingly abandoned, as beyond the reach of analytic 
 perception, that this supposed impossibility alone 
 will form a heavier argument against its admission, 
 than the real but surmountable difficulty of encoun- 
 tering nature in new fields of sensation. Many who 
 in fine organization of ear, and a capability of de- 
 licate analysis, possess the means of successful in- 
 vestigation will, too probably, shrink from the la- 
 bours of experiment, and seek to justify infirmity of 
 resolution, by defensively assuming the hopeless- 
 ness of trial. 
 
SECTION XLV 
 
 Of the Drift of the Voice. 
 
 He who listens to a good reader, may perceive 
 that his voice is not only adapted to the varying in- 
 dications of the sentiments which lie in individual 
 words, but that there is a style in the movement 
 which runs through the parts or the whole of a dis- 
 course ; is accommodated to its reigning sentiment 
 or spirit ; is identical during the prevalence of that 
 spirit, and changes with its variations. Every one 
 recognises this difference in manner between a fa- 
 cetious description, and a solemn invocation from 
 the pulpit ; between the vehement stress of anger, 
 and the well known whining of complaint. It is to 
 this continuation of the same style, whatever the re- 
 peated element or elements may be, that I apply 
 the term Drift of the voice. 
 
 I shall not pretend to describe any new modes 
 of utterance ; for on this point there is nothing 
 which is not familiar to us all, by sound, and expres- 
 sive effect. I am about to analyze the various drifts 
 of discourse, and refer them to the proper causa- 
 tive elements ; that in this essential part of elocu- 
 tion the scholar may have a definite perception of 
 his duty, and a knowledge of all the means by which 
 it is to be accomplished. This subject is not unne- 
 cessarily specified by a name ; nor is it uselessly 
 
422 0F THE DRIFT OF THE VOICE. 
 
 offered to the special attention of the reader : for if 
 a particular drift is required throughout a portion 
 of discourse, or the whole of it, any interruption of 
 the assumed tenor, will offend the ear ; or at least 
 will be a failure of the aims of elocution. Thus, 
 when the sentiment is plaintive and consequently 
 demands the semitonic intonation, the introduction of 
 a tone or second will be no less disagreeable, than 
 an offence against time and tune in music. 
 
 The real existence and effective operation of 
 drift being admitted, the question before us is — upon 
 what functions of the voice is it founded ; and how 
 many different forms may it employ ? 
 
 I have described all the functions of the voice 
 which are known to me ; the nature of drift must, 
 therefore, in my view, resolve into the enumerated 
 accidents of speech, and their specific divisions. 
 For it is only by the repetition of the several ele- 
 ments that this sameness of impression can be pro- 
 duced. These elements have been spoken of with 
 regard to their individual construction, their ex- 
 pressive meaning, and their application in the limi- 
 ted sphere of emphasis. Our present view of them 
 comprehends their distinguishing effect in the cur- 
 rent of melody. 
 
 The question,-howmany different styles the drift 
 may assume, will be answered by ascertaining which 
 of the elements can be heard in succession on any in- 
 definite number of syllables, without offending the 
 ear by monotony : for there are some which cannot 
 be repeated without producing a disagreeable ef- 
 fect. As a general proposition, it may be asserted 
 
OF THE DRIFT OF THE VOICE. 42S 
 
 that most of the specific forms of time, stress and 
 intonation, may, as occasion requires, be applied in 
 continuation without violating propriety or taste. 
 There are again, some elements which we dare 
 employ only on a few or on solitary syllables, and 
 which cannot therefore make a drift in discourse. 
 
 On the subject of this successive use of the ele- 
 ments, it is necessary to remark, that though the 
 peculiar character of the drift may be sustained 
 throughout a whole sentence, yet the function which 
 produces it, can in some cases, be executed only 
 on certain syllables. Thus, in the expression of dig- 
 nity by means of long quantities, the unaccented 
 syllables cannot bear a protracted time : still the 
 characterof dignity will prevail, even with this limi- 
 ted application. 
 
 Let us enumerate the various kinds of drift. 
 
 The Diatonic DRIFT.— The diatonic melody 
 was said to be that mode of utterance which is used 
 for simple narrative or description, and is destitute 
 of the marked expression which respectively be- 
 longs to question, argument and passion. The style 
 of this melody is produced by the concrete rise of 
 a tone, and by a change of radical pitch through the 
 same interval. The employment of any other ele- 
 ment in discourse of this kind, would be disagree- 
 able. Suppose, for instance, an advertisement in a 
 Gazette, to be read with the solemn drift of a pro- 
 tracted quantity, or in the plaintive style of the 
 semitone ; no one would be in doubt concerning 
 this improper application of time and intonation. 
 
 In the course of the diatonic melody, the upward 
 
424 OF THE DRIFT OF THE VOICE 
 
 concretes predominate. The downward vanish of 
 the second, is however, occasionally introduced for 
 variety, but as far as I have observed, this element 
 does not constitute a drift. 
 
 The continuation of the simple concrete of the 
 second, is the most common form of utterance. 
 
 The DRIFT of the Semitone. — I said enough for- 
 merly on the subject of the chromatic melody ; it 
 exemplifies the present head. This style is spread 
 throughout discourse of a plaintive, tender, and 
 supplicating character. It was proved in its proper 
 place, that every interval was practicable on every 
 kind of quantity. The semitone, therefore, in its 
 drift, is heard on every syllable however short : 
 and even though unaccented. 
 
 The DRIFT of the Downward Vanish. It 
 
 was said the falling second is not used as a drift. 
 The downward third and fifth are frequently heard 
 in continuation. Their currents express surprise 
 and conviction, and when enforced by stress, a 
 warmth of conviction and temper. The following 
 indignant argument from the pleading of Volumnia 
 in Coriolanus bears the downward third throughout 
 
 Come let us go : 
 This fellow had a Volcian to his mother: 
 His wife is in Corioli, and this child 
 Like him by chance : — 
 
 The DRIFT of the Wave of the Second.— This 
 element is used in continuation on long quantities, 
 for occasions of solemn, deliberate, and dignified 
 speech. I do not say this wave may not be passed 
 through on syllables of moderately protracted time. 
 
OP THE DRIFT OF THE VOICE. 495 
 
 and even on those which we have called mutable : 
 but it is on long-drawn or indefinite quantities that 
 the effects ascribed to it as a drift, become conspicu- 
 ous. 
 
 The DRIFT of the Wave of the Semitone.— This 
 is the most common form of the semitonic style ; 
 since the sentiments associated with the chromatic 
 melody generally call for slow time and long quan- 
 tities. Upon the subject of this and of the preceding 
 head, we must bear in mind that both the direct 
 and inverted modes of these waves are used inter- 
 changeably in their respective melodies. 
 
 Of the DRIFT of Quantity—The most attrac- 
 tive styles of speech are formed of the accident of 
 Time. In discourse containing the sentiments of 
 gaiety, mirth, anger, and other similar emotions, 
 the utterance is quick, and this is generally com- 
 bined with the simple concrete of the second, to- 
 gether with the radical or vanishing stress. The 
 drift of long quantities is set on solemn, plaintive, 
 and dignified composition. 
 
 One might make a threefold division of the tem- 
 poral Drift ; into that of quick, median and slow 
 time. 
 
 Of the DRIFT of Radical Stress.— I formerly 
 pointed out the sentiments which require this radi- 
 cal symbol in single instances. But these sentiments 
 are sometimes found in continuation ; and the ele- 
 ment of force which they assume, communicates to 
 utterance, a general character, which distinguishes 
 it from all other kinds of drift. 
 
 Of the DRIFT of the Median Stress.— This is 
 3 1 
 
426 OF THE DRIFT OF THE VOICE. 
 
 necessarily connected with long quantities; and 
 generally with the wave of the second and semitone- 
 It does not make a style very distinguishable from 
 that of these last named elements : for a protracted 
 time is always the sign of that dignity which re- 
 quires the smooth grace of this median swell. 
 
 Of the DRIFT of the Vanishing Stress.— This 
 element was shown to be applicable to all the in- 
 tervals of the scale. But as a drift it can be employ- 
 ed only on the rise and wave of the second and semi- 
 tone, and on the downward third and fifth. The 
 vanishing stress whether in the diatonic or chro- 
 matic melody marks a considerable degree of en- 
 ergy in sentiment ; and communicates to the cur- 
 rent of discourse a style of utterance which cannot 
 be mistaken. 
 
 Of the DRIFT of Force.— Loudness and Soft- 
 ness when respectively heard in continuation, do 
 certainly impress the ear with their distinct pecu- 
 liarities, and may therefore constitute styles of utter- 
 ance. And the failure to fulfil the demands of sen- 
 timent on either of these points, must be recorded 
 among the faults of speech. Who will not admit that 
 there are some occasions, on which the drift of com- 
 parative softness of voice, would be entirely ridi- 
 culous : and others again, on which that of loudness 
 would be disgusting bombast ! 
 
 These ten modes of drift are the leading means 
 
 by which certain readily cognizable features are 
 
 given to speech, and which may be spread over the 
 
 whole of a discourse. 
 
 Of the other elements none are allowable in that 
 
OF THE DRIFT OF THE VOICE. 427 
 
 continuation which would justify their being enu- 
 merated among the current styles. And yet the 
 application of some of them to phrases, extends so 
 much beyond the limits of emphasis, that they de- 
 serve a place next in order to the real drifts. If the 
 reader is disposed to give them a name, founded 
 on their nature, they might be called Partial drifts, 
 thus : 
 
 The Partial DRIFT of the Tremor.— I have hint- 
 ed that the tremulous movement is proper only on 
 short passages, passages of syllabic crying if I might 
 so speak : but that it would be monotonous if kept 
 up through a long line of discourse. And here let 
 it be understood that though a drift is by its nature 
 a monotony, or continuance of the same voice ; still 
 it is rather satisfactorily expressive, than disagreea- 
 ble when made on certain elements. The tremor 
 however is not one of them. 
 
 Of the Partial DRIFT of the Aspiration.— The 
 sentiments which give rise to this symbol are like 
 those of the preceding head, generally limited to 
 temporary portions of melody. When so applied, 
 the character of utterance justly entitles it to the 
 name of drift. 
 
 Of the Partial DRIFT of the Guttural Emphasis. 
 — The scornful feeling which calls for this element, 
 is sometimes continued for more than the time and 
 the solitary occasions of emphasis ; and thus makes 
 a partial drift. 
 
 Of the DRIFT of Interrogation.— The reader 
 may recollect that the third, fifth and octave, are the 
 intervals of intonation in a question. The partial 
 
428 0F THE DRIFT OF THE voice. 
 
 form of their use in interrogation so rarely exceeds 
 the employment of them in emphasis, that they can 
 scarcely in this case be entitled to the name cf 
 drift. But in those questions which are of declara- 
 tive construction, or that otherwise demand the 
 thorough intonation, the predominance of these 
 wide and impressive intervals gives that peculiar 
 character which the common ear at once perceives 
 and comprehends. Still as questions are but por- 
 tions of discourse, and as these high intervals are 
 never used in continuation for any other purpose, 
 this form of drift must be considered as partial. 
 
 Of the Partial DRIFT of the Phrases of Melody, 
 —The Monotone and the phrase of alternation are 
 sometimes severally used in continuation on certain 
 portions of discourse, of greater extent than those 
 to which these phrases are appropriate, in the plain 
 and more common construction of the current me- 
 lody. In a former section peculiar expressions were 
 ascribed to these two phrases when continuously 
 employed : consequently when such a condition of 
 the melody occurs, it gives, according to its nature, 
 the partial drift of the monotone or alternation. 
 
 It may be made a question,— how far Quality of 
 voice, when given to a part or the whole of dis- 
 course, might constitute a drift. The fulness and 
 force of the orotund may impart to utterance a cha- 
 racter of dignity which is at once distinguishable 
 from the meagre huskiness and forceless efforts of 
 an uncultivated voice. 
 
 The compound stress and the loud concrete dif- 
 fer so slightly from the radical and vanishing modes 
 
OP THE DRIFT OF THE VOICE. 429 
 
 of force, and from each other, that it would be a 
 mere refinement to found modes of drift upon them. 
 Such then are the elements which may appear 
 throughout the whole of a discourse ; or be set re- 
 strictively on one or a few sentences. 
 
 There are a few elements of which a drift cannot 
 be made. 
 
 It was said that interrogative sentences of the 
 Thorough kind might be regarded as carrying a 
 partial drift of the third, fifth or octave. But with 
 the exception of this case, these intervals are never 
 in correct speech used in continuation. 
 
 As the prevalent style of the simple movement 
 through these wider ranges of the scale, is forbid- 
 den in melody, so the combination of them into the 
 higher kinds of wave, cannot be extended beyond 
 the limited places of emphasis. There is however 
 a drift of this kind observable as a fault in readers : 
 nay, some, in their formal efforts, can command no 
 other style of intonation. But the least cultivation of 
 ear rejects the repetition of these florid elements. 
 I need scarcely say, the emphatic vocule cannot 
 be made the basis of drift. 
 
 There is a prominent feature in the art of read- 
 ing, which seems nearly related to the subject of 
 this section. I mean the notable change of voice in 
 the transition by a good reader from one paragraph 
 or division of discourse to another. It may be sup- 
 posed that this point is already included in the 
 foregoing history of drift. When any strong or pe- 
 culiar sentiment is contained in the new paragraph, 
 it will indeed be marked by the required style. But 
 
430 0F THE DRIFT OF THE VOICE. 
 
 without seeing the page, we can sometimes per- 
 ceive that a reader is passing to a new subject, 
 even where there is no striking alteration of ex- 
 pression : and where the plain diatonic melody 
 continues in use after the transition. 
 
 In such cases the peculiar effect is produced by 
 several agencies. First. By the period which pre- 
 cedes the change, being made with that most com- 
 plete close which we called the prepared cadence. 
 This indicates the termination of the subject in 
 hand, and thereby implies the introduction of a new 
 one. Secondly. By a pause longer than that be- 
 tween sentences which are nearly related to each 
 other. Thirdly. By the succeeding sentence or pa- 
 ragraph beginning at a pitch above or below the 
 line of the previous current. Fourthty. By a strik- 
 ing effect from the phrases of melody applied to the 
 outset of a new topic. 
 
 These vocal indicials make the change of sub- 
 ject obvious, in those cases in which a peculiar 
 construction of the commencing phrase defers the 
 development of its sense, and renders it impossi- 
 ble to discover by the few first words, whether the 
 proximate sentences are immediately or remotely 
 related to each other. 
 
 From a review of this subject, it appears, that 
 many of the elements of expression may be in con- 
 tinual use, without producing a monotonous effect : 
 that some can carry their drift but to a certain 
 extent : whilst others do not bear an application 
 beyond the solitary place of emphasis. It appears, 
 too, that those which are inadmissible as a general 
 
OF THE DRIFT OF THE VOICE. 43 j 
 
 characteristic, are elements of very striking qual- 
 ities, reserved for the higher purposes of emphatic 
 distinction. Thus the downward eighth has the most 
 impressive eminence ; and is never used in drift. 
 The case is similar with the higher forms of the 
 wave ; and the rising third, fifth and octave, when 
 not employed for interrogation. 
 
 After what has been said, a little attention will 
 show that several styles may exist at once in the 
 same melody. Thus the drifts of the second, of 
 short time, of the radical or the vanishing stress, 
 and of loudness may be united. In like manner we 
 may have a combination of the drifts of the wave 
 of the second, of long quantity, of the median stress, 
 of loudness or of softness. In short, the reader can 
 ascertain which of them may be associated, by 
 knowing the compatible qualities of the several 
 elements : for they are united in the practice of the 
 voice, in every possible way. 
 
 I have not thought it necessary to give extracts 
 from authors to illustrate the various kinds of drift. 
 After all that has been said of the accidents of the 
 voice and their species, in former sections, together 
 with the foregoing history of their application in a 
 continued style of speech, I need not waste time 
 on those explanations which the intelligence of the 
 reader will easily supply. For I am not less soli- 
 citous to restrict the number of the pages of this 
 essay, than to extend the measure of its instruction. 
 
SECTION XLVI. 
 
 Of the Vocal Signs of the Passions. 
 
 I have already given a physiological description 
 of the functions of the voice, and have pointed out 
 their expressive powers as far as they denote sim- 
 ple thought, sentiment, feeling, emotion, or any 
 other named condition of the mind. This should 
 satisfy the reader ; since it describes in its own gen- 
 eral way, all that to me, at least, is audible and ca- 
 pable of measurement. But former systems of elo- 
 cution having embraced an inquiry, however fruit 
 less, on the delineation of the passions in speech ; 
 such a view, though superfluous after what has been 
 said, may perhaps be demanded at my hand. 
 
 There is a hypocritical compliment always paid 
 to originality, the contradictory spirit of which is, 
 that mankind are eager to receive what is new, pro- 
 vided it is told in the old way. I can imagine that 
 a few readers, even after all I have said on the ele- 
 ments of expression and the states of mind repre- 
 sented by them, may still object, that there is noth- 
 ing said about the passions. Now, having done my 
 duty to the subject by saying in a general way what 
 was necessary, about the thing, I am going to satis- 
 fy a prejudice by a formal detail under the word. 
 But let it be distinctly understood, that this is done 
 only for the purpose of giving another aspect to 
 
OF THE VOCAL SIGNS OP THE PASSIONS. 433 
 
 the subject of expression ; and not in a forced or 
 politic submission to any expected perversity of cri- 
 ticism. I observe and write for those who have the 
 candour and comprehension to admit a history of 
 the development of nature, even though they may 
 not be at the pains to make the discovery for them- 
 selves. And I hope it may always be far from my 
 wishes, to bring into subjection to prejudice or ha- 
 bitual opinion or authority, that pure right and truth 
 and energy of philosophy which will always bear 
 rule when suffered to operate : that philosophy 
 which weak men compliment, by coveting its hon- 
 ors, and by wearing it as the livery of pretension : 
 and which would, ere now, have been effectually 
 employed to make us both wiser and happier than 
 we are, if a perfect home-bred contentment did not 
 prevent its votaries from urging its benefits on the 
 unwilling world, with all that art and perseverance 
 through which stirring vanity, that knows no re- 
 tired comfort, forces its worthless labors on man- 
 kind. 
 
 I took upon me (it is hoped not presumptuously,) 
 in the introduction, to represent our knowledge in 
 some of the departments of elocution, as limited ; 
 and I have adhered to an early resolution to avoid 
 quotation, not only because the thing in itself is a 
 very tiresome duty, but because in these depart- 
 ments there is much that is unintelligible, and more 
 that is erroneous. I am now about to leave, for a 
 moment, the beautiful prototype of nature, to con- 
 trast her lights, with the mysterious shades of the 
 opinions of men. 
 3 K 
 
434 0F THE VOCAL SIGNS 
 
 No author, I believe, has paid more attention to 
 the intonation of the voice, particularly as regards its 
 practical application, than Mr. Walker. Indefinite 
 as he is on this point, he far exceeds in precision 
 and useful rule, all that is said by Aristotle, Cicero, 
 Dionysius, Quinctilian and the old musicians. It 
 is true, Mr. Walker owes his superficial analysis 
 to them : but in his description of the application 
 of inflection, if not in the real knowledge of it, he 
 fairly tf treads upon that Greek and Roman glory ,*' 
 which national vanity first suggested and pro- 
 claimed, and the subsequent credulity of Euro- 
 pean scholarship was simple enough to magnify 
 and repeat. 
 
 But let us hear what Mr. Walker says of the 
 vocal representation of the passions. 
 
 " It now remains," observes this author* " to say 
 something of the passions and emotions of the speak- 
 er. These are entirely independent on the modulation 
 of the voice, though often confounded with it : for 
 modulation relates only to speaking loudly or soft- 
 ly, in a high or in a low key, while the tones of the 
 passions or emotions mean only that quality of sound 
 that indicates the feelings of the speaker without 
 reference to the pitch, or loudness of the voice." 
 
 Again in the hundred and sixty-sixth page. 
 
 " The truth is, the expression of passion or emo- 
 tion consists in giving a distinct and specific quality 
 to the sounds we use, rather than in increasing or 
 diminishing their quantity, or in giving this quan- 
 tity any \ocal direction." 
 
 * Elements of Elocution, page S08. Am. Ed. 
 
OF THE PASSIONS. 435 
 
 And again in an other work.* 
 
 " As to the tones of the passions which are so 
 many and so various, these in the opinion of one of 
 the best judges in the kingdom, are qualities of 
 sound occasioned by certain vibrations of the or- 
 gans of speech, independent on high, low, loud, soft, 
 quick, slow, forcible or feeble." 
 
 It often happens with the aspirants after science 
 in the schools, as it did with those who underwent 
 the mummery of admission to the mysteries of Eleu- 
 sis, — to hear themselves addressed in an incompre- 
 hensible language. What for instance can be made 
 of this definition? — " The tones of the passions 
 mean only that quality of sound that indicates the 
 feelings." Here instead of an explanatory descrip- 
 tion of a thing, we are presented with a truism in 
 a paraphrase. For, as the terms passions and feel- 
 ings are here synonymous, as well as those of tone 
 and quality of sound, the proposition may stand 
 thus: " the tones of the (or the tones which indicate 
 the) passions, mean only the tones whicli indicate 
 the passions-." or with less waste thus ; " the tones 
 of the passions are the tones of the passions." 
 
 But the second extract seems to contain a real 
 distinction between the subject and the predicate : 
 because by quality the author may mean that acci- 
 dent of sound, which in this essay was specified by 
 the terms full, harsh, soft, slender, natural, false tte, 
 whisper and orotund; for these are the only existing 
 qualities of sound, besides those which Mr. Walker 
 
 Observations on Greek and Latin quantity, appended to 
 Walker's Key to the. pronunciation of ancient proper names 
 
43^ OF THE VOCAL SIGNS 
 
 has excluded from the definition. But if pitch, which 
 is here meant by local direction, be denied a place 
 among the vocal symbols of passion, what shall we 
 say of the comprehensive class which uses the pitch 
 of the semitone? of the rising intervals which sig- 
 nify interrogation? of the downward vanish which 
 conspicuously marks the various degrees of sur- 
 prise? and in short, what is to be said of the effect 
 of the various degrees of stress, if forcible and feeble 
 have nothing to do with the passions ? 
 
 But the secret cause of this determination to ex- 
 clude intonation and stress and time,from among the 
 signs of the passions ; and the reiterated attempts 
 to resolve their symbols into a certain unexplained 
 word called quality, is clearly manifested in the last 
 quotation: for here this opinion on the physical agen- 
 cy of quality is ascribed to "one of the best judges 
 in the kingdom." The fact is, this confused notion 
 concerning the passions was adopted upon authority, 
 by Mr. Walker : and this mode of faith, certainly 
 did not accord with his repeated claims to origi- 
 nality of observation. An original observer holding 
 himself responsible for his report, cross questions 
 the testimony of his senses : but the borrower of 
 opinions is less scrupulous, because he never stands 
 security against the folly or mischief of his promul- 
 gations. 
 
 What has been recorded in the previous history 
 may induce the reader to smile at the above quo- 
 tations; and enable him to perceive that the sym- 
 bols of the passions, consist of the quality or force or 
 abruptness or time or pitch of the voice ; and that 
 
OF THE PASSIONS 437 
 
 the greater part of those symbols are derived from 
 those very accidents, which are declared by Mr. 
 Walker to be unoperative in the causation of empas- 
 sioned utterance. With regard to the specific quality 
 here assumed as the vocal material of expression, I 
 am utterly at a loss to understand whether those 
 modes of sound which are called qualities in this 
 essay, are the same which are meant by Mr. Wal- 
 ker's term; since his account of quality is complica- 
 ted with an attempt to derive its proximate cause, 
 from an unintelligible system of vibrations. 
 
 Let the whole pass as an instance of that unnatu- 
 ral paternity in instruction, which when asked for 
 bread, dispenses nothing but a stone. And at the 
 same time let it justify any unbecoming expressions 
 which may have escaped me, when unavoidably 
 brought in contact with those errors of indolence 
 or authority, which are almost unpardonable. 
 
 In recapitulating the subject of expression under 
 another title, it is not my intention to go into a dis- 
 sertation on the nature of the passions, or to contend 
 with authors about the scheme of their arrangement. 
 I shall give that account of them which will answer 
 the purpose of the present section, without design- 
 ing to regard other relationships which they may 
 hold. 
 
 The human mind is the place of representation 
 of all the existences of nature which are brought 
 within the scope of the senses. These representa- 
 tives are called ideas. These ideas are the simple 
 passive pictures of things ; or they exist with an ac- 
 tivity, capable of so affecting the physical organs as 
 
4$S 0F THE VOCAL SIGNS 
 
 to induce us to seek the continuance of that which 
 produces them ; or to avoid it. This active or vivid 
 class of ideas, comprehends the passions. The func- 
 tions of the mind here described, exist then in dif- 
 ferent forms and degrees, from the simple idea, to 
 the highest energy of passion : and the terms, 
 thought, sentiment, emotion, feeling and passion 
 are but the verbal signs of these degrees and forms. 
 Nor does there appear to be any line of classifica- 
 tion, for separating thought from passion : since sim- 
 ple thoughts without changing their nature, do from 
 interest or other incitement often assume the color 
 of a passion. 
 
 Such being one of the many views which may 
 be taken of ideas, we pass to the consideration of 
 the effects produced on the physical organs by 
 those thoughts or feelings, constituting their sensi- 
 ble signs or expression. These signs are various, 
 but we are at present concerned only with those 
 belonging to the organs of the voice. 
 
 Some of those conditions of the mind which we 
 have called passions are possessed by man in com- 
 mon with the inferior animal creation. These have 
 their expression seated conspicuously in the voice 
 and in other muscular functions. 
 
 Again, some states of mind are the product of hu- 
 man cultivation and of the social relations. These 
 are destitute of such signs as nature seems to have 
 allotted to her own original creations. Thus, there 
 are natural expressions both in the vocal organs 
 and in other parts of the body, for pain, surprise, 
 
OF THE PASSIONS. 439 
 
 and ansrer ; but none of any definite character for 
 hope, contentment and gratitude. 
 
 From this view we learn that there are two es- 
 sentially different modes of expressing the various 
 states of mind : since some of these thoughts, emo- 
 tions, passions, call them what we will, are made 
 by certain forms of stress, time, quality and pitch, 
 joined to syllabic utterance ; whilst others can be 
 indicated only by conventional terms, which do not 
 carry any of the natural vocal-signs of expression. 
 Thus we signify surprise by the downward em- 
 phasis, and complaint by the semitone *, and the 
 meaning of these symbols is the same in all nations : 
 but we can express a sentiment of gratitude or ir- 
 resolution only b) describing our state of mind, in 
 those arbitrarily appointed terms which may vary 
 in every different language. 
 
 Though it appears we have not a peculiar vocal 
 sign for every state of mind, yet it is to be remarked 
 that all thoughts or passions may be expressed by 
 the conventional language: for one can tell another, 
 he is astonished, in the most simple style of intona- 
 tion, and thus conve} the knowledge of the exist- 
 ence of that sentiment, as well as he can by the 
 most striking use of the downward octave, which 
 is its natural symbol. When astonishment is to be 
 represented on a word or phrase, which does not 
 describe it, it is necessary to employ the peculiar 
 intonation which indicates this sentiment. 
 
 One of the consequences of there being instinc- 
 tive signs in the voice, for the expression of the 
 passions, and artificial signs in language, for the 
 
440 0F THE VOCAL SIGNS 
 
 same purpose, is that one vocal function can repre- 
 sent two or more passions, or degrees of passion 
 which have severally appropriate names; for though 
 the kind of intonation is the same, and therefore in 
 itself cannot denote different species or shades of 
 meaning, yet the conventional terms serve to mark 
 the variety. Suppose for instance, one should say 
 " I am surprised," with the strongest downward 
 vanish of the octave: and again, he should say 
 with the same intonation " I am astonished ;" the 
 different states of mind in these two emotions of 
 surprise and astonishment, would be clearly repre- 
 sented, under this identical intonation, by the ar- 
 bitrary signs or the terms of these emotions. Thus 
 too the same semitone is used for the expression of 
 pain, discontent, pity, grief and contrition : and yet 
 in all these cases the different sentiments are con- 
 veyed by their conventional denomination, or by the 
 sense of the phrase on which the semitone is em- 
 ployed.* 
 
 * A union of the verbal and the vocal modes of expression, if I 
 may thus distinguish them, seems to be so essential that it is dif- 
 ficult to determine which is most significant in conveying the 
 sentiments of the speaker. The power of giving a different 
 meaning to the same word, by its mode of stress or intonation, 
 would imply that the instinctive signs are more effective than 
 the conventional. But there are other circumstances which war- 
 rant a conclusion that we are as much indebted to the descrip- 
 tive agency of words, as to any abstract movement of the voice. 
 
 I shall hereafter show in the analysis of song, that every func- 
 tion of speech is employed in its higher style of execution : and 
 though it is true that the semitonic movement in song has a plain- 
 tive expression, even when unconnected with words, still the 
 rising and falling concretes of the third, fifth and octave, when 
 
OF THE PASSIONS. 441 
 
 I have had occasion more than once to show that 
 the elements of expression are always applied in 
 combination. There must be at least two conjoined 
 
 not joined to discourse which coincides in sentiment with the 
 expression of these intervals, are constantly heard in song, with- 
 out producing the audible characteristics of interrogation, posi- 
 tiveness or surprise. The various forms of stress too, which have 
 their proper expression in the descriptive form of syllabic utter- 
 ance, seem to be almost without meaning in the inarticulate 
 movements of song. 
 
 But a still more striking view of the power of language, as 
 contrasted with abstract intonation, is displayed in the vocal 
 functions of brute animals, and particularly of birds. 
 
 When a familiarity with the analytic scheme of this essay 
 will have given to the ear a facility of discrimination, it will 
 be perceived that the notes of birds employ all the intervals of 
 the concrete movement, without suggesting those expressions of 
 surprise, interrogation, positiveness and scorn, together with the 
 k-epose of the cadence, which would be eminently conveyed by 
 these intervals, when joined with words that describe these se- 
 veral sentiments. The representation of piaintiveness by the se- 
 mitone, as in the voice of the dove, and of pleasure by the tre- 
 mulous scale, as in the horse when snuffing his food, is indeed 
 made without a syllabic sign, and yet is identical with the dis- 
 play of these feelings in the human voice ; but it must be recol- 
 lected that our uses of this function in laughter and crying, are 
 generally inarticulate and are thus merely animal signs. 
 
 It is then the union of an arbitrary verbal description of a 
 sentiment, with the natural sign of it, which forms the true sym- 
 bol of expression in the human voice. 
 
 Having alluded to the voices of inferior animals, I must beg 
 the reader to excuse a momentary digression from the subject 
 of speech. In the course of this essay I might have shown many 
 analogies between the human voice, and that of inferior animals: 
 but I designed to avoid mingling these two subjects of natural 
 history. 
 
 Speech is but an aggregate of the functions which are dispers- 
 3 L 
 
442 OF T HE VOCAL SIGNS 
 
 and there may be more. Thus the different forms 
 of stress are necessarily made on an interval of 
 pitch : it is the same with guttural emphasis and as- 
 
 edly exercised, by all animals: for there is scarcely a mode of 
 quality, abruptness, time, force and intonation, which is not 
 common to man and to the brute. Man possesses more vocal 
 signs than any one species of animal, but perhaps less than all: 
 the principal difference consisting in his power over the struc- 
 ture and chain of the syllabic function. 
 
 Upon the ground of this identity, and with the light of the 
 describable measurement, and definite nomenclature of the hu- 
 man voice which is set forth in this essay, — What is there to 
 prevent the voices of animals being taken into view, in the sys- 
 tematic arrangements of Zoology? 
 
 Naturalists have sometimes attempted this in a rude way, by 
 a reference to alphabetic sounds, and to the modes of time and 
 stress in words and phrases. When boys find a resemblance in 
 the whistle of the partridge to the words "bob white;" and 
 when they think they pronounce the short song of the "whip- 
 poor-will" in its name, the similarity lies in the stress and in 
 the time of utterance ; for this song as well as many mechanical 
 noises resembles at the whim of the listener, any phrase which 
 has an equal number of syllable-like impulses, and the same con- 
 dition of quantity and accent. 
 
 Birds in the endowments of voice, have a Single note, a Phrase 
 of two or more notes, and a continued song which may be dis- 
 tinctively called their Melody. Some birds have only the note ; 
 others, the note and phrase ; and a few, the note, phrase and 
 melody. Now I am sure that a person of cultivated ear, with 
 the light of classification and description contained in this essay, 
 would find no great difficulty in discovering whether the note of 
 a bird is in the concrete or radical pitch of a semitone, a second 
 or other interval ; of how many movements the phrase consists, 
 and what are their places of pitch ; and of what combination of 
 phrases the melody is made. As far as observation extends we 
 know that the voice of birds is unchangeable in the species: it 
 is therefore as well entitled to nomenclature, provided it can be 
 assigned definitely, as the feathers, beak and claws. If analysis 
 
OF THE PASSIONS. 443 
 
 piration. The intervals of pitch must be united 
 with the accident of time, whether the quantity be 
 long or short. Not one vocal element can exist se- 
 
 had never furnished discriminative names for colors and form, 
 even these characteristics, like those of the voice would never 
 have been known in the descriptions of ornithology. 
 
 Without extending our observations to the whole range of ani- 
 mals, among which all the accidents of the human voice, even to 
 the peculiar note of song and recitative are found, I here give 
 an outline of the vocal functions of the Mocking-bird, as illus- 
 trative of the powers which generally belong to its class. 
 
 The Mocking-bird has every variety and degree in Quality of 
 voice from the delicate chirp of the sparrow, and harsh scream 
 of the jay, to the guttural base of the clucking of the hen. He 
 uses every form of time, from a mere point of sound, to the du- 
 ration of our most passionate interjections. He has a perfect 
 command over all the intervals of the scale, both ascending and 
 descending, and in the discrete as well as the concrete pitch. 
 His simple concrete exhibits the most beautiful structure of the 
 radical and vanish. He performs the wave in its equal and un- 
 equal, its direct and inverted forms, through all intervals : but 
 I cannot say that he uses its double movement. He exhibits all 
 the modes of stress on the concrete, which belong to the human 
 voice. Its compound species which constitutes the proper vocal 
 shake, he has in great perfection. It is the diatonic shake, the 
 semitonic not being found in his song, nor, as far as I know, in 
 that of any other bird. He makes great use of the tremor, both, 
 in a continued line of pitch, and in every diverse movement 
 through the scale. His tremor has not the chromatic character, 
 as far as I recollect it ; for my observation of the bird has been 
 transient, and never with a view to the present record. Some 
 other birds have a tremor of a plaintive expression. The struc- 
 ture of his song is that of note, phrase and melody. His melody 
 however is very short: the apparent continuity of its powerful 
 and rapid evolutions consisting of an endless permutation of 
 notes and short phrases ; for I have not been able to perceive any 
 formal order in their succession*. 
 
444 OF THE VOCAL SIGNS 
 
 parately ; but several are sometimes combined in 
 a single act of utterance : for we may have under 
 one syllabic impulse, a long quantity, a wide inter- 
 It may thus be seen that the vocal elements of the Mocking- 
 bird, like those of the human organs, are few in number ; but in 
 each case our ignorance of their analysis has created a belief 
 that they are infinite. The union of their combinable forms 
 makes them appear more numerous than they are : thus a cer- 
 tain quality or interval, maybe heard in succession under every 
 variety of time ; and the same concrete, or tremor or shake is 
 heard upon one breath, in several different qualities, and in as 
 many different places of pitch. 
 
 The doctrine of the signs of the passions in speech, is strictly 
 applicable to the voices of inferior animals, as regards those 
 sounds which are purely vocal and separate from words. Thus 
 it will be found that the repeated single note, which seems to be 
 the idle and unmeaning voice of birds, is generally a short quan- 
 tity, and made in a single rising or falling radical and vanish 
 through a second or higher interval. A prolongation of note is 
 generally connected with their passions and appetites. Pain, 
 love and fear, are always exhibited in the movement of the se- 
 mitone. But I am agreeably led on towards an arrangement, 
 when I designed only to suggest the scheme to others. 
 
 The subject is at least curious, if not useful. It lies out of my 
 way. Naturalists who ought to live in the fields, may have it : 
 and I shall be happy to assist them, when it is in my power. 
 We have in all sciences large volumes of compilation; let us 
 have from some physiologist with a good ear, a little book of ori- 
 ginal truth on the matter here proposed. Let it be done with 
 sober observation and watchfulness. Let the author not lose his 
 strong breath of usefulness and fame, by a puerile precipitancy 
 after reputation : nor hasten with his unripeness, in the market- 
 like fear of being forestalled. Patient and enthusiastic study, 
 independent observation and thought, and a disinterested love 
 of truth, with their sure anSgreat results in science, are always 
 solitary in an age, and cannot therefore be forestalled — and on 
 this point, as in promises and declarations of another kind to 
 man, « the Last shall be First'* 
 
OF THE PASSIONS. 445 
 
 val, aspiration, and some one of the modes of stress, 
 all simultaneous in effecting a particular purpose 
 of expression. 
 
 I now go on to give a summary of the modes of 
 thought, variously called, sentiments, emotions, 
 feelings and passions, which are severally signified 
 by their instinctive or appointed vocal symbols. 
 
 Of Feebleness of Voice. — This element of expres- 
 sion is contradistinguished from strength or loud- 
 ness, and is here spoken of as a Drift, or as applied 
 in continuation to discourse. There are some states 
 of mind connected with feebleness of body, that are 
 properly portrayed by feebleness of voice. The 
 expression here in view does not admit of the 
 higher intervals of intonation, nor of the impressive 
 modes of stress ; for these, and indeed other ele- 
 ments which might be mentioned, imply an energy 
 of mind and body which by the very terms of this 
 head of our subject is excluded from its signs. Some 
 of the conditions and sentiments requiring a feeble 
 voice, are humility, modesty, shame, doubt, irreso- 
 lution, apathy, fatigue, caution and tranquillity. 
 These generally employ the simple diatonic me- 
 lody : but there are some emotions, which together 
 with feebleness, use the semitone, and the wave of 
 the second. Of this kind are grief, pity and awe. 
 
 Of Loudness of Voice. — This element as the re- 
 verse of the last, is appropriated to states of mind 
 which are associated with great muscular energy, 
 and vivid degrees of passion. There are a great 
 many sentiments signified by this symbol ; for be- 
 sides those which employ it as the leading charac- 
 
446 0F THE VOCAL SIGNS 
 
 teristic of the expression, such as rage, wrath, dan- 
 ger and horror, there are some that depend, for 
 their expression chiefly on intonation or stress, 
 which do at the same time assume the character of 
 loudness. Of this class are astonishment 3 exultation 
 and laughter. 
 
 Of Quickness of Voice. — In as much as quickness 
 of the current melody generally goes with a short 
 quantity in individual syllables, I shall not make 
 separate heads for these two functions. Some of 
 the examples under this head are found in others, 
 particularly in the last ; as rage, wrath, mirth, rail- 
 lery and impatience. It also happens that many of 
 the sentiments which have their principal signs in 
 forms of intonation and stress, are associated also 
 with quickness of voice. 
 
 Of Slowness of Voice. — A slow time of discourse, 
 if not made by long quantities on single syllables, 
 would be offensive from its pauses. These two forms 
 of time therefore necessarily involve each other. 
 Slowness of time and long quantity are generally 
 joined with the element of the wave ; for the return 
 or contrary flexure of intervals is one of the means of 
 producing a long time without violating the equable 
 concrete of speech. It is an essential constituent in 
 dignified utterance, and is therefore always united 
 with those functions of intonation which bear this 
 expression : Slowness of time, with its constituent 
 long quantity, is used as the symbol of many emo- 
 tions or passions j among which may be enume- 
 rated sorrow, grief, respect, veneration, dignity. 
 
OF THE PASSIONS. 447 
 
 apathy, contrition and all other sentiments that em- 
 brace the idea of deliberation. 
 
 0] Quality of Voice. — I have more than once 
 spoken of the quality or kind of voice. I need not 
 here repeat all the terms by which its species are 
 commonly noted. But the following are some of 
 them, with the passions annexed. Harshness is af- 
 fected by anger and imperative authority : softness, 
 by grief, modesty and commiseration. The whisper, 
 which is a kind of voice, by secrecy : the falsette is 
 heard in the whine of peevishness, in the high pitch 
 of the tremor in mirth, and in the piercing scream 
 of terror. The full body of the orotund, in a cul- 
 tivated speaker, gives the satisfactory expression 
 to all those sentiments which are grounded in so- 
 lemn grandeur. 
 
 Of the Semitone. — The simple rise of the semi- 
 tone is rather an unfrequent element of expression ; 
 since most of those passions which call for its plain- 
 tive intonation, and there are many of this kind, re- 
 quire a long quantity and consequently are proper- 
 ly expanded into the wave of this interval. Still 
 complaint, grief, and the other emotions of like im- 
 port, may sometimes be made with an earnestness 
 or spirit which takes on a short time. In this case 
 the voice cannot bear the delay of the wave, and ef- 
 fects all the purposes of the semitonic intonation by 
 the simple rise or fall through the concrete, with 
 the addition, if it is necessary, of the radical or van- 
 ishing stress. 
 
 Of the Second or Tone. — All those states of mind 
 which accompany what may be called mere thought 
 
44H OF ™ E VOCAL SIGNS 
 
 in contradistinction to passion ; all those narratives 
 or descriptions which represent things as they are 
 in themselves, without reference to our relation- 
 ships to them, on the point of pleasure or pain, 
 desire or aversion, interest or injury \ these are all 
 represented by the plain unobtrusive element of 
 the second. 
 
 The other elements of expression have some- 
 thing striking in their character which the atten- 
 tive student may easily recognise. When, there- 
 fore, none of these are obvious, he may conclude 
 that the current of speech is in the diatonic melo- 
 dy ; that is, the syllabic utterance, is through the 
 rise and fall of a single tone. 
 
 Of the Rising Third, Fifth and Octave. — I have 
 thrown these intervals into the same class because 
 they are generally used to express different de- 
 grees of a passion. They represent, according to 
 the extent of the interval employed, interrogation 
 under the different features of dignity and of earn- 
 estness. They mark admiration, and hence are fre- 
 quently used as means for emphatic distinctions. 
 When united with aspiration they do the part of 
 the downward intervals of the scale, and indicate 
 surprise and its congenial emotions. They express 
 a conditional sense when used on emphatic words. 
 The octave has the power of raillery, of quaintness 
 and of mockery. When the guttural emphasis is 
 united with these intervals, particularly the higher, 
 it adds scorn to a question ; and joins to their cha- 
 racter in emphasis, the sentiments of haughtiness, 
 disdain, indignation, contempt and scorn. The de- 
 
OF THE PASSIONS. 449 
 
 liberate execution of these high intervals requires 
 long quantity in syllables : but in their simple rise, 
 they have not that protracted duration, and conse- 
 quently that solemn and dignified character which 
 belongs to them when doubled into the form of the 
 wave. 
 
 Of the Doivnward Third, Fifth and Octave. — In 
 general description we may say, these intervals 
 severally express different degrees of the same 
 passions. They are emphatically appropriated as 
 the signs of surprise, astonishment, wonder and 
 amazement ; and though the terms of these emo- 
 tions, are by no means sy nonimous, still the emotions 
 themselves are each and all effectually represent- 
 ed by any one of the above named intervals. The 
 designation of the specific difference being made 
 by the conventual meaning of the words on which 
 the element is employed, and not by any power of 
 intonation ; for this, by the condition of the cases 
 here considered, is identical in each instance. These 
 downward intervals denote a positiveness of mind ; 
 and a settled conviction on the part of the speaker : 
 hence they are given to phrases significative of au- 
 thority, command, confidence, and satisfaction. A 
 downward movement is, as we have seen, the sym- 
 bol of a pause in the sense, at the place of a ca- 
 dence : and consequently is well suited to express 
 those sentiments which have some affinity with that 
 state of repose ; such as resignation, despair, and 
 the condition of mind that attends fatigue. 
 
 Of the Wave of the Semitone.— I spoke of the 
 simple rise and fall of the semitone : but its return 
 
 3 M 
 
450 0F THE VOCAL SIGNS 
 
 or contrary flexure, into the wave, is by far the 
 most common form of this expressive element. In- 
 deed I do not know a symbol of speech which re- 
 presents so many and such various emotions : the 
 specific distinction of the cases, depending on the 
 phraseology or term in which the emotion is con- 
 veyed. The wave of the semitone differs from the 
 simple interval, in the dignity of the expression, 
 derived from its extended quantity ; and in its en- 
 hanced degree, from the repetition of the element 
 in a contrary direction. Sorrow, grief, vexation, 
 chagrin, repining, contrition, impatience, peevish- 
 ness, compassion, mercy, commiseration, condo- 
 lence, pity, love, fondness, supplication, fatigue, and 
 pain — with all the difference which may exist be- 
 tween them, are still expressed by this intonation 
 of the wave of the semitone. 
 
 Of the Wave of the Second. — The interval of 
 the second, whether in a rising or falling direction, 
 being the symbol selected by nature for plain un- 
 impassioned discourse, we cannot properly call it 
 an element of expression. But as the downward 
 return of this element into the form of the wave, 
 produces a long quantity, it necessarily adds to the 
 second the peculiar effect of that quantity. It is 
 this element, when extremely protracted, which 
 gives to discourse a full character of dignity, so- 
 lemnity and grandeur, without infecting it with the 
 vivid coloring which belongs to the other accidents 
 of quality, abruptness and force, and to the wider 
 intervals of intonation. 
 
 Of the Waves of the Third, Fifth and Octave.— 
 
OF THE PASSIONS. 45 ^ 
 
 The forms of the wave are so various, that it would 
 far exceed the elementary purpose of this work to 
 attempt to enumerate them, and to assort them 
 with the passions. I sufficiently unfolded, in a for- 
 mer section, the principles on which their expres- 
 sions depend. The character of the above-named 
 intervals in their simple form, has a large influence 
 in determining the expression of the wave. The 
 upward vanish of the last constituent of the invert- 
 ed forms has the force of interrogation •, and the 
 downward course of the last constituent of the di- 
 rect, carries the expression of surprise. If then 
 the wave has the same character as the simple ele- 
 ment, without the conjunction of the previous rise 
 or fall, what need is there of its existence 1 
 
 It affords the means of giving long quantity to syl- 
 lables, and consequently of expressing the design- 
 ed emotions with dignity. In the double form, the 
 wave denotes sneer, mockery, petulance, contempt 
 and scorn : but these two last are more conspicu- 
 ously exhibited by conjoining an aspiration with 
 the wave. 
 
 Of the Radical Stress. — From what was formerly 
 said of this element, we know it to be the means 
 for adding increased degrees of impressiveness to 
 all the other symbols of the passions which are ca- 
 pable of receiving it. Though it is more particu- 
 larly employed on immutable syllables, yet when 
 a discourse is in quick time, it is the mode of stress 
 even on indefinite syllables. Anger, wrath, rage, 
 impatience and mirth, are generally uttered in 
 quick time, and therefore take on this mode of 
 
452 0F THE VOCAL SIGNS 
 
 stress, in emphatic places. It is employed on the 
 imperative words of authority; for it has among the 
 modes of stress, a degree of positiveness, similar to 
 that which is expressed by the downward inter- 
 vals, among the modes of intonation. 
 
 Of the Median Stress. — The radical stress was 
 shown to be the means for enforcing the sentiments 
 which employ short syllables. The median stress 
 is the mode of enhancing the power of those which 
 demand a long quantity, together with a smooth 
 utterance. I speak of the qualification of smooth- 
 ness, since long quantities do sometimes for particu- 
 lar purposes take on the abrupt opening of the radi- 
 cal, or the final jerk, if I may so call it, of the van- 
 ishing stress. The states of mind which call for 
 the median force, are those represented by the 
 waves of the various intervals ; particularly the 
 dignity of the wave of the second, and the plain- 
 tiveness of that of the semitone. Of these kinds 
 are awe, respect, deliberation, solemnity, supplica- 
 tion, and reverential submission. It is likewise to 
 be remembered that this median stress may be ex- 
 ecuted on a simple rise or fall, when it is unusually 
 prolonged ; thus the downward vanish of surprise 
 may sometimes be invested with this mode of force. 
 Of the Vanishing Stress. — So much was said of 
 this stress in a former section, and its expression 
 was so particularly noticed, that it is unnecessary 
 to repeat the detail here. It is a mode of force far 
 inferior, in point of dignity, to the last mentioned 
 element; but it is sometimes highly effective on 
 those words which carry the passions, represented 
 
OF THE PASSIONS. 453 
 
 by the semitone and higher intervals, such as grief, 
 surpr ise and interrogation : for by impressing the 
 extremes of these intervals on the ear, it points out 
 their several ranges more distinctly than they are 
 marked by the natural vanish. 
 
 Of the Compound Stress. — I said formerly that 
 this Compound Stress is scarcely distinguishable 
 from the thorough stress and the loud concrete. 
 These three functions may therefore be embraced 
 under the present head. They are indeed separate 
 functions of the voice ; but in reference to any prac- 
 tical application, it is unnecessary to allot different 
 expressions to them. When set on immutable syl- 
 lables they are identical in effect, with the radical 
 and the vanishing stresses ; nor does their expres- 
 sion differ greatly from that of these elements, even 
 when heard on longer quantities. Whenever the 
 compound stress is clearly made out, which may 
 be the case on syllables unusually protracted, the 
 expression will be more notable than that of either 
 of its two constituent stresses. The three modes of 
 force which are here classed together may be con- 
 sidered as the proper symbols of energy or violence 
 of passion. 
 
 Of the Tremor of the Second and higher Intervals. 
 — The tremulous movement, when applied to the 
 intervals here named, serves to designate a number 
 of sentiments considerably different from each oth- 
 er. And here again we have an instance of a prin- 
 ciple extensively operative in the expression of 
 the passions : for these sentiments, though set with- 
 in the same general-frame of intonation, have their 
 
454 0F THE VOCAL SIGNS 
 
 specific divisions marked by the conventual terms 
 which describe them. The tremor of the second 
 and higher intervals is shown in the expression of 
 exultation, mirth, pride, haughtiness, sneer, derision 
 and contempt ; and in effecting these expressions 
 this element may move through the simple rise or 
 fall, or through the wave. 
 
 Of the Tremor of the Semitone. — The tremulous 
 movement through the semitone on a tonic element, 
 is the crying voice. When therefore it is used 
 in syllabic intonation, it gives a sign of deeper dis- 
 tress to the sentiments which are associated with 
 the simple semitone. These have already been 
 enumerated, and need not now be repeated. All 
 of them embrace a greater or less degree of the 
 condition of suffering ; and though they may differ 
 as widely as the several emotions of grief, tender- 
 ness and supplication, each of which carries the 
 semitone, yet when they are highly strained or be- 
 come excessive, they naturally and alike fall into 
 the tremulous intonation. 
 
 Of the Aspiration. — The reduction of the pure 
 quality of the tonics and subtonics by a commixture 
 with the aspirated element, produces a symbol of 
 many and differing states of mind. It always accom- 
 panies the force of vociferations ; and is the faint 
 sign of secrecy. It is joined with the loud utterance 
 of all energetic sentiments, when they are not strain- 
 ed into the falsette. It also indicates the emotion of 
 earnestness, curiosity, horror, and surprise. I did, 
 on a former occasion, assign the expression of con- 
 tempt, sneer and scorn to the wave, particularly in 
 
OF THE PASSIONS. 455 
 
 its unequal form. But even this does not carry the 
 full measure of these passions, if the aspiration 
 is not mingled with the intonation : and it is still 
 further to be remarked that when the aspiration is 
 joined with any form of the wave, and with any of 
 the simple upward or downward intervals, it com- 
 municates to them the power of representing these 
 last named passions. 
 
 Of the Guttural Emphasis. — This is a snarling 
 element, and therefore belongs to all those states 
 of mind which are classed under ill-humour ; in- 
 cluding dissatisfaction, peevishness and discontent. 
 But it likewise appears in the strained ferocity of 
 rage and revenge, and is the common sign of sha- 
 ming rebuke. It also has an import of sneer, con- 
 tempt and scorn. 
 
 Of the Emphatic Vocule. — This is purely an ele- 
 ment of force, and in the particular words which 
 admit of it, is the sign of anger and rage, and of ve- 
 hemence in any passion. It is however of rare oc- 
 currence ; and being almost needless in cultivated 
 elocution, ought perhaps to be even more rare than 
 it is. 
 
 Of the Broken Melody. — The current melody has 
 been represented as a succession of intonations, em- 
 ploying every species of interval both in concrete 
 and in radical pitch-, and intersected by pauses, 
 applied as often as the sense, or a call for vivid de- 
 lineation may require. But there are particular 
 states of mind which over-rule the occasions, and 
 grammatical proprieties of pausing, thereby pro 
 ducing notable rests after very short phrases, and 
 
456 OF THE VOCAL SIGNS 
 
 even after every word of a sentence, without refer 
 ence to the connexions of syntax. I use the term 
 Broken Melody, to signify those interruptions in 
 utterance, which the excess of certain passions 
 sometimes creates. 
 
 The nature of this function will be best explained 
 by giving the physiological analysis of it. 
 
 In the section on the mechanism of the voice, I 
 
 spoke of two modes of expiration under which 
 
 speech might be made : one resembling an act of 
 
 sighing, by which all the breath is sent forth in a 
 
 simple impulse of short duration, and within which, 
 
 scarcely more than one or two words can be uttered 
 
 with ease. The other mode of expiration is used 
 
 in common speech. Within it, we are able to utter 
 
 whole sentences, by a frugal use of the breath, in 
 
 giving out small portions at a time, for the successive 
 
 syllables. Since the former of these modes, seems 
 
 to draw off all the contents of the lungs, if I may 
 
 so speak, it might be called the Exhausting breath : 
 
 and the latter from its being held back to be dealt 
 
 out as the syllables require it, may be called, for 
 
 the want of a better name, the Holding breath. 
 
 I said formerly in speaking of the orotund voice, 
 that an infant learns to speak in the exhausting 
 breath. It is likewise the mode of speech when one 
 is " out of breath," from exercise : and it appears in 
 the extreme debility of disease. Hence in these 
 cases, there is often not more than one syllable 
 heard in a single act of expiration. The breath on 
 which the tremulous movement of laughter and cry- 
 ing is executed, is of this kind. I know the tremor 
 
OF THE PASSIONS. 457 
 
 makes a slight difference in these cases : but if the 
 reader will for a moment feign a laugh and a cry, 
 he will quickly feel that he laughs and cries him- 
 self, if I may so speak, to the bottom of his breath ; 
 and that he cannot without an inhaling pause, con- 
 tinue the tremulous function, for that prolonged 
 period, through which he can carry common speech. 
 This state of the respiratory organs which occurs 
 in the exhausting breath, is produced by a high de- 
 gree of certain feelings. Thus the operation of 
 deep distress mvoluntarily creates this kind of ex- 
 piration, in the form of a sigh. Now when we are 
 under the influence of bodily pain or mental suf- 
 fering, the words which come forth, will be borne 
 upon the exhausting breath ; that is, there will be 
 but one, or at most two or three words to one act of 
 expiration: and thus by the intersections of repeated 
 pauses the broken melody will be produced. It 
 will be the same if an excess of feeling should blend 
 the tremor of laughter or crying, with discourse : 
 for by the above described nature of these functions, 
 the melody must be interrupted by the frequent 
 occasions for reparation of the breath. It may be 
 asked — why the breath may not be rapidly recov- 
 ered, as it is in the momentary stops of discourse, 
 which are sometimes scarcely perceptible. The 
 reason is this: In the holding expiration of common 
 speech, the respiratory function does not discharge 
 the whole of the air from the lungs j such a quantity 
 only is gradually spent in the utterance of words, 
 as may be restored by a quick act of inspiration. 
 But in the process of speaking by the exhausting 
 3 N 
 
458 OF THE VOCAL SIGNS 
 
 breath there is an expulsion of nearly all the air 
 which can be discharged by an extreme contraction 
 of the chest, and the subsequent repletion of the 
 lungs requires a degree of expansion and a depth 
 of draught which occupy the time of the protracted 
 pauses of the Broken melody. 
 
 It is not necessary to speak of the phrases of in- 
 tonation, which are used in the melody here con- 
 sidered. Every species may be employed, though, 
 from the separations, the relationships of the phrases 
 are not so perceptible nor so important in practical 
 effect, as in the more connected sequences of the 
 common current melody. 
 
 I have thus endeavoured to open the way to a 
 future description of the various elements of pas- 
 sionate utterance, and a systematic arrangement of 
 them. I have regarded them in an insulated light, 
 though not one is ever heard alone ; and in some 
 instances many are combined in a single act of ex- 
 pression. Indeed if after this elementary represen- 
 tation, the practical uses of the voice be considered, 
 it will be found that these elements are employed 
 in all states of combination which do not imply a 
 contradiction. Thus a feeble and a forcible sound 
 cannot exist in the same impulse of utterance, but 
 either of these conditions may be conjoined with 
 any of the affections of pitch or quality or time. No 
 one interval of pitch can be, in the same syllabic 
 impulse, an other interval ; but any movement of 
 pitch, may as occasions require, be made simulta- 
 neous in execution with any quality or time or 
 stress. So in the wave, the intervals of pitch 
 
OF THE PASSIONS. 459 
 
 may be consecutive in all possible ways *, and these 
 ways whether in interval or arrangement may be 
 conjoined with all the accidents of the voice, not at 
 variance with their definition. 
 
 It is then by the use of the few elements which 
 have been enumerated, that the apparently infinite 
 effects of speech are produced. But the preceding 
 analysis of the vocal functions and the reduction of 
 their nomenclature to the terms of the above named 
 elements, must at once seem to put the inquirer 
 in possession of the means for surveying the whole 
 extent of this supposed infinity; and by causing him 
 to think he sees the very number of the possible 
 combinations, to change his vulgar wonder over 
 obscurity, into an intelligent admiration at the com-* 
 prehensive but still measurable constructive-pow- 
 ers of a few associable constituents. 
 
 The reader may now see why I have limited the 
 range of this work to the consideration of elements, 
 in their separate state ; or have only regarded a 
 few of their combinations. To give a full enumera- 
 tion of every possible group of the accidents of 
 speech, would be beyond the aim of a philosophical 
 elucidation of this subject. Nor indeed would it be 
 necessary in a practical point of view : for if the 
 practice is analytical over the speech of another, 
 the duty in this case is, to resolve the combination 
 into its parts. And if, on the other hand, one should 
 be desirous of forming any combination to express 
 certain states of mind, he can never be at a loss, 
 after a proper description of the power of all the 
 
460 OF THE VOGAL SIGNS OF THE PASSIONS. 
 
 individual functions, to join those which are neces- 
 sary for the full expression of his emotion or thought. 
 From a review of the elements, and a reference 
 to the vast variety of the states of the mind to be 
 represented in speech, we must be struck with the 
 disproportion between their respective numbers. 
 Some of the passions, are expressed by the same 
 mode of intonation : but there are other conditions 
 of mind, which as far as I know, have no particular 
 symbols among the elements. These must be indi- 
 cated, by an arbitrary language, in the common 
 phraseology of discourse. Thus a person may on a 
 mere tonic element which in itself conveys no idea, 
 represent his grief or pain, by simply carrying that 
 element through the interval of a semitone : or he 
 may mark an inquiring state of mind by its move- 
 ment through the concrete fifth : or his anger by its 
 abrupt explosion. But there is no element by which 
 he can inform us of his vanity, his fortitude, his re- 
 morse or his generosity : these must be shown in 
 action, or, be described by words. There are in- 
 deed resources enough in the combinations of the 
 elements for these purposes, but the associations 
 have not been made in the instinctive ordinations 
 of expression. 
 
SECTION XLVII. 
 
 Of the Mode of Instruction in Elocution. 
 
 I have thus far set before the eye of philosophy 
 a copy of the designs of nature, in the construction 
 of human speech. It is necessary, if I may still carry 
 on the figure, to furnish at the same time a " work- 
 ing plan," to him who may wish to build up for 
 himself a fame in Elocution. 
 
 If the reader is one of those who from disappoint- 
 ment in higher hopes, have at last resolved to re- 
 ceive their station in life, through the suffrages of 
 ignorance, and who in their accomplishments are 
 careless of rising above the discernment of their 
 constituents, let him pass by this section. A little 
 will serve his purposes ; and the instinct of his am- 
 bition, without the wise designs of human assiduity, 
 will enable him to be easily the file leader of his 
 herd. But if he believes in that fine induction of 
 the Greeks that " good things are difficult ;" if he 
 sees the successful pretender, still restless and dis- 
 satisfied, in having made captives only of the igno- 
 rant ; if he desires to work for high and hard mas- 
 ters, and to take his ultimate repose by the side of 
 their ever during approbation, he may receive from 
 the following pages, some assistance towards the 
 execution of a design to acquire the art of reading 
 well. 
 
462 OF THE MODE OF 
 
 Can Elocution be taught 1 This question has 
 heretofore been asked through ignorance. It shall 
 hereafter be asked only through folly. 
 
 The sceptics on the subject of the practicability 
 of teaching elocution, appear under two classes. 
 The one is a simple sort, who knowing that the 
 ways of the voice have never been traced, believe 
 they never can be reduced to assignable conditions. 
 This opinion is grounded on the idea that the ex- 
 pressive effects of speech consist in an occult some- 
 thing which cannot be discovered, but which is 
 neither high nor low, loud nor soft ; in short is not 
 any of the known accidents of sound. They who 
 thus confuse the plain revelation of nature, seem to 
 have such an opinion on expression in speech, as a 
 school-girl has on the expression of the countenance 
 — That it is not a palpable effect of the physical 
 form of the face in its state of rest, and in its va- 
 rious motions, but that it is a kind of immaterialism, 
 which darts from the eve, and breathes from the 
 lips : a " soul," as it were in the face, which is yet 
 " neither shape nor feature." 
 
 The scepticism of the other class savours of 
 something rather worse than simpleness. It pro- 
 mulgates the idea, that accomplishments in elocu- 
 tion are certain incommunicable gifts of genius, and 
 that the happy possessor of them is the production 
 of one of nature's rare " moments of enthusiasm." 
 Such sleight of tongue, to hide the plain agency of 
 natural causes, is heard not only from those who 
 are vain of common-place endowments, but, if bi- 
 ography is to be believed, has not always been dis- 
 
INSTRUCTION IN ELOCUTION. 463 
 
 dained by those who possessed attributes sufficient 
 to set them among the Dii Majorum Gentium of 
 the Stage. He who has great powers in an art, 
 knows well that he is distinguished from the thou- 
 sands that surround him, by the results of his in- 
 dustry, and his singleness in purpose aud zeal : and 
 that what he has accomplished may be accomplish- 
 ed by others \ nor does he withhold instruction, in 
 the fear of making rivals for himself, since he knows 
 that if it is necessary afterwards, he can always 
 excel them. 
 
 There is still another class who are too sensible 
 to believe in this mystical doctrine of the inspira- 
 tion of genius, who yet think the art of reading 
 well can be taught only by imitation. It is true, 
 elocution has furnished instances of great ends be- 
 ing attained without a knowledge of all the nicety 
 of means ; and this may prove that it is less impor- 
 tant and practical to direct another what he should 
 do, than to give him an example of it. But the an- 
 alysis which has been made will now enable a teach- 
 er to give the memorable description of what is to 
 be done ; and thereby to furnish the pupil with pur- 
 pose as well as example. 
 
 I have thus named the objections, sometimes 
 made against an attempt to teach the uses of the 
 voice, by communicable principles. I shall not con- 
 fer importance on them by refutation. In so doing 
 I should only record some vain opinions of this age, 
 which a future one need not know. At the pre- 
 sent time I am quite unconcerned whether the 
 offered analysis in this essay, and the scheme of in 
 
464 OF THE MODE OF 
 
 struction founded upon it, is to the old school of 
 imitators, either "a stumbling-block or foolish- 
 ness." 
 
 The preceding history will furnish most of the 
 materials for erecting elocution into a science : and 
 we must wait for the nice observations, comparisons 
 and conclusions of taste, to frame a body of rules 
 for directing the best use of these materials. Our 
 analysis will not only afford the means of reducing 
 the vague and arbitrary fashion of the voice to that 
 standard of general principles, to which the fine 
 arts may be brought : but it opens a new field on 
 the subject of instruction. All arts which have been 
 separated into their elemental parts, have been re- 
 composed into grammatical schemes for teaching 
 by those elements : and it now becomes us to try 
 what may be the advantages, as to economy of time, 
 and precision of execution, from following an ele- 
 mentary plan, in communicating a knowledge of 
 the nature and accomplishments of human speech. 
 
 Language was long ago analyzed into its alpha- 
 betic elements. Wherever this analysis is known, 
 the art of teaching language, has, with the best suc- 
 cess, been conducted upon the plan of rudimental 
 arrangement. Now, I know that if other accidents 
 of speech, besides that of pronunciation, be taught 
 by this manner of resolution, the benefits of in- 
 struction will be no less attained than by the mode 
 of alphabetic analysis. If we teach a child in this 
 way, in order to make him acquainted with the 
 simple sounds of speech, and to give him a facility 
 and distinctness in the pronunciation of them ; what 
 
INSTRUCTION IN ELOCUTION. 455 
 
 reason can be suggested why a clear perception of 
 the varieties of stress, of time and of intonation, 
 and a facility in managing them in current utterance 
 should not be acquired in a similar elementary man- 
 ner. 
 
 Good reading must consist in having all the vo- 
 cal elements under the most complete command ; 
 and in the proper application of them for the pro- 
 duction of sense, vividness of delineation and ele- 
 gance of execution. I pass by in this section, all 
 notice of the elements as expressive of the various 
 feelings or states of the mind : and shall here speak 
 only of the means of furnishing a pliant material 
 whenever the mind may require its use. 
 
 If I were a teacher of elocution, I would form 
 into a didactic system, the mode of practice by 
 which the present work on the voice was accom- 
 plished. I would assign to my pupil a task under 
 the following heads. And first — 
 
 Of Practice on tlie Alphabetic Elements. — Not- 
 withstanding we are all taught the alphabet, we are 
 not taught the true elements of speech : I would 
 therefore require the pupil to exercise his voice on 
 the real constituents, as they are sounded in a strict 
 analysis of words. In the present school-system 
 of the alphabet, it is true, all the vowels and one 
 of the consonants, are called as they are pronounc- 
 ed in combination : but in that system many vow- 
 els have no peculiar symbol, and nearly all the con- 
 sonants are heard as syllables, not as elements. If 
 b and k and Z, (and what I say now will apply to 
 all the consonants,) be sounded as respectively heard 
 3 o 
 
466 OF THE MODE OF 
 
 in " 6-ay" and " fc-ing" and " Z-ove," that is, if we 
 pause after these several initial elements have es- 
 caped the organs, we shall have the real elemental 
 constituents of the syllables, instead of the com- 
 pounds " be/' " kay" and " ell" as they are univer- 
 sally taught. 
 
 I would have the first lesson then to consist of 
 the thirty -five elements, in order to ensure a true 
 and easy execution of their unmixed sounds. It 
 may be asked, whether a careful pronunciation of 
 words in which these elements, though combined, 
 must still be heard, would not give the required 
 facility 1 I believe it would not : and I am sure it 
 would not so easily effect it. When the elements 
 are pronounced singly, they may receive a concen- 
 tration of the organic effort, which gives them a 
 clearness of sound and a definite outline, if I may 
 so speak, at their extremes, that makes a fine pre- 
 parative for a distinct and forcible pronunciation in 
 the compounds of speech. I venture to assert that 
 no one who has neglected this mode of alphabetic 
 practice, is able to give the guttural murmur of the 
 &, d and g, with that force and fulness, and for that 
 length of time, which will be found necessary on 
 occasions which call for the higher graces and more 
 striking expressions of elocution. 
 
 But there is one element, which may, by sepa- 
 rate utterance, with facility be improved to a de- 
 gree that cannot be reached in the conjoined mode 
 of pronunciation. I mean the sound of " r." 
 
 R is a modification of the vocality of the subto- 
 nics, by the application of the tongue to the roof 
 
INSTRUCTION IN ELOCUTION. 4(57 
 
 of the mouth. This letter denotes two different 
 sounds : one made by the simple continued pres- 
 sure of the tongue, the other by a slap against 
 the roof of the mouth, at the moment of the pro- 
 duction of the vocality. The r produced by the 
 first organic combination, differs very little from 
 the short tonic err, and is called the smooth r. That 
 formed by the smart percussion of the tongue, is 
 called the rough or ringent r. It has a distinctness 
 of character and a body of sound, not possessed by 
 the other : and if my metaphor could be appreciated 
 I would say, the parts concerned in its formation, 
 seem to have a firmer grasp of the breath. But it 
 must be borne in mind that the snarling or ringent 
 r, even with its vigor and satisfactory fulness, will 
 be agreeable only when it consists of one, or at 
 most % two or three strokes and rebounds of the 
 tongue : for if it should become a continued vibra- 
 tion, the effect will be offensively harsh, except it 
 be expressly designed for a rough or energetic ut- 
 terance. The perfect r for the common purposes 
 of distinct and impressive discourse should consist 
 of a single slap and retraction. It can be made in 
 this manner : but it must be done through long 
 trial, on the solitary element. 
 
 Besides the difficulty of acquiring the strength 
 and finish of this separate pronunciation, there are 
 combinations of the r with other elements, which 
 can be effected in an agreeable manner only after 
 long practice. It can not be doubted, that the sub- 
 tonics and atonies, which employ the tongue, will 
 not readily unite with an element, requiring a quick 
 
468 0F THE MODE OF 
 
 remove of that member to an other part of the 
 mouth, even when the r is produced by the gen- 
 tle pressure of the tongue. But the difficulty of 
 transition is much increased, by the velocity neces- 
 sary when the ringent r is made. Let us, for in- 
 stance, suppose a syllabic step from d to r, as in 
 the word " dread. '' Now, as the formation of " d," 
 requires the tip of the tongue to be applied to the 
 upper fore-teeth, if the r is taken smoothly, the union 
 of these contiguous elements may be made with- 
 out much effort, by retracting the tongue to its place 
 for forming the r. But if we wish to roughen the 
 word by the ringent r, the tongue is to be removed 
 from the teeth, and to be brought down towards 
 its bed, in a kind of dra wing-off, for the purpose of 
 making a sudden impulse on the roof of the mouth : 
 and it calls for both exertion and skill, to accom- 
 plish these successive movements with the quick 
 coalescence which syllabic utterance requires. 
 
 There is also considerable difficulty in the attempt 
 to unite the ringent r with some of the tonics-, and the 
 cause will be found to be analogous to that which is 
 operative in the above described combination. 
 
 When the ringent r is set before the tonics, the 
 coalescence is easy, but it is not so when it follows 
 certain of these elements. If the tonics are of long 
 quantity, there is only the slightest difficulty ; as in 
 " glare," " war," " far," " peer," " mire," " our," 
 " your." But if the natural short-tonics err, end, 
 and i-n, arid most of the other tonics, when pro- 
 nounced short, precede the ringent r, there is not 
 only a considerable hiatus, but a change of the ele- 
 
INSTRUCTION IN ELOCUTION. 469 
 
 mental sound takes place ; and that peculiar aspi- 
 rated utterance is heard, which forms one of the 
 characteristics of the speech in the natives of Ire- 
 land. This will be perceived upon pronouncing 
 the following words with the ringent r : interpreter, 
 world, irritate, intercourse. The cause of the diffi- 
 culty, and of the change of sound, will appear in 
 the following explanation. 
 
 The tonic sounds, though in greater part laryn- 
 geal, are, in some cases, modified by the agency 
 of the tongue and lips. If their formation be ob- 
 served with respect to the first of these organs, it 
 will be seen that they employ it in varying posi- 
 tions, from the deepest depression in its bed, to a 
 near approximation to the roof of the mouth. The 
 place of the tongue in the utterance of a-we is the 
 lowest : and in ee-1, e-nd and in, it is the highest. 
 It will be found, if the tongue be depressed whilst 
 the effort in these last instances is going on, that the 
 short tonic sound is corrupted into a semi-aspira- 
 tion. When a-we precedes the ringent r, the 
 tongue is in a proper position to make its percussive 
 impulse : and the combination is both easy of ex- 
 ecution and agreeable in effect. 
 
 If a short tonic element is followed by the r, it 
 is necessary to depress the tongue, to give it some 
 swinging-way, if I may so speak, for the purpose 
 of gaining the velocity of percussion : and the aim 
 to effect this in the quickest time, produces the 
 straiued effort of the pronunciation. But with every 
 endeavour, there is still a perceptible interval be 
 tween the change of position. And as there is no 
 
470 OF THE MODE OF 
 
 call to arrest the vocality during the change, the 
 depression of the tongue, for effecting the percus- 
 sion of the r, changes that vocality into a partial as- 
 piration, agreeably to what was said above. This 
 mingling of the aspiration with the sound of the 
 short tonic, and of the r, produces the offensive ef- 
 fect in the utterance of these conjoined elements. 
 
 The difficulty of executing the r under the cir- 
 cumstances above-mentioned, will, I fear, be insur- 
 mountable to those who are not persuaded, that the 
 perfection of all their accomplishments must at last 
 be measured by their ingenuity in the contrivances 
 of trial, and the enterprises of their unwearied 
 practice. To those who know that fruitful ambition 
 is the growth of wise docility of mind, and heart- 
 felt resolution, it is enough to be told that it is with- 
 in the capabilities of time and exertion. How long 
 it may take to overcome the difficulties here alluded 
 to, must depend on natural facility of organ : nor 
 need it be told to those who deserve instruction and 
 will have success. To such spirits, it is enough that 
 it may be done. 
 
 An exact pronunciation of the elements accord- 
 ing to the standard of the day, is not a matter of 
 nicety as regards formality of fashion, or even beau- 
 ty of effect 5 it has a claim of greater dignity. 
 
 If ideas are to be communicated with precision 
 and strength, it should be by well-known words. 
 They should not be peculiar or striking by length, 
 nor by hiatus of utterance. There should be no re- 
 markable contrast between them, no attractive simi- 
 larity in their sound; nor indeed any thing in the 
 
INSTRUCTION IN ELOCUTION. 47 1 
 
 language which might allure attention from the 
 idea conveyed by it. A writer who frequently 
 employs uncommon words, never has vividness or 
 strength of style. To ensure the utmost perfection 
 of these qualities, sounds should slip into the mind, 
 if I may say it, without the notice of the ear. Now 
 what is here said on the distractions produced by the 
 novelty of words, applies equally to the pronuncia- 
 tion of the alphabetic elements j for the least devia- 
 tion from the assumed standard converts the listener 
 into the critic : and I am surely speaking within 
 bounds when I say, that for every miscalled ele- 
 ment in discourse, ten succeeding words are lost to 
 the greater part of an audience. 
 
 I have therefore recommended a long continued 
 practice on the separate elements, with a view to 
 acquire that command which will not only contri- 
 bute to the elegance of speech, but which at the 
 same time may help to remove all obscurity from 
 the oral picture of sense. 
 
 Of Practice on the Time of Elements. — I have 
 said enough in former pages on the necessity of a 
 free command over the time of utterance, in order 
 to effect the high purposes of elocution. 
 
 When the true pronunciation of the elements is 
 acquired, the pupil is not, after the usage of the 
 primer, to pass at once to their combinations. They 
 appear in those combinations with different degrees 
 of duration : and an exercise of the voice, in the 
 ways of quantity, upon individual elements, is equal- 
 ly with the subject of the last head, productive of 
 a skilful management, which cannot be so well or 
 
472 OF THE MODE OF 
 
 so easily effected in the coalescing form of common 
 discourse. Let the pupil then consider the alpha- 
 betic elements as a kind of gammut, on which he is 
 to learn not only the names of the notes, but all 
 their varieties of time. Strange as the reason may 
 seem, the power of giving length to syllables is so 
 rare among speakers, and so difficult to acquire, 
 that I thought it proper to draw attention to this 
 elementary mode for facilitating the attainment of 
 it. 
 
 The prolongation of the atonies is of little conse- 
 quence. But let the student reiterate his practice 
 on the touics and subtonics, until he finds himself 
 possessed of such a command over them, that he 
 may, at will, give any required quantity to their 
 syllabic combinations. 
 
 It may be particularly remarked that the ele- 
 ments, 6, d and g, admit of some quantity, through 
 the prolongation of their guttural murmur : but a 
 strenuous practice is necessary to render this useful 
 in the purposes of time. When the r, is to be pro- 
 longed, and the rapid iteration would be inappro- 
 priate, the smooth, and feebly formed element is 
 to be employed 5 since the perfect percussive r, 
 made by a single stroke and rebound of the tongue, 
 is necessarily short. £, when alone and prolonged, 
 is a sign of contempt. In syllabic combination it 
 is offensive when much extended in quantity. If 
 made in its shortest time it does its part as an ele- 
 ment, and loses much of the character of the hiss. 
 Let the pupil therefore practice the shortest quan- 
 tity on this element, by abruptly terminating the 
 
INSTRUCTION IN ELOCUTION. 473 
 
 breath, or by separating the teeth at the moment 
 its sound is heard ; for this at once cuts it short. 
 
 Of Practice on the Vanishing Movement. — The 
 consideration of this point should have been united 
 with the last. For if an attempt to prolong the 
 elements, be not made with a designed reference 
 to the equable concrete of speech, it will be very 
 apt to run into the note of song. The difference 
 between these two modes of intonation is readily 
 perceptible to a musical and attentive ear, even 
 when made upon a single tonic, by a comparison 
 of their respective effects with the well known im- 
 pressions of current speech and of song. Let each 
 individual act of intonation be assumed as the be- 
 ginning of a series : if it be the equable concrete, 
 it will not seem to be the opening of a song. The 
 pupil then without confusing his ear by other par- 
 ticulars, should exercise himself in the natural radi- 
 cal and vanish, on all the extendible elements. An 
 unerring power of execution in this function, how- 
 ever long the quantity may be, will always ensure 
 to speech, an entire exemption from the chant of 
 song. 
 
 In this elementary intonation of the equable con- 
 crete, particular attention should be paid to the 
 structure of the vanish. The pupil should there- 
 fore endeavour to give it that delicate expiration 
 which may render its limit almost imperceptible. 
 We often lean the ear in delight, if I may say so, 
 over this smooth knitting of sound with silence, by 
 singers : and the master in elocution shall hereafter 
 know, that one of those graces of speech which he 
 3 p 
 
474 OF THE MODE OP 
 
 could never name, and thought " beyond the reach 
 of art," consists in that attenuation and close of the 
 syllabic impulse which are here recommended as 
 a lesson for a school boy. 
 
 Of Practice on Force. — It is scarcely necessary 
 to say how loudness or strength of voice is to be 
 acquired. It is not essential in discipline that the 
 elements should be uttered separately with regard 
 to force : since after the other accidents are brought 
 under command, the practice on loudness may be 
 effected in the current progress of discourse. Still 
 I believe the ends of instruction would be some- 
 what easier attained by the elementary process in 
 this particular. No one who has not observed the 
 influence of loud speaking or vociferation, on the 
 nature of the voice, can have an idea of its improv- 
 ing effect. I have before said that it was the arti- 
 ficial mode of producing the orotund quality. It 
 takes the voice from the meagre mincing about the 
 lips, and transfers it, at least in semblance, to the 
 back of the mouth or to the throat. It imparts a 
 grave fulness to utterance ; and by creating a 
 strength of organ, gives confidence to the speaker, 
 and an unhesitating facility in all the moderate ex- 
 ertions of speech. 
 
 Of Practice on Stress. — However we might pass 
 by the elementary exercise on loudness, I must 
 urge its importance, to the subject of stress. There 
 is a nicety of analysis in this matter, which by a 
 beginner will be definitely recognised, and conse- 
 quently can become familiar, only through the de- 
 
INSTRUCTION IN ELOCUTION. 475 
 
 liberate practice and unembarrassed observation, 
 afforded by trials on the separate elements. 
 
 The reader recollects that the radical stress is 
 made with emphatic strength only on the tonics; 
 still an attempt to perform this function on the sub- 
 tonics is not to be entirely neglected. The full 
 power of the radical abruptness is obtained by open- 
 ing the elements into utterance by a sort of cough- 
 ing explosion. 
 
 For the median stress or swell, no particular di- 
 rection is required. It is generally employed on 
 the wave, and is therefore connected with the prac- 
 tice on pitch. 
 
 The vanishing stress may be practised by assum- 
 ing in speech something like the effort of hiccough, 
 for the major intervals of the scale, if I may so call 
 them ; and something like sobbing for the minor in- 
 terval, or the semitone. 
 
 It is not necessary to speak of exercising the 
 voice on the compound stress, the thorough stress, 
 and the loud concrete. There are, indeed, philo- 
 sophic points, but they are of little importance in 
 a practical view. 
 
 Of Practice on Pitch. — The scale of pitch which 
 is used in this essay, is that long ago formed and 
 named in music. It was described in the first sec- 
 tion. The order of its proximate intervals and the 
 span of its wider transitions, must be learned from 
 an instrument, or the voice. There is now scarce- 
 ly a house which will not furnish a piano-forte, to- 
 gether with a school girl, to exemplify the discrete 
 series of the musical scale. With a few days atten- 
 
476 0F THE MODE OF 
 
 tion to the effect of the various rising and falling 
 transitions, a pupil who has the least musical ear, 
 will be able to execute the same successions in his 
 voice, and thus to recognise the concrete pitch and 
 the change of the radical, when they are made on 
 elemental or syllabic utterance. 
 
 When the pupil has passed this preliminary step, 
 I would have every interval of pitch, both in an up- 
 ward and downward direction, and in concrete 
 movement and radical change, practised on every 
 tonic and subtonic element. 
 
 The semitone is easily taught, and the scholar 
 may always hit its interval by affecting a plaintive 
 utterance. Let him devote some time to putting 
 it through all the elements, and he will thereby 
 render it readily obedient to the sentiments which 
 require its expression, 
 
 I must negatively describe the effect of the sim- 
 ple and uncolored interval of the second, by saying, 
 it is not the semitone, with the plaintive character 
 of which we may now suppose ourselves well ac- 
 quainted. Neither is it the third or fifth or octave, 
 also well known as the sign of interrogation. Nor 
 is it the wide downward movement of surprise. If 
 in syllabic utterance, we produce none of these ef- 
 fects, we may be sure we have gone through the 
 simple second of the plain diatonic melody. Let 
 the pupil practice this interval on all the tonics and 
 subtonics, and he will be able always to command 
 the constituent of this plain melody ; nor will he 
 be in danger of infecting its appropriate character 
 by the whine of the semitone, the sharp inquisitive- 
 
INSTRUCTION IN ELOCUTION. 477 
 
 ness of the fifth and octave, or with the more offen- 
 sive affectation of the higher forms of the wave. 
 
 That the pupil may ascertain when he is execut- 
 ing a downward interval, let him familiarize his 
 ear to the effect of the last constituent of a cadence, 
 consisting of a gradual descent upon three distinct 
 syllables. This will give him the character of the 
 falling second : and if he studiously repeats the ele- 
 ments with a reference to this movement, he can 
 create nearly as clear a perception of the peculi- 
 arity of the interval, as he has of the sounds of the 
 elements themselves. When he has prepared him- 
 self with this downward vanish, he may contrast it 
 with the rising second, and he will thus soon become 
 acquainted with the audible character of each. Upon 
 knowing the second, the wider falling intervals 
 may be easily recognised, by continuing the down- 
 ward progress, till the intonation assumes the ex- 
 pression of surprise, without interrogation : the ex- 
 tent of the downward movement through a third 
 or fifth or octave, being proportional to the less or 
 greater degree of that sentiment. When these in- 
 tervals have become familiar let them be compared 
 with the higher intervals in a rising direction. The 
 difference between the intonation of a question, and 
 of surprise, will thus be made manifest. 
 
 I would have the pupil, in going through the ele- 
 ments, play upon them in the movement of the 
 wave. His practice here must be governed by his 
 perceptions of the simple intervals which variously 
 compose its different kinds. The wave of the se- 
 cond is of great importance, in the grave and digni- 
 
478 0F THE MODE OP 
 
 fied cast of the diatonic melody. I cannot by any 
 graphic sign or by direct description bring this func- 
 tion before the reader's attention : but in giving 
 prolonged quantity to indefinite syllables, if the up- 
 ward or downward wider intervals be not used, 
 nor the marked impression of the higher waves, 
 nor the plaintive semitone, the voice will naturally 
 fall into the wave of the second. 
 
 Of Practice on Melody. — One of the most diffi- 
 cult things regarding intonation, is the perception 
 of the radical changes of the second in the suc- 
 cessions of the current melody. If the pupil has 
 a musical ear, he may easily acquire the habit of 
 varying the several phrases in the manner former- 
 ly mentioned. If he has not a nice discernment 
 of sound, nor ingenuity in experiment, he must 
 learn the diatonic progression from the voice of a 
 master. 
 
 The flow of melody cannot be made on single 
 elements, therefore the cultivation of this function, 
 must consist of exercise on connected syllables. 
 The best method is to select a portion of discourse, 
 to keep in mind the manner in which it should be 
 naturally read, and yet to pronounce only the tonic 
 element cf each syllable. In this case, the ear 
 not being embarrassed by the subtonics, the differ- 
 ence between rise and fall in radical pitch, will 
 be more apparent, and consequently the power of 
 avoiding monotony, and of mingling all the phrases 
 in an agreeable variety, more easily attained. 
 
 Of Practice on the Cadence. — The cadence is an 
 important part of the melody of speech. I shall 
 
INSTRUCTION IN ELOCUTION. 479 
 
 in the last section, speak of the faults of speakers 
 on this point. I here propose the form of elemen- 
 tary practice-, by which I mean that the pupil should 
 bear in mind the different modes of intonation for 
 terminating a sentence, and should exercise his 
 voice on one, two, or three elements or syllables, 
 considered as a close. 
 
 II the application of the various species of the 
 cadence, be made with attention to their mode of 
 construction and effect, the command over intona- 
 tion in this particular, will be more completely ac- 
 quired than when the aims of the pupil are con- 
 fused by the ordinary system of imitative discipline. 
 After the proper time has been devoted to the 
 plan here recommended, a speaker will find him- 
 self provided with an ample fund for variety in 
 his periods •, nor will he be likely to incur difficul- 
 ty or awkwardness in the execution of them. 
 
 Of Practice on the Tremor -The tremulous move- 
 ment is one of those functions which should be prac- 
 tised on individual elements. With a knowledge 
 of its construction, the scholar may correct himself 
 in his task, and finally acquire that nicety which is 
 essential to this expressive species of intonation. 
 
 I know well that the habit of laughing and cry- 
 ing does here furnish a wide field of practice ; but 
 it is to be recollected that we laugh and cry, in a na- 
 tural way for our own delight or relief, and not with 
 a view to furnish a picture of these functions to an 
 audience : who will have it done not only according 
 to the sentimental dictates of nature, and within 
 the pale of her truth, but also with that utmost de- 
 
480 OF THE MODE OF 
 
 gree of refinement in mode, and beauty in execu- 
 tion, which nature herself may never find purpose 
 enough to accomplish ; though she may be ready- 
 to acknowledge their entire consistency with the 
 spirit of her laws. 
 
 Of Practice on Quality of Voice. — The quality 
 of voice, or it's particular kind of sound, is capable 
 of improvement ; and the practice in this case may 
 be either on the elements, or on the current of dis- 
 course. But as the quality is most perceptible on 
 the tonic second of a syllable, perhaps the ele- 
 mentary mode is the best plan for instruction. In 
 whichever way the improving exercise is conduct- 
 ed, by it, a harsh quality may be somewhat soften- 
 ed ; a husky voice may be brought nearer to pure 
 vocality ; the piercing treble may be reduced in 
 pitch, and the thin and meagre voice endowed with 
 fulness and strength. 
 
 There is, however, a deception on this subject, 
 which deserves to be noticed here. 
 
 The qualities, or, as they are called, the " tones," 
 of the voice, are said to be unlimited, and like the 
 face, peculiar to each individual. It is true we do 
 not often confound the several voices of persons 
 whom we have heard, however numerous they 
 may be : but the distinct recognition is here made 
 upon the combination of the elements of force, pitch 
 and time, rather than on the single point of quality. 
 The voice of one speaker is characterized by a 
 constant use of the vanishing stress, of another by 
 the radical ; one uses the interval of the third in the 
 current melody, instead of the second. Some em- 
 
INSTRUCTION IN ELOCUTION- \S) 
 
 ploy a general predominance of long — others, of 
 short quantities. In fine", by permutations of these 
 features, an almost infinite number of faces, if I may £ 
 so speak, is given to the boldy'tof out* speech. 
 
 There are as many varieties of quality, as of any 
 one of the accidents, and more than of some : the 
 amount, however, falls far short of the combina- 
 tions of the several accidents with e§ch other. 
 
 We may learn that the quality of a voice is not 
 always its distinguishing mark, by attending to the 
 prolonged note of song ; {or it gives quality alone. 
 In forming a judgment from this simple sound, ex- 
 clusive of any peculiarity of stress or intonation, 
 it is not easy to distinguish voices which would be 
 widely different when heard through a single sen- 
 tence in speech. 1 have indeed no other ground 
 than general observation, for the following calcula- 
 tion •, still I am disposed to think that of the speak- 
 ing voices of a thousand persons, nearly all will be 
 found different through the permuted combination 
 of their constituents. But if the same voices were 
 to give a single prolonged note of song, the differ- 
 ences might be reduced to a few classes. There 
 would be harsh and soft voices heard among them, 
 shrill and bass, clear and aspirated, dull and ring- 
 ing: and to these a few other kinds might be added. 
 Yet even these would, in some cases, be distin- 
 guishable only by a cultivated ear : so that of the 
 whole thousand, above supposed, I doubt if more 
 than twenty points of recognition could be found. 
 to constitute twenty kinds of quality. 
 
 Of the orotund as a kind of voice, I have spoken 
 3 Q 
 
4S2 OF THE M° DE OF 
 
 in a former section ; stating there, the mode of man- 
 aging the respiration, by which the fulness, power, 
 and grave quality of this voice may be attained. It 
 may, perhaps, assist the reader to discover when 
 he is using that mode of utterance which will pro- 
 mote the habit of transferring (as it seems) the vo- 
 cal effort to the chest — by stating that the voice in 
 this case, is apt to pass into the falsette, producing 
 that " double-lung" kind of speech which consists 
 of alternate bass and treble. 
 
 Of Practice in Rayjf&y of Speech. — I have spo- 
 ken of the solemn and aeliberate character of dis- 
 course produced by slow time and long quantity. 
 
 The extreme rapidity of speech may be employ- 
 ed as a means for obtaining a command over the 
 uses of the voice. The difficulty, in this case, of 
 making transitions from one position of organs to 
 another, requires an exertion which tends to in- 
 crease the strength of those organs, and conse- 
 quently enables them to perform all the moderate 
 progressions, without effort or hesitation. I would 
 recommend the utmost possible precipitancy of ut- 
 terance *, taking care not to outrun the complete 
 articulation of every element : and this makes it 
 advisable to set the lesson on some discourse which 
 has long been fixed in the memory, that there may 
 be no embarrassment by the distracting work of re- 
 collection. 
 
 I do not see much advantage in an elementary 
 practice on the aspiration, the emphatic vocule, and 
 the guttural emphasis. There is nothing in the ex- 
 ecution of these elements requiring the exclusive 
 
INSTRUCTION IN ELOCUTION. 435 
 
 attention which the elemental system is meant to 
 secure 5 nor is there any thing to be effected there- 
 by, which might not be accomplished in the current 
 of discourse. 
 
 These are the elements of speech ; and the va- 
 rious uses of them, enumerated throughout this es- 
 say, contribute largely to the force and elegance 
 of utterance. They must be employed. The ques- 
 tion is, whe her they should be learned from an as- 
 semblage, in current discourse, or from a separate 
 and iterated practice on their individual forms. 
 
 I need not propose arguments iif favor of the 
 analytic and elementary system to those, who, from 
 the habit of acquiring the sciences, have formed for 
 themselves economical and effective plans of edu- 
 cation. It is well for all others to take opinion in 
 this matter, for a while at least, upon faith ; and to 
 know that the only reason why elocutionists have 
 never employed this mode, is because they have 
 been ignorant of the subdivided functions of speech. 
 There are too many examples in science, of the 
 useful application of analysis to the purpose of ru- 
 dimental instruction, to suppose that the same means 
 would not have been adopted in elocution, if they 
 had been within reach of the master. 
 
 Not to cite instances from those graver studies 
 which proceed by the alphabetic steps of elemen- 
 tary principles ; and with no intention to shame the 
 " genius"' of an elocutionist and his grammar of 
 imitation, let us go to the Ring and see the Science 
 of muscular attack and defence, an over-match for 
 the best efforts of strength and passion when un- 
 
484 0F THE MODE OF 
 
 directed by the skill of the school. The ^ fancy" 
 have really made no slang-like or degrading appli- 
 
 f cation of the word. Science, as we use the term, 
 means the shortest and most effectual means for 
 
 o reaching the end of an art, drawn from comprehen- 
 sive observation and close analysis : and if it cannot 
 always ennoble what it touches, it takes from it the 
 characteristic of brutality ; which is defined to be 
 the instinctive execution of what is not understood 
 by the agent. Tt is indeed, as I have heard it call- 
 ed, the Science ,pf brachial defence •, and believe 
 me reader, ttiat the elementary training in its posi- 
 tions and motions, carry not more superiority over 
 the untaught arm, than the definite rules of elocu- 
 tion, founded on a knowledge of the elements of 
 the voice, will have over the best spontaneous 
 achievements of passion. 
 
 I beg not to be misunderstood on this point. I 
 do not say that instruction can create the great es- 
 sentials of a speaker : but I know it can improve 
 them. " Passion," says a writer, cc knows more than 
 art." It may know more than art, for it knows be- 
 fore it. But art sometimes knows better than pas- 
 sion. The display of the passions on memorized 
 discourse, is not always addressed to those who are 
 under the sympathetic influence of those passions. 
 When it is so, or when, at moments, the speaker 
 can raise that sympathy, all is right that passion 
 
 » does. When however we are in that state of deli- 
 
 * * 
 
 v Deration which contemplates what passion should 
 be, there arises such comparisons between what 
 we feel ourselves, on the different occasions of ex- 
 
INSTRUCTION IN ELOCUTION. ,j§5 
 
 citement, and what we observe in others when un- 
 der the influence of it, that we are obliged to call 
 up from art, an ideal rule to settle an uncertainty 
 of opinion. . 
 
 I look for no more, from a well devised practical 
 system of elocution, than we are every day receiv- 
 ing from established arts. All men speak and rea- 
 son, for these acts, as far as we know, are as natural 
 as passion •, but the arts of grammar, rhetoric and 
 logic, teach us to do these things in the best man- 
 ner. In short, doing them in the best manner is 
 signified by the name of these arts. 
 
 The subject of elementary instruction, here in 
 view, may be regarded under another aspect. 
 
 There is in man a will, with a system of muscles 
 which the common calls of exercise render obedient 
 to that will, and which thereby produce motion in 
 every direction, not forbidden by the nature of the 
 joints. Now there is scarcely a boy of any physical 
 activity or enterprise, who does not, on seeing: a 
 Circus-rider, desire to imitate him; to catch and 
 keep the centre of gravity through all the varieties 
 of balance and motion. Yet this will not prevent 
 his fall, on a first trial, however natural the tie be- 
 tween his will and all his muscles may be. The 
 truth is, that without long experience, he knows 
 not what is to be done ; or if he knows, he is unable 
 to effect it. With some analogy to this case, there 
 are many persons, not destitute of feeling or pas- 
 sion, who have a free command of the voice, on the 
 common occasions of life, but who like the totter- 
 ing of the unskilled rider, betray a faltering tongue 
 
486 OF THE MODE OF 
 
 if they attempt to imitate the varied power of the 
 long- practiced speaker. When the voice is prepared 
 by elementary trial, the feeling which prompts the 
 expression will find the pliant and strengthened 
 organs ready to furnish a satisfactory and elegant 
 accomplishment of its designs. 
 
 The organs of utterance are capable of a certain 
 range of exertion : and to fulfil all the demands of 
 a complete elocution, they should be carried to the 
 full extent of that capability. Those persons who 
 possess both active and delicate feelings, and who 
 exercise themselves in recitation, are always ap- 
 proximating towards this utmost play of power in 
 the voice, by the ordinary mode of instruction; 
 and do in a course of years effect nearly all that 
 the organs are susceptible of. But the elementary 
 mode here proposed, being founded on an analysis 
 of speech, at once points out to the pupil what is 
 to be attained, and thus invites him to the accom- 
 plishment of every vocal possibility. 
 
 It was not until long after the invention of the 
 bow for the touch of stringed instruments, that an 
 accurate observation of its use was made. A few 
 belonging to that class of mankind who find out, 
 themselves, the best way to effect their object, may 
 have exhibited rare instances of skill with this in- 
 strument. But as soon as Tartini (or whoever else 
 it was) made something like an analysis of .the mus- 
 cular functions by which it is well and gracefully 
 handled, the master was able to point out to the 
 pupil the sleights of the elbow and wrist which it 
 requires ; their combined and successive motions ; 
 
INSTRUCTION IN ELOCUTION. 4gJ 
 
 and that full feeling of the will as it were present 
 in the muscle, which ensures undeviating steadiness 
 in every sweep, and gives the power of a sort of con- 
 scious spasm for the purpose of a momentary touch. 
 As soon as these points were ascertained, instruc- 
 tion began to adopt the economy of elementary 
 rules, and velocity, precision, smoothness and va- 
 riety of execution, became common accomplish- 
 ments in the art of bowing. 
 
 When an attempt is made to teach an art without 
 commencing with its most simple elements, com- 
 binations of elements pass with the pupil for the ele- 
 ments themselves, and holding them to be almost 
 infinite he abandons his task, as of hopeless end. 
 An education by the method we are here recom- 
 mending reverses this dishearteningduty . It reduces 
 this seeming infinity to computable numbers ; and 
 I anticipate, with no little confidence, that one of 
 the first comments on the foregoing analysis, will 
 refer to the unexpected simplicity of means for 
 the production of the unbounded permutations of 
 speech. Nay, this essay itself will fare better than 
 other similar efforts in science, if some of the per- # 
 ishing criticism of the day should not find good 
 reason with itself, for overlooking the difficulty of 
 the task of tracing the mysterv of speech to its pal- 
 pable roots, by being told how few they are. 
 
 When I speak of the best mode of instruction in 
 elocution, I refer to that which produces the high- 
 est end and utmost finish of utterance. Any kind 
 of speech, which does not mistake the price, will 
 serve for buying and selling. But where tha pow- 
 
488 0F THE MODE OF 
 
 ers and beauties of the voice are made the subject 
 of pleasure, it becomes necessary to employ the 
 most comprehensive and the easiest means for its 
 cultivation. It would be possible even without re- 
 gard to the alphabet, to teach a savage by making 
 him follow a master in reading current discourse. 
 So speakers have been taught by similar process of 
 imitative instruction. But I know well, and others 
 shall know hereafter that the analysis of words into 
 a graphic alphabet, and the rudimental mode of 
 teaching instituted thereupon, do not give more 
 facility, in the discriminations of the eye on a writ- 
 ten page, than the mode here proposed will afford 
 to the student of elocution, who wishes to excel in 
 all the useful and elegant purposes of speech. 
 
 Let the master and the scholar meet without 
 books. Let the master exemplify the graceful spiring 
 of the vanish •, the effect of the second and other in- 
 tervals of pitch. Let him make the scholar sensible 
 of the difference of these intervals by separate utter- 
 ance. Let him show the peculiarities of a rising and 
 of a falling movement-, in short let his lessons con- 
 sist of his alphabet of vocal functions throughout the 
 "whole of the elements. Let the scholar practice 
 these things as a task when he retires, and when he 
 returns to his master, let it not be to hear him read, 
 and vainly try to imitate him, but to repeat his prac- 
 ticed elements, and to hit at once any required mode 
 of voice. When he is completely familiar with these 
 rudiments, then let him read with his master. 
 
 If the high accomplishments of elocution are an 
 object of ambition, the system of instruction offer- 
 
INSTRUCTION IN ELOCUTION. 4gg 
 
 ed in this section, will furnish the easiest and short- 
 est means for success. 
 
 After all that has been said, the best contrived 
 scheme will be of little avail, without the utmost 
 zeal and perseverance on the part of the learner. 
 It is an impressive saying by an elegant genius of 
 the Augustan age in Rome, and he drew the maxim 
 from his own life and fame, that " nothing is given 
 to mortals without indefatigable labour :" by which 
 he meant to insinuate that those works which, from 
 their rare and surpassing merits are supposed to 
 proceed from a peculiar endowment by Heaven, 
 are, in reality, but the product of hard and unre- 
 mitting industry. 
 
 It is pitiable to witness the wishes and conceits 
 of ambition, without the accompaniment of its re- 
 quisite exertions. The art of reading well is one of 
 those accomplishments which all wish to possess, 
 many think they have already, and some set about 
 to acquire. These, after a few lessons with an elo- 
 cutionist, and no toil of their own, are disappointed 
 at not becoming themselves at once masters of the 
 art, and abandon the study for the purpose of enter- 
 ing on some new subject of trial and failure. Such 
 cases of infirmity are partly the consequence of 
 the inconstancy of human nature ; but they chiefly 
 arise from defects in the usual course of instruction. 
 — Go to some, may I say all, of our colleges and 
 universities, and observe how the art of speaking, 
 is not taught there. See a boy of but fifteen years, 
 sent upon a stage, pale and choking with appre- 
 hension, in an attempt to do that, without instruc- 
 ts R 
 
400 THE MODE OF INSTRUCTION IN ELOCUTION. 
 
 tion, which he came purposely to learn •, and to 
 furnish amusement to his class-mates, by a par- 
 donable awkwardness, which should be punished, 
 in the person of his pretending and neglectful pre- 
 ceptors, with little less than scourging. Then visit 
 a Conservatorio of music — see the orderly tasks, 
 the masterly discipline, the unwearied superinten- 
 dence and the incessant toil to produce accomplish- 
 ment of voice ; and afterwards do not be surprised 
 that the pulpit, the senate, the bar and the chair 
 of medical professorship are filled with such abo- 
 minable drawlers, mouthers, mumblers, clutterers, 
 squeakers, chanters and mongers in monotony : nor 
 that the schools of singing are constantly sending 
 abroad those great instances of vocal wonder, who 
 sound along the high places of the world ; who are 
 bidden to the halls of fashion and wealth; who some- 
 times quell the pride of rank, by its momentary 
 sensation of envy ; and who draw forth the intelli- 
 gent curiosity, and produce the crowning delight 
 and approbation of the Prince and the Sage. 
 
SECTION XLVIII. 
 
 Of the Rhythmus of Speech. 
 
 In the section on Time I alluded, in the course 
 of argument, to the subject of Rhythmus. I endea- 
 voured then to show the circumstances under which 
 stress and time, or as they are otherwise called, ac- 
 cent and quantity, produce by their alternations the 
 agreeable impressions of versification. I now offer 
 a somewhat more formal account of this matter, 
 with the design to speak of the Rhythmus of prose : 
 and for the purpose of noticing, in as few words as 
 possible, the ingenious system of Mr. Steele, on the 
 subject of accentuation and pause : this being one of 
 the first results, in modern times, of an inquiry into 
 the philosophy of spoken language. 
 
 As speech consists of a succession of syllables ac- 
 cented or emphatic, and unaccented, Mr. Steele 
 supposes all discourse to be separated into parts j 
 which being made in reference to accents, may be 
 called accentual sections. These he includes be- 
 tween vertical bars, as in the following notation: 
 
 *| In the | second | century | *] of the | christian 
 era | "] the | empire of | Rome | "| compre | hended the 
 j fairest | part of the | earth | "] and the [ most "] | civi- 
 lized | portion of man | kind | 
 
 The constructive principles of the accentual sec- 
 
492 0F THE RHYTHMUS OF SPEECH. 
 
 tions are these. The first syllable of each section is 
 accented, that is, a bar is to be drawn before each 
 accented syllable or emphatic monosyllabic-word. 
 But it appears in the fourth section of the above ex- 
 ample, that a bar is drawn before the particle " of" 
 which is neither accented nor emphatic. In this case, 
 (and there are others like it in the example) the 
 place of the accented syllable is supplied by a short 
 pause, which is here signified by a symbol re- 
 sembling a musical rest. Each section is supposed 
 to contain a heavy and a light portion •, the heavy be- 
 ing the accented syllable and the light the unac- 
 cented. If in appointing the notation, by affixing a 
 bar before the heavy syllable, there should be no 
 light or unaccented part in the section, as must hap- 
 pen when two accented or emphatic words imme- 
 diately succeed each other, a pause must occupy its 
 place 5 as in the section consisting of " most" in the 
 above example. When the first part of the section 
 is an indefinite quantity the use of the subsequent 
 pause, may be superseded by prolonging the accent- 
 ed word to the required duration of the section, as 
 in the word " Rome :" for it is either a truth, or the 
 assumption of this system, that all the accentual sec- 
 tions are equal in time, like the bars in music. If 
 the number of syllables included between the bars 
 is so many as to require an improper precipitancy 
 of utterance, in order to make the time of the sec- 
 tions equal, it becomes necessary to throw in a bar 
 before the light syllables of that precipitate group, 
 and to set a symbol of rest in the place which would 
 have held the heavy or accented syllable, if the 
 
OF THE RHYTHMUS OF SPEECH. 493 
 
 section had been entire. Thus in the example, we 
 might say century of the in one section ; but 
 when the sentence is read deliberately this section 
 is too long. It is better ordered in the example, 
 by a subdivision, and by putting a slight pause in 
 that place which should be occupied by an accent- 
 ed syllable. 
 
 It will perhaps be asked here — what is the 
 meaning of these divisions? And what useful pur- 
 pose do they serve in instruction? 
 
 All the works on elocution before the time of 
 Mr. Steele, recommend the accurate accentuation 
 of words, ana a strict attention to their separation, 
 at the proper places for pausing. Mr. Sheridan in- 
 deed has given a notation for rhetorical pause and 
 emphasis. But he has proposed no scheme, to draw 
 the attention of the pupil to the subject of accent 
 That this subject is of the utmost importance in the 
 schools of elocution, will be admitted by those who 
 have observed the manner in which children learn 
 to read : for the close attention which their igno- 
 rance requires, and the slowness of utterance, lead 
 them to lay an equal stress on every syllable or at 
 least upon every word. 
 
 This habit continues a long time after the eye 
 has acquired a facility in following up discourse \ 
 and in some cases this vice infects pronunciation 
 throughout subsequent life. The notation of Mr. 
 Steele which has a symbol for each degree of stress, 
 would certainly obviate this tendency of accentua- 
 tion, by marking both the heavy and the light syl- 
 lables, and thus affording a guide to the pupil in 
 
494 OF THE RHYTHMUS OF SPEECH. 
 
 the absence of the master. I do not say that these 
 objects would not be attained, in a degree, by em- 
 ploying the common mark of stress on all the accent- 
 ed syllables of discourse. But even this is never 
 done, and if it were, it would not be as definite as 
 the conspicuous division by bars ; nor would it in- 
 clude the indication of pause, together with other 
 points enumerated in this system. 
 
 One of the objects of a scientific institute is to 
 point out what is necessary in the art, even if it is 
 not able to tell the exact mode of executing it : and 
 I will venture to assert that no person, who has 
 heard of Mr. Steele's system of notation, will hesi- 
 tate to acknowledge that it has set the phenomena 
 of accentuation and pause before his attention, in a 
 manner which had never occurred to him before ; 
 but which when known, seems to spring immediate- 
 ly out of what he did know before. 
 
 This notation will not indeed inform us what syl- 
 lables are to be accented or emphatic, nor where the 
 pauses are to be placed : but it will enable a master, 
 who knows how to order all these things in speech, 
 to furnish that which most men require for every 
 thing they do — a copy. If a boy is taught by a well 
 appointed scoring in this method, he acquires the 
 habit of attention to the subject of accentuation and 
 pause, which may be readily applied by him in or- 
 dinary discourse. 
 
 I have here gladly embraced an opportunity to 
 notice the labours of Mr. Steele, who was among 
 the first to shriek out at the incubus of ancient pro- 
 sody which had crouched so close on the bosom of 
 
OF THE RHYTHMUS OF SPEECH. 495 
 
 his own and of every modern language. It was not 
 my intention to set forth the whole of this system, 
 nor to vouch for all its points. It has able advo- 
 cates, and their works and lectures, both in this 
 country and in Europe, render a design of this sort 
 unnecessary from me. 
 
 Mr. Steele's work is quite original, but it is not 
 systematic - 3 and his contradistinction of what he calls 
 poize, from the functions of time and stress, is alto- 
 gether notional and cloudy* I have taken this short 
 and perhaps unsatisfactory view of a part of his 
 essay, merely as prefatory to the few following re- 
 marks on the subject of rhythmus. 
 
 The rhythmus of language is that perception 
 which the ear has of accent, quantity arid pause. Or 
 in other words, a certain succession of syllables, hav- 
 ing different degrees of stress or quantity, and this 
 succession being divided into portions by pauses, 
 constitutes one important cause of the agreeable im- 
 pression of the current of speech. 
 
 There are two modes of disposing the alternate 
 force and remission of stress, in the construction of 
 rhythmus. One proceeds by a regular repetition of 
 the same order of accents. This is called verse. 
 The other has no formal arrangement of its strong 
 and weak, or long and short syllables. This the 
 reader must know is prose. The doctrine of the or- 
 
 ■ Mr. Steele first published his views, under the title named 
 in the introduction, to this essay. A few years afterwards he 
 gave a second edition of his work, with the title of u Prosodia 
 Hationalis." In this last there is very little addition to the for- 
 mer print; and that is not material to the system, 
 
496 0F THE RHYTHMUS OF SPEECH. 
 
 der of syllables in verse constitutes what is called 
 prosody. This subject having been largely treated 
 by authors, and being beyond the design of this es- 
 say, I shall pass it by, after stating that if English 
 prosodists will look only at their own language, 
 when they undertake to analyze it, and forget what 
 the old grammarians have said upon time, which I 
 am not prepared to admit that they themselves un- 
 derstood, the subject may be made much more sim- 
 ple in science, and more practically intelligible to 
 the student. 
 
 Though the broad distinction between prose and 
 verse consists in the more irregular sequence of 
 accent or quantity in the former : still they seem to 
 compromise their differences to a certain degree in 
 their respective attempts at excellence. For the best 
 poetic rhythmus is that which admits an occasional 
 introduction of deviations from the current of ac- 
 centuation : but these deviations do not continue long 
 enough to destroy the general character of regulari- 
 ty 3 the order returning before the ear has forgotten 
 its previous impression. Prose on the other hand, is 
 constantly showing the beginnings of a regular 
 rhythmus : but before any series of accent or quan- 
 tity has time to fill the ear with its method, the cross 
 purpose of a new succession breaks in upon the 
 constantly inceptive character of verse. 
 
 The sources of variety and beauty and force in 
 rhythmus may be learned from the following gene- 
 ral view of its construction. 
 
 In ordinary pronunciation we may have several 
 consecutive monosyllabic- words marked by the ab- 
 
OF THE RHYTHMUS OF SPEECH. 497 
 
 rupt accent; in which case there is necessarily a mo- 
 mentary pause between them : or there may be 
 an accented syllable followed by one or more, and 
 not exceeding six that are unaccented ; the average 
 proportion, being about one accented syllable to 
 three unaccented. Hence it appears that the divi- 
 sions which I have called accentual sections, and 
 which are included between the vertical bars of Mr. 
 Steele's notation, may consist of from one to five 
 syllables, and with considerable care and skill in 
 the effort, sometimes of six. j Consequently if a 
 rhythmus were formed on the function of accent 
 alone, a series of these differently constituted sec- 
 tions, would furnish the ground work for conside- 
 rable variety. Thus in the above example, the 
 sections consist of from one to four syllables j for the 
 third and fourth may be thrown together by omit- 
 ting the bar and the pause, without at all obscuring 
 the sense : and these being arranged in varied suc- 
 cession, is one of the causes of the agreeable rhyth- 
 mus of this sentence. 
 
 I hope the reader will not now deny that the ear 
 is equally attracted by quantity and by stress. When 
 therefore that accident is employed in composition 
 the means of variety are multiplied. In the fol- 
 lowing sentence I have marked in italics, those syl- 
 lables which put in the full impression of their quan- 
 tity, and thereby add dignity to the widely varied 
 rhythmus. 
 
 The masters of the fairest and most wealthy climates of 
 t\\e globe, turned with contempt from gloomy hills, assailed bv 
 
 3 s 
 
498 OF THE RHYTHMUS OF SPEECH. 
 
 the winter tempest, from lakes concealed in a blue mist and 
 from cold and lonely heaths, over which the deer of the forest 
 were chased by a troop of naked bar&arians. 
 
 Besides the variety and impressivenessthus arising 
 from stress and quantity, the rhythmic effect is fur- 
 ther diversified by including one or more accentual 
 sections within the boundary of pauses. Iflmaybe 
 allowed the useful economy of the term, I would call 
 the portion of discourse so formed, Pausal sections. 
 They *nay consist of a single word : but the perspi- 
 cuity or beauty of utterance, and the structure of 
 style rarely admit of their containing more than 
 twenty syllables. In the following example I have 
 included the pausal sections between the upright 
 bars, that the order and variety of the succession 
 may be surveyed by the eye. I have marked 
 merely the place of the pauses, in clear and impres- 
 sive reading, without designating the several dura- 
 tions of those pauses. 
 
 It is gone | that sensibility of principle | that chastity of 
 honor | which felt a stain | like a wound | which inspired 
 courage j whilst it mitigated ferocity | which ennobled what- 
 ever it touched | and under which [ vice itself | lost | 
 half its evil | by losing all its grossness. | 
 
 The effect of the variety I am endeavouring to 
 illustrate, may perhaps be made more conspicuous 
 by contrasting it with the monotony of the antithis- 
 tic style. The following sentence exhibits the most 
 
OF THE RHYTHMUS OF SPEECH. 499 
 
 affected and laboured art in the construction of its 
 pausal sections. 
 
 When I took the first survey of my undertaking | I found 
 our speech | copious j without order and energetic 
 
 without rules | wherever I turned my view | there was per- 
 plexity I to be disentangled | and confusion to be regulated 
 I choice was to be made | out of boundless variety | without 
 any established principle of selection | adulterations were to be 
 detected | without any settled test of purity | and modes of 
 expression | to be rejected or received | without the suffra- 
 ges of any writers of classical reputation | or acknowledged 
 authority. | 
 
 Such a measuring system when used occasionally 
 and within becoming limits may give a rousing spi- 
 rit to discourse. But when it is the diffusive vani- 
 ty of composition, it is apt to delude the author into 
 a belief that his ideas are not common-places. It 
 indicates a formality and stiffness of the ear ; makes 
 a mere lip-labor of speech, and shuts out the strong 
 lights of verbal delineation. To me there is a want 
 of dignity in this manner ; and the dealers in such 
 a Khythmus scarcely perceive how near they ap- 
 proximate to the principle of the ludicrous : for 
 when its features are slightly surcharged by car- 
 ricature, it really becomes so. The principle 
 to which I allude, is that of a resemblance in 
 sound, with a difference in sense. The similarity 
 in the number of words, together with the like pla- 
 ces of their accents, and the equal count of sylla 
 
§00 OF THE RHYTHMUS OF SPEECH. 
 
 bles, under which some writers set forth the strong- 
 est antithesis in ideas or sentiments, has not exactly 
 the equivocation of a pun, but it always reminds 
 me of it. 
 
 The monotonous effect of a series of similar pausal 
 sections is conspicuous in the following example 
 from the poems of Ossian. It is however fair tore- 
 mark that as there are but two trisyllabic words in 
 the extract, and not one polysyllable, the defect of 
 variety in accent and remission must be taken into 
 account, in the faults of its rhythmus. 
 
 And is the son of Semo fallen ? | mournful are Tura's walls. 
 | Sorrow dwells at Dunscai. | Thy spouse is left alone in 
 her youth. | \he son of thy love is alone! [ He shall come to 
 Bragela, | and ask why she weeps ? | He shall lift his eyes 
 to the wall, | and see his father's sword. | Whose sword is that? 
 | he will say. | The soul of his mother is sad. | Who is that, 
 j like the hart of the desert, ] in the murmur of his course? | 
 His eyes look wildly round | in search of his friend. | Conal | 
 son of Colgar | where hast thou been | when the mighty fell ? | 
 Did the seas of Cogorma roll round thee ? | Was the wind of 
 the south in thy sails ? | The mighty have fallen in battle, | 
 and thou wast not there. | Let none tell it in Selma, | nor in 
 Morven's woody land. | Fingal will be sad, | and the sons of 
 the desert | mourn. | 
 
 The pausal sections are here nearly all of equal 
 length, and this cause, together with the frequent 
 occurrence of the cadence, produces the wearisome 
 character of the rhythmus. Doctor Johnson once 
 said that there were many men and women and 
 
OF THE RHYTHMUS OF SPEECH. 50 1 
 
 children in Britain who could write such poems as 
 those ascribed to Ossian. I have too many agreea- 
 ble and grateful recollections of Scotland, to quarrel 
 with her patriotism on this point : but surely there 
 is not a Roscius any where who can read them. 
 We have indeed a vast fund for variety, in the ele- 
 ments of speech ; but I doubt their sufficiency to 
 meet the demands of this composition, without trans- 
 gressing the rules of a just and expressive into- 
 nation. In short the passage, like many others by 
 better poets, cannot be read with satisfaction, before 
 the judgment of a discerning ear. 
 
 Let us compare the preceding extract with the 
 few first lines of Burke's episode on the Queen of 
 France : which in elegance, variety and impressive- 
 nessof mere rhythmus, and exclusive of some rhe- 
 torical ostentation, is not surpassed in the English 
 language. 
 
 That both the accentual and pausal sections may 
 be graphically made, I here present it under Mr, 
 Steele's notation, as scored by Dr. Barber in his 
 " Exercises in Reading and Recitation :" omitting 
 the symbols for the heavy and light accent. 
 
 1 It is | now, | sixteen or | seventeen | years | "J since 
 I | saw the | queen of | France, *| | then the | Dauphin- 
 ess, | -j at Ver | sailles : | "| "] \ "] and | surely | nevei 
 | lighted on this | orb, | "] which she | hardly | seemed to J 
 touch, 1 | ■] a | more de | lightful | vision. | "\ *] | "] *] | ] 
 I | saw her | just a | bove the ho | rizon, | *| "] | de- 
 corating and | cheering | "] the | elevated | sphere | *] 
 she | just be | gan to | move in: | "] *] | glittering | "^ like 
 
502 OF THE RHYTHMUS OF SPEECH. 
 
 the | morning | star; | 1 "J j full of | life, "| | 1 and | 
 splendor, | *J and | joy. | 
 
 Oh! | what a | revo | lution! Mill and | what a | 
 heart "j | must I | have, | *] to con | template | "] with | 
 out e j motion, | that "] | "] ele | vation | "| and | that*] | fall. | 
 
 The agreeable effect of this rhythmus may be 
 traced to the following causes. 
 
 First. The alphabetic elements, are varied 
 throughout : and except the repetition of sound in 
 " teen" and in the words " lighted'' and " delight- 
 ful," " cheering" and " sphere," they do not press 
 upon each other. 
 
 Secondly. The words have from one to four syl- 
 lables ; and these are finely alternated with each 
 other. The accentual sections vary from one to five 
 syllables in extent. 
 
 Thirdly. The Pausal sections consist of from two 
 words to ten : and their different lengths are inter- 
 mingled in succession. 
 
 Fourthly. The effect is still further varied, by an 
 occasional coincidence of the temporal accent with 
 that of stress : and the dignity and force of the phra- 
 seology is heightened, by the occurrence of these 
 long syllabic quantities at the place of the pauses : as 
 in the words years, Versailles, orb, horizon, sphere, 
 move, star, joy and/aW. 
 
 Fifthly. The order of the rhythmus has just 
 enough regularity to produce the smooth effect of 
 verse, without allowing the reader to anticipate any 
 subsequent measure 
 
OF THE RHYTHMUS OF SPEECH, 503 
 
 The only exception 1 am disposed to make to the 
 commendation of the rhythmus of this extract, is 
 that of the consecutive accents at its termination. A 
 spondaic cadence, except it is for some extraordi- 
 nary case of expression, or for variety in a series of 
 short sentences, is always, to me at least, disagree- 
 able. 
 
 The instances of rhythmus which have been se- 
 lected, are from prose-composition of elevated sen- 
 timent, and dignified style. But the plainest phra- 
 seology may be brought under the influence of the 
 same rules of accent, quantity and pause. In the 
 hands of a person of fine rhythmic ear, even a let- 
 ter of business, with its enumeration of particulars, 
 may be made to flow with variety and smoothness. 
 
 It is unnecessary to go into a further detail on 
 the subject of rhythmus. Much might be said in 
 illustration of its powers and beauties, both as exist- 
 ing in the current of discourse and in the conspicu- 
 ous place of the cadence. But we leave this to the 
 Rhetoricians. 
 
SECTION XLIX. 
 
 Of the Faults of Readers. 
 
 It is a prevailing opinion that persons who speak 
 their own sentiments, in social intercourse, always 
 speak properly : and that transferring this natural 
 manner as it is called, to formal reading and recita- 
 tion will ensure propriety of utterance. 
 
 This idea has arisen from an ignorance of the func- 
 tions which constitute the beauties and defects of 
 speech. Without a knowledge of that analysis which 
 must be the foundation of definite criticism, teachers 
 have been obliged to refer to the spontaneous ef- 
 forts of the voice as the only assistant means of in- 
 struction. It is true, the natural manner is more like 
 the coveted excellence, than the first attempts of 
 the pupil in reading ever are ; but still the faults of 
 ordinary speech, are similar to those of reading, 
 though they are less apparent. Perhaps this opi- 
 nion has proceeded from a belief that a just execu- 
 tion must necessarily follow a full understanding of 
 the sense, and a true feeling of the sentiment of dis- 
 course, both of which accompany unpremeditated 
 speech. No one indeed can read correctly or with 
 elegance if he does not both understand and feel 
 what he utters: but these are not exclusively the 
 means of success. Sense and feeling must have a 
 well tempered material in the voice to work upon. 
 
OF THE FAULTS OF READERS. 505 
 
 I admit that the self-prompted efforts of speech 
 exhibit in some instances, that propriety of em- 
 phasis and intonation, which are required for com- 
 mon narrative and argument and passion. But they 
 are very far from satisfying that close discrimina- 
 tion and comparison which are sure to be made upon 
 speech, when offered to the ear of taste. 
 
 I admit likewise the almost unaccountable differ- 
 ence sometimes observed between the capabilities 
 of the colloquial voice, and the same voice when ex- 
 erted in a formal attempt to read. Mr. Rice in his 
 " Introduction to the art of Reading" relates the 
 case of a person, who failed to repeat, with even 
 tolerable propriety, the very words purposely 
 written down, which he had been overheard to ut- 
 ter spontaneously, with all correctness in empha- 
 sis and expression. There seems, in such cases to 
 be no want of energy of mind or feeling, nor of flexi- 
 bility in the voice. But when a discourse, embrac- 
 ing any sense and sentiment, is read, even by its 
 author, the occupation of the eye distracts attention 
 from the meaning, or permits it to be fully recog- 
 nised, only when shown upon a single point. For 
 if it is to be gathered from many words, the neces- 
 sary forerunning and retrospection of the eye, to- 
 gether with its present employment, render the 
 proper management of the voice impracticable to 
 those who have not, by long exercise in the art of 
 reading, acquired an almost involuntary habit of as- 
 sociating the functions of speech with correspond- 
 ing thoughts and feelings. 
 
 But whatever mav be the cause of the difficulties 
 
506 0F THE FAULTS OF READERS. 
 
 of reading well, faults and flagrant ones too do pre- 
 vail in the art. Having therefore prepared the way 
 for pointing out the nature of these faults, by des- 
 cribing the pure and elegant uses of the elements, I 
 shall now endeavour to make the reader acquainted 
 with the analysis of the most common deviations 
 from what we have presumed to adopt as the stand- 
 ard of excellence. 
 
 It is true as above implied, that he who under- 
 takes to note the defects in an art, must carry in his 
 practice or eye, the knowledge of its perfections. 
 Faults are, every where, but relatives to merits ; 
 and in elocution, they are only the misplacing of 
 those elements which constitute its beauties : whilst 
 some of the finest colors of the art are dipped from 
 its very faults. He who declares his perception of 
 blemishes, and yet cannot at the same time define 
 and enumerate graces, speaks without candour, or 
 as the dupe of some authority. Let us then try to 
 perform these inseparable duties, by giving the 
 outline of a just and elegant elocution, along with 
 a particular enumeration of the vices of utterance. 
 
 In treating of the phenomena of speech, I have 
 always kept in view the best usages of taste. It 
 will be little more than a recapitulation therefore 
 to say — The faultless reader should possess for vari- 
 ous occasions, all the qualities of voice from the full 
 laryngeal bass of the orotund, to the lighter and 
 lip-issuing sound of daily conversation. He should 
 give distinctively that pronunciation of single ele- 
 ments and their aggregates, both as to quantity and 
 accent, which accords with the habitual percep- 
 
OF* THE FAULTS OF READERS. 5Q7 
 
 tions of his audience. His plain melody should be 
 diatonic, and varied in radical pitch, beyond discov- 
 erable monotony. His simple concrete should be 
 equable in its rise, and in the diminution of its van- 
 ish. His tremor should be under full command for 
 the occasions of grief and exultation. Observation, 
 judgment and education must have settled for him, 
 the places and degrees of emphasis ; and a know- 
 ledge of its many forms, must have suggested the 
 employment of them for variety and expression. He 
 should be able to protract his "voice through every 
 extent of quantity, and in every concrete interval 
 of the rising and falling scale. He must have learned 
 to put off from the dignified places of reading that 
 canting intonation which the planned courtesies and 
 sacrificing servilities of life too often confirm into 
 habit ; and to moderate in his interrogations that 
 keenness which is bred up in the vulgar tongue, by 
 the idle inquisitiveness of the worlds impertinent 
 curiosity. Finally he should have for this, as for 
 every other Fine art, a delicate sense of the sub- 
 lime, the graceful and the ridiculous. A quick per- 
 ception of the last, is absolutely necessary to guard 
 the exalted works of taste against the accidental oc- 
 currence of its causes. 
 
 It may be considered presumptuous in any one 
 to pretend to fix a standard in the art of Speaking 
 well. Before the analytical development of speech 
 this could not have been done. The discovery of 
 the elements has now been accomplished ; suffici- 
 ently at least to advance some steps towards a sys- 
 tem : and it seems no unfair anticipation of what 
 
50S OF THE FAULTS OF READERS. 
 
 must hereafter form the great point in the schools 
 of elocution, — to suggest such a use of these ele- 
 ments as may satisfy the cultivated ear. 
 
 In marking out the basis for a system in this art 
 I looked to the purest instincts of nature in children 
 and brute animals, for instances of passionate ex- 
 pression : and to choice examples in common life, 
 and on the stage, for the best effects producible on 
 the individual and combined elements of speech. 
 By selection from these sources, I have endeavour- 
 ed to frame an ideS pattern of vocal beauty and 
 precision and force. 
 
 But I was not slightly influenced by a percep- 
 tion of the fitness of the system which has been sug- 
 gested. The term fitness may be explained by re- 
 ference to a part of the foregoing analysis. We 
 made a distinction, and future time shall see its 
 importance, between the plain diatonic melody, and 
 the employment of the semitone, and higher inter- 
 vals of the scale. Now few speakers make a proper 
 selection from these constituents : their plain dis- 
 course being frequently intonated in the vanish of 
 the third or fifth, or, with the peculiar movement 
 of the wider ranges of the wave. Such an appli- 
 cation of these striking intervals annuls the final 
 cause of nature, in the institution of different inten- 
 sities of pitch : confounds their intended distinc- 
 tions : disturbs the repose of the ear on the unim- 
 passioned diatonic : and wears down that sharpness 
 of the higher intervals, which is required for the 
 occasional purposes of strong expression. This is 
 what is meant by drawing a system from the fit- 
 ness of the thing. 
 
OF THE FAULTS OF READERS. 5Q9 
 
 There is another consideration which will justify 
 the establishment of a system of some kind, if it will 
 not plead for the one which has been offered. When 
 the constituents of speech are described and known, 
 the precision of their use must become an object of 
 attention and criticism with an audience If there 
 be an admitted rule for their application, the repre- 
 sentation of thought and sentiment, will be more 
 uniform, and expression will therefore have more 
 force. When we vary the sign of the same thought 
 we take from the clearness of its meaning. If we 
 constantly whine in the chromatic melody, or cry 
 out emphatically in the wider intervals and in the 
 wave, to no purpose of complaint or surprise, we 
 shall in vain seek for sympathy when the wolf 
 of feeling in reality seizes upon us. 
 
 In looking for a standard of excellence in the art 
 of elocution, we are always referred, as in the other 
 fine arts, to Nature. But nature in this high pattern- 
 capacity eludes the power of definition : and like 
 liberty with a patriot, orthodoxy with a sectarian, 
 experience with a physician, and right with a moral- 
 ist—shows as many faces as there are tongues that 
 take her name in vain. If nature is to be the ca- 
 non she must be so by the single instances she pro- 
 duces. If her excellencies are scattered over the 
 species, it is art that must collect them into one in- 
 dividual : and where is the individual in nature 
 worthy of imitation 1 Is it to be found in the drawl 
 of the spiritless ? In the snappish stress of the pet- 
 ulant 1 In the eternal whine of the unhappy ? The 
 short quantity and precipitate time of the frivolous ° 
 
j]0 OF THE FAULTS OF READERS. 
 
 In the continued diatonic of the saturnine ? In 
 the even drift, whatever be its mode, of the pas- 
 sion-masking hypocrite—Or in the efforts of those 
 morbid sensibilities which exaggerate every feel- 
 ing ? Shall we find nature's paragon among the 
 chatterings of the greal market of life, that hur- 
 ries through its melody by the straight line of the 
 monotone ; that denies itself the repose of the ca- 
 dence 5 and that in bidding for its bargains of trade 
 or fame or place, strains itself to the topmost note 1 
 These are the individual instances of vocal de- 
 formity presented by nature, which we daily suffer 
 to pass without comment, because we are engaged 
 at the moment with other thoughts and designs : and 
 which we perceive only when the voice itself, as a 
 matter of taste, is the exclusive object of attention. 
 But though nature affords no single instances of 
 general excellence in speech, she has diffused 
 throughout the species all the elements of perfec- 
 tion : and it II the gathering in of her proprieties 
 and beauties which constitutes the Art of Elocution. 
 The Canon, so called, of statuary in Greece, 
 which represented no singly-existing form, was pro- 
 duced by Polycletus only after ages of gradual im- 
 provement. If individual nature might be taken as 
 a model in the arts we would not at this late day 
 be so often obliged to listen to bad readers ; nor to 
 hear such clashing opinions, upon those who pass for 
 the best. The productions of taste would have 
 forerun their present needed cultivation 5 and in 
 reverse of the tedious growth of centuries, would 
 
OF THE FAULTS OF READERS. 51^ 
 
 Jike the garden of Eden, have been ripe at their 
 planting. 
 
 Imagine yourself, says the master in Elocution, 
 to be delivering the sentiments of an author as if 
 they were your own. 
 
 I grant that such a rule may supply the want of 
 better instruction ; it may serve for common-place 
 sentiments and thoughts, and may exempt a pupil 
 from some of the greater faults of speech. On the 
 other hand, suppose the art of reading to be exert- 
 ed in representing the utmost power of description 
 and imaginative creation by a poet. How will the 
 rule of substitution meet this case ? I have more 
 than once seen, on the stage, the pitiable result of 
 a designed imitation of nature. 
 
 All the Fine Arts are essentially arts. The high 
 execution of their works and the full prizing of them 
 are purely the result of close observation, exten- 
 sive comparison, and choice selection and combina- 
 tion of the scattered constituents of their respective 
 subjects. 
 
 Many of the faults of speakers, arise from their 
 being taught by imitation alone. As long as there 
 has been a history of the stage, so long, actors have 
 been classed in the school of some predecessor or 
 cotemporary master. But inasmuch as there is al- 
 ways one who by chance or merit is the leading 
 spirit of the lustrum, (for where there are no prin- 
 ciples to direct instruction, even five years is a lono- 
 life for fashionable fame,) it generally happens that 
 his faults may be recognised throughout a crowd of 
 pupils and imitators. From the want of some de- 
 
512 OF THE FAULTS OF READERS 
 
 finite corrective, the bad reading of the pulpit some- 
 timeSjinfects a whole class of students ; who circum- 
 scribe the active benefits of their master's solemn 
 instruction, by taking up his sinful elocution. 
 
 It may be said — If we establish a system of prin- 
 ciples, all readers must be of one school 5 and this 
 will be equivalent to imitation. There would be 
 one school ; but the similarity would not be in its 
 errors. Many actors who differ from each other in 
 their faults, yet perform some short sentences with 
 identical excellence, without exciting a remark. It 
 is only upon one of those violent outrages in ut- 
 terance, that we hear in a moment the whispered 
 name of a prototype, from twenty parts of a thea- 
 tre. The noted imitation of the merits of a master 
 either doubles the pleasure of the scene by associ- 
 ation ; or we forget the original through the delight- 
 ful repetition of his perfections. Grave copies in 
 speech, like its gay mimickries are generally made 
 on bad pronunciation, monotony, whining, false ca- 
 dence or no cadence at all, and precipitate and un- 
 accountable transitions. 
 
 But enough of argument on this subject. The art 
 of elocution has never presented that abstract com- 
 position, which in analogy with the delineation of 
 Form, may be called the ideal beauty of speech. 
 The mere instinct of individual nature has been fol- 
 lowed, and the best skill of the voice has perhaps 
 fallen short of the yet reserved resources of oral ac- 
 complishment : whilst the common herd of preten- 
 ders afford an endless list of deformities. 
 
 In noticing the faults of readers 1 do not wish to 
 
OF THE FAULTS OF READERS. 513 
 
 speak of the natural defects of the voice. It is diffi- 
 cult however, to draw a distinction on this subject. 
 Too many of the wilfi* vices of life > through self- 
 delusion, pass for m^ ortunes : and ** can scarcely 
 be made a quests whether the impudent display 
 of even natu^ x tailings should not shut out the sub- 
 ject fro^ fulgent commiseration. 
 
 'j^re are three points, of the first importance to 
 
 a ^eaker : and if the deficiencies in them are not 
 
 j be called misfortunes, we may rank them as great 
 
 and generic faults. I mean the defects of the Mind, 
 
 of the Ear, and of Industry. 
 
 Speech is intended to be the sign of every mode 
 of thought and feeling. If therefore the mind of a 
 scholar be not raised to that generality of condition 
 which can assume all the powers of expression, he 
 will in vain aspire to great eminence in the art. If 
 his mind is endued only with the diplomatic virtue 
 of unruffled caution . if it is of that class which com- 
 pliments itsown Julncss by calling energy violence, 
 and which drawls forth its wonder at the enigma of 
 zeal: if all its busy goings are but around the little 
 circles of ifc own selfish schemes : if it has yet to 
 hear and never can be convinced that success in 
 every art, is not more indebted to the plans of 
 sagacity than to the perseverance of passion : — if 
 the mind, I repeat it, is of such a cast, its posses- 
 sor may perhaps by his best assiduity, satisfy his 
 own uncircumspect judgment and taste, but he can 
 never reach the higher accomplishments in elo- 
 cution. 
 3 r 
 
514 OF THE FAULTS OF READERS. 
 
 In speaking of the mental requisites for good 
 reading, 1 must not overtook our frequent neglect 
 to discriminate between stro, g feelings and delicate 
 ones. The latter make the fin^j actor . and it is 
 unfortunate for the art, that quaU-^ s which under 
 proper cultivation insure success, a^ ee nerallv 
 united with a modesty which retires from 1^ D ] aces 
 and occasions for displaying its merits : whhV^ e 
 former in reaching but the coarse energy of t^ 
 passions, are able to figure on the stage, only as the 
 outrageous Herod and the buffoon. 
 
 The mind or nervous temperament must furnish 
 the design, of elocution : the ear must watch over 
 the lines and coloring of its expression. 
 
 An ability to measure nicely the time, force and 
 pitch of sounds, is indispensable to the higher ex- 
 cellencies of speech. It is impossible to say how 
 much of the musical ear, properly so called, is the 
 result of cultivation, or an attention to the variations 
 of sound. There is however a wide difference even 
 in the earliest aptitudes of the ear ; and though the 
 means of improvement derived from analysis may 
 hereafter increase the proportional number of o-ood 
 readers, and produce something like an equality 
 among them, still the possession of a musical ear 
 will with other requisites always give an unequiva- 
 cal superiority. 
 
 I have spoken more than once in this essay, of In- 
 dustry, the third general means for success j the de- 
 fect of which may be considered as an egregious 
 fault in a speaker : and it certainly is the most cul- 
 
OF THE FAULTS OF READERS 5J5 
 
 pable. It is here placed on high ground, along with 
 mental susceptibility and delicacy of ear, those es- 
 sentials which have been designated by the indefinite 
 term " genius." — In vain will the mind furnish its fi- 
 nest discriminations, or the ear be ready with its 
 measurements, if the tongue should not lend the 
 perseverance of its practice. It was by a figure of 
 speech which took a part for the whole of the senses, 
 that the happy curse upon mankind, doomed the 
 taste to be gratified by the sweat of the brow. The 
 ear too, ran receive its full measure of delight, only- 
 through the long labour of the voice. 
 
 The faults of speakers are of almost infinite varie- 
 ty : but they consist of no unnamed elements. It 
 seems as if nature had assumed in her adjusted sys- 
 tem of signs, all the practicable functions of the 
 voice. The corrupting art of the tongue in deform- 
 ing her works, makes no addition to their constitu- 
 ents, but performs its part in human error, by mis- 
 placing them. In pursuing the history of the faults 
 of utterance, we may therefore follow something 
 like the order which has more than once, in this 
 essay, been given to the elements. 
 
 Four general heads under which we considered 
 the accidents of the voice, are Quality, Time, 
 Force, and Pitch. 
 
 Of Faults in Quality. — This subject is so well 
 known both in the art and by common terms, that it is 
 unnecessary to be particular with it. Harshness or 
 roughness may be mentioned as one of the disagree- 
 able qualities of the voice. The nasal is still more 
 
516 OF THE FAULTS OF READERS 
 
 offensive. Shrillness may rather be called a quality 
 than a state of Pitch. It never has dignity. It seems 
 like a mockery of the voice : and though it is heard 
 remotely and draws attention, it does it with the 
 attraction of a caricature. I think the huskiness of 
 aspiration is more apt to be united with the orotund 
 voice. It does not indeed diminish its gravity and 
 sober grandeur, but it affects the fulness and clear- 
 ness of its vocality. 
 
 The falsette sometimes exists as the current fault 
 of a speaker. Such a person should speak on busi- 
 ness and for his wants, but no more. We sometimes 
 find voices on the stage, and in the senate and pul- 
 pit, which show the deformity of the falsette only 
 occasionally, by the melody breaking from the na- 
 tural voice on a single . syllable. Every speaker 
 has a falsette ; and the skilful can always guard 
 against its improper use. When it occurs as a fault, 
 it results either from the narrow compass of the 
 natural voice, or from a defect of ear in the speak- 
 er : for not having an accurate perception of his 
 approach to the falsette, he is unable to avoid the 
 evil by a ready descent of intonation. 
 
 The falsette is common in the voices of women. 
 It has with them a crying effect, even when not chro- 
 matic : and the melody at this high pitch is more 
 apt to be monotonous. 
 
 Of Faults in Time. — I do not mean to speak here 
 of reading too fast or too slow. There is nothing new 
 to be - said on this point. But we who speak Eng- 
 lish, are said by the report of the compilers of 
 
OF THE FAULTS OF READERS. 5^7 
 
 Greek and of Latin grammars, to know nothing of 
 quantity, and to have none in the language. That 
 bad readers, and persons who will not learn their 
 own tongue, may know nothing of its quantity is 
 readily granted; yet that it is an essential accident 
 of every language, and that the neglect of it is a 
 copious source of faults, must be admitted by any 
 one who knows the definition of quantity and makes 
 an inquiry into the uses of the voice. 
 
 There are two faults in quantity. Syllables may 
 be too long or too short. When sentiments requir- 
 ing short time, such as gaiety and anger, are oth- 
 erwise pronounced, it produces the vice of drawling. 
 This drawling may go through its excessive quan- 
 tity, either as a wave of the second, or an equal or 
 unequal wave of higher intervals, or as the note of 
 Recitative or Song. 
 
 When deliberate or solemn discourse is hurried 
 over in short syllabic quantity, the fault is no less 
 apparent and offensive. This last named defect 
 in reading, is by far the most common • and I have 
 said more than once in this essay, because I wished 
 to rouse the English ear to this subject, that the 
 command over time in the pure equable-concrete 
 of speech is only found in speakers of fervent feel- 
 ing and long practice. Such persons acquire the 
 use of protracted quantity, because it is through 
 long syllables, that the powerful expression of con- 
 crete intonation is effected. It is from ignorance 
 of this fact, that some speakers, neglecting the va- 
 riety and smoothness of the temporal emphasis, 
 
518 OF THE FAULTS OP READERS. 
 
 o-ive prominence to important syllables only by 
 some of the sharper modes of stress. 
 
 Of Faults in Force. — The misapplication of loud 
 and soft is sufficiently obvious. In the various 
 forms of stress, the faults of speech have been less 
 known and consequently less avoided. 
 
 Though some persons, with a neglect of quantity, 
 execute most of their emphasis by stress, yet even 
 in the application of stress they are not free from 
 faults. Some, after the manner of the Irish, em- 
 ploy the vanishing force on all emphatic syllables. 
 This has its meaning in expression, but it is mis- 
 placed except on the occasions formerly pointed 
 out. A want of the sharp and abrupt character of 
 the radical is not an uncommon fault. It is most 
 commonly found in the dull and indolent : for noth- 
 ing shows at once so clearly, the elastic temper 
 of the voice and mind, as the ability to explode 
 suddenly this initial stress. 
 
 It is not my intention to go into a notice of the 
 faults of emphasis, in the common acceptation of 
 the term. They all resolve into a want of true ap- 
 prehension in the reader. It should, however, be 
 remarked, that an ignorance of the other constitu- 
 ents of speech, has given to this well known subject 
 of emphasis, an importance which has assumed the 
 very name of the whole art. " How admirably she 
 reads'' said a thoughtless critic, of an actress, who, 
 with a proper emphasis, was deforming her part by 
 every fault of intonation. The critic was one of 
 those who have neither knowledge nor docility ; I 
 therefore made no explanations. Emphasis being 
 
OF THE FAULTS OF READERS. 5]g 
 
 almost the only branch of the art in which there is 
 any thing like an approach towards a rule of in- 
 struction, this single function, by a figure of speech 
 grounded on its importance, is taken in the narrow 
 nomenclature of criticism for the sum of the art. 
 Even Mr. Kemble whose eulogy might have laid 
 upon other merits, made the first fixture of his fame, 
 if we have not been misinformed, by a new reading 
 of some of the lines in Hamlet. 
 
 We have given emphasis its just award of conse- 
 quence. We have also given other elements theirs : 
 and perhaps we may hereafter find, that much of 
 the contention about certain unimportant points and 
 balanced weights of emphasis, has arisen from cri- 
 tics on the drama finding very little else of the vast 
 compass of speech, on which their discriminations 
 would be comprehensible. Let therefore the banner 
 be hung on the outer wall of Macbeth's castle, or let 
 his retainers cry there : and let Goldsmith's countrj' 
 clergyman be either passing rich, superlatively, or 
 let him more moderately pass for rich, with his forty 
 pounds a year : we may perhaps discover, when 
 we have more things in the voice to study and to 
 delight in, that some of these additions to the lore 
 of italic notation, now serving to keep up contention 
 in a daily journal, will often be overlooked, in the 
 high court of philosophic criticism. 
 
 I pass by the faults of pronunciation which de- 
 pend on the misplacing of accents on syllables. Pro- 
 priety in this matter is set forth in the dictionary, 
 and the errors of speech may be measured by its 
 rules. 
 
520 OF THE FAULTS OF READERS. 
 
 I deprecate noticing the faults of speakers, in 
 the pronunciation of the alphabetic elements. It is 
 better for criticism to be modest on this point, till 
 it has the sense or independence to make our al- 
 phabet, and its uses, look more like the work of 
 what is called — wise and transcendent humanity : 
 till the pardonable variety of pronunciation, and 
 the true spelling by the vulgar have satirised into 
 reformation, that pen-craft which keeps up the trou- 
 bles of orthography for no other purpose, as one 
 can divine, than to boast of a very questionable merit 
 as a criterion of education. 
 
 Of Faults in Pitch. — Speech has been peculiarly 
 one of those subjects, in which we often pronounce 
 upon the right and the wrong, without being able to 
 say why they are so. We have resolved the obscuri- 
 ty in respect to the beauties of intonation ; it will be 
 easy on similar principles of analysis, to give the 
 ground work of its faults. 
 
 Of Faults in the Concrete Movement. — There is a 
 certain elegance of sound in speakers, quite indepen- 
 dent of the beauties of quality, though much height- 
 ened in combination with them, which consists in 
 the peculiar, and attenuated vanish of the concrete. 
 Now the vanishing and the thorough stresses, which 
 have their right uses occasionally in expression, are 
 sometimes misplaced, and thereby destroy the func- 
 tion here spoken of. The vanishing stress was illus- 
 trated by the Irish pronunciation. The thorough 
 stress gives a rusticity to speech. Some speakers 
 seem incapable of carrying on a long quantity 
 through the equable concrete, giving in place of it 
 
OF THE FAULTS OF READERS. 53 \ 
 
 the note of song or recitative. The most remarkable 
 instance of the former is that of the public preach- 
 ing of the Friends, which I shall particularly de- 
 scribe among the faults in melody. Recitative-in- 
 tonation in speech is not so common as the note of 
 song : it will be spoken of again. 
 
 Of Faults in the Semitone. Who has not heard of 
 whining 1 It is the misplaced use of the semitone. 
 The semitone is the language of love, tenderness, 
 petition, complaint, and doubtful supplication: 
 but never of manly confidence, and the authorita- 
 tive self-reliance of truth. This is the point which 
 entraps the sycophant, and even the hypocrite him- 
 self. They assume a gentle persuasion, or a more 
 tuneful cant, not only because they wish to make it 
 appear that they are moved by a kind and affec- 
 tionate spirit, but because they distrust themselves, 
 and are therefore governed by the feeling of craving 
 inferiority. The honesty of conviction calls for no 
 subsidiary means of this sort I suspicion should 
 therefore be awake, when seeming truth or bene- 
 volence is proffered under this cringing intonation. 
 
 The chromatic melody is more common among 
 women. Actresses are prone to this fault, and this 
 is one of the causes which frequently prevent 
 their assuming the matron-rule of tragedy, and the 
 dignified severity of epic reading. They sometimes 
 intercede, threaten, complain, smile, and call the 
 footman, all in the semitone. They can vow and 
 love and burst into agony in Belvidera ; but cannot 
 with masculine ambition, order the scheme of mur- 
 der in Lady Macbeth. 
 3 x 
 
522 OF THE FAULTS OF READERS. 
 
 The sentiments signified by the semitone, have 
 been enumerated. Whenever it supplants the pro- 
 per diatonic melody, it becomes a fault, and begins 
 to be monotonous; for when it is appropriate it never 
 is so. I once saw the part of Dr. Cantwell, in the 
 "Hypocrite," played in the chromatic melody 
 throughout. Perhaps it suited the mock virtue of 
 the pious villain, but it certainly produced a pall- 
 ing monotony on the ear ; and the want of transition 
 in voice, when he throws off the mask, in ad- 
 dressing his patron's wife, was remarkable. He was 
 the knave and the lover in the same intonation. On 
 the whole, the effect would have been more agree- 
 able, if an abated, slow, and monotonous drift of 
 the second had prevailed, with the use of the chro- 
 matic melody when required by the sentiment. 
 
 Of Faults in the Second. — The ear has its green 
 as well as the eye ; and the interval of the second 
 in correct and elegant speech, like the verdure of 
 the earth, is widely distributed to relieve sensation 
 from the fatiguing stimulus of more vivid impres- 
 sions. Though the diatonic melody, is the predomi- 
 nating hue of a well composed elocution, is simple 
 and unobtrusive, and thus affords a fine ground for 
 bringing out the contrasted color of more expressive 
 intonation ; it does, when continued into the place 
 of this higher intonation, assume a positive char- 
 acter under the form of a fault. 
 
 The most striking instance of the misapplication 
 of the second, is its employment for the sentiments 
 which properly require the semitone. There are 
 
OP THE FAULTS OP READERS. 593 
 
 some persons of such a dull and frigid tempera- 
 ment, or with such inflexible organs, even when 
 the feeling is not wanting, that they seem incapa- 
 ble, under ordinary motives, of executing the chro- 
 matic melody. Pain or the excitement of their self- 
 ish instincts will produce it : But in them it seems 
 to be so slightly associated with a general tender- 
 ness of feeling, or so much beyond the limit of the 
 will, that the most pathetic passages are given in 
 the comparatively phlegmatic intonation of the dia- 
 tonic melody. We sometimes see actors of such a 
 temperament, on the emergencies of a night, cast 
 to the part of lovers : and may occasionally hear 
 from the pulpit the most fervent appeals of the Lit- 
 any, and the humble petitions of extemporary pray- 
 er, uttered with the same matter of fact intonation 
 which is adapted to the repetition of the multiplica- 
 tion table. 
 
 Some persons are so bound to the monotony of 
 the second, (for when this element is thus misplaced 
 it has the effect of monotony,) that we are often 
 more indebted to grammatical construction, than 
 to the voice, for a perception of their interrogations. 
 It is the same too with their emphasis in those con- 
 ditional and positive sentences which, for impres- 
 sive and varied effect, respectively require the 
 rising and falling interval of the third or fifth or 
 octave. 
 
 One of the most important functions of the second, 
 is its agency in the successions of melody. We spoke 
 formerly of the best effect of the diatonic progres- 
 
524 OF THE FAULTS OF READERS. 
 
 sion of concrete and of radical pitch, produced by 
 the varied composition of the six phrases. We have 
 now to learn how far the common practice of read- 
 ers, deviates from this assumed perfection. 
 
 Of Faults in the Melody of Speech. — If the rule laid 
 down in this essay, for constructing an agreeable 
 melody, is exact, I must by that rule declare I have 
 never heard a*f speaker with a faultless melody. 
 Players spend their time before mirrors, till grace 
 of person is studied into mannerism, and expression 
 of feature distorted into grimace. Emphasis too is 
 teased in experiment, through every word of a sen- 
 tence, and tested in authority, by all the traditions 
 of the Green-Room : but who has ever thought of 
 the succession of pitch in his syllables, or imagined 
 that faults may lie there ? 
 
 The First fault to be noticed is that of the conti- 
 nued use of the monotone, or keeping on the same 
 line of radical pitch ; the vanish of the second or of 
 higher intervals, being properly performed. I do 
 not here mean that monotony which writers have 
 observed, and have illustrated by the drawl of the 
 parish clerk ; for this is the note of song, and will 
 be spoken of presently. The defect of variation, 
 in radical pitch, now under consideration is not so 
 glaring as this old conventicle tune, nor has it at all 
 the character of song. I wish I could be near the 
 reader, to show the nature of this fault without a 
 further waste of words. All I can say in descrip- 
 tion is, that it takes from speech a very agreeable 
 effect arising from a perception of the contrast of 
 pitch in the falling ditone ; as the transition in this 
 
OF THE FAULTS OF READERS. 525 
 
 case is made from a feeble vanish, to a full ra- 
 dical, which in the diatonic succession, is at the dis- 
 tance of two tones below the summit of that vanish. 
 One of the causes of this fault in public speakers 
 deserves to be remarked here. I spoke of vocife- 
 ration as a means for imparting vigour and fulness 
 to the voice. But this exercise being made on a 
 high pitch sometimes tends to corrupt the style of 
 melody. Speakers who address large assemblies, 
 and who have not that clear vocality and distinct 
 articulation which produce the requisite reach of 
 voice, generally attempt to remedy the defect by 
 rising to the utmost limit of the natural compass; and 
 hold their current just below the falsette. For fear 
 of breaking into this, they dare not vary the melo- 
 dy by taking their pitch alternately higher : and the 
 desire to preserve the diffusive .effect of shrillness 
 does not allow them to descend by radical changes. 
 They consequently continue on one monotonous 
 line : and thus vitiate their taste by the partial pleas 
 of their own example, impair their melodic flexibi- 
 lity, if I may so call it, and blunt their perception 
 of the variety of movement in a more reduced cur- 
 rent of pitch. 
 
 This cause operates on the Bar, the Pulpit and the 
 Stage •, where the demands of the space to be filled 
 exceed the common powers of the voice -.but it is most 
 conspicuous in the melody of those whose purposes 
 lead them to address large crowds in the open air. 
 
 Secondly. Melody is deformed by a predominance 
 of the phrase of the monotone, together with a full 
 cadence at every pause. This perhaps is only found 
 
526 OF THE FAULTS OF READERS. 
 
 in the first attempts at reading by children and 
 rustics. 
 
 Thirdly. By a mingling of the phrases of melody, 
 but with a formal return of the same successions. 
 In this case, the whole discourse seems subdivided 
 into sections, nearly resembling each other in the 
 order of pitch. The extent of these portions is ge- 
 nerally determined by the length of entire sentences 
 or by the shorter divisions of their members. And 
 I may now make a remark which properly be- 
 longs to the subject of rhythmus,— that this pecu- 
 liar habit of the ear in marking the sections of melo- 
 dy, as well as in forming accentual and pausal sec- 
 tions, has a very close connexion with the character 
 of style in a writer. It certainly cannot have es- 
 caped observation that there is a tendency in some 
 persons to give great similarity to the length of 
 their sentences : atid this effect is in many instances 
 dependent on their elocution. But the niceties of 
 this subject will receive due consideration, at some 
 future time, when we who speak English shall re- 
 cover, or rather on this point, first receive common 
 sense enough together with independence, to au- 
 thorise a denial that the best method for studying 
 our own language, is through the syntax and proso- 
 dy of the Latin and the Greek. 
 
 There is no special form of melody assumed by 
 all speakers ; each one falls into a habit of his 
 own : though it is plain, from the very method of 
 construction, that there cannot be a great variety. 
 All actors, except those of the first class, and they 
 are not as finished on this point as they may be 
 
OF THE FAULTS OF READERS. 5^7 
 
 hereafter, all actors I say, are prone to this bird-like 
 kind of intonation. They have a short run of melo- 
 dy which if not forcibly interrupted by some pecu- 
 liar expression, is constantly recurring. The return 
 forms a kind of melodial measure : and I now call to 
 mind an actress, in great vogue with the mass, whose 
 intonation was filled with emphasis of thirds, fifths, 
 octaves and waves, and whose melody could be anti- 
 cipated with something like the forerunning of the 
 mind over the rhythmus of a common stanza of alter- 
 nate versification. Those who commit this fault will 
 have no difficulty, in recognising and correcting it, 
 when the mirror of analysis is held before them. 
 
 The monotonous course of melody constitutes one 
 of the signs by which the gallery, and some of their 
 better dressed peers in the boxes, recognise the 
 voices of famous actors, and think they represent 
 their real points of excellence, when they mimic 
 only what is strongly offensive and worthless. In 
 the fault to which I allude, the section of the me- 
 lody may consist of a properly varied succession 
 of phrases : but its repetition soon makes you learn 
 it too well. It reminds one of the festoon, which 
 however beautiful in itself, was in abasement of 
 Greek architectural taste, joined in endless continu- 
 ation around the frieze ; instead of suggesting a re- 
 semblance to that successive variety in composition 
 which adorned the metopes of the Parthenon. 
 
 Fourthly. I have known more than one speaker 
 with this fault. — Sentences or members of senten- 
 ces are begun on a high pitch, together with loud- 
 ness, and ended on a low and almost inaudible pitch 
 
528 OF THE FAULTS OP READERS. 
 
 and degree of feebleness : and this is continued 
 throughout a whole discourse. It would be hard 
 to find out the meaning of this fault, or to discover 
 such a shadow of apology for it, as many worse of- 
 fences in life can claim for themselves. 
 
 One of the persons who was addicted to this mon- 
 strous piece of affectation, for no natural or conven- 
 tional motive could ever have suggested it, was, by 
 the associates of his long since departed day of self- 
 importance, called u a fine reader." Such instances 
 of fame may serve to substantiate an assertion that 
 there is no art in which self-imposition is more con- 
 spicuous than in Elocution. Where there is no ac- 
 knowledged rule of excellence, every one, whether 
 cultivated or not, makes his own partialities or inter- 
 ests the standard. They have learned somewhere 
 that it is the part of good reading to fulfil the de- 
 signs of sense and sentiment : and as each one in 
 his attempts, fulfils his own conception of an author, 
 he very conclusively supposes he has reached the 
 full merits of the art. This is one reason why we 
 find so much delusion on the subject of this ac- 
 complishment. For, reputed u good readers ■* are 
 often not merely negatively deficient ; they are 
 frequently positively bad : and perverse as it may 
 seem in the very teeth of the professed approbation 
 of a majority, I have generally gone to learn the 
 faults of speakers, when called to hear some star 
 of elocution at the bar, in the senate, the pulpit, or 
 the reading club. Loud noises, seem to have always 
 been the delight of savages in their first steps to- 
 wards music ; and the exaggerated or misemploy- 
 
OF THE FAULTS OF READERS. 5£9 
 
 ed, and therefore striking character of the elements 
 of speech, is always most agreeable to the uninstruc- 
 ed ear. 
 
 Fifthly. — I illustrated, in the section on melody, 
 the manner in which the transitions of pitch are 
 made from one line, to another above or below. 
 Some persons are unable to shift the concrete 
 in this manner. This defect not only takes from 
 the variety and life of utterance, but prevents a 
 reader from extricating himself, which he should 
 be able to do, from a very high or low pitch, when 
 he has improperly set out in either. I have known 
 a speaker descend to such a degree that he had 
 not enough compass left, below the assumed line 
 of his melody, to permit an audible execution of 
 the last constituent of the cadence. He felt the feeble 
 and unsatisfactory effect of his intonation, without 
 knowing the cause of it : and being occupied in no- 
 ticing his failure, he did not even accidentally fall 
 into its rjemedy. 
 
 In what a different light must the course of me- 
 lody now appear to us, since we can carry in our 
 conception, the progress of its undulation through 
 the compass, and the distance of its fall in the ca- 
 dence : and with what assurance may the knowledge 
 of that structure, confer the power to avoid the 
 fault here spoken of. 
 
 We noticed formerly the circumstance of a read- 
 er, with a good ear, having a sort of precursive per- 
 ception of the falsette, sufficient to turn him from it, 
 in his elevated melody. The same kind of anticir 
 3 Y 
 
530 ^ F THE FAULTS OF READERS. 
 
 pation of the lowest note, enables such a reader to 
 keep his cadence within the range of his voice. 
 
 Sixthly. — The use of the note of song instead of 
 the equable concrete is one of the widest deviations 
 from the characteristic of speech. We have shown 
 that a proper melody (the diatonic let us suppose) 
 consists of the equable movement of the radical and 
 vanish through the interval of a second, with the 
 agreeably varied radical-change through the same 
 space : the current being occasionally broken by 
 wider transitions, and by different modes of stress, 
 according as the sentiments may require any of 
 these additions upon emphatic words. 
 
 This pure, agreeable and most forcible structure 
 of melody is utterly deformed by the fault in ques- 
 tion. And since we can now proceed analytically, 
 let us give the specific name of Chant, to this 
 mingling of the note of song, and another element 
 to be shown presently, with the proper intonation 
 of speech. 
 
 In the history of man there is nothing more inde- 
 finite than descriptions of the voice : but there 
 is probable reason for believing that this chant is 
 the puritanical whine which was affected so gene- 
 rally in religious worship, in England, above two 
 hundred years ago. It has been changed into other 
 faults scarcely less censurable, with the pulpit of 
 the present day. The society of Friends alone have 
 retained it as a general practice : and it will not be 
 regarded as either idle or invidious, by the curious 
 and intelligent observers among them, to look into 
 
OF THE FAULTS OF READERS. 53 \ 
 
 the structure of the intonation, by the light of our 
 preceding analysis. 
 
 I shall first set down the notation of this kind of 
 melody, and afterwards particularly explain it. 
 
 I heard a voice from heaven say-in£, write, 
 
 te^r / c y^Zj 
 
 bless-ed are the dead who die in the Lord. 
 
 fi a *g* ffi v- ^'V 
 
 The whole of this melody, with the exceptions 
 to be mentioned, I suppose to be chromatic, for it 
 is in this mode the chant is generally made. 
 
 The two first syllables are marked with the notes 
 of song : the long summits of the vanishes being a se- 
 mitone above the radicals. The article ' v a" is set 
 at a third above the preceding note, in a symbol 
 which has not been heretofore explained, because 
 it properly belongs to song and to recitative. It 
 consists of a prolongation of the radical portion of 
 the element, and a subsequent quick descent 011 
 the last or vanishing part. The intonation of the 
 word "voice," is of the same kind, a tone below. 
 " From" is made in the note of recitative, its vanish 
 rising a third on the subtonic " ni." The two syl- 
 lables of u saying'' are in the equable concrete. 
 " Are,'' is in the note of recitative, rising a second. 
 The three last symbols have the order and inter- 
 
532 OF THE FAULTS OF READERS. 
 
 vals of the triad of speech ; thus forming a proper 
 cadence of the diatonic melody. The nature of the 
 other signs may be seen in the notation. 
 
 In the execution of this melody there is not only a 
 general monotonous drift of song : but there are pecu- 
 liar and striking contrasts, arising from the various 
 effects of the changes among these different ele- 
 ments of intonation. The most extraordinary liber- 
 ties are taken with quantity. The long however 
 predominates, as it is necessary for the notes of song 
 and recitative. In this melody there is no ground 
 for the distinction between immutable and indefi- 
 nite syllables : the shortest are not only prolonged 
 to any extent, as in " write," but they are divided, 
 as in " voice/' which is apportioned to the two 
 parts of its symbol, as if it were " voy" " is." I have 
 put the cadence into the diatonic form to exempli- 
 fy those abrupt and rousing alterations of the whole 
 nature of intonation, which are sometimes made 
 at the pauses and the close of this most fantastic 
 melody. I have not exhibited all the varieties 
 into which the above named elements, together 
 with the tremor, and the wider intervals, are 
 combined in it. But I have shown enough to fur- 
 nish a plan for self-examination and amendment. 
 
 If those who are accustomed to this melody 
 should ask, why it may not be employed, if it is by 
 habit agreeable, and reverenced by association with 
 the occasions of its use ? I answer, that throwing aside 
 taste, and regarding plain usefulness, — it does not 
 accomplish the attainable ends of speech. By 
 speech we communicate our thoughts : and in the 
 
OF THE FAULTS OF READERS. 533 
 
 duties of religion there are motives and zeal to do 
 it with the most forcible means of persuasion or ar- 
 gument. So far as the voice is concerned in these 
 duties, its means lie principally in the energy and 
 expression of emphasis. But by the mode of into- 
 nation, in the remarkable melody now in view, the 
 varying designs of emphasis are counteracted by 
 the continued impression of the semitonic song : or 
 they are crossed in purpose by the unmeaning ob- 
 trusion of unexpected changes. How can the 
 sentiments which dictate the encouraging descrip- 
 tions of blessedness and glory, be represented by 
 the trembling voice of distress ? How can the sober 
 positiveness of truth, and the wonder at almighty 
 power, which require the downward concrete, be 
 enforced by the shrillness of a perpetual cry ? How 
 can we particularize the strong feeling of supplica- 
 tion, if we equally employ its symbols in the threats 
 of vengeance 1 And with what force can we repre- 
 sent interrogation, if the sharp vanishes, which are 
 instinctively allotted to it, are so often unmeaning- 
 ly playing in the voice 1 
 
 Whoever regards the words of ordinary song, 
 knows into what confusion emphasis isthere thrown. 
 It is not more conspicuous or correct in the kind of 
 melody we are now considering. 
 
 I have thus made the strongest representation 
 of this fault. It is sometimes heard in a more mo- 
 derate degree, especially in the voices of women, 
 consisting of a slight protraction of the top of the 
 vanish on all the long quantities ofdiscourse. 
 
 Seventhly. — We have learned that the note of 
 
534 OF THE FAULTS OF READERS. 
 
 Recitative sometimes finds its way into speech. In 
 as much as this fault, like the last, is the error of 
 long quantity, it is not so frequently heard in the 
 quicker pronunciation of common life. I have oc- 
 casionally met with it in a phlegmatic drawler. 
 There is a peculiar deadness and monotony in its 
 effect. It seems to tie up all the powers of the 
 voice. On account of the short quantity and limited 
 melodial -transition in speech, it has not the well 
 known character of the proper recitative of musical 
 composition. Some of the cases of this fault which 
 have fallen under my notice, were associated with 
 a monotonous current-melody, and a very misera- 
 ble management of the cadence. I have heard it 
 in an actor of high reputation. It was most con- 
 spicuous in his endeavour to give long quantity 
 to immu(able syllables. 
 
 Canst thou not minister to a mind diseased 
 PZuck, &c. 
 
 I have here marked in italics the letters on which 
 the voice was kept in one line of pitch, till it sud- 
 denly vanished at the termination of the syllable ; 
 thus constituting the function of Recitative. The 
 actor's fault was the lapse from a good design. He 
 well knew the powers and purposes of quantity • 
 but did not reflect enough on the impropriety of 
 marring the time of an immutable syllable : or he 
 was not aware of the practicability of carrying a 
 subtonic element through the equable concrete. 
 
 Of faults in the Cadence. If I were to designate 
 any parts of utterance as particularly liable to 
 
OF THE FAULTS OF READERS. 535 
 
 faults, they would be those of the radical succession 
 of melody, and the cadence. Even the best readers 
 do not seem to have fallen accidentally into all the 
 attainable variety, in the execution of the current 
 and close of discourse. But faults in the cadence 
 are the most striking. 
 
 We can assign a cause for the frequent failures 
 upon this point. 
 
 Whoever will attend to the course of the voice in 
 the common dialogue of life, will perceive that the 
 earnest interests of speech, the sharp replications 
 and interruptions of argument, the inquisitiveness 
 of idle curiosity, and the piercing pitch of mirth 
 and anger exclude, in a great measure, the termi- 
 nating repose of the cadence. This is particularly 
 the case with children and the ignorant, who hav- 
 ing no spring of action except interested curiosity 
 and selfish passion, rarely exhibit any intonation 
 besides that of the higher and more expressive 
 intervals of the voice. When therefore a person 
 first undertakes to read the discourse of others, the 
 conversational habit is not at once laid aside : and it 
 is apt to cleave long afterwards to speech. 
 
 The faults in the execution of the cadence are 
 various : and if its total absence might be called a 
 fault, I could cite an instance of a clergyman, whom 
 I heard go through an address of fifteen minutes 
 without once making a cadence ; no, not even at his 
 final period. The audience were notified to sit 
 down, by his Amen, not by the proper indication oi 
 the close by his voice. 
 
 But even those who have the abilitv to make a 
 
536 0F THE FAULTS OF READERS. 
 
 cadence, are infected by the next fault to be men- 
 tioned. 
 
 I described ten forms of the cadence. This was 
 done as a philosophical analysis ; to point out dis- 
 tinctions which may be made by an accurate ear, 
 and in reality executed by those who have flexi- 
 bility of intonation. For the purposes of instructive 
 rule we may particularize the Feeble, the Duad, 
 the Triad and the Prepared cadences. These are 
 quite sufficient for the ordinary purposes of reading ; 
 and vocal skill can always effect an interchangeable 
 variety of them, in the succession of periods. The 
 next fault then consists in a repetition at every 
 pause, of the same kind of cadence, and that gene- 
 rally a full one. This fault is encreased by the 
 common mode of punctuation, which often sets a 
 period at places, where the voice should be only 
 suspended by the phrase of the downward ditone. 
 
 I have heard a player of high character use what 
 we formerly called a false cadence : that is, a de- 
 scent of the third by radical change, the second 
 constituent of the Triad being altogether omitted. 
 This false cadence is sometimes made on a wider 
 discrete interval ; the voice suddenly falling a fifth 
 or even an octave, if the pitch has been high enough 
 to allow these descents. 
 
 Some persons are in the habit of making the ca- 
 dence in a low and almost inaudible pitch. I have 
 imagined this proceeds from a want of that prospec- 
 tive reach of perception in the ear, which enables 
 a reader to hit the precise place for his cadence. 
 One who has not this skill, may know the period is 
 
OF THE FAULTS OF READERS. 537 
 
 coming, and that therefore the voice must descend ■. 
 but being ignorant at what point, in the fear of fall- 
 ing precipitately upon the close, he begins too soon. 
 A downward ditone is first made, and some in- 
 stinct preventing him from adding the next tone 
 below, by which the cadence would be completed 
 before its time, he strikes a monotone and again 
 tries a downward ditone. In this manner he descends 
 till the cadence falls on the three final syllables. 
 The process here described is not indeed continued 
 through many words; most readers would in that 
 case soon exhaust their pitch. Yet this does some- 
 times happen : for the voice by this shelving course 
 is at last brought down to a whisper. 
 
 Of Faults in the Third. — The third is properly 
 employed in the moderate forms of interrogation 
 and in conditional phrases. Some readers however 
 execute the whole current melody in the rise of 
 this interval : the emphatic words in this case be- 
 ing marked by some of the modes of stress on the 
 third, or by a higher run to the fifth. There is a dis- 
 agreeable sharpness in this melody. It wants force; 
 for it abates by comparison the impressive character 
 of the higher intervals when they are added to it. I 
 have heard persons with this fault try to read Milton 
 and Shakspeare, and always without success. The 
 current of dignified utterance must always consist 
 of the wave of the second on the long quantities of 
 discourse. No simple upward concrete can effect 
 it: though the rise of a wide interval may be oc- 
 casionally employed for emphasis in the gravest 
 drift of the diatonic melody. A speaker who 
 3 z 
 
538 OF THE FAULTS OF READERS. 
 
 uses the third as his current concrete, feels the ne- 
 cessity of avoiding a simple rise ; and therefore 
 sometimes returns it downward into the form of 
 the wave. This does not mend the effect, as we shall 
 learn presently. 
 
 Another fault in the third, even when the whole 
 current is not made by that interval, lies in forming 
 all the emphases with it. This likewise gives a sharp- 
 ness to speech, together with a monotony ; for one 
 of the causes of beauty in utterance consists in the 
 variation of the kinds of emphasis : and we pointed 
 out, in its proper place, the abundant means in the 
 voice, for this variety. 
 
 The substitution of the third for the second in 
 melody is principally offensive from its monotony. 
 And the reader may recollect it was said in the 
 section on Drift, that these higher intervals will not 
 bear continued repetition. 
 
 Of Faults in the Fifth.— The interval of the fifth 
 is sometimes made the current concrete of melody : 
 the peculiar effect of the intonation being most 
 conspicuous in the emphatic places. It is a less 
 frequent fault than the last, and is more commonly 
 heard in women. It has a palpable monotony, and 
 a still greater sharpness than the third : the whole 
 melody having the construction and effect of an in- 
 terrogative sentence. 
 
 A less remarkable degree of this fault is that of 
 a diatonic melody in which all the emphases are 
 made by the fifth. This too has its sharpness and 
 monotony ; and I am sure the reader will be suffi- 
 ciently guarded against this fault, by keeping in 
 
OF THE FAULTS OF READERS. 539 
 
 mind the ample resource of the voice for the produc- 
 tion of emphasis. 
 
 Those who thus misplace the third and fifth, are 
 apt to carry them into the cadence ; such readers end 
 many of their plain declarative sentences with the 
 characteristic intonation of a question. 
 
 I might point out a similar error of place in the 
 Octave : but it is of rare occurrence, and to be ob- 
 served only in the piercing treble of female voices. 
 Some persons cannot ask a question in the subdued 
 and dignified form of the third or fifth, but do it 
 always in the keen or facetious intonation of the 
 octave. 
 
 Of Faults in the Downward Movement. — The 
 faults mentioned throughout this section are found 
 more or less among those who are called good read- 
 ers. When instruction shall grow out of the philo- 
 sophy of speech, instead of imitation, the defects of 
 utterance, now so common as to require notice, will 
 be confined, like the faults of grammar, to the unedu- 
 cated part of the world. As far as I have observed, 
 there are no very conspicuous errors from the 
 abuse of the downward intervals. If the falling se- 
 cond should disproportionate predominate in the 
 current melody, it will give a graveness to the ut- 
 terance which may happen to be misplaced. The 
 wider intervals do not often occur as faults : since 
 it requires some skill to use them in their empha- 
 tic positiveness, and he who can thus execute them 
 correctly, will not be likely to misapply them. 
 
 Of Faults in the Discrete Movement. — Of the de- 
 fects in the management of the radical change of the 
 
540 OF THE FAULTS OF READERS 
 
 second which forms the diatonic melody, we have 
 already spoken. Precipitate falls of the third, 
 fifth, and octave sometimes occur in the cadence 
 of very bad readers. Others again are unable to ef- 
 fect those upward and downward radical transitions, 
 by which accomplished readers produce some of 
 the most striking features of emphasis. 
 
 Of Faults in the Wave. — The reader must bear 
 in mind that the wave of the second, both in its 
 direct and inverted form, is dignified but plain in 
 its character, and therefore admissible into the 
 diatonic melody as a drift. But it is not so with the 
 waves of higher intervals. They have their pro- 
 per occasions as solitary emphasis ; whereas the 
 continued repetition of them becomes to the ear of 
 good taste a disgusting fault. The form of the wave 
 commonly affected by the puling class of readers to 
 which I allude, is that of the inverted-unequal, the 
 voice descending through the second, and rising 
 through the third or fifth. This fault is most remark- 
 able in the reading of metrical composition ; and it 
 is probable the bad habit with some, may have ari- 
 sen from associations with Tune which is generally 
 united with verse. Persons who read in this way 
 give a set melody to their lines ; certain parts of 
 each line, as far as the emphatic words will permit, 
 having a prominent intonation of the wave. 
 
 There is much of every form of the wave in con- 
 versation : and the general spirit of daily dialogue 
 often makes it appropriate there. But I have heard 
 the colloquial twirl even exaggerated by a comic 
 actress of some name. The effect in this case, 
 
OF THE FAULTS OF READERS. 54} 
 
 wanted that brilliant dignity which the actor of 
 high comedy is bound to follow in the author : and 
 exhibited a constant recurrence of identical sections 
 in melody. 
 
 Some actors are prone to the use of the double 
 wave. They make it the emphasis of every feel- 
 ing, not with the intention indeed, but certainly 
 with the event, to denote that they themselves have 
 none. It is an impressive element, and is therefore 
 often thoughtlessly introduced to give prominent ef- 
 fect and variety to melody. It has however, restric- 
 tively, its proper duty and place : and it should be 
 remembered that there is a sneering petulance in its 
 character, totally inconsistent with dignity. 
 
 There is nothing better calculated to show the 
 importance of the plain ground of the diatonic me- 
 lody in speech, than this abuse of the wave. It in- 
 cludes the effects of faults in the third and fifth, 
 and consequently gives to discourse the most florid 
 and impressive character. But when such strik- 
 ing intonation is set on every important syllable, 
 how shall we mark emphatic words except by the 
 utmost excesses in quality or time or force. 
 
 Of Faults in the Melody of the Pause. — In the sec- 
 tion on Pause, it was shown what phrases of melody 
 were proper for connecting and for separating the 
 ideas of discourse. Those who may hereafter look 
 into this subject, will see the fitness of the allot- 
 ment there made : and will moreover be struck 
 with the violations of sense and variety so common- 
 ly heard among readers : some of whom set a ris- 
 
542 0F THE FAULTS OF READERS. 
 
 ing third or fifth at most of the sub-pauses, and even 
 at the period. A want of nicety too, in varying the 
 kinds of cadence according to the fulness of the 
 close is a very general fault : for there is great 
 clearness given to style, by that delicacy of per- 
 ception which leads a reader to put the feeble ca- 
 dence at doubtful periods, and the prepared ca- 
 dence at the end of a paragraph or chapter. 
 
 Of Faults in Diift. — The variety and true spirit 
 of reading are effected by a delicate regard to the 
 correspondence between sentiment and vocal ex- 
 pression, in individual words ; and to the Drift or 
 continuation of a given elemental character through 
 one or more sentences : whereas a neglect of this 
 adjustment, will, according to its degree, weaken 
 the impression of utterance, or shock the ear and 
 taste of the hearer. Some readers continue one 
 style of voice through every change of thought and 
 passion : others vary the character of the utterance 
 without adapting it to the demands of sentiment. 
 
 Under the last head, we spoke of the power of 
 the prepared cadence to indicate the termination of 
 a paragraph or subject. Now certain changes in 
 the structure of melody, which were formerly de- 
 scribed, may be employed to warn an audience of 
 the beginning of a paragraph or subject. The defi- 
 ciency of a speaker on this point is a flagrant fault. 
 
 The object most worthy of remark in this place, 
 is the sudden transition from one style of utterance 
 to another without a corresponding change in the 
 subject. I remember to have heard an actor set the 
 
OF THE FAULTS OF READERS. 543 
 
 house into a hum of laughter by making that an- 
 swer of Jaffier to the conspirators — 
 
 ^ay — by Heaven I'll do this, 
 
 in the curling quaintness of the wave. The senti- 
 ments of Jaffier, the solemnity of the juncture, the 
 purpose of his entrance among the conspirators, are 
 all at variance with the levity of the sneer, convey- 
 ed by this intonation. Severity of resolution, is 
 Jaffier's sentiment ; and this calls for some of the 
 energies of stress, and the positiveness of the down- 
 ward emphasis. I have tried in vain to make a 
 term to designate those outrageous transitions, some- 
 times heard on the stage. They belong to the head 
 of the faults of Drift : but we must speak of them 
 as " a deed without a name." What I mean is those 
 abrupt changes from high to low ; from a roar to a 
 whisper ; from quick to slow ; harsh to soft ; from the 
 diatonic melody to the chromatic 5 from the gravity 
 of long quantity to the levity of sneer, the quick 
 stress of anger and mirth, or to the rapid mutter- 
 ings of a madman. 
 
 There are two different defences may be set up 
 for a particular mode of Elocution. The one, that 
 it is a copy from nature : the other that it does artifi- 
 cially best answer the ends of speech. I cannot de- 
 rive an apology for such flagitious transitions, from 
 either of these sources. I have seen persons under 
 the highest excitement of passion, and changing 
 from one degree and kind of feeling to another ; 
 but I have never seen any thing like the Harlequin 
 transformations of voice, which are sometimes ex~ 
 
544 OF THE FAULTS OF READERS. 
 
 hibited on the stage, except in a paroxysm of hys- 
 teria. On the other hand, suppose the practice to 
 be an artificial system, (to which I would make no 
 objection provided it fulfilled all wise and fair ends) 
 — what recommendation on the score of order can 
 that plan boast, which annuls all the beauty and 
 frugality of rule, which destroys by its anomaly 
 and abruptness all the pleasures of anticipation, and 
 takes from the fine arts, the delight in boundless 
 association, which arises from the busy exercise of 
 well-established knowledge. 
 
 The truth is, that where this fault does not arise 
 from ignorance, it is purposely assumed with the 
 view to produce what the small vocabulary of dra- 
 matic criticism, calls " Effect." The actor finding 
 himself deficient in variety and in that complete 
 finish of expression, which drowns scrutiny in ap- 
 probation, tries to remedy his poverty by breaking 
 through the even tenor of the part, with some rous- 
 ing stimulus or unexpected collapse. We must 
 however do some actors the justice to believe that 
 they have too true an estimate both of nature and 
 art, to approve of such things. But how shall we 
 absolve them from the charge of submitting to what 
 they know to be ill-judged applause 5 and of being 
 " willing to deceive the people because they will 
 be deceived" — the easy art and resource of weak- 
 ness, and the wretched apology of knavery. It is 
 the part of elevated intellect to undeceive the world 
 even by unwelcome truths 5 to make all men at last 
 bow down -, and to be the master, instead of the 
 slave of opinion. 
 
OF THE FAULTS OF READERS. 545 
 
 We need not specify the faults which fall within 
 the subject of grouping. Errors in the connexion 
 or separation of ideas in discourse belong rather to 
 the mind than to the voice. 
 
 Of Monotony oj Voice. — This is an old term in 
 elocution : but it is here used with a more extensive 
 signification than formerly. It means, in general, the 
 undue continuation of any function of the voice. 
 
 The investigation of this subject may furnish 
 some support to the doctrine of expression laid down 
 in this essay. For since I have asserted that correct 
 and varied speech is effected by a certain composi- 
 tion of the vocal elements, it will afford no little 
 countenance to this proposed system, if it be found 
 that the transgression of its rules, as far as regards 
 the limited use of these elements, is productive of 
 the palling impression of monotony. 
 
 One can scarcely point out an occasion, on which 
 the simple rise of the second, or the diatonic wave 
 has this effect : for according to our system these 
 are properly the most frequent movements in dis- 
 course. The employment of the second in place 
 of other functions, may sometimes produce an error 
 in expression, but we do not call it monotony. The 
 chromatic melody, though a continuation of the im- 
 pressive interval of the semitone, is not monoto- 
 nous, if the sentiment is suited to its plaintiveness : 
 but many of the other elements when spread over 
 discourse offend by this fault. Thus a repeated suc- 
 cession of the same phrases in the current melody ; 
 the same kind of cadence, particularly if it fre- 
 quently occurs ; the successive use of the down- 
 
 4 A 
 
546 OF THE FAULTS OF READERS. 
 
 ward second in melody ; a melody formed on the 
 third or fifth ; a restriction of emphasis to the third 
 or fifth or octave ; a constant use of the accent and 
 emphasis of the radical stress ; the vanishing stress ; 
 the tremor ; the downward wider intervals 5 too 
 free a use of distant skips in the radical change, 
 both in the current and in the cadence \ the higher 
 waves ; the note of song and of recitative — may each 
 become the basis of monotony. In short it may be 
 worth repeating in this place, that all those elements 
 which nature has allotted to the rare occasions of 
 emphasis seem to be protected against abuse, by 
 the occurrence of monotony whenever their pur- 
 pose is perverted by an undue repetition. 
 
 Of Ranting in Speech. — This fault consists in the 
 excess of certain elements. These are loudness, 
 violence in the radical and vanishing stresses •, and 
 in general, an overdoing of the expression of any 
 sentiment, when united with force. 
 
 Of Affectation in Speech. — This consists simply 
 in a misapplication of the function of the voice, what- 
 ever may be the system assumed as the standard 
 of purity and excellence in .the art. 
 
 Of Mouthing in Speech. — This belongs properly 
 to the head of the faults of articulation, or deviations 
 from standard pronunciation ; of which it is not 
 my intention to speak particularly. 
 
 Mouthing consists in the improper emploj r ment 
 of the lips in utterance. 
 
 Some of the tonic elements, and one of the sub- 
 tonics are made by the assistance of the lips. They 
 are o-we, oo-ze, ou-r, and " m." When these 
 
conclusion. 547 
 
 abound in speech it is apt to lead to this Omega- 
 ism, if mouthing, may be so called, from the letter 
 which usually exhibits it. All the other subtonics 
 may be, to a degree, infected with this fault. It 
 slightly infuses the sound of the o-we or oo-ze 
 into their vocality : for the protrusion of the lips, 
 gives something of this character even to a lingual 
 element. Mouthing may be called a mode of af- 
 fectation. 
 
 I might here give a particular description of the 
 voices of Childhood and of Age : for these may be 
 looked upon as faults, when compared with the full- 
 formed, vigorous and varied utterance of interme- 
 diate periods. The analysis which has been given 
 will enable an observant reader to discover their 
 characteristics. He will find the voice of childhood 
 to be high in pitch, monotonous in melody, defec- 
 tive in cadence, the intonation often chromatic, and 
 highly colored by the wider intervals and by the 
 wave. He will find old Age to be slow, with fre- 
 quent pauses, slight radical stress, and tremor. 
 
 I have thus described most of the faults of speak- 
 ers in their single state, under the individual ele- 
 ments. They are compounded by bad speakers, 
 into all possible numbers and forms. The per- 
 mutations would defy every attempt towards a 
 useful classification : I therefore leave the contem- 
 plation of the subject as a task for the reader. 
 
 Here I finish the history of the Speaking voice. 
 It has been my design throughout this work to sub- 
 ject nature to a prying examination ; to measure 
 
548 CONCLUSION. 
 
 her by the simple but rigid rule of the senses *, and 
 to unfold her mysteries with comprehensive ar- 
 rangement and philosophic precision. How far 
 these points have been accomplished the intelligent 
 reader must determine, with that allowance for mi- 
 nor errors which the historian of nature has a right 
 to claim, and which the liberal critic will not re- 
 fuse. 
 
 Those to whom the subject of Elocution, in its 
 higher meaning, is new, will receive this history 
 without prejudice ; and though they may not have 
 occasion to lay up its practical rules, will still ad- 
 mire the beautiful economy of nature, in the struc- 
 ture of speech. Those who have spent a life of la- 
 bour by the little light which has as yet been set 
 up in the art, and who are too old or proud or dull 
 to take on a new mind, with the advancement of 
 knowledge, will at least learn from this essay the 
 deficiencies of the old schemes of analysis and 
 instruction, even though they may not admit that 
 these deficiencies are here supplied. If the de- 
 velopment now offered, were the mere improve- 
 ment of an art, persons of this last class might be 
 able to discover traces of their former opinions, and 
 thereby have reason for admitting it. But finding 
 here a new creation, they may reject it altogether, 
 because they cannot recognise the fulfilment of some 
 fancied plan of a science, which they had named 
 but never knew. 
 
 However philosophy may admire the beauty of 
 nature in the scheme of the human voice, it must 
 be regarded as a curiosity only, if it does not lead 
 
conclusion. 549 
 
 to some practical application. I have therefore join- 
 ed with the physiological analysis, a consideration 
 of the means for facilitating instruction and for im- 
 proving the art. We have learned the plain dia- 
 tonic sign of thought, and the more impressive 
 voices of expression. We have seen how speech may 
 be dignified without being dull, and plaintive with- 
 out exhibiting the affectation of a whine : how it 
 may be full in quality and graceful in its vanishing 
 construction : how its measurable movements may 
 be adjusted to the pauses of discourse : and how de- 
 finitely all the modes of emphasis may be ascer- 
 tained. 
 
 If we were to draw an inference from the con- 
 ceits and practice of mankind, we would believe that 
 the modes of a good elocution are endless ; for every 
 one with peculiar self-satisfaction thinks he reads 
 well, and yet all read differently. There is how- 
 ever but one mode of reading well : and I have en- 
 deavoured upon the warrant of analysis, to lay down 
 the plan of a system which may be hereafter adopt- 
 ed and completed. The principles on the subject 
 of intonation have been drawn partly from the 
 best practice of the Stage ; partly from the almost 
 infinite variety of common speech ; and partly from 
 a consideration of the suitableness of the various 
 fashions of Elocution, and a selection from them, 
 which promises to be the most effective in operation 
 and the most durably pleasing to a cultivated ear. 
 
 Without some established principles in intonation, 
 there can be none of that fellowship in opinion 
 which so powerfully assists in the advancement of 
 
 
550 CONCLUSION. 
 
 an art. For though nature would seem to have 
 fixed certain sounds as symbols of thought, still the 
 differences in practice tend to confound her ordi- 
 nation and weaken her authority. If the subject of 
 the human voice be thoroughly examined, and 
 some system be established thereon, it will beget 
 a similarity of opinion and practice, and conse- 
 quently greater precision in the use of its signs, 
 for the modes of intonation, like words, will have 
 most force, when most common, and when not 
 weakened by contradictory meanings. 
 
 In collecting and framing the precepts of Elocu- 
 tion, I have taken into view both the strength and 
 the beauty of expression. The system represents 
 corrected and dignified nature, under that form of 
 severe simplicity, which is not at first alluring to 
 him who is unaccustomed to look into the resources 
 and effects of the arts. The art of reading, thus es- 
 tablished, will be found to possess an excellence, 
 which must grow into sure and irreversible favor, 
 whenever it receives that studious attention which 
 serves to raise the pursuits of the wise above 
 those of the vulgar. It would be too trite to tell 
 the whole story of the great painter, who with his 
 mind full of fancies on the powers of Raffaelle, 
 was disappointed at his first sight of the walls of 
 the Vatican, and disconsolate after his last. 
 
 The florid style of elocution, which consists in 
 a melody formed upon other elements than those 
 of the diatonic, is founded on that ignorance and 
 that sway of imagination and passion which prevail 
 with the child and the savage. The same temper 
 
conclusion. 551 
 
 of taste which calls for the florid manner in speech 
 demands a perpetual change in it ; and capricious 
 alteration takes the place of enduring improvement. 
 The system of plain melody and contrasted ex- 
 pression for which I would plead, partakes of that 
 simplicity which an advance in the arts always pro- 
 duces. 
 
 If this scheme of Elocution should on the grounds 
 of propriety or taste, be objectionable, let another 
 be formed by him -who is better qualified for the 
 task. Only, let a system be formed. And whilst 
 in other arts we can turn to the imagined forms 
 of an " Apollo," a " Transfiguration" and a Doric 
 facade, and to the humanly-associated compositions 
 of the Oratorio and the Laudscape — let Elocution 
 be able hereafter to bring forward, not only the 
 names of Roscius, Garrick and Siddons, but let it 
 lay up in the cabinet of the arts, a description of 
 their w r orks, and a record of the principles upon 
 which they were executed. In short, let the art of 
 speaking well be invested with that corporate capa- 
 city, by the preservative succession of which the 
 influences of its highest masters shall never die. 
 
 The true spirit of fellowship in the arts, and the 
 bad temper of disagreement there in, turns so entirely 
 on the degree of certainty in opinion and the means 
 of proof in examining their works, that any one 
 who has looked into the subject, would prefer an 
 institute which almost abandons the line of na- 
 ture, as a substitute for the varying and contradic- 
 tory rules which the individuals of nature would 
 constantly suggest. 
 
552 CONCLUSION. 
 
 The scholar whose study lies among languages 
 estimates those which have received their systema- 
 tic form, from the arbitrary institutions of grammar 
 and prosody, above those which spring naturally 
 from the wants and passions of uncultivated society. 
 
 Where shall we find the natural prototype of 
 Heraldry, which makes the enthusiast, over his 
 armorial ensigns, delight in the purely invented 
 system of his tinctures and furs and charges, and 
 watch their disposition by all the rules of blazonry. 
 
 What Botany can designate that leaf and stem 
 which forms the floral scroll, the symmetric lotus, 
 the acanthus and the varied cup which constitute 
 the beautiful and endless combination of ornament 
 in Ideal Foliage. To the cultivated eye, the chosen 
 productions of the field and garden are meagre or 
 ungraceful, beside the rich windings and leafing and 
 tracery on the frieze of the Frontispiece of Nero. 
 
 These three subjects are all the systematic cre- 
 ations of art 5 and it would seem that objects of in- 
 tellectual as well as of physical taste are more at- 
 tractive, in proportion as they are less natural, and 
 are founded on acquired appetite and approbation. 
 
 Without some system of principles, either natural 
 or conventional, I am at a loss to know on what cri- 
 ticism in Elocution is to be founded. Its rules have 
 too frequently been drawn from the very works 
 which are to be the subject of investigation. Gar- 
 rick is to be tried; and by the common law, for there 
 is no statute here, the former case of Garrick is the 
 rule of judgment. Happy for an art, when such au- 
 thority can be cited ! But what is to be said when 
 
CONCLUSION. 
 
 553 
 
 presumption pushes itself into the front ranks of 
 elocution, and thoughtless friends undertake to 
 support it? The fraud must go on, till presump- 
 tion quarrels, as often happens, with its own friends 
 or with itself, and thus dissolves the spell of its 
 merits. 
 
 The preceding analysis contains elements of 
 criticism, and makes some effort towards their ap- 
 plication. Pronunciation, pause and emphasis are 
 the only points of elocution which critics have ever 
 brought to the precision of particulars : and on 
 these only have they been able to show any thing 
 like definite censure or applause. By turning our 
 attention, to the details of intonation we have yet to 
 learn how far emphasis depends upon it : and when 
 a perception of the multiplied functions of speech 
 is awakened by analysis and nomenclature, we 
 must first perceive how the perfection of emphasis, 
 in the old acceptation of the term, may be marred 
 by palpable defects in the delicate schemes of me- 
 lody and stress and intonated expression . 
 
 Look at a formal review of dramatic perform- 
 ance ; you will find in it, words enough, and very 
 good grammar. You cannot however avoid observ- 
 ing a strong disposition on the part of the writer, 
 to say something, when he has nothing to say : 
 hence after exhausting a small vocabulary of un- 
 meaning or most general terms, sometimes misap- 
 plied and always mawkish to a delicate taste, such 
 as " chasteness," " by-play/' " undertone/' " fresh- 
 ness," " harmony/' " effect" and " keeping/'— I 
 say, after hurrying over these indefinites, the writer 
 
 4 B 
 
554 CONCLUSION. 
 
 soon makes his way to surer ground ; in noting the 
 numbers and dress of the audience ; the comfort of 
 the seats in the orchestra ; the bad taste of the stage 
 side doors, with thanks to the manager, or censure, 
 for the good or bad effect of recent alterations in the 
 shape or the rules of the house ; the growing habit 
 of slaming doors ; the noise of iron-shod boots : 
 copious extracts from some of Shakspeare's best- 
 known scenes, and a reprint of one of Cumberland's 
 criticisms. 
 
 The preceding essay furnishes principles and 
 definite terms by which the specific merits and 
 defects of an actor or a speaker may be distinctly 
 represented ; by which the indescribable mysteries 
 of speech, as they are called, may be told to other 
 ages than those that heard them ; by which arrogance 
 and imposture in this art, may be wrested from 
 their hold on the better part of mankind, and their 
 rule left undisturbed over that great majority which 
 is always ready to support the small frauds of life, 
 and which, in its way, does receive a sort of plea- 
 sure from the changing pictures of its credulity. 
 
 The same acute and comprehensive observation 
 which makes an interpreter of nature makes a pro- 
 phet in the arts. He can tell us, that in the future 
 history of elocution, as it now is with song, the mas- 
 ters of its practice will always be masters of the 
 science : that they will, with the confident aim of 
 principles, address themselves to the elect of intel- 
 ligence and taste, by whom their merits will be 
 rated and their authority fixed. And if in making 
 a fame or fortune by their voice, they should receive 
 
conclusion. 555 
 
 any assistance from this essay, I shall be content- 
 ed to think it is some contribution to the multiplied 
 means, by which the works of art are made to be 
 eternally delightful to mankind. 
 
 Finally, I would recommend this analysis, and 
 the practical inferences which have been drawn 
 from it, to those who declare with contra-distin- 
 guishing ascription, that elocution cannot be taught, 
 but must be the work of genius alone. Such per- 
 sons look upon the powers of the mind as a kind of 
 sleight : the ways and means of which are unknown 
 and immeasurable. But genius, as far as it appears 
 from its works, is only an aptitude for that deep, 
 wide and exclusive attention which perceives and 
 accomplishes more than is done without it ; and 
 therefore is not altogether removed beyond the 
 reach of rules : though in its course of instruction, 
 genius is oftenest the pupil of itself. 
 
 Let those who are deluded by this mystic notion 
 of genius, turn their eyes from impostors who can- 
 not define an attribute which they do not compre- 
 hend ; let them look to the great Sachems of man- 
 kind, and learn from the real and honest possessors 
 of it, how much of its manner may be described. 
 They will tell us that genius, in its high meaning, 
 is always enthusiastic : always characterized by pas- 
 sionate perseverance ; by the love of an object 
 in its means as well as its end ; by that unshaken 
 confidence in its own powers, which converts the 
 evils of discouragement into the benefits of success ; 
 which cares not to be alone, and is too much ab- 
 sorbed in its own truths to be disturbed by the 
 
 
5qQ CONCLUSION. 
 
 opinions of others : with a disentangling spirit, to 
 see things as they might be ; and an economy of 
 purpose, to execute them as they ought to be, — 
 soaring above that musty policy which, in its " fine 
 tact of the expedient," would with a world-serving 
 quietude preserve them always as they are : having 
 the power to accomplish great and useful works, 
 only because it wastes no time or small and selfish 
 ones ; and passing a life of warfare in detecting the 
 impostures and follies of its own age, that the next, 
 like the consulted Oracle of Delphi, may pronounce 
 it the chief in wisdom and in virtue. 
 
BRIEF ANALYSIS 
 
 or 
 
 SONG AND RECITATIVE 
 
 When the phenomena of Speech, Song and Re- 
 citative are regarded independently of verbal dis- 
 tinctions, they display a nearer resemblance than is 
 discoverable by a general view of their effects and 
 names. It is the duty of philosophy to look into 
 the real existences of things ; to break down many 
 of those lines of separation which the poor conve- 
 niences of classification have established ; to exhibit, 
 as far as is available with finite resources, that clear 
 and comprehensive picture of nature which is sur- 
 veyed, at once and always, by the infinite discern- 
 ment of her author himself. 
 
 To the common ear, speech and song are totally 
 different. Let us examine their relationships by an 
 analytic comparison of their several constituents. 
 
 In taking up this subject I have no new function 
 to represent. Song and Recitative are only certain 
 combinations of the five accidents of sound which 
 were minutely described in the preceding part 
 
558 A BRIEF ANALYSIS OF 
 
 of this volume. It is my design to point out the 
 method of these combinations ; in order to complete 
 the outline of vocal science, by showing the simi- 
 larity between the phenomena of its three leading 
 divisions. 
 
 The art of vocal music has been seriously culti- 
 vated by its professors : and though, as far as I know, 
 they have never gone into its deeper analysis, they 
 have accumulated a mass of observation, and have 
 framed a body of principles for governing the great 
 and brilliant results of their practical execution. 
 The representation of the subject in any thing like 
 a practical view is beyond my design and ability. 
 The means of instruction in all the Fine arts, but 
 especially in that of song, are too limited in this 
 country, both as regards the higher discussions of 
 taste and the eminent examples of executive skill, 
 to furnish any proposed record, in that order and 
 with that clearness and strength which always 
 characterize a direct transcript from nature. It 
 becomes the American, in honestly knowing him- 
 self on these matters, to touch those points only, 
 which the physiology of his own voice may furnish, 
 and, in this day at least, to leave the full description 
 of all that song can do, to the ample opportunities 
 of European experience and education. I propose 
 to give only a general physiological account of the 
 functions of song ; leaving it to those whom it may 
 professionally concern to make any practical ap- 
 plication of the principles here developed, or to 
 pass them by as a part of natural history that is 
 more curious than useful. 
 
SONG AND RECITATIVE. 559 
 
 As song consists in certain combinations of the 
 five accidents which were made the ground of ar- 
 rangement in speech, I shall give the proposed an- 
 alysis under the same general heads : and first, 
 
 Of the Pitch of Song. — The movement of song 
 has every direction and extent which was ascribed 
 to speech 5 and one form which is peculiar to its 
 intonation. 
 
 In illustrating the nature of the equable concrete 
 I described the radical and vanish of song. When 
 given as a single unempassioned sound, for ex- 
 emplification, it consists of a rapid concrete-rise 
 through the interval of a tone, and a prolongation 
 on one line of pitch at the summit of that tone. If 
 the reader will allow me to designate the parts 
 thus divided, by calling the rapid concrete-rise the 
 Arsis, and the level line the Note, it will contri- 
 bute to the brevity and perspicuity of our future 
 description. 
 
 When we rise by a slow and easy effort through 
 the seven places of the musical scale, the move- 
 ment of the voice is made according to the follow- 
 ing notation of time and pitch : in which I suppose 
 the succession to be on the staff of the bass-cliff. 
 
 f=^ 
 
 ^^^ 
 
 i 3 ^ 
 
 The time of the arsis is here represented by a 
 
5(J0 A BRIEF ANALYSIS OF 
 
 semiquaver, and that of the note by a semibreve, 
 two comparative terms in music which hold the 
 proportion of one to sixteen. 
 
 There may be both a plain and a more complex 
 structure of song. The form of the above scale is 
 the plainest, and is perhaps never used as a running 
 melody except in the rude attempts of a child. 
 When it is employed throughout a current, and I 
 have so heard it, it is like the effect of a musical in- 
 strument, and one badly played too. 
 
 As in the case before us, the successions of pitch 
 are made by a transition either to proximate or re- 
 mote degrees, and without the continuous move- 
 ment from one degree to another, it may be called 
 Discrete Song. 
 
 In this kind of melody, the length of the note, 
 when compared with the arsis, is different, accord- 
 ing to the time of the air or the syllable to which 
 it is sung. Its longest quantity may exceed the pro- 
 portion represented in the above scale. Its short- 
 est, changes the movement to an equable concrete, 
 the voice becoming altogether arsis by the oblite- 
 ration of the note. Song constructed by the rule of 
 this discrete progression, and without assistance 
 from the modes of stress, is destitute of all power 
 to please the ear and to excite a feeling. 
 
 The foregoing is the most simple form of pitch. 
 The next is that of an arsis of greater extent than a 
 tone. In this way several different representations 
 of the scale might be given, consisting respectively 
 of the rapid rise of a third with its note ; of a fourth, 
 fifth, and all other practicable intervals. Let the 
 
SONG AND RECITATIVE. 561 
 
 reader take the above scale as a model, and draw 
 for himself a similar rising progression with the 
 arsis of a third, then another of the fourth, and so 
 on through the whole compass of the voice *, — this 
 will give him a visible illustration of the modifica- 
 tion of the scale by the variation of the arsis. 
 
 When an air employs this mode of intonation, it 
 adds something to the character of the plain and 
 discrete movement last described, and is one re- 
 move from the formal effect of the notes of an in- 
 strument. For in a skipping melody of song the 
 various degrees, whatever may be their distances, 
 can all be united by means of these different ranges 
 of the arsis. Let us call this mode of intonation 
 Concrete Song. 
 
 I here exhibit a notation of the scale of eight 
 notes with the arsis in its different intervals, from 
 a second to a ninth. 
 
 
 ** 
 
 ?¥¥¥^ 
 
 In the preceding description I have said nothing 
 of the descending progress of melody, since I have 
 imagined it to be made with the same kind of voice 
 as the ascent, that is by taking the arsis first. But 
 there are two other modes of movement in a down- 
 ward direction employed in song. 
 
 The first is formed bv inverting the foregoing 
 4 c 
 
562 A BRIEF ANALYSIS OF 
 
 scales. In this manner the concrete will be repre- 
 sented as first in the order of progression, but instead 
 of rising it will descend to the note. Let us call this 
 Downward concrete of song, the Thesis. — It is 
 scarcely necessary to say of this function that it is 
 performed through as many intervals as the Arsis. 
 The second mode of descent is made by taking 
 the note first and subsequently falling with the the- 
 sis, as shown in the foregoing scales, by considering 
 them as symbols of a downward course. Both 
 these modes of the Thesis are exhibited in the fol- 
 lowing scheme. 
 
 Second form of the Thesis. First form of the Thesis. 
 
 g^gfgjg 
 
 Such then are the modes of the upward and 
 downward concrete movement of song : and what 
 was remarked concerning the length of the note, 
 in the scale of the second, may be said of all the 
 others with their different intervals of the Arsis 
 and Thesis — that the proportion between the note 
 and the concrete so varies that the former some- 
 times disappears altogether, and the movement, be- 
 comes like the equable concrete of the rising and 
 falling intervals of speech. 
 
 Let us suppose this last form of the arsis and 
 thesis, without the appendage of the note, to be 
 united in one continuous movement. This produ- 
 
SONG AND RECITATIVE, 5(53 
 
 ees in song the element called the wave : and inas- 
 much as we have an arsis and thesis of every inter- 
 val, so these may be combined into every form of 
 the wave which was described in speech. 
 
 The melody of song, as far as we have now de- 
 scribed it, consists of a discrete progression similar 
 to that of a flute, with the arsis of a second prece- 
 ding its note. And it further embraces wider con- 
 crete movements, both in an upward and a down- 
 ward direction, and in the form of the wave min- 
 gled with the linear prolongation of the note. 
 
 But these are not all the functions of pitch. Song 
 likewise employs the Tremulous movement. It is 
 here constructed as in speech ; and is applied to 
 the level line or note, the rise, the fall and the 
 wave. 
 
 This is the proper place to consider the subject 
 of articulation in song, since it is the management 
 of pitch which secures the distinctness of this func- 
 tion. 
 
 I showed that one of the requisites for accurate 
 pronunciation in speech, is the equal apportionment 
 of the concrete to the literal elements. The audi- 
 bility of the words in song depends in part upon 
 the same principle : for the peculiar nature of the 
 level note of pitch does not alter the mode of syl- 
 labication. The correct articulation of song how- 
 ever requires a further attention to the accentuation 
 of words, and to their syllabic quantity. But the ad- 
 justment of these matters lies with the composer 
 and the poet. 
 
564 A BRIEF ANALYSIS OP 
 
 Writers on vocal science have extensively treat- 
 ed this subject : and the same preceptive page 
 which enjoins its importance, directs that the vow- 
 els should principally compose the strain of utter- 
 ance. The vowel or tonic sounds have clearly the 
 purest quality for song : and it is certain that a 
 syllable is known only through the perception of 
 its proper accent, and the allotted time of each 
 of its elements. I have no more to say on this point 
 than that the purposes in these cases seem to be at 
 variance. It is the vocalist's duty to reconcile them, 
 by making distinct articulation agreeable. 
 
 These are the general functions of song as re- 
 gards Pitch. The manner of using them, and their 
 junction with other accidents will be described 
 hereafter.* 
 
 * Upon a review of the analysis of the intonation of speech and 
 song, it seemed to me that the effect of the discrete scale of 
 the latter might be attained on some musical instruments. The 
 publication of this essay rather before the contemplated period 
 prevented me from testing the practicability of some imagined 
 contrivances for this purpose. 
 
 I had designed to connect a square organ-pipe with its finger- 
 key by means of compound levers, so that the same touch which 
 raises the wind-valve should, at a succeeding moment, raise a 
 shutter on a side of the pipe at its open end ; the object of this 
 shutter being to cover an oblong aperture, reaching from the 
 very end of the pipe, so far towards its sounding-lips, as to 
 raise the pitch a tone or second when the shutter should be re- 
 moved. 
 
 Now this shutter having its centre of motion towards the 
 sounding-lips, was to overlap the edges of the oblong vent: but 
 the plug which was to shut into the vent, with a rebate, was to 
 be wedge-shaped, with its sharp angle towards the end of the 
 
SONG AND RECITATIVE. 555 
 
 Of the Time of Song. — I consider this accident 
 only in relation to the individual functions, and not 
 to the general construction of melody, and its 
 rhythmus. 
 
 pipe; so that as the shutter should be raised and consequently 
 the wedge, as the under part of it, the vent would be gradually 
 opened, and the intonation be thus made to ascend with a concrete 
 movement. When the shutter should be entirely opened, the 
 long note then produced, immediately following the concrete, 
 might give the instrumental execution of the voice of song. 
 
 In the transitions of melody with such a contrivance, it would 
 be necessary that the valve in the wind-chest should be made 
 to close before the shutter, otherwise the gradual descent of it, 
 would make a falling concrete or thesis, on every note. 
 
 I have thus suggested the principle on which an experiment 
 may be tried by those who have ability, time and convenience 
 for such works : and there are other ways which persons of me- 
 chanical cleverness may contrive, for producing the concrete 
 movement on a sounding-pipe either of metal or wood. 
 
 I am not altogether convinced that this mode of mechanism 
 might not be connected with the vox-humana stop of an Organ, 
 or even the ventages of a bassoon. If this is practicable, it may 
 give to instruments a little more of the character of the singing 
 voice than they at present possess. 
 
 I cannot say how much further the principle might be applied 
 f6r adding the wider ranges of the concrete, by a vent of great- 
 er dimensions in the pipe. The mechanism even for the Second 
 would not be simple, and the management of more than one 
 concrete-key, if I may so call it, might he beyond the dexterity 
 of the player. What could be done on barrel-organs, machin- 
 ists can best tell. 
 
 Automaton Figures have been made to speak, as it is called ; 
 but it is in a protracted note which produces song. Would not the 
 imitation of speech be nearer, if the sound was, by its instrumen- 
 tal cause, formed into the equable concrete ? 
 
 On the whole, I shall be sorry if any one should lose his la- 
 
5(j5 A BRIEF ANALYSIS OF 
 
 Time is used in every degree of duration, on the 
 note, on the arsis and thesis, and on the wave. When 
 it is so short on these, as to exclude the note, the 
 effect, as far as regards mere individual acts of into- 
 nation, does not differ from that of speech. 
 
 Of the Quality of Voice in Song. — The kind of 
 sound is the same in song as in speech. But since 
 the time of the former is generally longer and con- 
 sists of the protracted vocality of the tonics, it ren- 
 ders the quality more conspicuous, and subjects it 
 to more rigorous scrutiny. There are harsh, full, 
 slender and nasal voices, and that which is called in 
 the language of the schools, Pure tone. This sub- 
 ject is however so well known in the practical dis- 
 criminations of singers, that it needs no further con- 
 sideration here. 
 
 There is a curious subject of physiological in- 
 quiry, connected equally with song and speech, 
 but which I have reserved for this place. 
 
 It is known that with a few trials, all the tonic 
 and most of the other elements may be made indivi- 
 dually by the act of Inspiration. The quality is in- 
 deed strangely altered from the customary mode 
 of the speaker, but the characteristic sound is com- 
 plete. It would seem then that the vocal functions 
 are equally practicable both in the ebb and the 
 
 bour by a vain working at this problem. It is not the odd ends ol 
 time that ever did any thing well: and if the schemer should be 
 disposed to devote one useful day to the hazards of mechanical 
 ingenuity, in such matters as I have here proposed, let him 
 take, at the same time from me, the words of caution. 
 
SONG AND RECITATIVE. 567 
 
 flow of respiration : but for some wise purpose, the 
 former has been universally appointed to carry out 
 the continued current of speech. Now the reason 
 why inspiration admits only of a single word, or 
 at most three or four, is the same which creates the 
 difficulty with infants, upon their first essays in ex- 
 pired speech. We have not the Holding breath, as 
 I presumed to call it, and therefore the act of inspi- 
 ration immediately fills the lungs, reversely as the 
 Exhausting breath drains them, and thus cuts off 
 the course of speech. 
 
 The question I here put is, — whether by a prac- 
 tice as long and assiduous as that which gives the 
 command over the time of expiration, the same 
 holding breath might not be attained in inspiration ; 
 and, should the quality of this entering voice, if I 
 may so call it, be improvable, whether it might 
 not be employed in the purposes of singing, to aid 
 in sustaining the voice indefinitely ; and for ensur- 
 ing a continuous intonation in the higher intrica- 
 cies of execution. It is certain that this power has 
 been attained in whistling, both as regards the quali- 
 ty of shrilnessand the accuracy of tune : and though 
 in this case the reach and facility of the holding 
 breath of expiration, far surpasses that of inspiration, 
 still, the pauses for inhaling may be rendered al- 
 most imperceptible, through the controlling pow- 
 er that does exist. 
 
 Of Force of voice in Song. — This accident has 
 reference either to the general drift of the voice, 
 or to its individual movements. I shall consider 
 it only in the latter relation 
 
568 A BRIEF ANALYSIS OF 
 
 All the .modes of stress formerly ascribed to 
 speech are found in song. This is true not only as 
 regards the equable concrete which I said is some- 
 times used in the short impulses of the singing 
 voice : but the radical, the median and the vanish- 
 ing forms of force are applied on the proper arsis 
 and thesis when connected with a note, upon the 
 long note itself, and upon every course and extent 
 of the wave. 
 
 The full and abrupt radical being always pre- 
 ceded by an occlusion, it may have a place at the 
 outset of the arsis, or the thesis, or of the note of 
 Recitative when it is occasionally found in song, or 
 at the opening of the note which is represented in 
 the scheme of the second form of the thesis. That 
 note which is continuous with the rising or falling 
 concrete cannot receive this mode of force. 
 
 The greater quantity which may be allotted to 
 the upward and the downward concrete, and the 
 note of song, beyond what is allowable in speech, 
 gives rise to a modification of the median stress or 
 swell which does not belong to the syllabic concrete 
 of discourse : for two or three of these swells may 
 be set on the same note ; that is, the force may di- 
 minish and revive alternately. The median stress 
 may also in a protracted quantity exhibit a struc- 
 ture resembling the radical and the vanish, by sud- 
 denly enlarging and gradually diminishing, and by 
 the reverse. 
 
 The vanishing stress is principally set on the 
 equable concrete, which makes the short syllabic 
 intonation of comic songs. 
 
SONG AND RECITATIVE. 569 
 
 But the most striking function of force consists in 
 the use of the compound stress. 
 
 I have just shown that the voice passes through 
 every interval of the scale, both in the arsis and 
 thesis, and their union in the wave. This is done 
 by a gliding movement, similar to the proper con- 
 crete of speech. But the change may be made in 
 another manner, by a rapid transition, in which the 
 proximate places of the scale are distinctly marked. 
 This, in the language of the school, is called " run- 
 ning thegammut"or " running divisions". It isone of 
 the most difficult executions of the art, and is never 
 done with precision, speed, and smoothness, except 
 by persons of the highest skill. The description of 
 this process will show the nature of the Trill or 
 Shake, for this, and the movement called a Division, 
 are but varied applications of the same physiolo- 
 gical function. 
 
 The shake is a rapid iteration of two impulses of 
 sound at the distance of a tone or semitone : or in 
 other words, it is an alternation of proximate de- 
 grees on the diatonic scale. 1 have shown that eve- 
 ry vocal effort consists of a radical and vanish ; con- 
 sequently when two successive impulses occur on 
 the same or on different degrees of pitch each must 
 exhibit these essential portions of the concrete ; but 
 as the radical is the abrupt opening of the voice 
 after an occlusion there must be a pause of a mo- 
 ment at least between these two impulses or con- 
 cretes. 
 
 The shake being a rapid iteration of sounds, 
 without a perceptible interruption, cannot be made 
 
 1 D 
 
570 A BRIEF ANALYSIS OF 
 
 upon a series of impulses, each of which has its ra* 
 dical and vanish : for if the reader will try to exe- 
 cute a trill on the diphthong ale, he will find he 
 cannot be sufficiently rapid when he makes the first 
 sound of a-le the beginning of the several succes- 
 sive impulses. 
 
 The only mode in which this rapid alternation 
 can be effected, is by the compound stress. For 
 should the top of the concrete be enforced to an 
 equality with the radical portion, two impressive 
 sounds at the distance of a tone or semitone will be 
 produced ; there will be a smooth transition from 
 one to the other 5 and after each of the vanishing con- 
 stituents of the shake, the radical will be ready to 
 take on its function, and thus to attain that velocity 
 which is impracticable when the impression is 
 made by the stress of successive radicals alone. If 
 the reader will perform a trill on the element ale 
 he will perceive an iteration of the radical " a" and 
 the vanish " e" of this diphthongal tonic. 
 
 Thus the shake is only a rapid execution of the 
 compound stress of speech, upon a continued phrase 
 of the monotone : and it is the manner in which the 
 two stresses are joined by the concrete, that produ- 
 ces the smoothness or " liquidity," as it is called, of 
 this vocal ornament. 
 
 As the compound stress was shown to be practi- 
 cable on every interval of speech, so a shake in 
 song might be composed of a rapid iteration of the 
 compound stress, between other points of the scale : 
 and indeed such movements are sometimes heard 
 in the tricks of the Florid Song ; but they are not 
 
SONG AND RECITATIVE. 571 
 
 technically classed with the trill, for this is restrict- 
 ed to the order of proximate degrees. 
 
 Let us now suppose the singer to pass upward 
 or downward through the eight notes of the gam- 
 mut, in the most rapid manner. All that was said 
 of the alternate impulses in the shake, is true of this 
 case : for when each of the eight points of the scale 
 is marked by a proper radical, the same momenta- 
 ry delay of the occlusion must take place. Thus 
 let the reader pass over several degrees, by giving 
 the radical of the diphthong a-le on each point, 
 and he will find it impossible to run through the 
 scale with rapidity. But when he utters the two 
 constituents of the diphthong alternately, the " a" 
 and " e" will be heard in quick transition through its 
 proximate places. 
 
 Thus it appears that the Divisions of song are 
 only the compound stress of the concrete, or an al- 
 ternate radical and vanish, in the rising or falling 
 succession of the scale. 
 
 There are various modes in which these divisions 
 may be run ; for the whole octave may be passed 
 through in one continued chain of upward or down- 
 ward movement ; or the progress may be less ex- 
 tensive ; or it may be made of groups of two or three 
 or four impulses with a pause between the aggre- 
 gates. In short, the compass may be traversed in 
 numberless ways by the tune and time and mode 
 of succession of this function. Sometimes a division 
 is made by the proximate step of a semitone : but 
 whatever the movements may be they are all per- 
 formed on the principle of the compound stress. 
 
572 A BRIEF ANALYSIS OF 
 
 I asked myself in the course of this investigation, 
 and I dare say the reader will make the inquiry — 
 how it happens that the mode of execution by the 
 compound stress avoids the difficulty of that occlu- 
 sion which prevents a rapid shake from being 
 formed by successive radicals. I am not able to an- 
 swer this question : and can only offer the following 
 conjectures, which I beg the reader to take as such, 
 without classing them with that certainty of obser- 
 vation which has been the rule of philosophy in this 
 work. 
 
 It is possible that the organic cause of intonation 
 is so constituted that the radical must necessarily 
 be followed by the vanish, before the structure can 
 assume the position for another radical. If then a 
 stress, equal to that of the radical, can be made on 
 the vanish, the purpose of the shake is gained with- 
 out incurring a loss of time by the natural vanish : 
 and the organs will be ready to take on an occlu- 
 sion for a new radical at the moment of the expira- 
 tion of the vanishing stress. 
 
 We may suppose the shake to be made in another 
 way, — by the voice traversing in a Continued wave 
 between the extremes of a tone, and by a sudden 
 swell of force at those extremes. 
 
 I need scarcely tell the reader that the proper 
 trill is not made like the iterated Tittles of the tre- 
 mulous scale. 
 
 Of the Modes of Melody in Song. — Having de- 
 scribed the forms of pitch, time and stress, we may 
 now take a general view of their combinations. 
 
 The structure of melody exhibits every variety 
 
SONG AND RECITATIVE. 573 
 
 in the number of its constituents, and in their inter- 
 changeable union, from the use of the simple arsis 
 and note, which we called the Discrete song, to 
 that utmost employment of the concrete pitch, and 
 the compound stress which constitutes the " airs of 
 agility'' or " florid execution. " I did indeed make 
 two distinctions founded on these modes of move- 
 ment; but this was done only to mark the extremes 
 of a varied process, since song is scarcely ever heard 
 in the rigidly discrete form ; and when once the 
 concrete movement is admitted, no definite line of 
 separation can be drawn between its simple inflec- 
 tions and its more complicated structure. 
 
 In general terms then, and without pretending 
 to describe the confines of each, I would call the 
 Discrete melody that which moves by proximate 
 degrees and by skips, in the simple form which is 
 represented by the first scale of the eight notes ; 
 and showing occasionally, because it can scarcely 
 be avoided, a concrete junction of some of the wider 
 intervals by the arsis and thesis. This is the mode 
 of song used by the Church when the choir is 
 conducted by the congregation. It is suited to the 
 general ability of the whole, and resembles the 
 mere instrumental effect of the organ which ac- 
 companies it. 
 
 I would call the Concrete melody, that disposition 
 of the note, together with its varied connexion with 
 the arsis and thesis and the compound stress, which 
 constitutes within due bounds of combination, the 
 most expressive powers of song, and in its higher 
 
574 A BRIEF ANALYSIS OF 
 
 conditions, the extraordinary but unmeaning flights 
 of the most elaborate composition. 
 
 Of the Expression of Song. — Expression in song 
 is the power of exciting certain intense feelings by 
 means of the pitch, time, force, quality and abrupt- 
 ness of sound. 
 
 It appears from this definition that the materials 
 of expression in song are the same as those of 
 speech : though some difference will be found in 
 the specialties of the respective employment of 
 them. The Italians, who have taught us almost 
 every thing in music, have divided their song ac- 
 cording to the style of its execution; the places in 
 which it is displayed ; and the sentiments itexpresses, 
 I am only hinting at an arrangement upon the points 
 of its rudimental functions. 
 
 In a general view of the subject of expression, 
 we find that the dignity of Song is produced by the 
 same fulness in quality, length of time, and gra- 
 vity in pitch which gives an elevated and solemn 
 character to reading. There can be no grandeur 
 in that melody which employs the reverse of these 
 conditions. 
 
 The gay efforts of song, on the contrary, like the 
 sprightly method of discourse, are made by a 
 sharper quality; a quicker time; a higher course 
 of pitch, and a greater variety in its successions. 
 The Aria Buffa or the Comic Song generally con- 
 sists of such short quantities that most of its syllabic 
 impulses are made in the true equable concrete of 
 speech. The only reason why in some cases we 
 know it to be song, is because the concrete and the 
 
SONG AND RECITATIVE 
 
 575 
 
 radical pitch consist of wider intervals than belong 
 to the current of speech. 
 
 The plaintive effect of the semitone, and the mi- 
 nor third, which is only a peculiar position of the 
 semitone, is similar to the chromatic character of 
 spoken melody. Perhaps we ought to consider the 
 expression of the cadence as identical in these two 
 uses of the voice ; since the return to the Key-note, 
 which is constantly occurring in song, does, like 
 the intonation at the periods of discourse, produce 
 the agreeable feeling of repose and satisfaction. 
 
 Let us take another view of this subject; and 
 speak of the different kinds of melody. 
 
 The Discrete song is not without expression, 
 though it falls short of the kind which arises from 
 a judicious use of the higher elements. Its sources 
 lie in quality, tune, time and stress. 
 
 There is something in the mere sound of a pro 
 longed note, which may give a peculiar character 
 to song. Fulness produces solemnity; smoothness 
 excites the idea of beauty; and in the lighter efforts 
 of the comic song, the distorted variations of quality 
 give rise to a sense of the gay or ridiculous. As 
 regards quality, the principles of expression are 
 similar in speech and song: but perhaps the kind 
 of voice is more palpable in the latter. 
 
 The expression of Tune consists in the transition 
 through certain intervals. The discrete melody 
 can therefore display the plaintivenessof the semi- 
 tone and the minor third, and the more energetic 
 effect of the other intervals of the scale. 
 
 The plain song may, by its Time, be either grave 
 
576 A BRIEF ANALYSIS OF 
 
 or gay. It appears that song is more agreeable 
 than the short syllabic impulses of speech, though 
 they may each have the same order of pitch. I 
 am disposed to think this arises from an association 
 of the notes of song with the effects of long quantity 
 in speech : for this is always the sign of some strong 
 emotion. 
 
 The radical and the median stress are applicable 
 to the protracted note of the discrete melody : but 
 it is the varied mode of the swell in the latter which 
 constitutes the principal means of expression. 
 
 Some of the more moderate forms of the wave 
 may be admitted into what I have called, without 
 assigning a very definite boundary of its nature, 
 the discrete song. 
 
 By an inference from some very general descrip- 
 tions and some known particulars of the Greek 
 song, it is probable that its melody was of this dis- 
 crete class; enriched with all the forms of expres- 
 sion which are admissible into its structure: and 
 the strict rules which seem to have governed the 
 connexion between syllabic quantity and intona- 
 tion, might lead us to suppose, that the very method 
 of speech may have formed the leading powers of 
 their simple but highly expressive melody * 
 
 * I once contemplated subjoining to this essay, a discussion 
 of the subject of Greek Accent. But I hope I have now suffi- 
 ciently displayed the emptiness of its pretensions, by the full 
 light of modern analysis. The proceeds of national reputation, 
 like that of individuals, may serve the purpose of those who 
 blow it. One can however see about him every day, enough of 
 the boast of empires and of men, to make him scrutinize the 
 
SONG AND RECITATIVE. 577 
 
 The character of the Concrete song appears in 
 various degrees, from the limits of the style last 
 described, to that intricate composition of the vo- 
 cal elements which defeats their purposes by an 
 annihilation of all meaning and sentiment. 
 
 The expression of this melody consists of the 
 
 rolls of fame which were blazoned by the same genus of credu- 
 lity, two thousand years ago. 
 
 I know all the stories about barbarian embassadors being: de- 
 lighted with the mere music of a language which they did not 
 understand: and of that universal acuteness and " proud judg- 
 ment of the ear" which made the Athenian herb-women and 
 porters speak with all the purity of the Academy. But I must 
 have other proof than the report of Greek historians; and I 
 must find them writing with more fulness and precision, on a 
 subject they understood so well, before 1 can believe that in this 
 matter they were at all superior to ourselves. 
 
 If I wished to believe in the vocal perfection of the Greeks I 
 should be a little ashamed of that authority for it, which would 
 seem to be the least questionable. Since their Roman eulogists 
 do not display better system or definition in their elocution; 
 and with the same pen that deals out the extravagancies of 
 praise, they gravely give us the silly story of one of their own 
 famous orators having occasion for a Pitch-pipe, to enable him 
 to recognise his own voice, and to govern his melody, through 
 the discriminations of a slave who now and then blew a little 
 horn at his elbow . 
 
 If I should be obliged to hold an opinion upon the subject of 
 ancient accent, the fixed appropriation of its acute, grave and 
 circumflex sign to syllables, being utterly inconsistent with a 
 proper or elegant system of intonation, would induce me to be- 
 lieve that the Greeksand Romans did always mean stress by their 
 idea of the accentual function, but that they had connected 
 with it a crude theory of pitch, formed perhaps out of some frag- 
 ments of Egyptian science, which they themselves did not tho- 
 roughly understand. 
 4 E 
 
578 A BRIEF ANALYSIS OF 
 
 means enumerated in the account of the discrete : 
 but they have here a much wider range. The fur- 
 ther employment of the radical and median force 
 on the arsis and thesis, as well as on the wave, 
 adds a brilliant variety to the effect. We have in 
 the Bravuras and Volatas of this kind of song, all 
 the extraordinary coloring of the compound stress, 
 in the production of the shake, and the almost in- 
 finite forms that Divisions assume in their play 
 with time and tune. It likewise commands those 
 powers of expression which lie in the Tremulous 
 scale, both in the plaintiveness of the semitone and 
 in the laughing movement of the wider intervals. 
 As song employs the elements of speech in its 
 composition, one would suppose that certain move- 
 ments must have in each case an identical expres- 
 sion. But it is not always so. I have enumerated 
 some functions that represent the same sentiments 
 in both. There are, however, many forms of into- 
 nation which lose their meaning and force when 
 transferred to song. In treating of the vocal signs 
 of the passions, we learned that their design is not 
 only modified by the descriptive agency of words, 
 but in some instances is purely dependent upon it 
 I endeavoured to illustrate this by reference to the 
 voices of birds: but song affords a more satisfactory 
 proof. For since its more elaborate structure does 
 employ all the forms of concrete and radical pitch, 
 and the wave, we should be constantly impressed, 
 in the changes of its melody, with the signs of in- 
 terrogation, surprise, positiveness, sneer, contempt, 
 and raillery: whereas the song which makes the 
 
SONG AND RECITATIVE. 579 
 
 freest use of these symbols never excites the above 
 named sentiments, except they are joined with 
 language. 
 
 Song is, nevertheless, powerfully expressive, and 
 it is so by the use of these very concretes and 
 quantities and waves and abrupt and swelling 
 stresses, which give the sentimental meaning to 
 speech. Any person who is in the habit of enjoy- 
 ing the display of song, will say that the emotions 
 created by it are so far indefinite, that he is not 
 able to refer them to any other source than that of 
 general association, nor to reduce the signs of ex- 
 pression to such classes as have long been per- 
 ceived in speech, though they have never been 
 formally named. 
 
 Upon this subject, I would ask two questions. — 
 Has song a system of expression properly its own, 
 and does our indefinite perception of its points, 
 arise from this system never having been analyzed 
 and rendered familiar and specific by names'? Or — 
 does the expression of song depend on an associa- 
 tion between the elements used by it, and those of 
 speech, the former assuming the agreeable effect 
 of the latter, without their definite meaning? 
 
 We are now prepared to sum up the differences 
 between song and speech. 
 
 The Discrete melody, though the least removed 
 from speech, is still remarkably distinguished from 
 it by the effect of the protracted note, and by the 
 more frequent occurrence of wider transitions in 
 the radical change. 
 
 In the most complicated form of Concrete song, 
 
580 A GRIEF ANALYSIS OF 
 
 for I thus choose the extreme cases, the difference 
 consists in the sort, number and uses of its move- 
 ments. — The range of its melodial compass ex- 
 ceeds that of speech. The compound stress, in the 
 form of the shake and in the rapid run of divisions, 
 is the most frequent constituent of airs of agility; 
 but is never used in quick time in the speaking 
 voice. The only function common to both is the 
 equable concrete, which is sometimes set to the 
 short syllables of song; though it is not then recog- 
 nised as a feature of speech. The wider waves, 
 too, are occasionally used for emphasis in discourse: 
 but the combination of the arsis and thesis, into this 
 movement, occurs perpetually in the florid song. 
 
 We are now able to comprehend why persons 
 who sing with the greatest execution are rarely 
 or never good readers. One cause may be assign- 
 ed in the difference of the respective movements; 
 particularly the want of the full command over the 
 equable concrete in all its modes of time, by sing- 
 ers, since they rarely employ it except for the short 
 quantities of the comic song. But the principal rea- 
 son why those who are distinguished for vocal flex- 
 ibility in elaborate composition, are generally very 
 indifferent actors, is, because this intricate execu- 
 tion is always made with a sacrifice of expression. 
 I have shown that on some points the expression 
 of song and speech is identical ; and that even when 
 the former does not convey the special sentiments 
 of speech by the use of its intonations, still it has 
 a meaning of its own, however indefinite it may 
 be. But the practice of the bravura song, with 
 
SONG AND RECITATIVE. 5$ J 
 
 some rare exceptions, exhibits a total disregard of 
 the instinctive intonation of passion. In it, the long 
 and the short, the radical explosion and the median 
 swell, the diatonic succession and the chromatic, 
 the plaintive and the laughing tremor, and dis- 
 crete transitions from the deepest bass to the pierc- 
 ing falsette, are made to play with each other in 
 every mode of permutation. In short, as the voice, 
 like the throat of the mocking-bird, mingles all its 
 possibilities, without regard to design, the singer 
 thereby confuses that natural association between 
 sentiment and symbol, which good speaking always 
 requires, and which should also be the character- 
 istic of song. If I had the opportunities of Euro- 
 pean experience, I might speak with more univer- 
 sality and precision, but, as far as I have observed, 
 Singers who excel in the florid execution, are not 
 often gifted with nicety or comprehensiveness of 
 conception, nor with that sensibility which is apt to 
 accompany or to constitute a delicate organization 
 of ear. For the temperament of a singer can as 
 readily be perceived, in his peculiar management 
 of intonation, as the mind and feeling of a writer 
 can be gathered from his style. 
 
 A musical ear is only the exercise of attentive 
 observation by this sense; and I am convinced that 
 the most finished powers of elocution must always 
 be grounded on the discriminations which it implies. 
 I have heard some renowned actors who were well 
 skilled in the discrete song, and to a certain degree 
 in the concrete: and whilst I believe that, with the 
 proper discipline of the schools, they could have 
 
582 A BRIEF ANALYSIS OF 
 
 attained all the flexibility of the higher execution, 
 I have very little doubt that if such a power had 
 been reached and much practised, it would have 
 destroyed all that command over the equable con- 
 crete, which made them the full organ of the tra- 
 gic poet. Mrs. Siddons might perhaps have joined 
 voice with the incomparable Mara, in the expres- 
 sive songs of Handel or Mozart, without impairing 
 her power over Shakspeare. But she would have 
 been lost forever to all the mind and soul of speech, 
 if she had been trained with Catalani, to that won- 
 derful function and facility which was able to out- 
 strip even the fashion-serving contrivances of the 
 composers of the day. 
 
 Of Recitative. 
 
 I gave but a brief analysis of song, because I had 
 described all its elements minutely in the history 
 of speech. I shall be even shorter on the subject 
 of recitative, since I have already given the whole 
 of its resolution under other names. 
 
 The species of intonation which I have repre- 
 sented as properly belonging to it, consists of a pro- 
 tracted note on the radical, and a subsequent van- 
 ish. It is here represented in the progression of 
 a scale. 
 
SONG AND RECITATIVE. 583 
 
 Recitative also employs the arsis and thesis in 
 its other modes of junction with the note j the dif- 
 ferent species of the wave ; the various forms of 
 stress ; the equable concrete ; and, indeed, there is 
 no function which has been noted as a constituent 
 of speech and song, which is not to be found either 
 under a general or partial use in recitative. 
 
 The quality of voice does not differ from that of 
 song. 
 
 The time of recitative, as regards individual syl- 
 lables, is the same as in song. There are, how- 
 ever, some peculiarities on this point, in relation 
 to composition and accompaniment, which do not 
 belong to the design of the present analysis. 
 
 Notwithstanding all these similarities, recitative 
 is readily distinguished, even by the common ear, 
 from every other species of intonation. Now this 
 broad distinction grows out of the following cha- 
 racteristics. 
 
 First. — The syllabic time is generally shorter. 
 
 Secondly. — The long quantities are made by the 
 prolongation of the radical. 
 
 Thirdly. — The equable concrete prevails more 
 commonly than in grave or elevated song. 
 
 It may be granted that this last feature might 
 distinguish recitative from song of the more digni- 
 fied sort; but how is its melody, in the equable 
 concrete, to be known from that of speech, or from 
 the comic song which frequently employs the same 
 syllabic movement? 
 
 With regard to the gayer kind of song, the truth 
 is, the concretes in the two cases are identical ; and 
 
584 A BE1EP ANALYSIS Oi 
 
 the comic melody as far as it is executed in the sim- 
 ple arsis, is no other than recitative. 
 
 When recitative runs upon the equable concrete 
 it is distiioguished from speech, by two peculiari- 
 ties. First, the successions of melody in the former, 
 consist of skips, whereas the progress of the greater 
 part of speech is by proximate degrees. But se- 
 condly, it is further distinguished from speech, by 
 the equable concrete being more conspicuously set 
 on every syllable. In the speaking voice, the radi- 
 cal and vanish, though really made on every syl- 
 lable, is remarkably impressed on the ear, only by 
 those which are long and accented, but in recita- 
 tive the orthoepy of words is destroyed by every 
 syllable being made equally attractive through the 
 similar length of the equable concrete appropriated 
 to each. In this respect it resembles the carica- 
 ture of a Frenchman's pronunciation of English, 
 which consists principally in the equality of accen- 
 tual force on every syllable. Some persons who 
 have not a musical ear, are still able to give the 
 melody or the radical pitch of an air : but they 
 execute it in the equable concrete. The effect is 
 peculiar; and I dare say the reader may have 
 heard it. It is part of the structure of recitative. 
 
 The ordinary compositions in recitative which we 
 hear, consist of the above-mentioned characteristics 
 mingled every way with divisions, shakes, notes, 
 waves, and, in short, with all the constituents of 
 song. But it is through the equable concrete that 
 it produces all its expressive effects. 
 
 Perhaps we might argue from the case of reci- 
 
SONG AND RECITATIVE. 585 
 
 tative, that the principles of expression in song are 
 related to those of speech: and we might so far 
 amuse ourselves with a theory of its invention, as to 
 imagine that the powers of ordinary song, not being 
 equal to the full delineation of sentiment, the more 
 free introduction of the equable concrete, became 
 necessary. That this mode of intonation, when 
 grafted on the melody of song, and mingled with 
 the long radical note, does constitute the character 
 of recitative, will be admitted by observing that. 
 in this kind of composition, whenever the equable 
 concrete and the protracted radical, are not recog- 
 nised, the effect does not differ from that of song:. 
 All those parts which consist of waves and tre- 
 mors and forms of the compound stress, — for re- 
 citative sometimes plays its tricks of agility, — all 
 these, I say, are soi>g itself. 
 
 Here I conclude the cursory view of the physi- 
 ological functions of song and recitative: having 
 avoided therein, every thing like a practical consid- 
 eration of the subject. Some one better qualified 
 than myself, may be disposed to prosecute the in- 
 quiry. An investigation of the nature of expres- 
 sion in song, according to the hints here thrown 
 out, would be interesting, and might be successful. 
 Nothing could give me more pleasure than to as- 
 sist in its development. But this would lead me 
 from some other designs of duty -, and I have too 
 impatient a perception of the wasted experience, 
 and profitless logic, which daily present themselves 
 in the changeful errors of my profession, — not to 
 desire to use in its service, a method of philosophy 
 4f 
 
5S6 A BRIEF ANALYSIS, &c. 
 
 which I hope will be found to have been effectual 
 here. 
 
 For reasons which are known to more than to ray- 
 self, but which the public need not at present know, 
 I laid aside a Practical work on Medicine, with 
 the view of undertaking and completing this, — 
 and I am now going to resume it. 
 
 THE END. 
 
 jLC^S^ 392 
 
 

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