THE PHILOSOPHY 
 
 OP 
 
 THE HUMAN YOICE: 
 
 EMBRACING ITS 
 
 PHYSIOLOGICAL HISTORY; 
 
 TOGETHER WITH A 
 
 SYSTEM OF PRINCIPLES, 
 
 BY WHICH 
 
 CRITICISM IN THE ART OF ELOCUTION 
 
 MAY BE RENDEKED INTELLIGIBLE, 
 AND 
 
 INSTRUCTION, DEFINITE AND COMPREHENSIVE. 
 
 TO WHICH IS ADDED 
 
 A BRIEF ANALYSIS 
 
 OF 
 
 SOIVCJ AlVD RECITATIVE. 
 BY JAMES RUSH, M. D. 
 
 FOURTH EDITION, ENLARGED. 
 
 PHILADELPHIA : 
 LIPPINCOTT, GRAMBO, & CO. 
 
 LONDON: TRUBNER & CO. 
 1855.
 
 .^^ if \ 
 
 Entered, according to the Act of Congress, in the year 1855, 
 
 BY JAMES RUSH, M. D., 
 
 In the Clerk's Office of the District Court for the Eastern District of 
 
 PennsylTania. 
 
 <«■»» 
 
 CRISSY t MARKLEY, PRIKTEB3, 
 Goldsmiths Uall, Library St.
 
 CONTENTS. 
 
 A\(o?. 
 
 ? 
 
 
 INTRODUCTION, 
 SECTION I. 
 
 II. 
 
 III. 
 
 IV. 
 
 VI. 
 
 VII. 
 
 VIII. 
 
 IX. 
 X. 
 
 XI. 
 
 XII. 
 
 XIII. 
 
 XIV. 
 
 XV. 
 
 XVI. 
 
 XVII. 
 
 XVIII. 
 
 Of the General Divisions of Vocal Sound, livitli a 
 more particular account of its Pitch, 
 
 Of the Radical and Vanishing movement ; and its 
 different form in Speech, Song, and Recitative, 
 
 Of the Elementary Sounds of the English Lan- 
 guage ; -with their relations to the Radical and 
 Vanish, 
 
 Of the Influence of the Radical and Vanish, in 
 the production of the various phenomena of 
 Syllables, 
 
 Of the Causative Mechanism of the Voice, in 
 relation to its different Qualities, 
 
 Of the Expression of Speech, 
 
 Of the ritch of the Voice, 
 
 Of the Melody of Speech ; with an inquiry 
 hovr far the terms Key and Modulation arc 
 applicable to it. 
 
 Of the Quality or Kind of Voice, 
 
 Of Abruptness of the Voice, 
 
 Of the Time of the Voice, 
 
 Of the Intonation at Pauses, 
 
 Of the Grouping of Speech, 
 
 Of the Interval of the Rising Octave, 
 
 Of the Interval of the Rising Fifth, 
 
 Of the Interval of the Rising Third, 
 
 Of the Intonation of Interrogative Sentences, 
 
 Of the Interval of the Second, 
 
 Page. 
 
 27 
 
 49 
 
 66 
 
 79 
 
 94 
 
 106 
 132 
 138 
 
 143 
 162 
 168 
 166 
 190 
 198 
 206 
 208 
 210 
 213 
 243
 
 iv CONTENTS. 
 
 SECTION XIX. Of the Interval of the Kising Semitone ; and of 
 
 the Chromatic Melody founded thereon, 247 
 
 XX. Of the Downward Radical and Vanish, 258 
 
 XXI. Of the Downward Octave, 262 
 
 XXII. Of the Downward Fifth, 26S 
 
 XXIII. Of the Downward Third, 266 
 
 XXIV. Of the Downward Second and Semitone, 270 
 
 XXV. Of the Wave of the Voice, 272 
 XXYI. Of the Equal- Wave of the Octave, 278 
 
 XXVII. Of the Equal- Wave of the Fifth, 279 
 
 XXVIII. Of the Equal- Wave of the Third, 280 
 
 XXIX. Of the Equal-Wave of the Second, 281 
 
 XXX. Of the Equal-Wave of the Semitone, 289 
 
 XXXI. Of the Wave of unequal Intervals, 291 
 
 XXXII. Of the Intonation of Exclamatory Sentences, 299 
 
 XXXIII. Of the Tremor of the Voice, 310 
 
 XXXIV. Of Force of Voice 320 
 
 XXXV. Of the Radical Stress, 323 
 
 XXXVI. Of the Median Stress, 328 
 
 XXXVII. Of the Vanishing Stress, 332 
 
 XXXVIII. Of the Compound Stress, 334 
 
 XXXIX. Of the Thorough Stress, 335 
 XL. Of the Loud Concrete, 338 
 XLL Of the Time of the Concrete, 339 
 XLII. Of the Aspiration, 340 
 XLIII. Of the Emphatic Vocule, 344 
 XLIV. Of the Guttural Vibration, 346 
 XLV. Of Accent, 347 
 XLVI. Of Emphasis, 353 
 
 Of Emphasis of Quality, 854 
 
 Of Emphasis of Force, 355 
 
 Of the Radical Emphasis, 356 
 
 Of the Median Emphasis, 357 
 
 Of the Vanishing Emphasis, 358 
 
 Of the Compound Emphasis, 359 
 Of the Emphasis of the Thorough Stress, and 
 
 the Loud Concrete, 360 
 
 Of the Aspirated Emphasis, ib.
 
 CONTENTS. 
 
 SECTION XLVI. Of the Emphatic Vocule, 
 
 Of the Guttural Emphasis, 
 Of the Temporal Emphasis, 
 Of the Emphasis of Pitch, 
 Of the Emphasis of the Eising Octave, 
 Of the Emphasis of the Rising Fifth, 
 Of the Emphasis of the Rising Third, 
 Of the Emphasis of the Rising Semitone. 
 Of the Downward Concrete, 
 Of the Downward Octave, 
 Of the Downward Fifth, 
 Of the Downward Third, 
 Of the Emphasis of the Wave, 
 Of the Equal-Single Wave of the Octave. 
 Of the Equal-Single Wave of the Fifth. 
 Of the Unequal-Single Wave, 
 Of the Emphasis of the Tremor, 
 A Recapitulating View of Emphasis, 
 , XLVII. Of the Drift of the Voice, 
 
 Of the Diatonic Drift, 
 Of the Drift of the Semitone, 
 Of the Drift of the Downward Vanish, 
 . Of the Drift of the Wave of the Second, 
 Of the Drift of the Wave of the Semitone, 
 Of the Drift of Quantity, 
 Of the Drift of Force, 
 Of the Drift of the Loud Concrete, 
 Of the Drift of Median Stress, 
 The Partial Drift of the Tremor, 
 The Partial Drift of the Aspiration, 
 The Partial Drift of the Guttural Vibration, 
 The Partial Drift of Interrogation, 
 The Partial Drift of the Phrases of Melody, 
 XLVIII. Of the Vocal Signs of the Passions, 
 
 Of the Passions or Emotions indicated, 
 By the Piano of the Voice, 
 By the Forte of the Voice, , 
 By Quickness of Voice, 
 
 361 
 362 
 ib. 
 364 
 360 
 368 
 369 
 370 
 372 
 374 
 375 
 376 
 378 
 370 
 381 
 
 S85 
 393 
 394. 
 395 
 ib- 
 ib. 
 396 
 ib. 
 ib. 
 ib. 
 397 
 ib. 
 ib. 
 ib. 
 ib. 
 398 
 401 
 
 410 
 ib. 
 ib.
 
 yi CONTENTS. 
 
 SECTION XLYIII. By Slowness of Voice, 411 
 
 By Quality of Voice, ib. 
 
 By the Semitone, ib. 
 
 By the Second or Tone, ib. 
 
 By the Rising Third, Fifth and Octave, 412 
 
 By the Downward Third, Fifth and Octave, ib. 
 
 By the Wave of the Semitone, 413 
 
 By the Wave of the Second, ib. 
 
 By the Waves of the Third, Fifth and Octave, ib. 
 
 By the Radical Stress, 414 
 
 By the Median Stress, ib. 
 
 By the Vanishing Stress, 415 
 
 By the Compound Stress, ib. 
 
 By the Thorough Stress, ib. 
 By the Tremor of the Second, and wider intervals, ib. 
 
 By the Tremor of the Semitone, 416 
 
 By the Aspiration, ib. 
 
 By the Guttural Vibration, ib. 
 
 By the Emphatic Vocule, 4i7 
 
 By the Broken Melody, ib. 
 
 XLIX. Of the Mode of Instruction in Elocution, 421 
 
 Of Practice on the Alphabetic Elements, 424 
 
 Of Practice on the Time of Elements, 428 
 
 Of Practice on the Vanishing Movement, 429 
 
 Of Practice on Force, 430 
 
 Of Practice on Stress, ib. 
 
 Of Practice on Pitch, 431 
 
 Of Practice on Melody, 433 
 
 Of Practice on the Cadence, ib. 
 
 Of Practice on the Tremor, 434 
 
 Of Practice on Quality of Voice, ib. 
 
 Of Practice in Rapidity of Speech, 430 
 
 L. Of the Rythmus of Speech, 443 
 
 LI. Of the Faults of Readers. 4.54 
 
 Of the Faults in Quality, 465 
 
 Of Faults in Time, 40G 
 
 Of Faults in Force, 467 
 
 Of Faults in Pitch, 469
 
 CONTENTS. Vii 
 
 SECTION LI. Of Faults in the Concrete Movement, 469 
 
 Of Faults in the Semitone, 470 
 
 Of Faults in the Second, 471 
 
 Of Faults in the Melody of Speech, 472 
 
 First Fault in Melody, ib. 
 
 Second Fault in Melody, 473 
 
 Third Fault in Melody, ib. 
 
 Fourth Fault in Melody, 475 
 
 Fifth Fault in Melody, ib. 
 
 Sixth Fault in Melody, 476 
 
 Seventh Fault in Melody, 477 
 
 Of Faults in the Cadence, 480 
 
 Of Faults in the Intonation at Pauses, 482 
 
 Of Faults in the Third, ib. 
 
 Of Faults in the Fifth, 483 
 
 Of Faults in the Downward Movement, 484 
 
 Of Faults in the Discrete Movement, ib- 
 
 Of Faults in the Wave, ib. 
 
 Of Faults in Drift, 486 
 
 Of Faults in the Grouping of Speech, 489 
 
 Of the Fault of Mimicry, ib. 
 
 Of Monotony of Voice, 492 
 
 Of Ranting in Speech, 493 
 
 Of Aflfectation in Speech, ib. 
 
 Of Mouthing in Speech, ib. 
 
 Of the Faults of Stage-Personation, 497 
 
 Conclusion, 510 
 
 A Brief Analysis of Song and Recitative, 617 
 
 Of Song, 618 
 
 Of Recitative, 643 
 
 PAOB. 
 
 LIKI 
 
 
 
 
 101, 
 
 6 
 
 from the head, read 
 
 syllable. 
 
 114, 
 
 H 
 
 " 
 
 " head " 
 
 remain. 
 
 173, 
 
 13 
 
 <i 
 
 " foot, " 
 
 •word. 
 
 235, 
 
 1 
 
 <' 
 
 " foot. " 
 
 on for or. 
 
 237. 
 
 3 
 
 '< 
 
 " head, '♦ 
 
 on for or. 
 
 401, 
 
 2 
 
 «' 
 
 " head, " 
 
 function*. 
 
 422, 
 
 10 
 
 " 
 
 " head, « 
 
 of the song
 
 PREFACE 
 
 FOURTH EDITION 
 
 An idea has for some time, been circulating in this country, 
 tending to persuade every body, that while they are constitution- 
 ally the sovereigns over their own destiny in government, they are 
 also sovereign over the rights of individuality, and the restraints 
 of good-breeding, morals, and law ; with the further claim to 
 tyrannize over independence of thought, and to bind-down the 
 free-ranging spirit of originality. This last authority assumes, 
 that originality, with its Patents of discovery and invention, 
 often with us, so cruelly involved in litigation, cannot in justice 
 be the privilege of an individual ; that whatever apparent novelty 
 a person may promulgate, it is only as the spokesman of a commit- 
 tee of the whole human mind, which has previously counseled, 
 matured, and directed all he has reported. That what was 
 formerly supposed to be the torch of discovery, in a single hand, 
 is, in this popular era of equal rights and Intcllect-in-Common, 
 found to be merely a breaking-out, at one human spot, of the full- 
 prepared, and anticipated light of a collective effort in progres- 
 sive instruction. 
 
 This may indeed be true of gradual additions, to the common- 
 place wants of life : and of those who like politicians, have now 
 no new craft to discover or invent ; of the lawyer, whose thinking 
 by the law, is his law of thinking ; of the physician, whose rule 
 of progress, is just to keep along with the progress ; of the sectary, 
 2
 
 X PREFACE. 
 
 ■whose orthodoxy means the common-doxy of himself and his dis- 
 ciple ; and of the popular Great Man of the day, whose endless 
 intimacies so identify him with every body, that his concerns 
 in a joint-stock of thought and reputation, both waste his 
 mind with importunate obligations, and take from him the power 
 of thinking for himself. It is likewise true of governments, 
 which, with occasional commotions, always rise or fall by gradual 
 change: and of some of the arts, particularly Architecture; 
 for though by its own principles, capable of any number of dis- 
 tinct and self-unitized orders, yet being without suggestive and 
 original models in nature, its improvement and decline have been 
 no more than successive variations of preceding examples. It 
 is not true, however, of those who outstrip the world by unre- 
 strained observation and reflection ; unawed by the frowns of 
 conventional authority : and far away as possible, from the 
 mischievous delusions of the opinions of men. For the 'idols 
 of the market,' 'of the theatre,' and of the common mental- 
 exchange, are idols, deaf as well as dumb ; and altogether so 
 impotent, that when implored for gifts of original genius, are 
 always implored in vain. Neither is it true of that elegant 
 Art of the Landscape, which with its ' directing wand' trans- 
 forms to a Garden, the wilderness of Nature ; and which, 
 presented at the ' Improver's word,' an assemblage of the grand, 
 the beautiful, the varied, and the picturesque ; giving to England 
 the claim of adding to the 'Nine,' another Muse, already in her 
 few counted years, full-endowed with dignity of character 
 softened into grace ; yet never hoped-for nor expected, because 
 never thought-of before. 
 
 This law of co-equality, — that no one shall, without penalty 
 for the oflfence, have a thought not common to every body else, — 
 is one of the usual resolves of a popular 'mass meeting;' and 
 seems to be a confusion of ideas, in attempting to express 
 the simple truism, that no invention or discovery is received 
 by the world, until every body can make use of it, or is of 
 the same opinion as the author. For it is with the original 
 truth of Science, as with the prudential offer of practical ad- 
 vice; nobody adopts it, except it confirms his previous idea.
 
 PREFACE. XI 
 
 But the mass-meeting, not to lessen its little dignity, by drop- 
 ping even a letter, is still a mass, and will have its own stubborn 
 and head-strong way. The work therefore, of which I here 
 offer the fourth edition, much enlarged, must, I suppose, be 
 tried, and I fear condemned by its rules. For if the voice of 
 the times, joining immediately in the advancement of any point 
 of knowledge, is the test of its truth, merely because the mind of 
 the times, has up to the last step, produced the advancement, 
 the work before us, can offer scarcely a claim to attention. And 
 I have no present pride, nor future hope, to prevent the candid 
 declaration, that from its first appearance, to this time, a period 
 of twenty-seven years, its only debt of gratitude, is to a com- 
 paratively small number of teachers, to a few inquiring and 
 musical mechanics, and a few unmusical members of the society 
 of Friends. For, as far as I can learn, ninty-nine hundredths 
 of all Physiologists, whose purpose it is to describe the voice ; 
 of Masters of colleges and schools, who teach the art of reading ; 
 of Elocutionists, whose materials of speech are furnished here ; 
 of Naturalists, who through the wide range of zoology, might 
 take an interest in eomjjarative Intonation ; of the Votary of the 
 fine arts, who might here see the seventh muse, now crowned by 
 Science ; and of the Philosopher of the mind, who might perceive 
 some curious relations of language to sentiment and thought. Of 
 these I repeat it, there are ninety-nine hundredths, who so far 
 from having had a preparatory hand in this work, do not merely 
 pass it by, but after it has now been before them, more than a 
 quarter of a century, do not even yet, as to its nature and pur- 
 poses, know what it means. 
 
 According to this popular idea of co-equality and co-labora- 
 tion, our book stands in a dilemma. For on the one side, those 
 who are eminently qualified to discover its meaning, have found 
 none. Co-laboration therefore could have had no hand in it; 
 and the world, not being prepared for it at this time, never can 
 be. On the other side, if the principle of co-laboration is not 
 always true, this work may be founded in nature, and may be a 
 contribution to the expressive, and the beautiful in speech, even 
 though the learned world was neither prepared for its reception,
 
 Xii PREFACE. 
 
 or even able to understand it when it came. But time who set- 
 tles so many differences, must determine whether the co-laborative 
 rule is sometimes false, or the 'Philosophy of the Human voice,' 
 no better than a dream. All I have to say to the Votary of 
 analytic science and taste, is, — 'Strike, but' read me, for I 
 cannot help thinking, if you do read, though you cannot take 
 back the contemptuous blow, — you will not strike again. 
 
 It has been more than once, said to me personally, and stated in 
 print, that the ' Philosophy of the Human voice' has exhausted 
 its subject. It is to be regretted, with regard to the past and 
 future in Science, to which we should always look with thankful- 
 ness and hope, that it has ever been thought so ; for if I per- 
 ceive the future in this work, it has but just begun its subject, on 
 a new and lasting foundation. And above all, should it be regret- 
 ted, if the calculation, that nothing more can be onade out of it, 
 should be even the least reason for its being overlooked. On 
 the contrary, I cannot here withhold the prediction, that when 
 taken up as a subject of further inquiry, and as a part of educa- 
 tion, its intelligent Professors will extend and exalt it to a 
 degree, that I cannot now anticipate or comprehend. I would 
 willingly have assisted earlier laborers at our work, by vocal 
 proof and illustration : but my time is fast going by, and when 
 they do go into the field, I cannot be there. 
 
 The history of the progress of one of the fine arts, in En- 
 gland, has often in my mind, been associated with our present 
 subject ; and as I followed the progress of that art in my read- 
 ing, — from the time it first began to gather-in its facts, and 
 frame its principles, — up to its present methodic, and aesthetic 
 condition, I feign at least, a plea for noticing it here. 
 
 I remember, my earliest curiosity for Gothic arthitecture was 
 excited by Scott's poems : and on going to Scotland, in the 
 year eighteen hundred and nine, the first of its structures I saw, 
 was the Cathedral of Glasgow. It was then all eye-sight and 
 novelty with me, but not taste ; yet perhaps, as a first uncon- 
 scious step towards it, I departed with an unsatisfied desire, for 
 that knowledge of the nomenclature of its structure and detail, 
 which would have given materials to my memory, with some
 
 PREFACE. XUl 
 
 order and co-relation to my thoughts. I did ask the Old Dame 
 many questions, but I found I had learned more from the Minstrel 
 and Marmion, than she ever knew. Medical studies and other 
 interests occupied me a year in Edinburgh. During a subse- 
 quent residence in London, I procured the small volume of 
 essays by Wharton and others ; and Milner's treatise, together 
 with his history of Winchester. By means of their chronicle of 
 styles and changes in the art ; by their explanation of terms, or 
 the incidental use of them; and by the light of taste, just begin- 
 ning to show-out in the pages of Milner, I was enabled, after 
 visiting churches, to compile for my own private instruction, 
 and as my own remembrancer, something like an elementary 
 compend : including a description of the structure of the cathe- 
 dral ; the character and successions of its various styles ; an 
 explanation of the terms of the art, as far as they had then 
 been assigned ; and an account of the division, distribution and 
 purposes of the Monastery. This little manuscript is dated in 
 eighteen hundred and eleven : and is among the earliest, as far 
 as I can learn, in that manner of treating the subject. There 
 was then neither name nor fame in the art : and the interest in it, 
 was confined to as few perhaps, as those now interested in the 
 analysis of speech. 
 
 On revisiting England in eighteen hundred and forty-five, 
 Gothic Architecture had become so popular, that the amateur 
 and compiler had begun to rival the professional artist. Every 
 gentleman was required to have a smattering at least of its 
 terms ; and many a rail-car passenger was ready to tell you of 
 Norman, Early English, Decorated, and Perpendicular styles. My 
 sympathy with an enthusiast, at the Winchester Station, made 
 quite friends of us, as we together traced the Cathedral forms 
 and chronology ; from Walkelyn's Norman ' arches broad and 
 round,' to the grand and graceful unity of Wykeham ; which 
 seems yet to say to the art, — thus far shouldst thou go and no 
 farther, and here should thy pure and finished style be staid. 
 
 Perhaps an Englishman might say, — this sudden intimacy, 
 * without knowing who people are,' even though the intimacy 
 sprung from congenial knowledge, was very improper indeed.
 
 XIV PREFACE, 
 
 But we soon parted, and forever : yet I believe, neither has since 
 suffered any inconvenience from our sociability, while I very 
 agreeably received much satisfactory information. 
 
 llcgarding then the restoration of Gothic Architecture, may 
 we ask, — whether the time will ever come, when the art of 
 analytic speech, now the humble topic of a small fraternity, 
 may so far obtain a hearing from the world, that some influen- 
 tial patrons will, as happened with that once o'er-shadowed 
 art, draw ours too from obscurity? — Will the time ever come, 
 when our School of Nature and Inquiry may say, and it shall 
 be understood, — that Mrs. Siddons derived her great dignity 
 in Tragedy, from a well directed use of the Diatonic Melody, 
 more than from any other means of intonation ; and that Barry, 
 in characters of tenderness, owed his superiority over Garrick, 
 to his delicate execution, and appropriate use of the Semitonic 
 Wave? — Will it come, when on the authority of our principles, 
 it will be believed, if I say, that the later Booth, although re- 
 jected or undervalued, perhaps through some business calcula- 
 tion, by London Managers, yet apart from the ranting scenes 
 of the poet, had in his better days, with least of the vocal 
 vices of the stage, and hardly an affectation, one of the most ele- 
 gant and appropriate intonations I have ever heard ? And finally, 
 will not the time come, when in some future system of speech, 
 raised upon the foundation here laid in Observation, principles 
 may take the place of authority: and the name of Master being 
 no more bandied, and kept up, by contentious opinion, may be 
 superseded by acknowledged precept, and then be forgotten ? 
 
 Philadelphia, January 1, 1855.
 
 PREFACE 
 
 THIPJD EDITION 
 
 The ' Philosophy of the Human Voice' was first published, 
 nearly eighteen years ago : and as the lapse of time has afforded 
 ample opportunity for determining, how far its descriptions ac- 
 cord with the phenomena of Nature ; it may not be uninteresting 
 to the reflective student of elocution, to have a short account of 
 its reception, and of its progress within this period. 
 
 Two editions have been published ; one of five hundred copies, 
 in January, eighteen hundred and twenty-seven ; the other, of 
 twelve hundred and fifty copies, in June, eighteen hundred and 
 thirty-three. And although the work has been out of print for 
 six years, the present edition is not perhaps essential to its pre- 
 servation : there being already abroad, print enough to furnish a 
 revival-copy, when the humor of those who hold the great seals 
 of patronage, may choose to give it a place in their encyclopedia 
 of knowledge, and their schools of practical instruction. It is 
 rather at the call, and for the sake of those few friendly Samar- 
 itans, who are disposed to take charge of it, while the Priest and 
 Levite of learning pass along on the other side, that I have with 
 some inconvenience, at this time, undertaken to republish it. 
 
 The amount of good-will thus far extended to the work, may 
 scarcely deserve the name of patronage : but it is rather more 
 than was expected, and will perhaps be sufficient to keep it from
 
 XVI PREFACE. 
 
 oblivion. Upwards of twenty individuals with various qualifica- 
 tions, have been occupied in teaching its principles. The greater 
 part of these have lived in the Northern section of the United 
 States. South and West of the Susquehanna, it is little known. 
 All the individuals alluded to, have respectively taught the work, 
 with a full, or a limited understanding of it, and a varied ability 
 to apply it in practice. Some have been resident and some 
 traveling teachers : the latter giving lectures, or temporary 
 school-instruction, in towns and villages. It may well be ima- 
 gined, that teaching a system uninviting at least, if not repul- 
 sive, from its novelty, would be but an unprofitable labor : and 
 such appears to have been the case with those who have thus far 
 been occupied in its promulgation. 
 
 As this work professes to set forth, the universal principles of 
 speech, the subject at least, is not beneath the notice of the 
 philologist of any age or nation. But as regards its foreign rela- 
 tionships, the ' Philosophy of the Human Voice' has been obliged 
 to come under that old interrogative condemnation of — 'who 
 reads an American book ?' 
 
 To the scientific in two or three parts of Europe, it is known, 
 by an occasional whisper, that such a book exists. Two indivi- 
 duals. Dr. Barber, and the Reverend Samuel Wood, have been 
 the first to speak aloud of it in England : but with what success, 
 I am not informed. It lies all-dusty on the shelves of many of 
 the Public libraries of Europe ; and is in the possession of some 
 of those who give fashion to the science of the times. But it has 
 never yet received a strictly investigating notice : no examina- 
 tion by a qualified and authoritative ear, which might decide 
 whether what is ofi'ered as the truth of Nature, is that very 
 truth. And, as in preparing the work for others, the author 
 was, by circumstances, the solitary pupil of his own instruction ; 
 so with hope-deferred, to correct its faults by the aid of compe- 
 tent counsel, he has been obliged, in the variations and enlarge- 
 ment of each successive edition, to assume the ofiice of an insuffi- 
 cient and perhaps partial critic over himself. 
 
 By far the greater number of the pupils and friends of this 
 system, have been of that class, which the Rank and Fashion of
 
 PREFACE. XVll 
 
 Science calls the humble and Unknown ; Persons of no account ; 
 though long noted for sometimes doing new and most excellent 
 things, and for very frequently, first helping them along. 
 
 Of the infinitude of demagogues in our country, from the can- 
 didate for Presidency, down to him who works the plot of Nom- 
 ination ; and who all, in one debasing brotherhood, but with a 
 varied personality, are at the same time, corrupting their voices, 
 their intellect, their moral principles, and their republican go- 
 vernment : — of all these, I have not heard of one, who has had 
 time or repose enough, to inquire even whether this Avork might 
 not, if so ill-used alas ! imbue his speeches wdth a more impres- 
 sive sophistry, and graceful vocal-cunning, to allure, to blind, 
 and to mislead the people. 
 
 Of the many Actors whom I have known and heard of, none 
 seem to have the least idea of such a thing as a philosophy of 
 the voice ; or that the department of speech which this book \ 
 particularly regards, requires the improving aid of science ; or 
 indeed, that success in their art can be efiected by anything else 
 than some mysterious power of genius. One individual, but not 
 till he had left the Stage, has formed an association in Boston, 
 for teaching the principles of this philosophy. 
 
 Here and there, a young Lawyer, with that generality of tem- 
 perament, and inkling of taste, which in this country at least, is 
 rather a drawback to advancement in the profession, has looked 
 into this subject, tried a few lessons, and then abandoned his 
 purpose. 
 
 The clergy have more generally regarded the system with a 
 favorable ear : have studied and patronized it. 
 
 I have known one physician only, who comprehended the de- 
 sign, and studied the details of this work ; but he is deceased. 
 Why it has found no favor with the Medical Faculty, at least as 
 a subject of physiology, is perhaps to be solved by the facts — 
 that it is strictly observative ; that it rejects all notions, and quar- 
 relsome theories ; — has not yet come into popular use ; — and is 
 the contribution, such as it is, of a physician. 
 
 Musicians and singers, together with a certain class of ama- 
 teurs and critics, who either to confer or receive patronage,
 
 XVni PREFACE. 
 
 hover about them, have given no attention to this subject. Of a 
 large number in each of these classes, I have found none able to 
 appreciate our history ; or to understand how speech and music 
 might be but different branches of the same art. To this I may 
 add the remarkable circumstance, that while musicians and sing- 
 ers, possessing by the long habit of practice, if not by natural 
 ear, the most precise discrimination of tunable sounds, are unable 
 to recognize the peculiar music of speech, and even to under- 
 stand the mere meaning of this work ; — there is a class, — the 
 Society of Friends, who, by the strictest discipline, shun all the 
 graces of Art, who never cultivate the ear either by instrument 
 or voice, but fantastically corrupt it in their public discourse ; 
 yet these, when addressed by the system, have formed a large 
 proportion of its pupils, and have comprehended its design, 
 though they may not have always been able, vocally to execute 
 its rules. 
 
 A few teachers of Psalmody appear to have read the work ; 
 and as far as they have found its discriminations and terms 
 applicable to their purpose, have adopted them in their Man- 
 uals of instruction. 
 
 On the whole, very few of those who hold the scientific influ- 
 ence, whatever that may be, of this country, have regarded it, 
 either with curiosity or favor. But what makes their case re- 
 markable is, that in their own want of understanding, they 
 always imagine the deficiency to be on the side of the Author. 
 One says, it is a sealed book ; another, that it might as well have 
 been written in Hebrew. An eminent leader of opinion, on this 
 side of the water, says, it is not worth reviewing : while on the 
 other side, one of the very highest rank, in British periodical 
 criticism, declares, in the frank confession of an ineffable superi- 
 ority, that 'it quite surpasses his comprehension.' One, not 
 contented with his own single incompetence, takes me into his 
 company, by saying, that I do not understand it myself: while 
 to a high-placed medical professor, the work appeared to be 
 altogether so unintelligible, that he recommended one of his 
 friends to read it, as a fine example, that is a case, of the incohe- 
 rent language of insanity.
 
 PREFACE. XIX 
 
 These remarks have a place here, not from their importance 
 either to the author or his subject : but as minor chronicles, col-, 
 lateral to the early history of the Philosophy of Speech. And 
 I am quite willing to believe, that whether they came from igno- 
 rance or from spleen, they were the offspring of a thoughtless 
 humor, by this time, changed to something else equally foolish 
 or bad. These however may have been words of a moment, and 
 then forgotten. Two, and only two, as far as known, have em- 
 ployed time, reflection, argument, public lecturing and printing, 
 in dispute of the claims of this work. 
 
 Under the article Philology, in the Encyclopaedia Americana, 
 the President of the American Philosophical Society, after stat- 
 ing, as well as he could comprehend it, the nature and the de- 
 sign of the * Philosophy of the Human Voice,' gives, what he 
 thinks, learned and suflicient reasons for determining, not only 
 that this work has not, according to its purpose, developed and"^ 
 measured the expressive movements of speech: — but that it 
 never can he done. Not to contend here Avith a gentleman, who 
 at the head of all the j^hilosophers, denies — what I perhaps 
 vainly, imagine to have been accomplished ; I must hand him 
 over to the unknown science and industry of future ages, to ar- 
 gue the case of its future impossibility ; only remarking here, 
 that as it has been done already, in the work, now in the dis- 
 tinguished President's hands, there can be nothing impossible 
 or miraculous in the idea of its being done again. 
 
 The other formal decision against the means and end of this 
 work, comes, as I am told, from one of the thousand lecturers 
 of the day, at Boston, whose name I cannot now call to mind. 
 All I have to say of his attempt at refutation, though I have 
 never seen the article, is, — that in addition to the direct demon- 
 stration of the truth of the analysis, which the ear has given to 
 some few inquirers, he has unexpectedly furnished us with that 
 indirect proof, called by logicians, the — argumentum dueensin 
 absurdum: meaning in plain English, — the proposition must 
 be true when we cannot, without absurdity, prove it to be false. 
 
 I have a few words to add, on the subject of adapting the 
 principles of this work, to the purposes of practical instruction.
 
 XX PREFACE. 
 
 Seven or eight grammars or text-books of elocution, for the use 
 of schools, have already been formed out of a different amount 
 of its materials, and set forth with various degrees" of ability. 
 Now, as the object is to render a grammar popular, it has been 
 the aim of the compilers to simplify the system, and to furnish 
 a cheap book ; thus accommodating it, as they suppose, to the 
 mental, and other necessities of the learner. This attempt, 
 whether by its very nature, or the manner of its execution, has 
 perhaps had the effect to retard the progress of our new system 
 of the voice. For the superficial character of these books, and 
 the minf^ling of parts of the old method with parts of the new, 
 together with an attempt to give definition and order to a few 
 scattered materials, has left the inquirer unsatisfied, if it has 
 not brought his mind to confusion. One of the difficulties of 
 introducing new subjects of education is, that you give the 
 scholar, as he thinks, too much to do. But by the condition of 
 all such cases, he must learn the whole, or he learns com- 
 paratively nothing. The time for abstracting or condensing 
 by synopsis, or by a sketch, is when a general understanding of 
 the subject prevails ; when hints go a great way, and expositors 
 are found every where. I composed this work under the idea, 
 that it might, for a time, be consigned to oblivion : But that if 
 afterwards, a single worm-eaten copy should be recovered, with 
 nature only for its illustration, a knowledge of its analysis and 
 purpose might be revived, without the living assistance of the 
 author. I wrote it too, with all the brevity, its strangeness 
 would allow ; and as well as I can judge, with sufficient fulness, 
 to make it intelligible. Within these limits of composition, it was 
 my design so to describe the nature and uses of the voice, that 
 they might be audibly illustrated for the benefit of the scholar ; 
 — not merely to furnish materials to be broken up, curtailed, 
 jumbled into a text-book, and printed for the pecuniary benefit 
 of a master. The purpose indeed, seemed to need an apology ; 
 and it is generally offered, under the consideration of the re- 
 duced cost of an abridgment, compared with that of a larger 
 work. But when was cheap knowledge, more than cheap work, 
 ever worth even half of what was given for it ? And the truth
 
 PREFACE. XXI 
 
 is, if a succession of cheap and insuflBcient books did not everlast- 
 ingly invite and delude the public, there would be purchasers 
 enough, of what are now more expensive and useful works, to 
 reduce them to a reasonable cost. An unfortunate result of these 
 small grammars taking the place of full and clear description, is 
 that each compiler has a special interest in his own little book, to 
 the exclusion of others of the same kind. And this produces, as I 
 have witnessed, jealousies, and not a little back-biting criticism, 
 among these several competitors for popular favor. Thus, one 
 is said to have made an odd assemblage of the old indefinite sys- 
 tem, with the new. One is thought to have given too little mu- 
 sical explanation ; another too much. This one's arrangement 
 is wrong ; another's is no better : and a third has no arrange- 
 ment at all. One, in a desire to be popular, forgets to be de- 
 scriptive. One is charged with slily taking his materials, with- 
 out acknowledgment : another, with boldly palming them oflF as 
 his own. While another, supposing himself to have become 
 original, by a long habit of copying, receives and publishes com- 
 pliments to himself, on his philosophical analysis, and on his new 
 system of elocution. 
 
 This is what these discordant gentlemen, who profess to draw 
 from a common stock, so critically say of each other : he who 
 makes the last book, being most obnoxious to the rest, by com- 
 plaining before their face, of the want of a right kind of manual, 
 which he invidiously undertakes to supply. 
 
 I make these remarks, with a disposition to advance an art, 
 in which the persons here referred to, have joined the distracting 
 and questionable interest of publishing, with the occupation of 
 illustrative teaching. If the time had arrived, for the friends or 
 opponents of the system to become, by the habit of acute and 
 comprehensive investigation, authoritative andresponsible critics, 
 I would sit down with them, and together expunge all the errors 
 of the ' Philosophy of the Human Voice ;' and see, with satis- 
 faction, all its omissions supplied. I never myself looked for, 
 nor expected, nor have I received any pecuniary benefit from this 
 work : and it ought to be regretted, if those who have that
 
 XXn PREFACE. 
 
 sort of gain in view, should, by tlieir haste, or insufficiency, or 
 their differences among one another, mar the purpose and pro- 
 gress of that art, in "vrhich, as a subject of knowledge and taste, 
 all of U3 should be equally interested. 
 
 Philadelphia, December 2, 1844.
 
 PREFACE 
 
 SECOND EDITION 
 
 More than six years ago, I offered the manuscript of the fol- 
 lowing work, to the then principal bookseller of this city. En- 
 gagements which promised to be more lucrative obliged him to 
 decline the publication. The result has shown, that with his 
 instrumentalities of trade he might have made a profitable sale 
 of it, especially as, with my motives in authorship, I would have 
 freely given the whole right of the edition to him. I made else- 
 where, no second offer of the work ; for as it had been rejected 
 by the so-called foremost Publishing-Patron of American writers, 
 I deprecated the influence of his example against me. Thus 
 the first step of my authorship was unfortunate ; and as in these 
 days of anxious benevolence, a very few misfortunes are sure 
 to bring down contempt, — to save further ill luck, I printed it 
 myself; and subsequently found an individual not unwilling to 
 interest himself in distributing it. 
 
 I remember, one of the Patron's objections, in the prophecy 
 of Trade, to publishing the ' Philosophy of the Human Voice' 
 was, 'its not being suited to this country/.' It is true, the higher j^' 
 views of science and taste, and all individual independence of 
 observation and thought, — in a country, where, before all others, 
 nothing is adopted, or is successful, but through the associated
 
 XXIV PREFACE. 
 
 agency of numbers, — are considered as rebellion against the 
 Kingly-spirit of Popularity, and the Majorative-Despotism of 
 its opinion : Yet upon this very conviction I oflfercd the work to 
 the public ; hoping by the diffusion of its principles, to bring it 
 into that old and only path of truth, which begins with a few, 
 and ends with the many ; and thus, in due season, to suit the 
 country to it. 
 
 With here and there an exception, the scoffers at this work 
 have been those eternal enemies to all disturbing originality, 
 the Placemen of Learning. Supposing however that, through 
 the influence of knowledge made light and popular and cheap, 
 the Arts are not now so far downward as to create despair of 
 successful efforts by a new one, before their entire decay 
 and future revival ; I would say to many of those who hold 
 the places and draw the profits of science, that if they will but 
 continue to sheathe their opposition in their feigned contempt, 
 the first humble advocates of this work may, by a gradual rise 
 to those places and profits, see their own enlarged designs of 
 instruction, in the course of half a century, completed. 
 
 There are now several teachers of the system throughout the 
 United States. Dr. Barber, an English physician, Avho had de- 
 voted himself to the study of elocution, and who came to Phila- 
 delphia about the period of its publication, was the first to adopt 
 its principles, and to defend them against the double influence 
 of doubt and sneer, by an explanatory and illustrative course of 
 lectures. Yale College, at New Haven, was early favorable to 
 the system. But the University of Cambridge, by appointing 
 Dr. Barber to its department of Elocution, was the first 
 chartered institution of science that gave an influential and 
 responsible approbation of the work. 
 
 As this work furnishes general principles for an Art hereto- 
 fore directed by individual instinct or caprice : all who would 
 teach that art by principles founded in nature, must sooner 
 or later adopt it. AVill the influential instructors of Philadel- 
 phia be the last ? If this city were not the place of my birth 
 and residence, I would take upon me to answer — No. 
 
 The objections first made to ' the Philosophy of the Human
 
 PREFACE. XXV 
 
 Voice,' were against its iitilitj; now tlie cry among the learned 
 is, that it is too difficult. Too difficult ! Why, all new things 
 are difficult ; and if the scholastic pretender knows not this, let 
 the annals of the trades instruct him. Just one century has 
 elapsed since that common material of furniture — mahogany, 
 was first known in England. It is recorded that Dr. Gibhons, 
 an eminent physician of that period, had a brother, a ^Yest 
 India captain, who took over to London some planks of this 
 wood as ballast. The Doctor was then building a house ; and 
 his brother thought they might be of service to him. But the 
 carpenters finding the wood too hard for their tools, it was laid 
 aside for a time, as useless. Soon after, a candle-box being 
 wanted in his family, Dr. Gibbons requested his cabinet-maker 
 to use some of this plank which lay in his garden. The cabinet- 
 maker also complained that it was too hard. The Doctor told 
 him, — hQ mwst get stronger tools. When however by successful 
 means, the box was made, the Doctor ordered a bureau of the 
 same material ; the color and polish of which were so remarkable, 
 that he invited all his friends to view it. Among them was the 
 Duchess of Buckingham, who being struck with its beauty, ob- 
 tained some of the wood ; and a like piece of furniture was im- 
 mediately made for Her Grace. Under this influence the fame 
 of mahogany was at once established ; its manufacture was then 
 found to be in nowise difficult ; and its employment for both use 
 and ornament has since become universal. 
 
 The master-builders of science, literature, and eloquence, 
 declared 'the Philosophy of the HumanA^oice,'tobe toohard for 
 their studious energies ; and threw it aside as useless. But a few 
 humble cabinet-makers of learning having, somehow or other, 
 got stronger tools, have already made the box ; are under way 
 with the bureau ; and are only waiting for the authoritative 
 influence of some leader of oratorical fashion, — to produce a 
 general belief in the simple 'truism, that — IF WE WISH To READ 
 
 AVELL, WE MUST FIRST LEARN HOW. 
 
 Philadelphia, June 2G, 1833. 
 
 3
 
 INTRODUCTION, 
 
 The analysis of the human voice, contained in the following 
 essay, was undertaken a few years ago, exclusively as a subject 
 of physiological inquiry. Upon ascertaining some interesting 
 facts in the uses of speech, I was induced to pursue the investi- 
 gation ; and subsequently to attempt a methodical description 
 of the various vocal phenomena, with a view to bring the sub- 
 ject within the limits of science, and thereby to assist the pur- 
 poses of oratorical instruction. 
 
 By every scheme of the cyclopedia, the subject of the voice 
 is allotted to the physiologist ; yet upon its most important 
 function, — speech and its expression, — he has strangely ne-, 
 glected his part, by borrowing the small substance of his know- 
 ledge from the fancies of rhetoricians, and the inter-meddling; 
 authority of grammarians. It is time at last for physiology, of 
 right and seriously, to take up its task. 
 
 In entering on this inquiry, I resolved to defer an express 
 reference to the productions of former writers, until the habit 
 of discrimination should be so far confirmed, as to obviate the 
 danger of adopting unquestioned errors, which the strongest 
 effort of independence often finds it so difficult to avoid. Even 
 a faint recollection of school instruction was not without its for- 
 bidding interference, with my first endeavor to discover, by the 
 ear alone, the hidden processes of speech. 
 
 After obtainin2; an outline of the Avork of nature in the voice, 
 sufficient to enable me to avail myself of the useful truth of 
 other observers, and to guard against their mistakes, I con- 
 sulted all accessible treatises on the subject, particularly the
 
 XXyiii INTRODUCTION. 
 
 European compilations of the clay, the authors of which have 
 opportunities for learned research not enjoyed in this country. 
 Finding, on a fair comparison, that the following description 
 of the voice represents its nature more extensively and definitely 
 than any received system, I am induced' to offer it to the pub- 
 lic. Many errors may be found in it ; but if the general history, 
 and the analytic development be not a copy from nature, and 
 do not prompt others to carry the inquiry further, and into 
 practical detail, I shall forever regret the time "wasted in the 
 publication. 
 
 It becomes me however, to remark, that as this work has not 
 been made-up from the quoted, or controverted, or accommo- 
 dated opinions of authors, I shall totally disregard any decision 
 upon its merits, that is not the result of a scrutinizing compari- 
 son with nature herself. 
 
 The art of speaking-well, has, in most civilized countries, 
 been a cherished mark of distinction between the elevated and 
 the humble conditions of life : and has been immediately con- 
 nected with some of the greater purposes of justice, patriotism, 
 , instruction, and taste. It may therefore appear extraordinary, 
 that the world, with all its works of philosophy, should have 
 I been satisfied with an instinctive exercise of the art, and with 
 occasional examples of its supposed perfection, without an en- 
 deavor to found an analytic system of instruction, productive 
 I, of multiplied instances of success. Due reflection however, 
 will convince us, that even this extended purpose of the art of 
 speaking, has been one cause of the neglect. It has been a 
 popular art ; and works for popularity are too often the com- 
 mon-place product of a common-place ambition. The renowned 
 of the bar, the senate, the pulpit, and the stage, applauded into 
 self-confidence, by the undiscerniug multitude that surrounds 
 them, cannot acknowledge the necessity of improvement : for 
 the rewards that await the art of gratif^-ing the general ear, arc 
 in no less a degree encouraging to the faults of the voice, than 
 the approving judgment of the million is subversive of the rigid 
 discipline of the mind. 
 
 Physiologists have described and classed the organic positions
 
 INTRODUCTION. xxix 
 
 that produce the ali^habetic elements. This has been done by 
 the rule, and ^vith the success of philosophy. On other points 
 their attempts have not been so satisfactory. In investigating 
 the subject of Intonation, that is, the rise and fall of the voice, 
 or what is called its Pitch, they have not designated by some 
 known or invented scale, the forms and degrees of such move- 
 ments ; and thus furnished the required and definite detail in 
 this department of speech. They have rather given their atten- 
 tion to such inquiries as these : — whether the organs of the voice >- 
 partake of the nature of a wind or stringed instrument; — how 
 the falsetto is made; — and whether acuteness and gravity are, 
 formed by variations -in the aperture of the glottis, or in the,' 
 tension of its chords. In their experiments, they have removed, 
 the organs from men and other- animals, and have produced 
 something like a living voice, by experimentally blowing through 
 them. They have carefully inspected the cartilages and muscles . 
 of the larynx, to discover thereby the immediate cause of into- 
 nation, while they altogether overlooked the audible forms and 
 degrees 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 conclusion, or describing more of 
 the audible effect of the anatomical structure, than was known 
 two thousand years ago. 
 
 / The Greek and Roman rhetoricians, and writers on music, 
 reborded their knowledge of the functions 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 pronunciation. They gave to Force or 
 Stress, under its form of accent and emphasis, appropriate 
 places in speech. They perceived the existence of Pitch, or 
 variation of high and low ; and were the first to make an exact 
 and beautiful analysis on this subject. They discovered two 
 forms of ascent and descent in Pitch ; one by a continuous 
 rising or a falling Slide ; the other by a discontinuous move- 
 ment, or a skip in ascent or descent. They also ascertained 
 that the former is employed in Speech ; the latter on musical
 
 XXX INTRODUCTION. 
 
 instruments. Though, from carrying the inquii-y no further, 
 they supposed, but erroneously, as we shall learn hereafter, 
 that the one was solchj appropriated to speech ; the other sohhj 
 to instruments. 
 
 The ancients however show no acquaintance with the sub-divi- 
 sions, definite degrees, and particular applications of those two 
 general forms of pitch, for the discriminative purposes of oratori- 
 cal use: and if we may judge, from an attempt by Dionysius of 
 Halicarnassus to point out the difference between singing and 
 speech, and from some other descriptions, totally irreconcilable 
 with the proprieties of modern intonation, we must believe that 
 on this point, they made but a limited analysis ; that the uses 
 of pitch, or of the tones of the voice, as they are called, were 
 conducted altogether by imitation ; and that the moans of in- 
 struction were not reduced to any precise or available direc- 
 tions of art. 
 
 No one can read that discourse on the management of the 
 voice, in Quinctilian's elaborate chapter on Action, without allow- 
 ing to the ancients a power of perceiving many of the beauties 
 and blemishes of speech. Yet among the numerous indications 
 of their practical familiarity with the art of public speaking, we 
 find no clear description of its constituents, nor any definite in- 
 struction. The abundant detail throughout his work, more than 
 once suggests an apology for its minuteness ; and therefore pre- 
 cludes the supposition that he designedly overlooked any well 
 known means, by which the various uses of the voice might be 
 represented with available precision. 
 
 \^,It is believed, the ancient rhetoricians designated 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, 
 in Greek manuscripts,''of certain marks, which however were 
 not applied till about the seventh century, afforded the only 
 data, for modern inquiry into the nature of Greek intonation ; 
 and created a learned dispute, that has continued, without one 
 satisfactory result, from the time of the Younger Yossius, to 
 the recent days of Foster and Gaily.
 
 INTRODUCTION. XXxi 
 
 If Greek scholars had employed other means than wasteful 
 "n'rangling -with each other, for ascertaining the purpose of ac- 
 centual marks, it would long ago have been determined, whether 
 thej direct to any practical knowledge of Greek utterance, or 
 are merely a subject for useless contention. Had the tongue 
 and the ear been once consulted on this point, these symbols, 
 even with the certainty of their alleged use, would have been 
 regarded as vague and meager representations of the rich and 
 measurable variety of the voice. 
 
 The disputants found that degree of obscurity in the ancient 
 records on accent, which encourages the profitless labors, and 
 alternate triumphs of party ; which subjects opinion to all the 
 chicanery of sectarian argument, and shuts out the conclusive 
 inquiries of independent observation. In the full spirit of the 
 old dialectic art, they ' discoursed about truth until they forgot 
 to discover it:' and while they exhibit a distressing waste of 
 time and thought and temper, by seeking in the obscurity of 
 unfinished records, the light which would readily have arisen on 
 their observation, they hold out to the future historians of litera- 
 ture, a temptation towards the sarcastic inquiry, — whether the 
 writers on Greek and Roman accent were endowed with the 
 powers of hearing and pronunciation. 
 
 Since the decline, or the limitation of classic authority, mod- 
 ernunquirers, by listening to the sounds of their own language, 
 have at last undertaken to discover other elemental functions 
 of the voice, than those represented by 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 seven- 
 teen hundred and seventy-five, ' An essay towards establishing 
 the melody and measure of speech, to be expressed and per- 
 petuated, by peculiar symbols.' The design of this essay was 
 suggested by some remarks on the nature of speech, by Lord 
 Monboddo, in his ' Origin and progress of language' : and was 
 executed, in part, under the form of an argumentative corres- 
 pondence between this Author and Mr. Steele.
 
 xxxii INTRODUCTION. 
 
 Future times may smile at some of the effects of classical 
 pursuits, if ever told, — a free inquirer had considerable diflBcultj, 
 in convincing a scholar, at the end of the eighteenth century, 
 that the English language has those attributes of accent and 
 quantity, supposed to belong exclusively to the Latin and the 
 Greek : for this was the subject of controversy. ^ Mr. Steele 
 has therefore given a notation of the time of the voice : and 
 shown that the same concrete intonation, applied to syllables of 
 the Greek language, is necessarily heard on those of his own.) 
 But his inquiry into the elementary nature of that intonation, 
 was unsuccessful. For if we except his indefinite representations 
 of some new forms of the circumflex accent, we shall find, he 
 made no advances beyond the few but fundamental truths of the 
 ancients. In attempting to delineate the melody of speech, he 
 adopted those leading fictions, and indefinite ideas of the Greek 
 elocution, — that the vocal slides are somehow made through en- 
 harmonic intervals ; and that three tones and a half is the mea- 
 sure of the accentual concrete in ordinary discourse. The influ- 
 ence of these delusions, together with his belief in some fancied 
 analogies between certain parts of the system of music, and the 
 melody of speech, rendered his account of intonation meager, 
 indefinite, and erroneous. The principal design of his work is, 
 to set forth a system of Rythmic Notation, by which the sub- 
 jects of emphasis and pause may be represented to a pupil ; 
 and the habit of attention fixed on these important points in 
 the art of reading. 
 
 Mr. Steele shows by his work, that he possessed nicety of 
 ear ; a knowledge of the science antl practice of music ; together 
 with an originality and independence of mind, created by ob- 
 servation and reflection : powers sufiicient, when not restrained 
 or perverted, to have developed the whole philosophy of speech. 
 
 Had he not begun and continued his investigation through 
 the distracting means of controversy ; had not his attention 
 been drawn into the desultory course of argument ; nor his 
 courtesy towards the opinions of others partially betrayed him 
 to their authority ; had he not assumed as identical, those points 
 of music and of speech which his own able, and closer observa-
 
 INTRODUCTION. XXxiii 
 
 tion ^vould have proved to be different ; and above all, had he 
 not looked back to the ancients and the dark confusion of their 
 commentators, but in self-superiority to this obstructive influ- 
 ence, kept his fuU-sufiicient and undeviating ear on nature, she 
 would at last have led him up to light. 
 
 I Mr. Sheridan lis well known bj 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 
 intonation. A regretted omission ! The more so, from the cer- 
 tainty, that if this topic had seriously invited his attention, his 
 genius and industry would have shed much light of explanation 
 upon it. 
 
 ( IMr. Walker, , who has written usefully and well on rhetoric 
 and philology, shows in more than one part of his works, that the 
 varieties of intonation were studiously examined by him : in- 
 deed, he reiterates his claims to originality on this subject. Mr. 
 Walker may have been the first to apply the confused and con- 
 jectural system of ancient accent to a modern language :,/but he 
 has scarcely gone beyond the limited analysis, furnished by that 
 ancient system. (The Greek writers on music had a discrimina- 
 tive knowledge of the rise, fall, and circumflex turn of speech. 
 Aristoxenus the philosopher, a pupil of Aristotle, discovered, 
 or first described, that peculiar rise and fall of sound by a con- 
 tinuous progression, which distinguishes the vocal slide, from the 
 skipping transition on musical instruments. 
 
 Mr. Walker does triumphantly claim the discovery of the in- 
 verted circumflex accent, or the downward-and-upward continued 
 movement. Yet, if it is correctly inferred from the dates of 
 publication, and from Mr. Walker'si 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 a celebrated elocutionist, and may have 
 known well how to manage his intonation ; but in his attempt 
 to delineate its forms and degrees, he is even less definite than 
 Mr. Steele. His insinuation that music and speech, though but
 
 xxxiv INTRODUCTION. 
 
 varied uses of tuneable constituents common to each, should not 
 be illustrated by some analogous notation ; and his own errone- 
 ous diagrams of the progress of pitch, are instances of a want 
 of reflection and of obtuseness of ear, quite reprehensible in 
 any one, who, without compulsion, should undertake to investi- 
 gate the relationships of sound. 
 
 I have thus endeavored to point out the nature and the 
 sources, of what has been heretofore known of the functions of 
 speech. In a general view of its amount, it appears :-^that the 
 number, the kinds, and the organic causes of the Alphabetic 
 Elements have long since been recorded, with great accuracy 
 and detail. — That Quantity, or the Time of syllabic utterance, 
 together with the subject of Pause, had been distinguished only 
 by a few indefinite terms, until j\Ir. Steele, with much discrimi- 
 native perception, applied to speech some of the principles and 
 symbols of musical notation. — That Accent or the means of 
 distinguishing a syllable by stress or intensity of voice, has been 
 definitely described in English orthoepy, both as to its places 
 and degrees. — That this syllabic stress, Hhough attentively re- 
 garded, in the grammatical institute of the Greeks, is yet in 
 their records, so confounded with a doctrine of the sliding rise, 
 fall, and circumflex turn of the voice, that we are left altogether 
 in doubt, as to their systematic and separate use of these differ- 
 ent functions. — That Emphasis, Avhen restricted to the purpose 
 of making one or more words conspicuous, by intensity of voice, 
 has long been a subject of rhetorical attention ; Mr. Walker 
 however, being the first among modern philologists, • who at- 
 tempted, under the terms upward and downward slide, to con- 
 nect any formal idea of Intonation with it. And finally, 
 
 that the analysis of Intonation has not been extended much 
 beyond the recorded knowledge of the ancients. Greek and 
 Roman writers tell us of the acute, grave, and circumflex move- 
 ments ; and these,^ with the newly describedv inverted-circumflex, 
 have, at a recent date, by Mr. Steele and Mr. Walker, first 
 been regarded, in the art of speaking the English language. 
 
 These four general heads of intonation are truly drawn from 
 nature : yet, with the present indefinite meaning of their terms,
 
 INTRODUCTION. XXXV 
 
 they are useless for practical instruction, and are no less imper- 
 fectly expressive of the measurable modifications of speech, 
 than the four cardinal terms of the compass are descriptive of 
 all the points, distances, and contents of space. 
 
 The discovery of the above mentioned distinctions in intona- 
 tion, -which must indeed form the outline of all nicer discrimina- 
 tion, was the result of philosophical inquiry. A much more 
 abundant, but not more precise nomenclature has been derived 
 from criticism. The following phrases are extracted from a de- 
 scription of Mr. Garrick's manner of reading the Church-ser- 
 vice, and have an especial reference to the Intonation of his 
 voice. — ' Even tenor of smooth regular delivery' — ' Fervent 
 tone' — ' Sincerity of devotional expi^ession' — 'Repentant tone' 
 — 'Reverential tone' — 'Evenness of voice' — 'Tone of solemn 
 dignity' — ' Of supplication' — ' Of sorrow and contrition.' 
 
 Those who know what constitutes accuracy of language, must 
 confess that these, and similar attempts to name the signs of ex- 
 pression, have no more claim to the title of clear elementary 
 description, than belongs to the rambling signification of vulgar 
 nomenclature. "We seem not to be aware, that no describable 
 perceptions are associated with such common phrases of criticism, 
 until required to illustrate them by some definite discrimination 
 of vocal sounds. ' Grandeur of feeling,' says a writer, 'should 
 be expressed with pomp and magnificence of tone;' and we may 
 therefore presume, from his mode of elucidation, that this ex- 
 positor, if asked, — how pomp and magnificence of feeling should 
 be expressed, would naturally have answered, — by grandeur of 
 tone. Such rules for the expression of speech, though abound- 
 ing in our systems of elocution, are resolvable into mere words, 
 without the least explanatory meaning. Nor can any weight of 
 authority give them the power of description : since the terms 
 'sorrowful expression,' and 'tone of solemn dignity' in the pre- 
 cepts of an accomplished Elocutionist, have no more logical pre- 
 cision as to the modes, forms, and degrees of pitch, time, and force 
 of voice, than tho.se of 'fine-turned cadence,' and 'chaste modu- 
 lation,' in the idle criticism of a daily gazette. 
 
 All arts and sciences appear under two different conditions.
 
 xxxvi INTRODUCTION. 
 
 They may be seen througli the medium of terms of vague signifi- 
 cation, suited 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 discriminate, 
 express nothing but their approbation. In the other light, they 
 are shown in definite delineation, by a language of unchangeable 
 meaning ; and independently of the perversions, which slender 
 ability, natural temper, or momentary humor may create. He 
 who thus views an art, in expressing his approbation, always 
 discriminates. 
 
 Some branches of the art of speaking, are, even at this late 
 period, scarcely removed from the first of these conditions. 
 This might seem to be strange, if the causes were not so mani- 
 fest. The specific constituents of intonation, force, and time, 
 having never been described and named, the attention of an in- 
 quirer has consequently wanted the stimulus of abundant and 
 definite terms. The fulness of the nomenclature of an art is di- 
 rectly proportional to the degree of its improvement ; and the pre- 
 cision of its terms indicates the usefulness of its systematic 
 rules. The few and indeterminate designations of the modes of 
 the voice in Reading, compared with the number and accuracy of 
 the terms in Music, imply the different degrees of success with 
 which each has been cultivated. The inquirers into the nature 
 of speech, have given up their judgments to authority, and their 
 pens to quotation. The musician has devoted his ear to obser- 
 vation, and his labor to the trial and application of its truth. 
 The words, quick, slow, long, short, loud, soft, rise, fall and turn, 
 indefinite as they are, include nearly all the discriminative terms 
 of Elocution. How far they fall short of an enumeration of all 
 the precise and elegant uses of the voice, and how fairly the 
 present condition of our knowledge is here represented, shall 
 be determined by an age to come, when the ear will have made 
 deliberate examination. 
 
 A conviction of the imperfect state of our knowledge in cer- 
 tain branches of the Art of Speaking, first suggested the de- 
 sign of the ensuing investigation : while a hope to influence 
 others, to assist in the completion of a desirable measurement
 
 INTRODUCTION. XXXvii 
 
 and method of the voice, produces the present publication. If 
 it shoukl not furnish a plan for the future establishment of the 
 principles of Intonation, Time, and Force, I must still desire to 
 believe, without controversy, in the attainable nature, and prac- 
 tical benefits of such a work. 
 
 I cannot withhold from this place, a few remarks on the im- 
 portance of general principles, in the Fine Arts ; since these 
 principles are not only the sure foundation of a stedfast Intel- 
 lectual Taste, as distinguished from a Taste of changeable sen- 
 sations, and caprice, — 'but are at the same time, the most effec- 
 tive means for advancing These, as well as all the other Arts. 
 And although the entire want of such principles, for the • go- 
 vernment of Intonation, has unnecessarily led to the belief that 
 they cannot be instituted ; it will be shown, in the following 
 essay, that they are not only as essential, but likewise as attain- 
 able in Elocution, as in any other art which employs the judg- 
 ment, and interests the imagination. 
 
 Those persons who receive the highest intellectual enjoyment^ 
 from the works of art, know well, that its fulness and durability ( 
 are chiefly derived from that power of broad and exact discern- ' 
 ment, which is acquired by experience, and time, and by a dis- 
 ciplined inquiry into the principles of taste that direct their 
 production. The knowledge of these principles constitutes the l, 
 executive faculty of the artist, and gives delight to him who con- 
 templates the work. "Whatever the natural sensibility may be, 
 it is not the impression of form, or color, or sound, merely re- 
 ceived by the eye or ear, that creates an enlightened perception 
 of the objects of the fine arts. Delicate organization, call it . 
 genius here if you will, is indeed essential to this perception : 
 but it is the united activity of the senses and the mind, in the work*^ 
 of observation and comparison, together with the development of 
 new, and the application of pre-established rules, that by unfolding 
 the latent tendencies of this natural susceptibility, constitutes^ 
 the extended, the discriminating, and the enduring pleasure of 
 taste. And if there is yet to be discovered some surpassing 
 efficacy of art, it can never be accomplished, except through the 
 influence of comprehensive and still accumulating precepts ; de-
 
 XXX via 
 
 INTRODUCTION. 
 
 rived indeed from the study of nature, but applied to represent 
 lier chosen, corrected, and combined individualities ; and thereb}^, 
 under the human eve at least, to generalize, and exalt even 
 that Nature, in form if not in spirit, above herself. 
 
 Besides the sources of contemplative pleasure, and means of 
 improvement in an art, derived from principles, their powers are 
 operative after a temporary decline, or total loss of its prac- 
 tice. They eifect a speedy restoration when the influence of 
 evil example has passed away, or a tradition of former excel- 
 lence has produced a desire for its reviva*!. The definite descrip- 
 tion of elementary constituents, and the statement of the rule 
 / of their use, are particularly necessary in the art of speaking- 
 well; since its passing exercise leaves no. record of itself. The 
 works of art, without an explanation of their purposes, arc often 
 as deep an enigma, as the works of nature : and a long course 
 iof observation is in each case equally required, to note and class 
 their phenomena, and to discover their efficient and final causes. 
 
 Although the ancients have left us abundant eulogistic anec- 
 dotes on the art of Painting, they have done little more than 
 allude to those principles of composition, design, light and 
 shade, and coloring, by Avhich their great masters improved 
 upon nature, wlyle they professed to imitate her ; and the want 
 of a knowledge of these, even with the benefits of patronage, 
 was one cause of the delay of at least two centuries, in the gra- 
 dual progress of the art to its full restoration, in modern 
 Europe. Stories of the graces of ancient Design were revolved 
 in the minds of the image-makers of Italy, and the decorators 
 of cloisters, like the problems of the mechanical wonders of 
 Archimedes, that were not to be solved by record or tradition. 
 
 Ancient architecture has, by means of the fragments of its 
 ruins, been revived in modern days, to a degree attainable 
 through precision of measurement ; and under this view, its re- 
 mains have furnished the highest examples for imitation. Deli- 
 cate observation, aided by a refined taste in other arts, is yet to 
 be employed, in order to retrieve the knowledge of those princi- 
 ples which must have directed the taste of the Greeks : but of 
 which Yitruvius gave only an imperfect sketch, while compiling
 
 INTRODUCTION. xxxlx 
 
 a popular book for builders ; and whicli Pausanias, in his hurried 
 tour, forgot to set down, as the proper preface to his inven- 
 tory of temples. 
 
 If the Greek writers on music had not furnished us with a 
 knowledge of the ancient scales, and of the principles that di- 
 rected their construction and uses, the records of Choragic monu- 
 ments, and the accounts of the Odeum would only have excited 
 our wonder at the extraordinary power of instrumental sound. 
 The inventive mind of Guido, instead 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. 
 
 Such is the view we take of arts, directed by principles : or ^ 
 in other words, by precepts collected from expjerience for the ( 
 execution of great and enduring works ; precepts accumulatedcJ 
 by the efforts of genius and industry, always awaiting the 
 eventual aid of Time, Avho, himself never working impatiently, 
 becomes the great wonder-worker of all intellectual, as well as 
 of all physical creation. 
 
 The following essay exhibits an attempt to describe the con- 
 stituents of speech, with a precision that may render criticism U^ 
 instructive, and afford to future times, the means of compre-^^^ 
 bending its discriminations. 
 
 Discussions on the subject of standard principles, in some of 
 the arts, have always involved the question of their origin : and 
 nature has generally been assumed as the Source. 
 
 There are two conditions, under which nature affords her go- 
 verning rules. In one, she is taken as the model for exact imi- i^^ 
 tation, in those branches of art, which profess to copy her full 
 and actual details ; as exemplified by the faultless and exquisite 
 artistic delineations, in the various departments of natural his- 
 tory. Here individual nature is the standard ; and here the 
 excellence of art consists, merely in the whole-truth of the re- 
 semblance, without the least superfluous ideal-touch. In the 
 other, where it is the purpose of art to exalt its creations, by ^"^ 
 an imaginative correcting of what we call the exceptionable de- 
 tails of nature, or by a selection from her scattered constituents 
 of beauty, the rule is the result of a congenial knowledge, and
 
 xl INTRODUCTION. 
 
 judgment, exhibited in strong similarity among persons of equal 
 sentiment and cultivation : -whicli, if it does not prove conformity 
 of taste to be the development of an invariable law of nature, 
 in the human mind, at least affords education the means to trace 
 the causes of beauty and deformity ; and thus to ordain a satis- 
 factory and enduring system of laws for itself. 
 
 The uses of the voice have not yet been brought under either 
 of these conditions. Nature, or what is called nature in this 
 case, — unenlightened humanity, cannot be taken as a model for 
 imitation in cases of individual utterance ; since they nevt^gi* fur- 
 nish a single instance, worthy, in all respects, to be copied : 
 and from the want of a full knowledge and definite nomencla- 
 ture of the constituents of speech, there has never been that 
 clear perception of the characteristic causes of beauty and de- 
 formity, which would warrant the institution of a standard, either 
 by the method of selection, or by that of the exalting or cor- 
 rective power of the imagination. The highest achievements in 
 statuary, painting, and the landscape, consist of those ideal 
 forms and compositions, never perhaps found singly-existent, or 
 purely associated in nature ; but which in the estimation of 
 Cultivated Taste, and its perfecting agency, may far surpass 
 her individual productions. 
 
 The following analytic history of the human voice, will enable 
 an Elocutionist of any nation, to frame a didactic system for 
 his own native and familiar speech. Since it shows, — the vocal 
 Isigns of expression have a universality, coexistent with the pre- 
 valence of human feelings : and that a grammar of elocution, 
 like that of music, must be one and the same for the whole 
 family of man. lie will also find the outline of a system of 
 principles, I have ventured to propose, on a survey of those 
 excellencies of utterance, which seem to me, accommodated 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. 
 
 This undertaking is indeed opposed to a vulgar error. The 
 imperceptible nature, as it is affirmed, and the fancied infinity 
 of the vocal movements, together with the rapid course and per-
 
 INTRODUCTION. xli 
 
 petual variation of utterance are considered as insuperable ob- 
 stacles to a precise description of the detail and system of the 
 speaking voice. This objection will be hereafter answered, 
 otherwise than by contentious argument. But we may here, only 
 ask, if there is no other opportunity to count the radii of a wheel 
 than in the race ; or to number and describe the individuals of 
 a herd, except in the promiscuous mingling of their flight. 
 Music, with its infinitude of details, would still have been a mys- 
 tery, if the doctrine of its intervals and time could have been 
 caught, only from the multiplied combinations and rapid execu- 
 tion of the orchestra. The accuracy of mathematical calcula- 
 tion, joined with the sober patience of the ear over the slow 
 practice of its elements, has not had more success in disclosing 
 the system of this beautiful and luminous science, than a similar 
 watchfulness over the deliberate movements of speech, will afl"ord 
 for the discovery and designation of the hitherto unrecorded 
 functions of the voice. If there is any purpose in the works of 
 nature, or any foredoomed eflSciency of means to complete the 
 circle of her designs, we shall find, on the development of her 
 vocal system, some uniform and appropriate rules, within the 
 pale of which the voice should be variously exercised, to give 
 light to the understanding, and pleasure to the ear. 
 
 The accurate sciences and the fine arts, without regard to the 
 specific claims of each, have been set in wider opposition than 
 is altogether justified, by a view of the grounds of their respec- 
 tive truths. The careless argument assumes that taste is merely 
 a variable feeling, and has no rule of grandeur, grace, and beauty, 
 in the selected or imaginative uses of form, color, and sound. 
 If there is a general agreement among persons of equal taste 
 and education in the arts, this agreement must be founded on 
 some universal principle of the cultivated intellect. The con-, 
 sent therefore, arising out of the nature of the mind, gives a 
 character of truth to the principles of taste, analogous at least 
 to that, which by a like law of the mind, in a universal consent 
 on the subject of abstract relationships, forms the full and un- 
 questionable truth of the accurate sciences. Under this view 
 of the foundation of the principles of the fine arts, we must 
 4
 
 Xlii INTRODUCTION. 
 
 find the scale of their trutli, as that of the truth of the exact 
 sciences, in the measure of the agreement of those who cultivate 
 them. He who knows that all men find the same properties in 
 a circle, may learn, by a similar induction, that when the mind 
 is cleared of its human rubbish, — particular excellencies of 
 the painter, poet, architect, orator, statuary, composer, land- 
 scape improver, and actor, will universally reach the spring 
 of congenial perception, in those who observe and reflect 
 upon their works, and draw therefrom a stream of ever-during 
 approbation. The claim to accuracy of knowledge, is the inhe- 
 rent right of every art. It is not consistent with the law of 
 nature, that Truth, upon her simple and impartial seat within 
 the mind, should have her favorites ; let all be equally strict and 
 studious, and she will reward them all alike. 
 
 Though future times may possibly break down the mischievous 
 distinction, which assigns a different kind of logic to different 
 departments of knowledge : and may subject all nature and art 
 equally to the simple and sufficient process of Observation and 
 Classification : still it may well seem to the present age, that 
 between the perception of beauty in the arts, and of the ratios 
 of mathematical quantity, there is little similarity. But there 
 is perhaps, no other reason for the acknowledged certainty of 
 the relationships of magnitude and number, than the general 
 consent of those who inquire into them. We agree upon them, 
 because we all pursue a like connected train of observation, call 
 it reasoning here if you Avill : because we employ the same 
 precision of terms : because we are more dispassionate in our 
 observations and comparisons, on this subject, than on others 
 that touch the pride, and vanity, and interests of mankind : 
 because we more strictly contemplate the succession, and more 
 comprehensively embrace the scope of premises involved in a 
 conclusion : and finally, not because we employ, on the exact 
 sciences, a different mental method, for the mind has only one 
 method, but because the more ambitious and worldly attractions 
 of other subjects of knowledge, have left these sciences to the 
 retired and self-satisfied occupation of more strict and patient 
 iuquirers. It is trifling, to urge, that the properties of a conic
 
 INTRODUCTION. xliii 
 
 section are eternal entities, quite independent of onr accidental 
 perception of them, and that they would still exist as truths, 
 though they might never be demonstrated. Truth is a term not 
 wanted by nature, and only invented for the uses of a disputa- 
 tious and imperfectly-percipient being. . Besides, the question 
 before us is of knowledge, not of notions. Otherwise we might, 
 with like proof of an abstract and eternal rule of taste, assert 
 that the proportions of a Greek column existed throughout all 
 time, unhewn and unseen in the quarry ; like that conceit of 
 old which declared, — the Venus of Gnidos was not the work of 
 Praxiteles : since nature herself had concreted within the marble, 
 the boundary but hidden surface of its beauty : the artist, when 
 the statue came to light, having only produced the fragments of 
 his chisel, and the dust of his file. I speak here against an 
 unlimited assertion of the variableness of the principles of 
 taste, and not with the presumption, even to feign for them, a 
 comparison with any established principle of the exact sciences. 
 But there are no degrees in truth : therefore, every mathematical 
 inquiry, which remains without proof or solution, must submit 
 to its logical. classification with the precepts of the arts : though 
 happily distinguished from them, in being free from the interfer- 
 ence of Ignorance and Conceit. And yet I may remark, in 
 anticipation of what will be shown hereafter, that the Art of 
 Speech, in three of its important modes, namely. Time, with its 
 measurable moments ; Intonation, with its measurable intervals ; 
 and Force, with its measurable degrees ; though not admissible 
 within the pale of exact calculation, is yet upon its border : and 
 when, through future cultivation, it shall take its destined place 
 among the liberal arts, it will be found, at least beside Architec- 
 ture and Music, if indeed, from its principles of intonation 
 being broadly founded in nature, it may not claim to be before 
 them. 
 
 Controversies on points, involving the leading principles of 
 taste, are generally, contentions of the ignorant with artists, or 
 with one another ; and rarely to any great degree, of the differ- 
 ences of educated and intelligent artists among themselves. If 
 the latter fail in setting their authority, or in extending the
 
 xliv INTRODUCTION. 
 
 benefits of their principles, over the presumptuous part of the 
 multitude, it does not prove that some system of principles may 
 not prevail in the arts, or that artists do not enjoy the delightful 
 effects of it ; but, that tliere 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 case, 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 properties of curves, by the most exact calculus. Still, 
 pretenders in every condition of life, 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 schemes for producing Perpetual Motion, 
 and the whole host of learned and unlearned credulity cannot 
 change the influence of those principles, which as yet, have 
 determined the mechanical impossibility. 
 
 There is a wholesome kind of conviction in the mind of fools, 
 which forces them to confess their want of knowledge in mathe- 
 matics, 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 igno- 
 rance ; but the wise alone, know what will please the intelligent, 
 in their education. 
 
 In thus advocating the necessity of precepts for the promotion 
 and government of taste, I deprecate any inference that these 
 precepts, by furnishing available, though even conventional 
 rules for an art, tend to confine it to an unalterable.standard. 
 Established principles are not as the barrier of a flood, which in 
 protecting from inroad, sometimes restrictively prevents the 
 opportunities of further conquest ; but as the guide and escort 
 of the arts, to acquisitions of wider glory. With an exception of 
 the misused principle of Variety, their influence over the arts 
 has always insured their advancement, and accompanied their
 
 INTRODUCTION. xlv 
 
 exaltation. The ambitious search after mere Novelty, which 
 under another name, means Variety in the successions of 
 fashion and of schools, has, through the restless designs of 
 vanity, and the influence of unguarded patronage, ruined more 
 arts than all the destructive ignorance of the barbarian. 
 
 The high accomplishments in Elocution are supposed to be, 
 universally, the unacquired gifts of genius, and to consist of 
 powers and 'graces beyond 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 lias been done ; indolence thinks nothing can 
 be done ; and both uniting, borrow from the abused eloquence 
 of poetry, an aphorism to justify supineness of inquiry. 
 
 It has been said, — a discovery of the full resources of the 
 arts affords the means of debasement, or of perversion from 
 their original purposes. This indeed has sometimes been the 
 case. By increasing the difliculties of musical execution, in 
 the voice and on instruments, this art is, through the singulari- 
 ties of mechanical skill, the varied tricks of interest and 
 ambition, and the waywardness of undiscerning patronage, fre- 
 quently ex;ercised to the indifference or disgust of those, whose 
 approbation would be durable : and to the thoughtless satisfac- 
 tion of those, whom the united caprice of ignorance and fashion 
 may urge equally to support or to destroy. 
 
 A full knowledge of the principles and practice of an art, 
 enables an industrious and aspiring votary to approach perfcct- 
 tion ; Avhile 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 necessity ; and , 
 a shameless dependence on the intellectual alms of others, is not ■ 
 less common, than the populous growth of pauperism upon the 
 increasing provisions of benevolence. The unbounded distribu- 
 tions of genius, prompt to excuses for indolence, and to claims _^' 
 for succour, and the empire itself of the art, at last falls 
 under the insurrection and anarchy of its former servile depend- 
 ants.
 
 xlvi INTRODUCTION. 
 
 It is thus readily admitted 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, 
 that must insure the highest satisfaction, while the art remains 
 uncorrupted, and that, by the record of its definitions and 
 method, will afford the best means for any needed restoration. 
 
 Perhaps it is not going too far, to say, the art of speaking, 
 when founded in nature, and defended as well as directed by 
 her rules, does not consist of those purposes and means, that 
 are liable, through an ambitious love of change, to end in cor- 
 ruption. Some of the fine arts may receive the addition of 
 Ornament, properly so called : which in its excess, is alas, too 
 often the precursor of their ruin ; and which holding but a 
 separable relationship to its subject or principal, leaves a refined 
 and guarded taste to order the degree of its application, or its 
 total exclusion. The art of speaking is subject to no such con- 
 ditions. The embodying of sense by sound, and the coloring 
 of feeling by its expressive signs, are fixed in their amenity by 
 thie unalterable instinct of nature, or if this is not granted, by 
 the satisfactory decisions of universal convention. With this 
 ordained and stcdfast purpose of the voice, all addition to the 
 numbered signs of its language is redundancy, and all mis- 
 placed utterance is affectation. 
 
 The following history of the voice is addressed especially to 
 those who pursue science with attention and perseverance ; who 
 prefer its useful accuracy, 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, it need not 
 be said, that even the rapid flight of spoceh may be more easily 
 followed, when the general principles of its movements are 
 understood. The hesitation of the ear will be prompted by the 
 mind, and we shall more readily discern Avliat is, by knowing 
 what ought to be. 
 
 After the preceding representation of our limited knowledge 
 of the functions of the voice, and upon the promises of a more
 
 INTRODUCTION. xlvii 
 
 extended and precise analysis, tlie reader must be prepared to 
 find in the following essay, a new, but I hope, not a distracting 
 nomeclature. When unnamed additions are made to the system 
 and detail of an art, terms must be invented for them : and even 
 when its known phenomena are exhibited under varied relation- 
 ships, the purpose of description is less perplexed by the novelty 
 of terms, than by an attempt to give another application or 
 meaning to former names. 
 
 Many of the varieties of pitch having been accurately desig- 
 nated and clearly arranged in music, its applicable nomenclature 
 is, in this .essay, transferred to the description of speech : and 
 whenever a language has been purposely framed, I have endea- 
 vored to make it, by direct or metaphorical use, purely explan- 
 atory of the nature of the vocal functions. 
 
 Although i have gone deeply into the philosophical history 
 of speech, and have spared no pains in illustrating whatever 
 might, from its novelty, be otherwise obscure; I have not pre- 
 tended to make specific application of all the principles here 
 laid down, to every case of the reading and speaking voice. 
 As the design of this essay is, to promulgate a new Institute of 
 Elocution, I have endeavored to accommodate the full requi- 
 sitions of the subject, to the limitation of my time, by brief 
 generalities of explanation and method : which, in holding the 
 light of instruction broadly but distinctly over the whole, may 
 enable others to perceive the nature and relationship of the 
 parts ; and thus with the closer and more particular hand of 
 detail, to unite in purpose for the completion of the work. The 
 full development of an art, in all its practical bearings, must 
 be the united product of many, and of their lives. Here is the 
 result of the leisure of about three years, snatched from the 
 daily duty of extensive professional occupation. If in dicharg- 
 ing the duties of that profession, I have selected from its physi- 
 ological department, a subject of inquiry which gives its ulti- 
 mate services in another art, I have not therein forgotten that 
 nature, Avho never is ungrateful to the eyes that watch her, has 
 still her secrets in the human frame, yet to bo told for the health 
 or happiness of man : the future search after which, may not be
 
 xlviii INTRODUCTION. 
 
 without success, and Avill not be without the satisfaction expe- 
 rienced 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 any 
 expected season of its penalties and rewards, I have already 
 found them in the varied perplexity and pleasure of its accom- 
 plishment. I leave it therefore for the service of him, who may 
 in future desire to read the history of his voice. The system 
 here presented will satisfy much of his curiosity : for I feel 
 assured, by the result of the rigid method of observation 
 employed throughout the inquiry, that if science should ever 
 come to one consent 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 opportunity for discovery to go by, it must, 
 under any capricious postponement, at last receive it here. 
 
 Sir Joshua Eeynolds has a pretty thought, on the labors of 
 ambition and the choice of fame. I do not remember his words 
 exactly ; but he figures the present age and posterity as rivals, 
 and those who receive the favor of one, as being outcasts from 
 the other. This condition, while it allows a full but transient 
 satisfaction to the 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 
 
 OP 
 
 THE HUMAN VOICE 
 
 SECTION I. 
 
 Of the general Divisions of Vocal Sound: witli a more 'particu- 
 lar account of its Pitch. 
 
 All the constituents of the human voice, may be referred to 
 the five following Modes : 
 
 QUALITY, 
 
 FORCE, 
 
 TIME, 
 
 ABRUPTNESS, 
 
 PITCH. 
 
 The detail of these five modes, and of the multiplied combina- 
 tion of their several forms and varieties, includes the enumera- 
 tion of all the Articulating and the Expressive powers of speech. 
 
 It w^ould be fruitless to attempt to give an analytic history 
 of the voice, without the use of definite terms for its appreciable 
 modes. It is therefore proper to inquire, how far common 
 nomenclature fulfils the purposes of precision ; and by what 
 means any obvious deficiency may be supplied. 
 
 The terms by which the Quality/ or kind of voice is distin- 
 guished, are, — rough, smooth, harsh, full, slender, thin, musical, 
 and some others of the same metaphorical structure. They are
 
 50 DIVISIONS AND EXPLANATIONS. 
 
 sufficiently numerous : and as descriptive as possible, without 
 reference to vocal and exemplar sounds. An attempt towards 
 this kind of illustration has been made, by variously distinguish- 
 ing 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 variety 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 without any fixed relationship in degree. 
 Music has more orderly and numerously distinguished the varie- 
 ties of force, by its series of terms from Pianissimo to Fortis- 
 simo. I shall, in its proper place, make some new distinctions 
 in the manner of employing this mode. 
 
 Time, in the art of speaking, is subdivided into, — long, short, 
 quick, slow, and rapid. Music has a more precise scale of rela- 
 tionship, in its order of signs from semibreve to double-demi- 
 semiquaver. 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 precision in designating its 
 degrees, than the usual terms of prosody aff'ord. Mr. Steele 
 has given, in his work, a notation of time, sufficient for all the 
 syllabic purposes of discourse. I shall hereafter make a division 
 of this mode, with reference to English syllables, and to their 
 employment in speech. 
 
 I vise the term Abruptness, to signify the sudden and full 
 discharge of sound, as contradistinguished from its more gradual 
 emission. Abruptness is well represented by the explosive notes 
 which may be executed on the bassoon, and some other wind 
 instruments. I have given this mode of the voice, the place 
 and importance of a general head, not only as an expressive 
 agent in speech, but because its characteristic explosion is pecu- 
 liar, and quite distinct from the nature of Force ; with which, 
 from its admitting of degrees of intensity, it might seem to be 
 identical. 
 
 The variations of Pitch are denoted by the words, — rise and 
 fall, high and low. The vague import and the insufficiency of
 
 DIVISIONS AND EXPLANATIONS. 51 
 
 this division were shown in our introduction : and as the follow- 
 ing history of the voice makes especial reference to this mode, 
 and gives a minute detail of its various forms, it is necessary to 
 adopt a conformable, and more definite nomenclature. 
 
 It happened well, for our assistance in developing the nature 
 of speech, that most of the phenomena of pitch were long ago 
 observed, analyzed, and named, in the proper science of music. 
 Some of its varieties however, in 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 therefore, to adopt 
 musical terms for these identical functions : since they are 
 already known to many, and may, through elementary treatises, 
 be easily learned by all ; and since the application of different 
 names to things of essential resemblance, would counteract one 
 great object of philosophy; which is, to include all similar 
 phenomena under the same nominal classes : notwithstanding 
 they may happen to be separated, by place and name, in our 
 artificial arrangements. For in collecting facts from Nature, 
 who is no respecter of position or title, we must take them where 
 we find them, and class them, just as they agree. I shall there- 
 fore give a concise account of the terms by which the phenomena 
 of pitch are distinguished in music. 
 
 In entering upon this elementary and important explanation, 
 wherein a recognition by the ear, of sounds merely described, is 
 absolutely necessary for comprehending the subsequent parts of 
 this work, I must beg the reader not to be discouraged by 
 temporary difficulty. He who has been taught the principles of 
 instrumental or of vocal music, and is able to execute accurately, 
 what is called the Scale or 6rammut, will understand the follow- 
 ing descriptions and divisions, without much hesitation. He 
 who knows nothing of the relations of musical sounds, nor of 
 the regular scale by which they have been arranged, must on 
 this, as on so many other subjects of the school which need 
 perceptible illustration, have recourse to a living instructor. He 
 can generally find at hand, instrumental performers, or singing
 
 52 DIVISIONS AND EXPLANATIONS. 
 
 masters, or the clerk of some neighboring church, who will 
 exemplify to his satisfaction all that is merely descriptive here. 
 
 The reader is not referred to musicians and singers, for any 
 assistance in his application of the principles of music to the 
 analysis of speech. The system of mechanical formality to 
 which they have in a great degree circumscribed their views, 
 together with the wasteful industry of their perpetual practice 
 upon difficulties, has, generally speaking, so limited their per- 
 ceptive faculty, that they are often the last to see, in the rela- 
 tions of other things, even the most striking analogy to the 
 principles of their art. But their own art, merely as the routine 
 of art, they know well. To them therefore the reader is referred, 
 merely for the exemplification of a technical nomenclature, that 
 I have here, only the means of words and diagram to explain. 
 , The term Pitch is applied to the variations of musical sound, 
 between its lowest and its highest appreciable degree. This 
 variation between gravity and acuteness, is represented in the 
 human voice, by the two extremes of hoarseness, and screaming. 
 
 The different degrees of Pitch in music arc denoted by what 
 is called the Scale : the formation of which may be thus illus- 
 trated : 
 
 When the bow is drawn across a string of a Violin, and the 
 finger at the same time gradually moved, with continued pres- 
 sure on the string, from its lower attachment to any distance 
 upwards, a mewing sound, if I may so call it, is heard. This 
 mewing is caused by the gradual change from gravity to acute- 
 ness, through the gradual shortening of the string : and as it 
 thus rises in acuteness by an uninterrupted line of momentary 
 changes, it is called a continuous sound. I shall call it Concrete 
 sound. This movement of pitch, on the violin, is termed a Slide. 
 
 The reader may himself exemplify this concrete sound, by 
 uttering the single syllable aye, as if he were asking a question 
 with the expression of earnest surprise, yet rather deliberately ; 
 beginning at the lowest, and ending at the highest limit of his 
 collo(|uial voice. The gradual rising movement in this case 
 is concrete : But as the voice, and any other tunable sound 
 may be continued in one uninterrupted movement upon the same
 
 DIVISIONS AND EXPLANATIONS. 53 
 
 line of pitch, without rising or falling ; it is proper to remark 
 here, that the term Concrete, is in this essay, applied only to an 
 uninterrupted movement in a rising, and in a falling direction. 
 
 Now, the sounds of what is called the Scale in Music, are not 
 continuous or concrete ; but are made — by drawing the bow, only 
 while the finger is held stationary at certain successive places on 
 the string : thus showing an interruption of the continuous up- 
 ward slide. These places are_ sevenjn number, and their dis- 
 tances from each other are determined by a scientific rule for 
 subdividing the string, which we need not consider here. Other 
 sounds, still ascending on the string above these seven, may be 
 made, by a similar interrupted progression. But since the 
 second series of seven, though of higher pitch, yet adjusted by 
 the same rule, do each. to each in order, so nearly accord with 
 the first seven, that they may be considered as a kind of repeti- 
 tion of them, — and as the same is true of other series of seven, 
 that may be formed between the lowest and the highest limit of 
 sound, — the whole extent of variation in acuteness and gravity, 
 is regarded as consisting of but the simple scale of seven sounds, 
 in different series or ranges of pitch. 
 
 In the margin of the following page, a diagram represents 
 the places where we suppose the string to be pressed when the 
 bow is drawn : the black disks on the line, at the places of two 
 of the repeated series of seven sounds being marked numerically : 
 the initials T and S, respectively denoting the terms Tone and 
 Semitone, which will presently be explained. 
 
 Upon comparing this picture with the above account of the 
 production of concrete sound, and supposing the concrete pro- 
 gression upon the string to be represented by the continuous 
 vertical line, on which these numerical places are marked by the 
 disks, it is clear, that portions of the concrete must be unheard, 
 when the bow is drawn, only while the finger is stationary at the 
 several places. The sounds thus produced at these places, 
 omitting the intermediate concrete, I shall call Discrete Sounds : 
 And these, when heard successively in a given order, as repre- 
 sented by the diagram, constitute a Discrete Scale.* 
 
 * This continuity and this disjunction of the line of pitch are known to most 
 musicians, only under the respective names of Slide, and Scale. The terms con-
 
 54 
 
 DIVISIONS AND EXPLANATIONS. 
 
 ©141 
 13 
 
 e 12 
 
 X 
 
 o 11 <■ 
 
 • 10 
 
 71 
 
 9 6 
 
 r.2 
 
 The explanation thus given of the manner of 
 concrete and discrete progressions, in an upward 
 direction, is to be understood of the downward 
 course also, under a reverse movement of the 
 gradual slide, and of the skip, on the string. 
 
 The variations of pitch on most musical instru- 
 ments are discrete. The violin and its varieties 
 derive much of their expressive power, from 
 being susceptible of the concrete movement ; and 
 it is one of the great sources, as will be shown 
 hereafter, of Expression in the human voice. 
 
 The several places at which we suppose the 
 sounds to be made in the discrete progression, 
 are numerically designated in the diagram, and 
 are called the Places, Points^ or Degrees of the 
 scale. Any two degrees are, by relative posi- 
 tion, called Proximate, when they are next to 
 each other ; and Remote, when they include 
 more than proximate degrees between them. 
 
 The distance between any two points in the 
 scale, whether proximate or remote, is called an 
 Interval. A musical interval is defined to be a 
 'quantity of a certain kind, terminated by a 
 graver and an acuter sound.' But for the pur- 
 poses of speech, it is necessary to regard that 
 quantity as either continuous sound, or imagi- 
 nary space; and to consider the effect of the 
 transit of the voice from one degree of the scale 
 to another, as constituting an interval, whether 
 
 Crete and discrete, as here applied, are borrowed from mathematics ; in which 
 science they designate the two great generic divisions of quantity. Thus Mac- 
 nitude is the concrete quantify ; for the lines, surfaces, and solids which con- 
 stitute it, have their respective parts, so to speak, concreted or united immediately 
 with each other : — whereas Number is the discrete quantity; since the distinct 
 succession of its constituent units is altogether different from any kind of 
 continuity. 
 
 The most familiar illustration of these terms, as applied to the two kinds of 
 quantity in musical sound, is furnished by the form of a ladder, the side rails 
 representing the concrete, and the rounds the discrete. 
 
 IJ
 
 DIVISIONS AND EXPLANATIONS. 55 
 
 the voice is concretely heard, or discretely omitted between 
 them. The intervals in their proximate order, are measured as 
 follows:* 
 
 The interval, or the quantity of concrete voice either heard, or 
 omitted, between the first and the second places, as numbered 
 in the diagram, is called a Tone.'l 
 
 That between the second and third is likewise a to7ie. 
 
 That between the third and fourth, which appears in the dia- 
 gram, as but half the space of a tone, is called a Semitone. 
 
 The interval between the fourth and fifth, fifth and sixth, 
 sixth and seventh, is each a tone, and lastly, that between the 
 seventh and the eighth, or first of the next series, a semitone. 
 
 The intervals between the degrees of the scale, whether 
 proximate or remote, are designated numerically ; the extreme 
 degrees being inclusively counted. Thus, from the second to the 
 third, or from the sixth to the seventh, is the interval of a 
 second ; and from the second to the sixth, or from the fourth to 
 the eisrhth, is the interval of a fifth. And so of the rest : the 
 numerical name of any interval being the same, whether taken 
 in an upward or in a downward direction. 
 
 Though the several discrete sounds of the scale are named 
 according to their ordinal number, yet the first, relatively to its 
 rising series, is generally called the Key-note. Consequently, 
 in two or more series of scales, the eighth sound, called the 
 Octave^ of the preceding, is always the key-note of the succeed- 
 
 * The well iuformed reader should regard this general view of the scale, and 
 the manner of its illustration, with a thoughtfulness of my design I omit the 
 theoretic distinction of greater and lesser tone, of diatonic and chromatic semi- 
 tone, and of the major and minor scale, together with other particulars, both 
 mclodial and harmonic, with an intention to notice only what is preparatory to 
 the description of speech. 
 
 I The reader must bear in mind, that the word tone in this essay, designates 
 — only a certain interval of pitch ; since common language applies it alike to 
 pitch, quality, force and time, in the phrases 'high and low tones of the voice,' 
 'mellow, and silver tones,' 'an emphatic or loud tone,' and a 'deliberate tone.' 
 Even music, with all its scientific precision, is not free from slight confusion on 
 this point. For while it employs the Avord tone, for that interval to which we
 
 56 DIVISIONS AND EXPLANATIONS. 
 
 ing scale : as in the vertical diagram, the sound at tlie eighth 
 place, is the octave of the first series, and the key-note of the 
 second. 
 
 The succession of the seven sounds of any one series, to 
 ■which the octave is usually added, is called the Natural or 
 Diatonic Scale. It consists of five tones and two semitones ; 
 the latter being the intervals between its third and fourth, and its 
 seventh and eighth degrees. The scale then contains these 
 several kinds of intervals, — a semitone; a second, or whole 
 tone ; a third ; fourth ; fifth ; sixth ; seventh ; and octave. 
 
 By the diagram, the interval between the second and fourth 
 degrees is numerically a third, yet contains but one tone and a 
 semitone : whereas, that between the first and third degrees, still 
 numerically the interval of a third, contains two whole tones. 
 From this difference in constituency, and extent, the former is 
 called a 31inor Thircly and the latter a 3Iajor Third. But since 
 the minor third is never used in correct speech, the term Third 
 will, in this work, except the minor is specified, always refer to 
 the major interval. 
 
 Having thus far, described the construction of the Musical 
 Scale, I here advise the reader, who may not be a musician, and 
 who may never have heard of the nature of that scale, to ask, 
 from some qualified master, an audible example of its upward 
 and downward progression, and of its several intervals. The 
 varied practical exercises on the scale are, in the language of 
 vocal science, called Solfaing and Solmization. Let him stu- 
 diously imitate this exemplification, and commit it to memory. 
 If destitute of what is called a musical ear, let him not think 
 himself unable to discriminate those intervals, which he has 
 now learned to be a part of music. In communities where the 
 
 restrict its use, it at the same time, designates quality, in the terms,— * tone of 
 the flute' and of other instruments, and the ' pure tone' of the vocalist. The 
 french word timbre, corresponding to our quality, and sometimes applied to the 
 voice, would, in common English pronunciation, soon get into down-right ship 
 — timber. Let us not be 'frightened at the sound ourselves have made'; but 
 call quality by the plain English term Quality ; the timid recollecting, it comes 
 Irom a word used by Cicero and Csesar. 
 
 i
 
 DIVISIONS AND EXPLANATIONS. 
 
 67 
 
 cultivation of this art is general, these things are all learned by 
 thousands, who, with their natural ear, would never have caught 
 up even a fragment of the commonest tune. And surelj there is 
 no one, into whose hands this book will ever fall, who can possibly 
 avoid perceiving the several differences of meaning or expres- 
 sion, when he is addressed in the language of narrative, surprise, 
 complaint, authority, or interrogation. Now these various expres- 
 sive eifects in speech, are perceptible to him, and accurately so, 
 only because they are concrete or discrete movements of the voice 
 through certain appropriate intervals of the scale. His ear there- 
 fore does really recognize these movements, — these intervals of 
 the speaking scale. I only give to his understanding and his 
 tongue, their musical method and names. 
 
 When an instructor cannot be met with, the use of a well- 
 tuned Piano-Forte may assist those who have no acquaintance 
 with the scale. On the key-board of this instrument there is a 
 front row of white keys, as they are called, and a rear row of 
 black ones. A representation of their forms and positions, is 
 given in the following diagram ; where a portion of the Great 
 Scale, or as its whole extent is called, — the Compass of the 
 instrument is shown; and the white keys numbered above in 
 continuation, as far as twenty-one ; and below in repeated septen- 
 ary series. 
 
 1 2 3 4 5 6 7 8 9 10 11* 12 15 14 15 16 17 IS 19 20 21 
 
 rmMn 
 
 
 12 345 6 7.12345 07.123 4557 
 
 Any one of the septenary series of Avhite keys, of which there 
 are three in the diagram, when struck successively ascending from 
 left to right, gives the seven diserete rising sounds of the diatonic 
 scale. The black keys, are set between the white ones, for the 
 purpose of dividing the whole tones into semitones. Hence, the 
 black keys are wanting at the semitonic intervals of the scale, 
 5
 
 58 DIVISIONS AND EXPLANATIONS. 
 
 where their purpose cannot apply. This omission visibly sepa- 
 rates the black keys alternately into pairs and triplets. 
 
 With the foregoing explanation, the reader can have no 
 difficulty in finding a diatonic scries on the white keys of a 
 Piano-Forte, since the key-note or beginning of the series always 
 lies next below the pah' of black keys. Let him then, on that 
 series which suits the pitch of his speaking voice, severally utter 
 the vowels, and some of their syllabic combinations, in unison 
 with the instrumental sounds, both in the proximate order of a 
 tone, and in the wider transitions of the other intervals of the 
 scale, till the whole is familiar to his ear, and at the call of 
 memory. It is true, the Piano-Forte can show him only the 
 discrete movements of pitch ; but when these are under command, 
 the concrete can readily be measured by them. But to proceed 
 with our explanation. 
 
 The prolonged sound at any of the places of the discrete 
 scale, is called a Kote. This term note, signifies the continua- 
 tion of sound on one unvarying line of pitch, and is to be 
 carefully distinguished from that of Tone, which as before 
 stated, always means a certain interval of pitch : and in this 
 essay, is applied, either to the concrete transit of the voice 
 between any two proximate degrees, except those bounding a 
 semitone, or to the amount of space between such degrees, when 
 the transit is discrete. 
 
 As the term tone is thus used under two conditions of pitch, 
 so are the terms of other intervals, included between remote 
 degrees : for the voice may move concretely through these 
 intervals, or notes may be made at these degrees, with the 
 omission of the concrete. Let us call the former of these con- 
 ditions, Concrete Intervals, and the latter. Discrete Intervals : 
 one being, figuratively, a rising or falling stream of voice, the 
 other a voiceless space. 
 
 The first, third and fifth notes of the diatonic scale, to which 
 the octave, as a sort of according repetition of the first, is usually 
 added, diiFer from the rest, in being more agreeable to the ear 
 when heard in combination, and in immediate succession. The 
 degrees, in this order, are also more readily hit by an inexpe- 
 rienced voice, in an endeavor to execute the several discrete 

 
 DIVISIONS AND EXPLANATIONS. 59 
 
 intervals of the scale : and that simple instrument the Jews- 
 harp, and some species of the Horn more readily yield these suc- 
 cessive notes under the faltering attempts of a learner. When 
 therefore the pupil takes his lesson on the scale, let him familiar- 
 ize his ear to the succession of the first, third, fifth and octave ; 
 omitting the intermediate degrees. Frequent reference will be 
 made hereafter, to his perceptions on this point. 
 
 Below, is a representation of the manner in which musicians 
 set their symbols for the diatonic sounds, on that linear table 
 called the Staff. This staflf consists of five horizontal and 
 parallel lines, having four spaces between them. Each space 
 and line represents a degree of the scale : so that from space to 
 line, and line to space, when they adjoin, is a second : and these 
 degrees are called conjoint or proximate. When the discrete 
 movement is over a wider interval than a second, it is called a 
 Skip ; and the degrees are said to be Remote. The succession 
 of the scale is here marked by disks, rising from the lowest line 
 to the highest space of the staff; the intervals of the semitones 
 being designated by a brace. 
 
 s: 
 
 I have thus endeavored to describe the Concrete movement 
 of sound ; and its Discrete progression through the diatonic scale. 
 But in order to accommodate the scale of instruments with fixed 
 keys, to the purposes of musical execution, it is necessary to 
 subdivide the whole tones. The purpose and manner of the 
 subdivision may be thus described.* 
 
 * As the reader has learned above, the nature of the semitone, it is not essen- 
 tial that he should strictly attend to the detailed explanation, in the two follow- 
 ing paragraphs : since most of it is not applicable to speech. I say this, only 
 in reference to his finding it difficult. In letting him know, there is a succes- 
 Bion of degrees, called the Semitonic Scale, I describe the manner of its con- 
 struction : for with a knowledge of this, his ideas of the relations between Music 
 and speech will be more varied and precise. Let him then understand it, if not 
 too troublesome: and by all means, let him read the last two sentences of the 
 second paragraph.
 
 60 DIVISIONS AND EXPLANATIONS. 
 
 In any series of seven notes, as the first marked in the pre- 
 ceding vertical diagram of the scale, and in that of the key- 
 board, let us assume the Fifth, as the first or key-note of a new 
 series. This, with its octave, will extend to the place numbered 
 twelve. Six of its places in their rising order, from five to ten, 
 will have right positions ; and thus far the intervals of tone and 
 semitone Avill exhibit the proper successions of the diatonic scale. 
 But the interval between the tenth and eleventh is a semi- 
 tone, and that between the eleventh and twelfth a tone : whereas, 
 by the rule for constructing the scale, the order should be reversed. 
 For the tenth, eleventh, and twelfth, marked in the diagrams, 
 are respectively the sixth, seventh, and eighth of the new series 
 assumed from the fifth. If then the interval from eleven to 
 twelve be subdivided into two semitones, as shown by a cross in 
 the vertical diagram, and by a star in that of the key-board, 
 and if the transit be made from the tenth place, to this point of 
 division, two semitones, making thus one whole tone, will be 
 passed over; the interval from this point of division to the 
 twelfth will be a semitone, and thus the constituent intervals of 
 the diatonic scale in this second series, will be obtained. 
 
 Now, in order to divide in this way, all the whole tones, let 
 us observe, that rising a fifth on the previous series, would soon 
 carry us beyond the limit of our diagrams. And let us further 
 observe, that the fifth above any key-note, holds the same rela- 
 tive position in a scale, as the fourth below it. If then, for a 
 key-note to a third series, we take the fifth above the key-note 
 of the second series, or the fourth below it, — which are repre- 
 sented respectively by the ninth and the second of the diagrams, 
 and which are considered the same, because they have the like 
 positions of second in the two series of the key-board, — a simi- 
 lar subdivision of the whole tone, between the fifteenth and 
 sixteenth, will be necessary, with the use of the former subdivi- 
 sion, to construct the scale. And thus progressively, by taking 
 the fifth of the last series, or the fourth below it, and using the 
 previous subdivisions, every place of the scale may become the
 
 DIVISIONS AND EXPLANATIONS. 61 
 
 first of a series ; and every whole tone may thereby be divided, 
 as shown by the black keys in the diagram of the key-board. 
 This division produces a series of semitones. When therefore 
 the progression is made by them, the order of degrees is called 
 the Semitonic, or more commonly the Chromatic Scale. 
 
 But it is necessary for the future history of speech, that the 
 succession of discrete sounds should be exhibited under still more 
 reduced divisions. These consist in a discrete transition from 
 place to place, over intervals much smaller than a semitone ; 
 each point being as it were, rapidly touched by a short and 
 abrupt emission of voice. This description may be illustrated 
 by the manner of that noise in the throat called gurgling ; and 
 by the neighing of a horse. The analogy here regards princi- 
 pally the momentary duration, frequency, and abruptness of 
 sound ; for the gurgling is generally made by a quick iteration 
 on one unvarying line of pitch. But in the scale now under 
 consideration, each successive pulse of sound is taken at a 
 Minute Discrete-interval alove the last, till the series reaches 
 the octave. We cannot tell the precise extent of this minute 
 interval, nor the number of pulses in given portions of the scale; 
 since this function is executed in a manner, and with a rapidity 
 which prevent discrimination. Nor is this point material now. 
 My purpose requires it to be known that the voice does rise and 
 fall, with short and abrupt iterations, through the whole extent 
 of pitch, by steps, less than a semitone. Whether the discrete 
 space is that fractional part of a tone called a comma, or some 
 division or multiple of it, we leave to be determined among 
 theorists, by other means than that of the ear alone. Let us 
 then call this species of movement, the Tremulous Scale. 
 
 We have thus, four diiferent kinds of progression in pitch ; and 
 though in speaking of the concrete, its slide was not called a 
 scale, since its unbroken line has no analogy with the interrupted 
 steps of a discrete succession ; yet with a full understanding of 
 its nature, there can be no objection to its being so called. 
 
 There are then Four scales of pitch. The Concrete ; in which, 
 from the outset to the termination of the voice, either in rising
 
 62 DIVISIONS AND EXPLANATIONS. 
 
 or falling, there is no appreciable interval, or interruption of 
 continuity. 
 
 The Diatonic ; wherein the discrete transitions are principally 
 by whole tones. 
 
 The Chromatic ; consisting of a discrete succession of semi- 
 tones : and, 
 
 The Tremulous ; which with its momentary impulses, separated 
 from each other by very minute intervals, has never, as far as 
 I know, been employed on musical instruments, in an upward 
 and a downward progression ; the tremolo being a tremor on a 
 straight line of pitch ; and the Trill or Shake being, as will be 
 shown hereafter, a totally distinct function. 
 
 The extent through Avhich the voice is used in any of these 
 four scales, within the limits of distinct articulation, is called 
 the Compass of Speech. 
 
 For the purpose of explanation, the scales have been repre- 
 sented separately, though in the practice of the voice they are 
 variously united: since speech makes use of them all. The 
 concrete is always found : and we shall hereafter learn in what 
 manner the diatonic, chromatic, and tremulous scales are joined 
 with it. 
 
 The term Melody is, in music, applied to a regulated vocal or 
 intsrumental use of the diatonic and chromatic scales. The full 
 meaning of the term embraces the further relations of time, 
 rythmus, and pause : but I hero speak of pitch alone. That 
 effect in music called melody, is produced by the use of the 
 seven notes of the scale, in any agreeable order of their possible 
 .permutations, either in a proximate or skipping progression. 
 We shall find hereafter, that the Melody of Speech is founded 
 on a like principle of varied intervals : while it has peculiarities, 
 arising from its concrete and tremulous movements, and from 
 its not being effected by the doctrine of what in music is called 
 Key. 
 
 The term Key is applied to each of the several series of the 
 diatonic scale, on musical instruments. And as it appears by 
 the diagram of the key-board, that the Semitonic divisions of 
 the whole tones of the scale make twelve places, from each of 
 which a diatonic succession may be arranged, so the scale of
 
 DIVISIONS AND EXPLAN2VTIONS. 63 
 
 the piano-forte admits of twelve diflferent keys. The first note 
 of the succession is called as we said formerly, the key-note. 
 The relationship of this, to the other. notes of the scale is 3uch, 
 that a melody will appear unfinished, if its last sound be not 
 the key-note of the scale, or the octave to it, which is its 
 nearest concord. 
 
 It is a condition in music, that a melody formed of the varied 
 permutations of the notes of any one key, shall not employ the 
 constituent notes of another. Thus in the vertical diagram, 
 there is the first series, with its key-note at number one ; and a 
 second with its key-note at five. But to form the second, we 
 found it necessary to divide the tone between the eleventh and 
 twelfth points, in order to obtain the final semitone of the 
 diatonic scale : and it appears that all the notes are common to 
 the two series, except the seventh of the second, marked eleven 
 in the diagram. Now a melody or tune begun on the first series, 
 cannot employ that eleventh, and be agreeable to the ear, but 
 with an express design to leave the first series, and afterwards 
 to carry on the tune altogether by the notes of the second. This 
 transition from one series to another is called 3Iodidatio7i, or 
 Changing the key. It is employed in vocal and instrumental 
 music, but is not applicable to speech. 
 
 The term Intonation signifies the act of performing the 
 movements of pitch through any interval of the several scales, 
 whether in speech, in song, or in instrumental execution. It 
 therefore regards merely the changes of sound between acute- 
 ness and gravity. Intonation is said to be correct or true, when 
 the discrete steps, or concrete slides over the intended interval 
 are made with exactness. Deviation from this precision is 
 called singing, or playing, or as it may be hereafter, Speaking 
 false.* 
 
 * Instead of the term Intonation, which embraces in music, the doctrine of 
 intervals, and their exact execution ; the words Inflection and Modulation have 
 been used by writers, to express only a general aud obscure perception of some 
 variation of pitch, in the speaking voice. So entirely have they seemed to over- 
 look the analogy between the scale of music and of speech, that the term Intona- 
 tion, which has been used in the former art, at least a century, to denote the 
 precise recognition of intervals, is not, with this meaning, to be found, as far as
 
 64 DIVISIONS AND EXPLANATIONS. 
 
 The term Cadence in music, means — the consummation of 
 the desire for a full close in the melody, by the resting of its 
 last seund in the key-note. It will be shown hereafter, that the 
 cadence or close of sjjeech is effected in a different manner. 
 
 I have thus endeavored to prepare the reader for all that 
 relates to the science and nomenclature of music, in the follow- 
 ing description of speech. When a full knowledge of the nature 
 and uses of the voice will have become familiar, through general 
 instruction and practice, the Art of Speaking will seem to offer 
 less difficulty, by having an acknowledged system and nomencla- 
 ture of its own. Now, we are obliged to study another art, in 
 order to make an Art of it. 
 
 In whatever way a pupil may learn, or be taught to recognize 
 and to execute the intervals of the scale, let me here again call 
 his attention to the necessity of making himself familiar with 
 the perception of the concrete and discrete movement, not only as 
 formed on simple vowel sounds, but on syllables, the common 
 materials of intonation in speech. Let the pupil then, on any 
 syllable capable of prolongation, rise concretely, from the first 
 degree of the scale to the octave ; and from this immediately 
 return concretely to the first degree, while the effect of the 
 extent of the rising octave remains upon the ear. In like man- 
 ner, let him ascend and descend through the concrete fifth, 
 third, second, and semitone. 
 
 For acquiring familiarity with the discrete intervals, as used 
 in speech, the intonation should be performed by means of two 
 syllables. Thus, taking the word gaily, let the pupil begin at 
 the first degree of the scale, with gai, and by a skip, strike the 
 octave with ly : and then, in immediate return, while memory 
 of the interval serves him, take gai at the octave, and descend 
 to the first, on ly. In like manner, let the voice be exercised 
 on the discrete fifth, third, second, and semitone. 
 
 Facility in executing the chromatic movement of speech, is to 
 
 I can learn, in any of the numberless boots on elocution, published ■within this 
 period. I nsed not say, how often, the description of speech, founded on the 
 identity of its intervals vrith those of music, will hereafter require the use of 
 this term.
 
 DIVISIONS AND EXPLANATIONS. 65 
 
 be attained, bj frequently repeating tlie interjection ali^ with a 
 plaintive sentiment, both ascending and descending, between 
 the seventh and eighth degrees of the diatonic scale. 
 
 The pupil will acquire a ready command over the tremulous 
 intonation, by practising the characteristic tremor of this scale, 
 through the semitone with a plaintive sentiment, and with laugh- 
 ter, or sentiments of exultation, through the other intervals. 
 
 By frequent practice of these several intonations on single 
 syllables, the voice will be prepared for the precise use of inter- 
 vals, in the syllabic successions of speech. 
 
 The preceding explanations have been extended rather beyond 
 what is absolutely necessary for comprehending the proper 
 science of Analytic Elocution, now to be first set forth. Thus 
 the nature of Key and Modulation in music, has been described, 
 with some care, although speech is not constructed upon the 
 principles of either. It may not however, be uninteresting to 
 some inquirers to know wherein the differences of the cases 
 consist. 
 
 The tjerm Elocution is applied throughout this w^ork to signify "/ 
 the use of the voice, for the representation of thought and pas- 
 sion, under every form of correct Reading and Speech. These 
 two last terms have a plain, restricted, and precise meaning : 
 while Elocution as a genus includes them both. The terms 
 Recitation, Delivery, and Declamation, as well as divisions of 
 the art, designating public Places, and Professions, are not here 
 technically, if at all, used in reference to vocal character. 
 Styles of elocution may differ in manner, within the rule for 
 justly denoting sentiment and thought ; and this rule should direct 
 the style, whether of the Advocate, the Witness, or the Judge ; 
 of the Pulpit or the Senate ; of the speech of the Stump-orator, 
 or the harangue of the General. If there had been a more 
 abundant and precise knowledge, of Jiow language should be 
 spoken, there would have been much less said of the Person and 
 the Place. 
 
 I feel how perplexing it is, I was about to say, it is impossible, 
 to render the separated parts of a science, so well divided in 
 method yet so closely related in detail, as that of music, clearly
 
 66 THE RADICAL AND 
 
 intelligible. If what lias been said, will enable the reader to 
 understand the system and particulars of the Four Scales, and 
 to execute them, he will not have much difficulty in pursuing 
 our further history of a new and beautiful Science of the 
 Human Voice. 
 
 
 SECTION 11. 
 
 Of the Radical and VanisJting 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, in what manner, and with what a perfection 
 of economy that cannot surpass itself, she manages the simple 
 constituents of the voice, in the production of their unbounded 
 combinations.* 
 
 * As I profess, in this work, to draw the history of the human voice, alto- 
 gether from observation by the ear, and experiment with the tongue, it will be 
 convenient, and even necessary, — from the constant reference to the combined 
 agencies that make up the system of speech, — to have some brief term to 
 designate what we imagine to be the directive principle, or general agent over 
 these subordinate and perceptible agencies. I have therefore, in the text, 
 adopted an abstract sign, for all these agencies, and their effects, — in the word 
 Nature ; a word often taken in error, and in vain, but not yet obsolete. This 
 Term, this Nature, I use everywhere, — and always with the same meaning 
 when personified, — as the representative of an all-sufEcient, and ever-present 
 system of causes : which in the broad wisdom of its ordination, and universal 
 consistency of its effects, is the bright and unchanging example of truth, and 
 right, and goodness, and beauty ; and worthy of unceasing study and imita- 
 tion, for beginning, without delusive hopes, the intellectual, the political, the 
 moral, and resthetic refinement of man.
 
 VANISHING MOVEMENT. 
 
 67 
 
 When the letter a, as heard in the word day^ is pronounced 
 simply as an alphabetic element, without intensity or emotion, and 
 • as if it were a continuation, not a close of utterance, two sounds 
 are heard continuously successive. The first has the nominal 
 sound of this letter, and issues with a certain degree of fulness. 
 The last is the element e, as heard in eve, gradually diminish- 
 ing to an attenuated close. During the pronunciation, the 
 voice rises by the concrete movement through the interval of a 
 tone or second ; the beginning of a and the termination of c, 
 being severally the inferior and superior extremes of that tone. 
 The nature of this concrete rise may be thus visibly represented. 
 
 But as a curvature of lines seems to me, to afford a more grace- 
 ful analogy to the peculiar effect of this vocal concrete, it will 
 throughout this work be represented thus : 
 
 As the above description may not — from the limited extent 
 of the concrete, its delicate structure, and momentary duration, 
 — be at once recognized, I shall endeavor to throw some par- 
 ticular light of explanation upon it. 
 
 That the sound denoted by the letter a, when thus uttered 
 concretely, has the dipthongal character, will be obvious on 
 deliberately drawing out this single element, as a question put 
 with great surprise. For in this case, its commencement is what 
 I have called the nominal a, and its termination in e, at a high 
 pitch is no less distinguishable.
 
 68 THE RADICAL AND 
 
 By the same use of interrogation, the fulness or greater 
 volume of sound upon a, and the diminisTiing close in e, will be 
 obvious to an attentive ear. Nor is it improbable that the 
 feebleness of this last constituent of a, in ordinary pronuncia- 
 tion, is at least one cause why the dipthongal structure of this 
 element, has never, as far as I know, been perceived, or des- 
 scribed. 
 
 Now, that a, uttered simply as the head of the alphabet, 
 without any striking expression, and as a continuation, not a 
 close, of speech, does rise through the concrete interval of a 
 tone, will be manifest to the reader, by his ability to intonate 
 the diatonic scale. For let him ascend discretely, by the alter- 
 nate use of a and e, prolonging each as a note, and making a 
 slight pause between them. This will render him familiar with 
 the relationship of the two elements, when heard on the extremes 
 of a tone : as illustrated by the following diagram ; where from 
 
 A e E- 
 
 line to line, is one degree, or a tone of the scale ; where the 
 oval figure, with its attenuated rising termination, represents 
 the prolonged note, with its faint and rapid concrete issue ; 
 and where the size of the subscribed letters represents the pro- 
 portional duration and volume of voice, in the different parts 
 of each impulse of pronunciation. 
 
 Then let him ascend the scale, by a kind of union of the 
 concrete and discrete progressions ; that is, by beginning with a 
 slightly prolonged, and proceeding to e, in the second place, 
 without breaking the continuity of sound ; and thence after 
 slightly prolonging e, passing concretely to a, in the third 
 place ; as illustrated by the following diagram ; where full notes 
 are connected by slender concretes. This practice will make 
 him familiar with the effects of a concrete rise through a tone,
 
 VANISHING MOVEMENT. 
 
 t)9 
 
 •when the upper extreme is rendered remarkable, by the stress 
 and prolongation it receives at the second place of the scale. 
 
 .E. 
 
 -A 
 
 Supposing the interval of a tone to be distinguishable, when 
 thus uttered vfith. a full volume of sound on the two extremes 
 a and e, or with what may be called a double stress ; it may be 
 proved, in the following manner, that the simple utterance of a 
 in dai/, passes through the same interval. Let the a and e be 
 repeatedly pronounced with this double stress, united by the 
 weaker concrete, till the effect of the interval, is for the moment, 
 impressed upon the ear. Then let the stress on e be gradually 
 diminished in the repetition : as illustrated by the series of 
 symbols in the following diagram. The audible effect of the last 
 of the series, even with a total cessation of the upper stress, will 
 
 
 A E A— e A— e A-e A-e A-e A- 
 
 as far as regards intonation, so resemble, yet faintly, the effect 
 of the double stress, that the cases will be admitted as identical. 
 Since then the tone is plainly cognizable as the first interval of 
 the scale, when both extremes receive the stress, so in return- 
 ing to the simple pronunciation of a, by gradually diminish- 
 ing the stress at its upper extremity, the perception of this 
 interval will be kept up through the progress of the change.
 
 70 
 
 THE RADICAL AND 
 
 If there should at any time be a doubt, as to the extent of the 
 concrete interval, let stress be applied at its summit. When the 
 interval is a tone, the two sounds will form the commencement 
 of the diatonic scale : for with a little experience, the course of 
 this scale can always be recognized, in the execution of its first 
 and second degrees. 
 
 The 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 into the last. 
 But as the question here refers to the extent of the interval tra- 
 versed, and to its upward direction, as well as to its concrete 
 progress, it is necessary to guard against utterance of the literal 
 element, with any emotion ; for if it be with plaintiveness, sur- 
 prise, interrogation, or other impressive sentiments, or as the 
 close of a sentence, the concrete will be some other interval than 
 the tone, or will move in a downward direction ; this tone or 
 second, being, as will be shown hereafter, the instinctive intona- 
 tion for simple thought, exclusively of feeling or passion. 
 
 The peculiar structure of this movement suggested the division 
 of it, by terms, into two parts ; and the use of these terms, for 
 explanatory purposes in the following history, will show its pro- 
 priety. 
 
 I have called the first part of the concrete, or that of a, in the 
 above instance, the Radical movement ; because, with a full 
 beginning or opening, the following portion of the concrete pro- 
 ceeds from it as from a base or root. 
 
 I have called the last part, or that of e, in the 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 these terms can have only a 
 general reference to the two extremes of the concrete, since the 
 gradual change of the radical into the vanishing movement, pre- 
 vents our assigning an exact point of distinction between them. m 
 
 When a single alphabetic sound, capable of prolongation, is 
 uttered with propriety and smoothness, and without emotion, it 
 commences full and somewhat abruptly, and gradually decreases 
 in its upward movement, until it becomes inaudible ; having the 
 
 II 
 
 I
 
 VANISHING MOVEMENT. 7I 
 
 increments of time, and rise, and the decrements of fulness, 
 equably progressive. That is, supposing a gradual diminution of 
 fulness, in tne gradual rise through a tone to be effected in a given 
 time ; one half or smaller fraction of that rise and diminution 
 "will be effected, in one half or smaller fraction of that time. 
 Let us call this form of the radical and vanishing movement, the 
 Equable Concrete. 
 
 The varied forms of the vocal function in Song and Recitative, 
 may help to illustrate the nature of this equability in the intona- 
 tion of speech. 
 
 The long-drawn voice of one continued pitch, heard in song and 
 recitative, is produced in two ways. 
 
 First; by giving the greatest proportion of time and volume 
 to one continuous or level line of sound, if I may so call it, in the 
 radical place ; and by subsequently rising concretely, lightly, and 
 rapidly through all the superior portion of the concrete. Let us 
 call this, the Protracted Radical. 
 
 Second ; by rising concretely, lightly, and rapidly through all 
 the inferior portion of the concrete, and then prolonging the 
 voice with greater volume, on a level line at the highest point of 
 the vanish. Let us call this, the Protracted Vanish. 
 
 Thus far then, intonation exhibits three modifications of the 
 radical and vanishing movement. The Equable Concrete of 
 speech. The Protracted Radical, and the Protracted Vanish ; 
 both of which are used in song and recitative. But we shall 
 have occasion to learn, as we proceed, the various relationships 
 of the concrete, to all the simple and compounded intervals, to 
 the alphabetic elements, to time, and force. 
 
 I have spoken of the radical and vanishing movement through 
 a tone, to explain, by that interval, the formation of the concrete 
 rise, and its threefold division. But in taking a wider survey of 
 the subject, w^e shall learn, — the radical and vanish, is made on 
 every other interval. 
 
 Thus, if we ascend concretely, from the seventh to the eighth 
 degree of the scale, by a and e, as represented in the second dia- 
 gram on the sixty-ninth page, that is, by laying a stress on the 
 two extremes of this interval, the voice will have a plaintive
 
 72 TflE RADICAL AND 
 
 character, very different from that of the tone, or interval be- 
 tween the first and second. Now the interval from the seventh 
 to the eighth place of the diatonic scale, is a semitone. This 
 plaintive concrete therefore, — when attenuated, and made equa- 
 ble by gradually diminishing the stress at its upper extreme, as 
 shown in the successive symbols of that diagram, — is the radical 
 and vanishing movement of a semitone. 
 
 Again, if we ascend concretely upon a and e, from the first to 
 the third place of the scale, with a stress on g, in that third place, 
 the eJDfect of this continuous movement will difi"er from that of 
 the tone and the semitone ; for it will resemble a moderate degree 
 of interrogation on the element a. This concrete, when atten- 
 uated or made equable, by successively diminishing the stress at 
 its upper extreme, is the radical and vanishing movement of a 
 third. 
 
 By a process analogous to that just proposed, for distinguishing 
 the interval of a third, we may ascertain the concrete movement 
 of a fifth, and of an octave : For these, with stress at their upper 
 extremes, have earnest interrogative expressions. Then by 
 diminishing the stress, as directed in the former cases, we have 
 respectively, the radical and vanishing movements of the fifth 
 and octave. 
 
 In this manner, the ear perceives, under their various degrees " 
 and characteristics, the several vocal movements of a Rising 
 radical and vanishing semitone, — tone or second, major and mi- 
 nor third, fifth, and octave. These intervals have their proper 
 significations in the expression of speech, and will be particularly 
 noticed elsewhere. 
 
 The above description represents the Concrete rise of the sev- 
 eral intervals. But the Discrete scale is likewise used in speech ; 
 and its skipping intervals are, perhaps, as readily distinguishable 
 as the gliding intervals of the concrete scale. When therefore 
 we are able to ascend the discrete steps of the diatonic scale, in 
 proximate succession, and to recognize its Avider intervals, we 
 have only to mark, by some vowel-sound, the first and second 
 degrees of the scale, and thus to form the discrete rising tone or 
 second. In like manner by skipping through the other intervals, 
 we shall have a discrete rising semitone, third, fifth, and octave. 
 
 \
 
 VANISHING MOVEMENT. 73 
 
 I say nothing liere of a radical and vanishing /oz^r^/i, sixth, and 
 seventh ; or of loider ranges than the octave ; or of the discrete 
 movement of these intervals ; not that the voice does not use 
 them, but because a reference to the third, fifth, and octave, is 
 sufficiently precise for the purpose of our history. 
 
 Let us consider another condition of the radical and vanish. 
 We have viewed the concrete of the voice only in its rising pro- 
 gress. There is a similar glide in a doivmvard direction through 
 all the intervals of the scale. To illustrate this subject, in the 
 speaking voice, we must consider the scale numerically, in its 
 downward, as in its upward course : the like number of degrees 
 constitutino; intervals of the same name, in each direction. To 
 express this descending relationship, music employs the terms — 
 a second, a third, a fifth, and an octave, helow : whereas, for the 
 intonations of speech, I shall use the adjective-term downward, 
 or descending, or falling, to denote this direction on the scale. 
 Referring then to our former illustration, if the bow be drawn 
 while the finger is moving continuously, from the eighth pla.ce 
 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 descending concrete, we 
 have all the other downward intervals. To exemplify this on 
 the voice, the descent is made by stress applied at the lower ex- 
 treme of the several intervals, — thereby to render their charac- 
 teristic expression more perceptible, — and then gradually dimin- 
 ished ; as illustrated by the second diagram, on the sixty-ninth 
 page, when taken from right to left in an inverted position. In 
 this manner beginning with a in the octave, the movement to 
 e, in the seventh, will be the downward concrete semitone. 
 
 In like manner, by a concrete transition from the second to 
 the first degree of the scale, the downward concrete ton& will be 
 heard under all the characteristics of the radical and vanish ; 
 with this difference, however, from the rising movement : the 
 fulness of the radical, if it may be so called, is now at the sum- 
 mit of the tone ; while the vanish equably diminishes to the lower 
 extreme of this interval ;' the e faintly ending there. And in 
 this way, a downward concrete, from the third, fifth, and eighth 
 6
 
 74 THE RADICAL AND 
 
 degree of the scale respectively to the first, without its termina- 
 tive stress, will give the downward radical and vanishing third, 
 fifths and octave. 
 
 The downward movement is likewise made in the discrete pro- 
 gression. This may be readily shown on the Piano, and other 
 instruments with a scale ef fixed degrees, by striking in succes- 
 sion, the extreme notes of the required interval : and on the 
 voice, by a unison-imitation of these instrumental sounds, upon 
 vowels or syllables ; thereby proving the existence of a doAvn- 
 ward discrete octave, fifth, third, second, and semitone. 
 
 He who is acquainted with the musical scale, but has not yet 
 looked upon it in reference to speech, may ascertain the upward 
 course of the tone and of the semitone, when made on a vowel, 
 by comparing their effects respectively with those of the begin- 
 ning, and the end of the rising scale. And in like manner, he 
 may know the doivnivard course of the semitone and of the tone, 
 by comparing them respectively with the beginning, and the end 
 of the descending scale. Every one knows a plaintive expression 
 in speech : it is easy therefore to recognize a semitone. And 
 perhaps there is not too much confidence in asserting, that before 
 the attentive and competent reader has finished this essay, he 
 will have no more difficulty in discriminating every other im- 
 portant interval of the rising and falling scale. 
 
 Besides the above-described forms of the concrete and discrete 
 movements, both in an upward and downward direction, there is 
 a continuous course of the rising into the falling concrete, and 
 reversely, a continuity of the falling into the rising. This form 
 of the radical and vanish will be particularly noticed hereafter 
 under the name of the Wave. It is called Direct, when the first 
 interval ascends, and the second descends : Inverted, when the 
 order of the intervals is reversed : Equal, when the rising and 
 the falling are the same : and Unequal, when different. It is 
 called Single, when two intervals only are thus joined : Double 
 when another is joined continuously to the second of the single 
 form. The wave is made through all the intervals of the scale : 
 and its different forms may be variously united with each
 
 VANISHING MOVEMENT. Y5 
 
 other. Thus it maj be double-direct, unequal-direct, double- 
 unequal, and so, in all possible combinations. 
 
 But I have not yet finished the preparatory explanations on 
 this subject. The radical and vanish, both in its -rise and fall, 
 may be combined with Force, in the six following forms. First. 
 The radical in its simple state, as previously shown, is distin- 
 guished from the rest of the concrete, by its initial stress. 
 Second. While the simple state of the radical and vanish re- 
 mains unaltered, the whole concrete may be magnified as it 
 were, by unusual force. Third. The voice may be swelled, on a 
 prolonged concrete, or wave, to the fulness of a stress, at the 
 middle of its course. Fourth. There may be an unusual stress 
 at each extremity of the concrete. Fifth. While the radical is 
 reduced in fulness, the vanishing extremity may have a forcible 
 termination. Sixth. The concrete may have the fulness and 
 force of the radical throughout its whole course. 
 
 The following diagrams may illustrate the foregoing descrip- 
 tions. For this purpose, parts of the musical notation are em- 
 ployed. The lines and spaces denote places of pitch; the proxi- 
 mate succession of line and space, being that of a second or tone. 
 These lines and spaces differ from the staft" of the musical sys- 
 tem ; the latter being founded on the diatonic scale, denotes in 
 certain places, the interval of a semitone ; whereas the lines and 
 spaces for the notation of speech signify always, the succession 
 of a tone, except otherwise specified. The full black symbols 
 on these lines and spaces, with their issuing and tapering appen- 
 dages of various extent, represent the opening fulness, direction, 
 and diminution of the radical and vanishing movements. The 
 distance between the radicals, of the concrete seconds, thirds, 
 fifths, and octaves, severally represent the discrete intervals. 
 Time is represented as in music : the open ellipse signifying the 
 longest; the small head and stem, with its two hooks, — marking 
 the duration of the vanish, — the sixteenth part of the open 
 ellipse. Except for the protracted radical, and vanish, the nota- 
 tion of Time will not be employed. This subject is well described, 
 and clearly arranged in music ; and the application of its sym- 
 bols to speech, when desirable, will not require much ingenuity 
 or labor.
 
 76 
 
 THE RADICAL AND 
 
 I have not given symbols for the concrete and discrete minor 
 third, and semitone, since their representation on the staff may 
 be easily imagined. 
 
 ? te <^ 
 
 s- 5 d 
 
 " C 3 
 
 ^a 
 
 ^- 
 
 
 ?5H 
 
 5'H 
 
 l.i 
 
 £^ 
 
 ;ri5 
 
 -^- 
 
 .o 
 
 Concret 
 Rising 
 Fifth. 
 
 Concret* 
 
 Downwa] 
 
 Fifth. 
 
 Concrete 
 Rising 
 Octave. 
 
 Concret 
 
 Downwai 
 
 Octave. 
 
 
 .M. 
 
 jf< 
 
 ^^ 
 
 i' 
 
 ^ 
 
 f 
 
 B 
 
 1 J 
 
 \ 
 
 § 
 
 \ 
 
 1 qpr 
 
 
 ^ 
 
 \ 
 
 Equal-single-di- 
 rect wave of the 
 second. 
 
 Equal-single-in- 
 verted, of the 
 fifth. 
 
 Unequal- single- 
 direct of the fifth 
 and third. 
 
 Unequal-invert- 
 ed, of the third ^ 
 and Octave. \ 
 
 Double-equal- 
 direct, of the 
 third. 
 
 Double-unequal- 
 
 invcrted, of the 
 
 third, fifth, and 
 
 third. 
 
 ' .m, ' '< . ' 1 
 
 ^-^ '!• ^ i /^\ ' 
 
 / ' fiV 
 
 ^r^/^ 
 
 •^ 1 \^ ! U 1 , 
 
 i^ / 1 ®^ 
 
 1 ^ it^ 1 1 
 
 n 
 
 i iifi 
 
 Forms of stress on the Concrete. 
 
 In the above notation, there is no meaning in the curve of 
 the vanish, nor in the circular enlargement of the radical. In 
 this, as formerly remarked, the eye only was consulted : though
 
 VANISHING MOVEMENT. 77 
 
 I cannot say, the engraver has in all cases, done justice to the 
 drawing furnished.* 
 
 I have thus endeavored to describe an important and delicate 
 function of speech. There is a peculiarity in the human voice, 
 which as far as I have observed, has never been copied by instru- 
 mental contrivances. The sounds of the horn, flute, and musical- 
 glass, may severally equal and even surpass in quality, a long- 
 drawn vocal note : still there is something wanting, that distin- 
 guishes their intonation from that of speech. It is the w^ant of 
 the equable gliding, the lessening volume, and the soft extinction 
 of the yet inimitable radical and vanishing movement. 
 
 And further ; the simple utterance, of the radical and vanish 
 seems to be a natural and uncontrollable function of the voice : 
 since to my observation, it appears, — even the very shortest vocal 
 impulse on a vowel or syllable, is not a mere point of sound, 
 without dimensions, but is necessarily made upward or down- 
 ward, through some, however limited movement in time. This 
 remark is true of the voices of many inferior animals. Does 
 it apply to all ? and even to common mechanical noises ? 
 
 In the course of this essay, I shall endeavor to obviate the 
 effect of that repetition of its nomenclature, which the purpose 
 of explanation, and the newness of the subject might require, 
 by the use of various abbreviated but equivalent terms. Thus 
 
 * On first observing the peculiar character of the radical and vanish ; when 
 ray attention was sometimes misled by hasty conclusions ; and while doubtfully 
 experimenting on the form of melody, I drew, partly after the pattern of a 
 musical note, the symbol of the concrete, as it still remains. And see, how 
 that deceitful thing the mind, with its analogies, should be watched. Upon the 
 first draft of the illustrations, the graceful lines of a Greek scroll were asso- 
 ciated with my idea of the gracious impression of the vanishing movement; and 
 the form thus given to the symbol, seems to have subsequently so influenced 
 my perception of the function, that perhaps I am not yet quite free from the 
 analogical feeling that suggested it. Although aware from the first, that the 
 figurative representation of the radical and vanish, should be by the outline of 
 a cone, still the wedge-like symbol, especially if set obliquely on the stafiF, 
 seemed too awkward a picture of this master — no, this mistress-principle of 
 the voice. 
 
 I here offer an apology for my departure from correctness in the illustration. 
 If I have committed a fault, I much regret it ; and thereupon write this note, 
 to prevent a false association in the mind of the reader.
 
 78 THE RADICAL AND 
 
 the Concrete function will, according to the general or specific 
 purpose in its use, be variously called the radical and vanishing 
 movement; the concrete movement, — progression, — interval, 
 or — pitch; or simplj, the radical and vanish, or the concrete; 
 or the radical and vanishing tone, — semitone, — third, — fifth, 
 and octave. The Discrete function will be called the discrete 
 movement, — progression, — change, — skip, — or pitch; or the 
 radical movement, — change, — progression, — skip, — or pitch. 
 Now eaeh of the above phrases may have the specification of 
 rise or fall, — upward or dowuAvard, — ascent or descent, ac- 
 cording to the requisition of the sense, or to any desirable 
 variation of terms. Should the direction of the concrete, or the 
 radical movement not be specified, or implied, the term is used 
 for either rise or fall. For a general designation of the extent 
 of intervals and waves, all greater than those of the semitone 
 and second will be called, — wider^ from its forming a better 
 rythmus than ivide, in qualifying those terms of intonation. 
 
 Let the reader then not be alarmed at the variety of these 
 terms ; for at present he need not particularly regard them, but 
 only so far keep them in mind, as to be able to refer to them, if 
 he should hereafter find it necessary. As he proceeds, he will 
 perhaps regard them as brief expressions, suggested so imme- 
 diately by the subject, that he himself might have made them. 
 Indeed, a future wide companionship in the knowledge of speech, 
 may have a shorter and more convenient nomenclature of its own. 
 
 The reader must not be discouraged, by his first difiiculty in dis- 
 criminating the intervals of speech. There was much to perplex, 
 and to threaten with dispair, in the course of observation, by 
 which these intervals were first measured and described. But 
 even these now palpable phenomena were not perceived at a 
 moment, as perhaps they might be, under a simple and real 
 education of the senses and of thought. For the mirror of the 
 mind, obscured and distorted in its imagery, by a habitual occu- 
 pation with little else than Fiction, — and Argument, too often 
 the provocative of fiction, — is yet unprepared to reflect the 
 realities of nature without dimness or delay. The first perceptions 
 of the author of this essay were full of indistinctness and doubt ;
 
 VANISHING MOVEMENT. 79 
 
 far greater perhaps, than the intelligent reader may experience 
 from the descriptions in this section. Yet now after three 
 years, the various forms of pitch, are much more perceptible to 
 him, than differences of colors without direct comparison ; and 
 quite as distinguishable as the literal and syllabic sounds of 
 discourse. 
 
 
 SECTION III. 
 
 Of the Elementary Sounds of the JEnglish Language ; with their 
 Relations to the Radical and Vanishi7ig 31ovement. 
 
 The radical and vanishing concrete, under all its forms, is em- 
 ployed on a limited number of elementary sounds, said to amount 
 in the English language, to thirty-five. It seems useless to raise 
 a distracting question, on the subject of the kind and number of 
 the elements. There will perhaps always be refinements and 
 differences on this point. The thirty-five here assumed, afford 
 all the distinctions required for the purposes of this work. And 
 they have been found sufficient for all practical purposes, by 
 those who have no time nor fondness for dispute.* 
 
 An alphabet should consist of a separate symbol for every ele- 
 
 * Englisk philologists have, according to their real or affected nicety of ear, 
 differed on the subject of the number of the elements of their language. The 
 differences refer to the character of the sounds, or to the time, or manner of 
 pronouncing them. Thus the sound of a in all, and of o in occupy have been 
 enumerated as different. But that difference sems to consist in the abrupt utter- 
 ance of oc, or the suddenness -with which the sound breaks from the organs. A 
 like distinction has been made between o in ooze, and u in bwU : where the explo- 
 sive accent seems to give the perceptible difference to the short vowel. Now 
 this abruptness of voice, is a generic function, applicable to all vowels, and there- 
 fore not a ground for specific distinction. After all however, it is of little prac- 
 tical consequence, whether cases like these are decided one way or the other.
 
 80 ALPHABETIC ELEMENTS. 
 
 mentary sound. Under this view, the deficiencies, redundancies, 
 and confusion of the system of alphabetic characters in the Eng- 
 lish language, prevent the adoption of its common grammatical 
 subdivisions here. 
 
 The sounds of the alphabetic elements are the material, and 
 their combination into significant words, the formal causes of all 
 language. It appears to me however, that a classification, ac- 
 cording to their functions in producing other phenomena of 
 speech, besides that of mere articulation, would be practically 
 useful as well as logically just. It will not be denied that Into- 
 nation is one of the most important functions of speech : conse- 
 quently the ordering of the elements if practically regarded, 
 should have some reference to it. In the present section there- 
 fore, these elements will be described and classed, according to 
 their use in intonation.* 
 I 
 
 * I set aside, in this place at least, the sacred division into vowels, consonants, 
 mutes and semivowels. The complete histoiy of nature -will consist of a full de- 
 scription of all the interchangeable relationships, notof notions, but of perceptible 
 things. We received the classication of the alphabet from Greek and Roman 
 grammarians : and their division, accoi'ding to organic causes, into labial, lingual, 
 dental, and nasal elements, is now strictly a part of the physiology of speech. 
 But whatever reason, connected with the vocal habits of another nation, or the 
 etymologies of another tongue, may have justified the division into vowels and 
 consonants according to their definition, it does not exist with us. Without de- 
 signing to overlook or destroy any arrangement, truly representing the rela- 
 tionships of these sounds, it is only intended in this essay to add to their history 
 a classification grounded on their important functions in speech. The strictness 
 of philosophy should not be so far forgotten, as to suifer the claim of this classi- 
 fication 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 contra-dis- 
 tinction of its two leading divisions, is a misrepresentation. Had he an ear 
 who said — a consonant cannot be sounded without the help of a vowel ? 
 
 Among the thousand mismanagements of literary instruction, there is at the 
 outset in the horn-book, a pretence to represent elementary sounds, by syllables 
 composed of two or more elements, 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. But no error or oversight of the school should 
 ever 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
 
 ALPHABETIC ELEMENTS. 81 
 
 As the. number of elementary sounds in the English language 
 exceeds the literal symbols, some of the letters are made to rep- 
 resent various sounds, without a rule for discrimination. I shall 
 endeavor to supply this want of precision, by using short words 
 of known pronunciation, containing the elementary sounds, with 
 the letters that represent them, marked in italics. 
 
 The thirty-five Elements are now to be considered under their 
 relationships to the radical and vanish. And as the properties 
 of this function are — prolongation of sound, and variation of 
 pitch, with initial force and final feebleness; these elements 
 should be regarded in their varied capacity for the display of 
 these properties. 
 
 With this view, our elements of articulation may be arranged 
 under three general heads. 
 
 The first division embraces sounds with the radical and vanish 
 in its most perfect form. They are twelve in number ; and are 
 heard in the usual sound of the separated italics, in the following 
 Avords : 
 
 §4-11, a-rt, a-n, a-\e, oii-r, ^-sle, o-ld, ee-l, oo-ze, e-rr. 
 e-nd, and i-n. 
 
 From their being the purest and most manageable material 
 of intonation, I have called them Tonic sounds. 
 
 They consist of difi"efent sorts of Vocality ; or of that 
 quality of voice in which we usually speak, and here contradis- 
 tinguished from whisper ox aspiration. They are produced by 
 the joint functions of the larynx, and parts of the internal and 
 external mouth. 
 
 The tonics are of a more tunable nature than the other 
 elements. They are capable of indefinite prolongation ; admit 
 of the concrete and tremulous rise and fall, through all the 
 intervals of pitch ; may be uttered more forcibly than the other 
 elements, as well as with more abruptness : and while these two 
 last characteristics are appropriate to the natural fulness and 
 
 a sentence like the vowels a, i, o, ah, and awe, it is not that they cannot Idc so 
 used ; but because they have not that full and manageable nature -which exhibts 
 the quantity, force, and intonation of an unconnected syllable, with sufficient 
 emphasis and with agreeable effect.
 
 82 ALPHABETIC ELEMENTS. 
 
 Stress of tlie radical, the power of prolongation, upon their pure 
 and controllable quality, is finely accommodated to the delicate 
 structure of the vanishing movement. Altogether, they have, 
 for the purposes of an agreeable intonation, a eutony, briefly so 
 to call it, beyond the other elements. 
 
 The next division includes a number of sounds, possessing 
 variously among themselves, a character analogous to that of 
 the tonics ; but differing in degree. They amount to fourteen ; 
 and are marked by the separated italics, in the following words : 
 -B-ow, c^-are, ^-ive, i;-ile, z-one, y-e, zv-o, th-en, a-2-ure, 
 si-ng, l-ove, m-aj, n-ot, r-oe. 
 
 From their inferiority to the tonics, for all the emphatic and 
 elegant purposes of speech, while they admit of being intonated 
 or carried concretely through the intervals of pitch, I have 
 called them Sithtonio sounds. 
 
 They all have a vocality ; but in some it is combined with an 
 aspiration. B, d, g, ng, I, m, n, r, have an unmixed vocal- 
 ity ; V, z, 7/, to, til, zJi, have an aspiration joined with theirs. 
 We have learned that the vocality of the tonics is, in each, pecu- 
 liar. The vocality of some of the subtonics is apparently the 
 same ; and among all, it does not greatly differ ; resembling 
 that of certain five of the tonics, to be described presently. Like 
 the vocality of the tonics, it is formed in the larynx ; but the 
 sound in passing through the mouth may have a modifying 
 reverberation in the fauces, and cavities of the nose. Some sub- 
 tonic vocalities are purely nasal, as : m, w, ng, b, d, g. Others 
 are partly oral. The nasal are soon silenced by closing the 
 nostrils : the rest are not materially affected by it. The 
 vocality of 5, c?, and g^ may not be immediately apparent to 
 those who have not, by practice on the separate elements, 
 attained the full command of pronunciation. Writers have 
 spoken of the vocality of these elements, under the name of 
 *gutteral murmur,' and have regarded it as a peculiar sound. 
 It is the vocality, heard in v, i/i-en, 2, zli^ and r, modified into 
 the respective articulations of 5, d and g. The vocality of h, d 
 and g, in ordinary speech, has less duration and intensity, and 
 is consequently less perceptible than that of v, ^A-en, 0, zli^ and
 
 ALPHABETIC ELEMENTS. 83 
 
 r, but is the same in kind. It is the vocality alone of h, that 
 distinguishes it from p. 
 
 I have enumerated y and w, as the initial sounds of ye and 
 wo ; since ?/ is a vocality, like that of the other subtonics, mixed 
 with an aspiration over the tongue, when near the roof of the 
 mouth, and w a similar vocality, mixed with a breathing through 
 an aperture in the protruded lips. As h, d, g and zh are made 
 by joining vocalities, instead of aspirations, with the organic 
 positions of p, t, k and sh ; so y and iv are severally the mixture 
 of vocality with the pure aspiration of 7i, as heard in he, and of 
 w7i, as heard in w/i-irl'd. The addition of vocality to the 
 aspiration changes these words respectively to ye and world. 
 
 This vocality of the subtonics, whether pure or mixed, nasal 
 or oral, is variously modified by the nose, tongue, teeth and 
 lips. An entire or partial obstruction of the current of breath 
 through the mouth, and a subsequent removal of the obstruc- 
 tion, produces the peculiar sound of the subtonics : for, on pro- 
 nouncing 6, d, and g, and it is the same with all, the voice 
 breaks from its obstruction, with a short terminative impulse. 
 Now it is in the momentary portion of subtonic sound, heard on*^ 
 removing yiis obstruction, that the character of the vocality, in 
 some of these elements, may be most readily perceived. This , 
 vocida or little voice, if it may be so called, is mentioned by 
 writers as being necessary to complete the utterance of their 
 class of Mutes ; but it may be heard more or less conspicuously 
 at the termination of all the subtonics. It is least perceptible 
 in those, having the most aspiration. In ordinary utterance it 
 is short and feeble ; and is most obvious in forcible or affected 
 pronunciation. When the subtonics precede the tonics, 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 subtonics, the 
 Vocule ; and have been thus particular in noticing and naming 
 it, as both the function and the terra will be referred to, in 
 treating on Syllabication, and on Expression. • 
 
 The five tonic sounds, to which the vocalities of the subtonics
 
 84 ALPHABETIC ELEMENTS. 
 
 bear a resemblance, are ee-\, oo-ze^ e-rr, e-nd, i-n. Y-e and 
 tv-o have respectively something like a nasal echo of ee-l, and 
 oo-ze. B, d, g, v, then z, zh and r resemble e-rr ; ?, m, and 
 n have something of the sound of e-nd ; and ng, of i-r\. " 
 
 The subtonics are subordinate to the tonics, in their character 
 and uses. The kind of sound is less agreeable. Compared 
 with the clear vocal-fulness of the tonics, their quality is obscured 
 in the purest ; and in others, is destroyed, by the aspiration. 
 They are severally capable of more or less prolongation, and 
 may be carried through the concrete and tremulous variation of 
 pitch. None admit of much force in their vocality ; nor 
 can abruptness be given to them M'ithout extraordinary effort. 
 Now these last named insuflBciencies prevent the subtonics from 
 forming, like the tonics, a proper radical fulness on the con- 
 crete. When therefore a subtonic precedes a tonic, as in the 
 syllable vain, the vocality of v, compared with the vocality of 
 a, is so feeble, that with only a common effort of utterance, 
 there is an absence of the strong and sudden opening of the 
 radical. The subtonic does indeed make a short initial to the 
 syllable, and then breaks from its vocule into the succeeding 
 tonic ; but when prolonged, its natural tendency is, ig continue 
 on one line of pitch until the tonic a opens from the vocality of 
 V, and rises with the true character of the radical. It must not 
 from this, be concluded, — the subtonics can in nowise form the 
 radical opening of a syllable ; for all of them, when separately 
 uttered, may be carried concretely, through every interval ; and 
 even preceding the tonics, a strenuous effort may give them 
 somewhat of the radical abruptness. But in ordinary pronun- 
 ciation, they are scarcely appreciated as a part of the initial 
 concrete. 
 
 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 syllable vain, the a, as we have 
 said, begins the radical, and after rising through a portion of 
 the interval, glides into the subtonic n, which carries on and 
 completes the vanish. This seems to be the result of the tonics 
 having no vocule. 
 
 4
 
 ALPHABETIC ELEMENTS. 86 
 
 The remaining nine elements are Aspirations, and have not 
 that kind of sound called vocalitj. They are produced by a 
 current of the whispering breath through certain internal and 
 external parts of the mouth. They are heard in the sound of 
 the separated italic, in the words, 
 
 JJ-p, on-t, ar-k, i-/, je-s, /i-e, tvh-ea,t, th-'m, pu-sA. 
 
 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. 
 
 On comparing their articulative production with that of some 
 of the subtonics, we find them, respectively, almost identical in 
 all their conditions, except that of vocality, which is wanting 
 in the atonies. 
 
 B. D. G. y. Z. Y. W. Th. Zh. Ng. L. M. N. R. 
 
 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 sujbto- 
 nics. Yet the five exceptions do not altogether destroy the 
 idea, that nature has her ' formative effort' towards a general 
 rule of duplicature in these creations. 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 aspirations. Yet even this snuflfling, 
 though no reputed element of speech, is used before the vocality 
 of n, m, or ng, as the inarticulate sign of sneer. The two re- 
 maining subtonics I and r, in perfect English speech, are 
 unmatched by atonies. But the aspirated copy of I, produced by 
 a kind of hissing over the moisture of the tongue, is occasionally 
 heard: and a true atonic parallel to r, in Avhat is called the 
 ' Northumbrian burr, ' is in Britain, not an uncommon defect of 
 utterance.* 
 
 •Bishop AVilkins, 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.
 
 86 ALPHABETIC ELEMENTS. 
 
 The atonies, from the unfitness for intonation, that suggested 
 their name, aiFord no A^ocal means for the radical and vanish. 
 Most of them have a perceptible vocule, consisting of a short 
 aspiration like the whispering of e-rr. There is no tunable qual- 
 ity whatever in their sound. They have the power of prolonga- 
 tion, but on a poor material. Though thus inferior in most of 
 the purposes of speech, to the other elements, yet it will be shown 
 in treating of Expression, that the Aspiration is both significa- 
 tive, and emphatic. 
 
 The enumeration under the preceding divisions, includes all 
 the elementary sounds of the English language, that apart from 
 questionable and unimportant points, have been noticed by observ- 
 ant authors. 
 
 Three of the subtonics 6, d, and g, and three of the atonies, 
 k, p, and t, have eminently an explosive character; the breath 
 bursting out after a complete occlusion. From their peculiar 
 purposes in speech, they may be distinguished as a subdivision, 
 and called Abrupt elements. 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 Ex- 
 pression. 
 
 The foregoing arrangement of elementary sounds was devised, 
 to give a general view of their respective relationships to intona- 
 tion. For a further development of this subject, I now describe 
 particularly, the structure and functions of the Tonics. 
 
 In illustratincr the nature of the radical and vanishino; move- 
 ment, by the tonic «-le, it was stated, — this element consists of 
 two kinds of sound, and that wlien uttered with inexpressive 
 eifort, the voice rises through the interval of a tone; the radical 
 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 it. 
 
 These seven of the tonic elements, 
 
 a-we, a-rt, a-n, a-le, z'-sle, o-ld, ou-r, 
 have respectively, diiferent sounds at their two extremes.
 
 ALPHABETIC ELEMENTS. 87 
 
 The remaining five, 
 
 ee-\, oo-ze, e-n; g-nd, i-n, 
 
 have each, one unaltered sound throughout their concrete. 
 
 The tonics may therefore be properly divided into Dipthono's 
 and Monothongs. 
 
 A-we has for its radical, the nominal sound of a in a-we ; 
 for its vanish, a short and obscure sound of the monothong g-rr. 
 
 A-rt has for its radical the nominal sound of a in a-rt : its 
 vanish like that of the preceding, being the short and obscure 
 sound of g-rr. 
 
 The radical of a-n is the nominal sound of a in a-n. Its 
 vanish is the same in degree and kind as the last. 
 
 The sound of each of these elements has heretofore been con- 
 sidered homogeneous throughout : for their vanish being feeble 
 in ordinary utterance, it has escaped perception. But it 
 may be heard by using these elements severally, with earnest 
 interrogation ; as they will each terminate at a high pitch, in a 
 faint sound of e-rr. 
 
 A-\e, as shown formerly has its radical, with the distinct sound 
 of the monothong ee-\ for its vanishinor movement. 
 
 1-sle has its radical, followed in like manner by a vanish of 
 the monothong ee-\. The dipthongal nature of ^, 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-\ : the coalescence of the two producing the pecu- 
 liar sound of {. In this account, it is admitted that the element 
 is peculiar ; one can therefore see no need of reference to a-we, 
 in the theory of its causation. A skilful ear will readily 
 perceive, — the radical of i-sle is a peculiar tonic, without having 
 recourse to any supposition, of its change from a previous sound. 
 
 0-ld has its radical in the sound of o, formerly supposed to be 
 homogeneous. Its vanish is the distinctly audible sound of the 
 monothong oo-ze. 
 
 Ou-r has a radical, followed in like manner by a vanish of the 
 monothong oo-ze. That the first sound of this dipthongal tonic 
 is not a-we, but a radical of its own, may easily be proved by a
 
 88 ALPHABETIC ELEMENTS. 
 
 discriminating ear : and a trial with the voice "wil'l show, that 
 a-we does not unite with oo-ze, bj the easy gliding transition, 
 heard in the junction of the true radical of ou-r with the same 
 oo-ze. 
 
 I have been at a loss what to say of the sound signified by oi 
 and 0?/, as in voice and hot/. It may be looked upon as a dip- 
 thongal tonic, consisting of the radical a-we, and of the vanish- 
 ing monothong i-n, when the quantity of the element is short, 
 and of ee-\ when long. But from the habit of the voice, it is 
 difficult to give a-we without adding its usual vanish of e-vr ; and 
 this makes the compound, a tripthong. If taken as a dipthongal 
 tonic, this is the only instance in which the same radical has two 
 different vanishes. And though this reason should not be con- 
 clusive against its classification, it suggests an examination of 
 the subject. In case this sound should be considered as a true 
 dipthongal tonic, and analogies seem in favor of it, the number 
 of tonics would be thirteen, and the whole of the elements 
 thirty-six. 
 
 The seven radical sounds with their vanishes, thus described, 
 include as far as I observe, all the elementary dip thongs of the 
 EnMish language. In the common scholastic definition, the 
 terms dipthong and tripthong mean a combination of two or 
 three visible letters^ not a fluent union oi plionetic elements. Ac- 
 cording to the foregoing history, and under our view, the term 
 dipthong, denotes the transition of the voice from one tonic sound 
 to another ; forming thus the impulse of one syllable, by a con- 
 tinuous gliding, without a perceptible change of organic efl"ort, 
 in the transition. By the term elementary, applied to a dip- 
 thong, I mean to point out the inseparable bond of its copstitu- 
 ents ; the nature or the habit, whichever it may be, of the voice, 
 ha vino- 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 kind 
 of sound for both the radical and vanishing movements. They 
 are 
 
 oo-ze, ee-\, e-rr, e-nd, i-n.
 
 ALPHABETIC ELEMENTS. gg 
 
 When the element ee-\ is deliberately uttered, in asking a 
 question with earnest surprise, it has the same unvaried sound, 
 from the radical outset, to the end of its vanish. One of the 
 forms of interrogation ■will be shown hereafter, to be the interval 
 of a radical and vanishing octave ; and the same homogeneous 
 course of ee-\ may be heard through the fifth, third, tone, and 
 semitone. This manner of displaying the course of the un- 
 changed concrete in ee-\, will show an analogous result in the 
 cases of the four other monothongal tonics. Whereas, if the dip- 
 thongal tonics are uttered with the interrogative intonation, the 
 difference between their radical and vanishing portions is at once 
 perceptible. There is the same uniformity of sound, throughout 
 the other monothongs, with the exception of i-n. This element, 
 in some syllabic combinations preserves its essential character, 
 only within a slight extension : and we leave others to class it, 
 if proper, as a short and abrupt utterance of ee-\. 
 
 The nature of the tonics, as here described, may be otherwise- 
 plainly shown. We learned in the last section, the distinction 
 between the equable concrete of speech, and the protracted radi- 
 cal and protracted vanish, of song. Now the use of these pro- 
 tracted forms of intonation will exhibit the structure of the tonic 
 elements. For an attentive ear may perceive, when the dipthongs 
 are sung with a protracted vanish, — the voice quickly leaves 
 the radical, and dwells in continuation on the different sound of 
 the vanish. The protracted note, in the vanish of the monothongs, 
 will be respectively the same in sound as their radicals. The 
 words of an ordinary melody in slow time, or any church psalm, 
 will afford proof on this point. 
 
 Another illustration of the real dipthongal character of seven 
 of the tonics, may be drawn from the phenomena of rhyme. 
 Rhyme is a well known relationship in the sound of syllables, 
 and consists in most cases, of a difference between the first 
 elemental sound of each of the compared syllables, and an 
 identity between all the subsequent elemental sounds, each to 
 each: the agreeable effect of rhyme depending chiefly on the 
 particular relations of the tonic sounds. The first^ is the relation 
 of tonics thoroughly identical ; as, dame, came. The second, of 
 7
 
 90 ALPHABETIC ELEMENTS. 
 
 tonics, witli a different radical, but the same vanishing movement; 
 as, cars, wars. The third, of tonics, differing both in their radi- 
 cals and vanishes, yet of nearest resemblance in their quality of 
 sound ; as, good, blood. 
 
 The use of the second kind of rhyme shows the composition of 
 the dipthongal tonics. In the following lines, the correspondence 
 of, oo-zc, in doom, with o-ld, in home ; and of a-le, in obei/, with 
 ee 1, in tea, is admitted as canonical in rhyme, from an 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, together with a very exceptionable 
 rythmus, produces the monotony and the want of elegance in 
 the four following lines : 
 
 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 di-ew near. 
 
 Besides the differences arising from singleness of sound, and 
 from dipthongal combination, the tonics exhibit a variety in time, 
 both Avhen uttered separately, and in syllabic association. Two 
 general divisions may be made. 
 
 A-we, a-vt, a-n, a-le, ee-\, i-s\e, o-nr, oo-ze, may be called 
 
 long tonics: and 
 
 e-vr, e-nd, ^-n, 
 
 short. It is not to be understood that the latter may not, by 
 designed effort, be made as long as the former : they have their 
 places in this arrangement, from their usual time in English syl- 
 lables. In the prolongation of i-n, it changes nearly, if not en- 
 tirely, into ee-\ : and as it thus seems to owe its character, in 
 short pronunciation, to its abruptness, it might be merged in ee-\.
 
 ALPHABETIC ELEMENTS. Ql 
 
 and rejected as a distinct element. 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 interjection, as: from o-tt to a-we, 
 from ou-t to h-ow, from a-t to a-h.1 — a-te to h-ay, — p-ea-t to 
 ee-\, — f-oo-t to oo-ze, — c-a-rt to a-rms, — k-i-te to 2-sle. 
 
 The time of the short tonics, in combination, has much less 
 variety. But however short any of the tonics may be, they do 
 even, in their least duration, still pass rapidly through the con- 
 crete movement. 
 
 All the elements, except the abrubt atonies Jc, p, t, have a 
 variety in duration. The vocality of the subtonics affords the 
 means of their time, and its prolongation is next in importance 
 to that of the tonics, for the purposes of correct and ele- 
 gant expression. 
 
 Should it be asked, why the dipthongs are here designated 
 as elementary, when each may be resolved into greater sim- 
 plicity ; it may be answered ; — the dipthongs, though com- 
 pounded of different successive sounds, yet these are inseparable 
 in utterance : and regarding an element as a single impulse of the 
 voice, the dipthong must be classed with it. I cannot pro- 
 nounce the radical of a dipthong without in some manner, 
 giving also its vanish. The radical may indeed be indefinitely 
 sustained on its level line of pitch, and we may attempt to cut 
 • it off by a sudden occlusion of the voice ; but it can be termi- 
 nated only by a glide through the vanish, which, however quick, 
 or feeble, or varied by aspiration or otherwise, from its natural 
 sound, may still be heard. In the equable concrete of speech, 
 the rapid pronunciation of a dipthong, and the feebleness of its 
 vanish, may diminish the audibility of this second sound, but to an 
 attentive ear it will not be altogether lost. And further, not 
 only does the radical of a dipthong demand its own peculiar 
 vanish, but it cannot be carried through a given interval without 
 sliding into that vanish. For when we attempt to lead the voice 
 through an octave on the dipthong a-we or a-le, its radical may 
 by effort be continued up to the seventh of the scale : still, the 
 final close on the eighth will unavoidably turn respectively to
 
 92 ALPHABETIC ELEMENTS. 
 
 e-YY or ce-\. A similar change takes place on all smaller inter- 
 vals, in an endeavor to make monothongs of the dipthongal 
 radicals. 
 
 If an elementary character be denied to the dipthongs, by 
 regarding them as separable sounds, it will not increase the 
 number of simple tonics beyond twelve: for the reader may 
 have already remarked, — the vanishing portions of the dip thongs 
 consist exclusively of the monothongs. 
 
 It follows, from what has been said on the indivisible nature 
 of the dipthongs, that their radicals cannot be united with any 
 other vanishes, than those already ordained in the practice of the 
 voice : and notwithstanding what has been observed, assumed, 
 and transcribed by writers, on the subject of the dipthongal 
 union of the vowels, the instances here enumerated, appear to 
 be all that belong to English speech. Every attempt to make 
 further combinations, produces a voice that wants the smooth 
 transition and singleness of syllabic impulse, characterizing a 
 dipthong, and heard perfectly united, only in the double sound 
 of the above named seven elementary tonics. 
 
 As the dipthongal tonics are respectively produced by joining 
 a monothong to a radical of different sound, and as all the 
 possible permutations of their union are not employed, we 
 may inquire, whether it is within the power of the voice to 
 make a greater number of dipthongs, than here enumerated, 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 dipthongs. But it appears 
 we have only eight, supposing oi to be included : the radical of 
 a-ive, as stated above, being severally combinable with two 
 monothongs, and each of the rest with one. Other combina- 
 tions may be made ; but they have not a fluent transition, like 
 those which already belong to the language and have their literal 
 symbols. Would these new associations call for a management 
 of voice, not altogether instinctive, and therefore requiring a 
 practice and skill, not yet reached in English speech ? Have 
 any of these supposed dipthongs been admitted among the 
 alphabetic elements of other nations ? And are these unused
 
 ALPHABETIC ELEMENTS. 93 
 
 materials of the voice, to be classed with those resources in the 
 animal economy, destined to afford their benefits under higher 
 cultivation, and the widening demands of human progression ; 
 when the mind, turned from its corruptions, and restored to 
 purity, shall cease to love fiction, better than truth ? In regard- 
 ing the construction of the dipthongs under another view, we 
 may consider them as mere syllables, compounded of a tonic 
 and subtonic : since the monothongs, when used as vanishes 
 to the radical tonics, have in some degree the character of sub- 
 tonics ; and since they lose the fulness of the radical opening, 
 natural to them, when uttered by themselves. The vanish of 
 a-le is very nearly allied to y-e, if not identical with it ; and 
 the vanish of ou-r bears as near a relation to w-o. It will be 
 evident too on trial, that if a radical character be 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, — the subtonics 
 may be uttered separately ; their own obscure vocalities bear- 
 ing, respectively, a resemblance to those of the five monothongs. 
 Hence some syllables may be formed exclusively by subtonics. 
 In the words bidde-n, i-dle, schis-m, rytli-m, rive-n, Jic-kle, and 
 words of like construction, the last syllable is either purely sub- 
 tonic, or a combination of subtonic and atonic. And though 
 these final syllables do go through the radical and vanishing 
 movement, they are far inferior in quality, abruptness, eutony 
 and force, to the full display of these properties, on the tonics. 
 The reason why words of this construction are necessarily 
 divided into two syllables, will appear in the following section. 

 
 94 THE NATURE 
 
 SECTION IV. 
 
 Of the influence of the Radical and Vanishing 3Iovement, in 
 the production of the various 'phenomena of Syllables. 
 
 The foregoing history of elementary sounds, and of the radi- 
 cal and vanishing movement, will enable us to explain some of 
 the phenomena of Syllabication. 
 
 What are the particular functions of the voice, that produce 
 the characteristics of syllables ? 
 
 What determines their length ? 
 
 Why are syllables limited in length, otherwise than by the 
 term of expiration : and what produces their ordinary length, 
 when there is no obstruction to the further continuation of the 
 sound of tonic and subtonic elements ? 
 
 And finally, what prescribes the rule that allows but one 
 accent to a syllable ? 
 
 I shall endeavor to answer these questions concisely and in 
 their order. 
 
 That elemental sound, or that order of elemental sounds 
 called a syllable, is a necessary effect, or accompaniment of the 
 radical and vanishing movement : and every syllable, consisting 
 of one or more of these sounds, derives its singleness of impulse, 
 and its respective length, from certain relations between this 
 concrete movement, and the various tonic, subtonic, and atonic 
 elements. As the reader cannot have from me, vocal exempli- 
 fication of this subject, a decision upon the argument contained 
 in the following conditions and inferences is left to his own 
 experimental inquiry. 
 
 If the radical and vanishing movement of the voice through 
 a tone or other interval, is the essential function of a syllable, 
 it follows that each of the tonics may by itself, form a syllable : 
 since they cannot be pronounced singly, without going through the 
 radical and vanish. Now the tonics are employed for monsyllabic 
 words, as in eye, a, awe; for interjective particles, as in oh^ 
 ah ; and for mono-literal syllables, as in e-vince, a-corn, o-ver.
 
 OF SYLLABICATION. 95 
 
 . It follows also from the assumed causation of a syllable, that 
 two tonics cannot be united into one vocal impulse. For each 
 having its own radical and vanish, they must produce two sylla- 
 bles. Consistently with this, we find, whenever two elementary 
 tonics adjoin, they always belong to separate syllables in pro- 
 nunciation, as in a-e-rial, o-a-sis, t'-o-ta. 
 
 If the radical and vanish of the voice alone, makes a syllable 
 what it is, it follows that the atonies, being incapable of that 
 function, cannot make a new and distinct syllabic impulse when 
 joined with the tonics. The word speaks exhibits the meaning 
 of this inference. For the syllabic function is here made on the 
 tonic ee-\ ; while s, j?, h and s, add to the time, but do not des- 
 troy the monosyllabic character of that word. It is true, the s 
 on each extreme is a distinct sound, but having no radical and 
 vanish it has no more the character of a syllable, than the hiss- 
 ing of a water-jet ; and therefore does not interrupt the single- 
 ness of impulse. The voice in this word, is not indeed so gliding 
 as on a single tonic, which shows a syllable in its purest form : 
 yet this obstruction is very different from that of the threefold 
 division, in the word Ohio. For when this is pronounced, with 
 a radical and vanish on each of its tonics, they cannot be con- 
 densed into a single impulse. In answer then to the first ques- 
 tion ; It is the concrete, modified by the several elements, that 
 produces the characteristics of those impulses called syllables. 
 
 Syllables are of difi'erent lengths. Is this an arbitrary varia- 
 tion : or is it the unavoidable efiect of the nature of the concrete, 
 and of the elementary sounds ? 
 
 This question is not asked in reference to prosodial quantities; 
 nor to those emphatic prolongations of voice, that give force or 
 solemnity to oratorical expression. It regards especially the 
 difference of length in syllables, created by their elementary 
 constituents ; for it will be shown that the limit of a syllable is 
 determined by the nature and arrangement of these, within the 
 concrete. 
 
 In order to render this subject perspicuous, let us take a syn 
 thetic view of the literal series in words.
 
 96 THE NATURE 
 
 Several of the tonics as shown above, individually and alone, 
 form words and syllables. These exhibit the syllabic impulse 
 of the radical and vanish, in its Simple condition ; and their 
 length may equal that of the time of expiration ; thus forming a 
 few exceptions to the limitation of extent, in all other syllables. 
 But elements cannot be combined with a view to lengthen a syl- 
 lable, by the addition of one tonic to another ; for this would pro- 
 duce a new and separate impulse. 
 
 The combining of elements, with relation to the length of syl- 
 lables, is made under the following circumstances of their nature 
 and position. If to the element a-le the atonic/ be prefixed, 
 the syllable fa will be formed, with the concrete rise on a, pre- 
 ceded by the atonic aspiration. If to these the atonic s be sub- 
 joined, the word /as, {face) will be longer than the two elements 
 /and a; still the triple compound will be one syllable, since it 
 can have only one concrete rise. For though these two atonies 
 may be clearly heard, as part of the length of the syllable, yet 
 being incapable of the concrete function, the radical and vanish 
 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 manner of increasing the length of a 
 syllable, without destroying its singleness of impulse. 
 
 Further, if to the tonic a, the subtonic I be prefixed, the syl- 
 lable la will be longer than a, yet will have but one radical 
 and vanish. It was said formerly, that when a subtonic is ut- 
 tered before a tonic, the vanish of the subtonic does not occur : 
 for when the subtonic is prolonged, it continues on one level line 
 of pitch, till its vocule opens into the tonic, which then begins 
 the intended interval with its radical, and completes it with its 
 vanish ; but in common utterance, the vocule of the subtonic 
 breaks at once into the radical of the tonic, which, as in the last 
 case, begins and completes the interval. Now in the syllable Za, 
 I does begin the impulse with its vocality, and without percepti- 
 bly rising, joins the vocality of a; a then opening with a full 
 emphatic radical, rises and vanishes on the e of its upper extreme. 
 If to la the subtonic v be subjoined, the compound lav [lave) 
 will be longer than la ; while its syllabic character will still
 
 OF SYLLABICATION, 97 
 
 be preserved, by the singleness of its radical and vanish. In 
 the pronunciation of lav, the intonation of I and a will be as 
 before, except that a will not now rise so far through the con- 
 crete : for a subtonic being capable of the gliding concrete, v 
 will in this case, join in with a before it reaches the upper 
 limit of the interval, and thus complete the vanish of the sylla- 
 ble. The junction of subtonic elements to tonics, is therefore 
 a second manner of adding to the length of a syllable, without 
 destroying the unity of the radical and vanishing concrete. 
 
 Moreover, if the abrupt element t be prefied to a, the sylla- 
 ble ta will be but a single impulse. If g be subjoined the 
 word tag will still exhibit only one radical and vanish. In this 
 way, two abrupt atonies joined with the short tonics, as in cut, 
 pet, tik, produce the shortest syllables in the language : yet here 
 the concrete movement, however short, is still performed, the 
 radical of the tonic, opening from the first abrupt element, and 
 the vanish closing on the last. This union of abrupt elements 
 with tonics, is a third manner of preserving the singleness of 
 impulse in a syllable, under the variation of its length. 
 
 Tne three different sorts of combination described above, 
 produce their various lengths, in the manner represented by the 
 examples under each head. But none of them can be much 
 extended beyond the given instances, while they are restricted 
 to the kind of elements, employed in their respective cases. 
 
 A fourth manner of combining elements, is by a union of all 
 the different kinds, in one syllable. To illustrate this, we have 
 only to consider, that whenever a pause occurs after a subtonic, 
 consequently whenever it is uttered singly, or at the end of a 
 syllable, it unavoidably assumes the concrete movement : and 
 that the same takes place when a subtonic is followed by an 
 atonic ; as in this case, there is a termination of vocality ; 
 which in effect, is equivalent to a pause. In each of the words 
 strange, (properly strandzh) and strength, and the imaginary 
 syllable sglivzd, there is but one radical and vanishing move- 
 ment ; and the singleness of impulse is owing to the peculiar 
 arrangement of the different kinds of elements. Each consists 
 of seven sounds, which is perhaps the greatest number, the
 
 98 THE NATURE 
 
 nature of the elements allows to a syllable, even with the best 
 contrived combination. The radical and vanish of these sylla- 
 bles is made on ange, eng and ivzed, and the principle of 
 vocal management of the other elements is analogous in each : 
 for r and I being subtonics respectively before the tonics a-le, 
 e-nd, and z'-le, do not take on the concrete. T being an abrupt 
 atonic, adds nothing to the vocality of r, and the preceding 
 atonic s, having no concrete function, the three elements s, t, 
 and r, in strange, and strength, and the s, g and I in the imaginary 
 syllable, slightly lengthen the beginning of these several words, 
 without destroying the unity of their impulses : while the w, d, 
 and zh, the ng, the v, z and c?, which respectively follow the 
 tonics, a, g, and z, take up the concrete movement from these 
 tonics, and complete the vanish of the single syllabic impulse. 
 The final atonic tli, in strength, merely adds to the time of that 
 word, without bearing part in the concrete. 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 
 extremes. If otherwise, as in the arrangement rstange, the 
 whole cannot be pronounced as one syllable. For the vocality 
 of r, ceasing on account of the subsequent atonic s, this r must 
 take on the concrete movement, and thus become a syllable. 
 The reader may remember, it was said, — the subtonics are capa- 
 ble of the radical and vanish when uttered separately : and the 
 termination of their sound by an atonic, produces this condition. 
 In the above combinations, and in such syllables as ma^'l, lorn, 
 and bold, the subtonics unite smoothly, not only with the radi- 
 cal, and with the vanish of a tonic, but they themselves unite, 
 in their vanishes, smoothly with each other. Nor is it obvious, 
 why the occlusion of the subtonics should not, in this last case, 
 interfere with the gliding of the syllabic concrete. 
 
 I have thus endeavored to show, that the various lengths of 
 syllables depend on the nature and arrangement of their con- 
 stituent elements, in the execution of the radical and vanish. 
 
 The following notation may illustrate the preceding account 
 of the structure of syllables. This scheme represents, the 
 movement of a third ; but it is the same, in all intervals. The
 
 OF SYLLABICATION. 
 
 99 
 
 dotted line denotes the atonic aspiration. The thick black line, 
 united to the radical, denotes a prolonged note of the subtonic, 
 when it precedes a tonic, and opens into its radical. It is 
 marked as a line, to represent its vocality, and to distinguish it 
 from the dotted points of the aspirations. In ordinary utter- 
 ance, without emphatic expression, this line is but of momentary 
 length. The full black radical, with its issuing appendage, 
 signifies the tonic alone, or the tonic in combination with a 
 vanishing subtonic. 
 
 3 ^ 
 5* a 
 
 A-e 
 
 H ^ o 
 
 § -3 
 
 H -g ^ 
 
 ZI 
 
 —L.^JL.X— J 
 
 F-A-e F-A-e-3 L-A-e L-A-e-v T-A-e T-A-e-k 
 
 A combination of each of the 
 species of elements. 
 
 The double syllabic 
 impulse by change. 
 
 I—- • •• I 
 
 St — r-andzh 
 
 St — r-eng — th 
 
 R-r st — andzh 
 
 In this notation, the atonic sounds are represented by the 
 dotted lines, as if they had a certain place in pitch ; but being 
 mere aspirations, their place is in no appreciable relation to that 
 of the tonics and subtonics : and I beg, the reader may so 
 understand the notation, where the atonic symbols are used to 
 show the presence of the aspirated voice. 
 
 If the principle of syllabication does not depend on a restric- 
 tion by the concrete, and on the nature and position of the ele- 
 ments, here assigned, a syllable might contain an indefinite 
 number of tonic sounds, combined with such other elements as 
 have no marked occlusion : and consequently, the length of the 
 syllable would be limited only by the time of expiration ; the 
 possibility of which case will be considered presently. But from 
 the influence of the radical and vanish, in the common aggre- 
 gates of elementary sounds, the duration of a syllable is quickly
 
 100 THE NATURE 
 
 arrested. There are twelve tonics; fourteen subtonics; nine 
 atonies ; and six abrupt elements. Twelve of these, the nine 
 /^atonies and the three abrupt subtonics, being productive of an 
 interruption to the continuity of the syllabic impulse, the pro- 
 miscuous mingling of all the elements must give one of these, 
 an average 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 produces syllables 
 of two elements only : and it has never, perhaps, in the English 
 language, allowed any syllable in use, to extend beyond seven. 
 
 The reason why the vf ords' strange and strength cannot be made 
 longer, without more than ordinary effort, is this : Tonic ele- 
 ments cannot be added, since no two of them can be united into 
 one vocal impulse. Nor will these words bear a subtonic at the 
 beginning ; for s being an atonic, any subtonic uttered before it 
 must come to a pause, must therefore go through its vanish, and 
 thus produce a separate syllable. An atonic prefixed to these 
 words would not indeed make a new concrete ; but would pro- 
 duce a varying effort of hissing and aspiration, bearing no resem- 
 blance to the audible and gliding nature of tonic and subtonic 
 syllabication. 
 
 In answer then to the question, — why syllables are not con- 
 tinued to the utmost length of an act of expiration, — it has 
 been shown, that as speech employs all the elements, the abrupt 
 I and atonic must necessarily divide the time of one expiration, 
 into different syllabic impulses. 
 
 From the four kinds of elementary sounds, employed in the 
 construction of syllables, 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 the union of a 
 tonic with any number of subtonics ? — Or, why is such a sylla- 
 ble otherwise limited, than by the term of expiration ? 
 
 When a tonic precedes a subtonic, in the formation of any 
 concrete interval, it gives up a portion of its movement to the 
 subtonic, which then carries on and completes the vanish. In 
 this way, the radical and vanish may consist of a tonic and one, 

 
 OF SYLLABICATION. 101 
 
 two, three, or at most, four subtonics. But tlie number cannot, 
 in easy pronunction, be extended beyond these. Thus in the 
 syllable strandzh (strange) ^the concrete rise begins on a, and 
 continuing through n, d and zh, vanishes on the last. If two 
 more subtonics v and m, were subjoined to this word, as in 
 strandzhvm, few speakers could make one pure syllable impulse 
 of the combination. The reason of this difficulty, or as we may 
 call it, impossibility, will appear in the following remarks. 
 
 In an ordinary use of the voice, the concrete rises or falls 
 through the interval of a tone, or third, or fifth ; and employs 
 therein a certain portion of time. Now though the concrete 
 and the time of these intervals may indeed be executed on one 
 tonic, combined with several subtonics ; yet there is a limit 
 to the number, utterable by an easy effort in correct speech. 
 For since each constituent should have a certain duration, to 
 render it cognizable as a variation of pitch, while to insure a 
 distinct pronunciation, each should consume a portion of the 
 time of the concrete : it is found by experiment, each constituent 
 does consume so much, that not more than four subtonics, to- 
 gether with the preceding tonic, can in easy utterance be com- 
 pressed into the time and space of the radical and vanish, or of 
 the wave. 
 
 In pronouncing a combination of tonics and subtonics, greater 
 than can be included in a single concrete, or a wave, either two 
 syllables must be formed by two separate concretes, or some one 
 or more of the numerous constituents must be prolonged on one 
 line of pitch. And though this last would not necessarily pro- 
 duce two syllables, yet by assuming the characteristic note of 
 song, it would be very different from the effect of the true equa- 
 ble syllabic-concrete, and would thus, annul the condition of the 
 question before us. 
 
 I have thus endeavored to show why, in ordinary speech, syl- 
 lables cannot be indefinitely extended, when they consist only of 
 tonic and subtonic sounds, and consequently when there is no 
 obstruction to their continuation, by the interposition of abrupt 
 and atonic elements. 
 
 A further consideration of the radical and vanishing move-
 
 102 THE NATURE 
 
 ment, will inform us why there is, ordinarily, but one effort of 
 accentual stress on each syllable. It was shown in the last sec- 
 tion that the form of force, called Accent, is variously laid on 
 the concrete. First ; by the abrupt explosion of the radical. 
 Second ; by magnifying, so to speak, the whole of the concrete, 
 the proportional forces of the radical and vanish remaining un- 
 altered. Third ; by giving more force to the middle of the con- 
 crete. Fourth ; by an abrupt stress on the radical, together 
 with an increased force on the vanish of the same concrete. 
 Fifth ; by greater stress on the vanishing portion. Sixth ; by 
 making the whole concrete of the same fulness that naturally be- 
 longs to the radical. Five of these forms do not alter the single- 
 ness of the accentual impression. Something like an exception 
 to the rule of a single accent, seems to exist in the fourth, as 
 will be particularly noticed under the future head of Expression : 
 but this condition, if an exception at all, is not of common occur- 
 ence, and is by no means contemplated here, in looking at the 
 ordinary phenomena of syllabic speech. 
 
 From what has been said, the reader may perceive a differ- 
 ence in syllables as regards the quality of sound, and the gliding 
 continuity of voice. The most eminent are those formed by a 
 single tonic : and although the concrete rise of a dipthong con- 
 sists of two dissimilar sounds, it is not inferior, in the above 
 named characteristics to the uniform voice of a monothong. 
 
 The next degree of eutony in a syllable is that formed by an 
 initial tonic, followed by one or two subtonics, as : am, ale, arm, 
 earn, elm, orle. These have, with an agreeable quality, 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 that 
 order of elements, where the first sound is a subtonic, as in mains, 
 gale, warms, zearn, realm. Now since the radical in these cases, 
 does not properly begin on the first element, there may be in 
 careless pronunciation, a slight Note or level line of pitch in the 
 utterance of the subtonic preceding the tonic. 
 
 The next of the syllabic combinations contain each of the 
 
 I
 
 OF SYLLABICATION. J[03 
 
 three kinds of elements, as swarms, strength, tJiroivn, smiles. 
 Here the atonic sounds are not agreeable. They obscure the 
 character of the concrete movement ; and though they do not 
 destroy its singleness of impulse, they are attended with some 
 hiatus, from the changes of position in the organs that produce 
 them. 
 
 A few syllables, such as the last of lit-tle, are made of subtonics 
 and atonies, without the addition of a tonic. They are altogether 
 without force and fulness in the radical opening: and have a 
 slight nasal vocality, which is most remarkable in this case from 
 its not being modified by syllabic union with the clear laryngeal 
 sound of the tonics. 
 
 The syllabic impulse has various degrees of smoothness and 
 eutony, from the perfect coalescence of the two constituents of a 
 dipthongal tonic, when uttered alone, as a syllable, — to the 
 transition through an impulse, compounded of all the elements. 
 There is a peculiarity in the structure, and a hiatus in the pro- 
 nunciation of certain words, from their apparently embracing two 
 concretes in the same syllable. The words flower, higher, hoy, 
 voice, and coin, by a slight variation in effort, may each be uttered 
 either as one, or as two syllables. Under the first condition, 
 they seem severally to consist of the union of two tonics in one 
 syllable, which is impossible. YDiqh flower is pronounced with a 
 single impulse, it must be upon the elements,/, I, ou, and r, and 
 this accords with our history of syllabication. When the tonic 
 e-rr is sounded before r, the double impulse cannot be avoided. 
 
 We have considered the syllable as essentially a function of 
 the radical and vanish ; and this function is equally productive 
 of the syllabic impulse, in a downward as in an upivard direction. 
 And it will be further shown in a future section, when the reader 
 is prepared to understand the explanation, that the unity of a 
 syllable is not destroyed by a movement of the voice, in continu- 
 ity from the upward into the downward concrete, in what we 
 called the wave. 
 
 By the light of the preceding analysis, we may perceive causes 
 that might otherwise be hidden. Thus, we account for the dis- 
 agreeable effect, produced both in the organs of utterance and on
 
 104 THE NATURE 
 
 the ear, by the use of the indefinite article a before a vowel (or 
 tonic,) and by other similar successions ; as in aorta. 
 
 When we utter the tonics in series, we may smoothly pass from 
 one to the other without a break, and without the point of junc- 
 tion being appreciable. In this case, the elements are joined to 
 each other by the mediation of the subtonic ?/-e ; as when we 
 enumerate the vowels, a, ye, yi^ yo, yu. But in this continuous 
 utterance, there is an absence of the fulness and abruptness of 
 the tonic radical; since abruptness always requires a previous 
 occlusion of the voice. The eflect is different in the continuation 
 of a subtonic into a tonic; for the subtonics having a slight 
 occlusion with its consequent vocule, 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 continuous with a preceding subtonic. 
 When we attempt to join the article a to a tonic at the begin- 
 ning of a following word, an unpleasant perception arises from a 
 want of the radical fulness in that initial tonic. Should the 
 article be pronounced short and separately, that the initial tonic 
 of the word may have a full radical opening after the pause, the 
 unpleasent effect will be avoided, though the utterance will be 
 necessarily slower. In this way, a, — oivl and a, — age are as 
 unexceptionable, as an owl and an age. The union of n with 
 a tonic, and the same may be said of all the subtonics, is an agree- 
 able coalescence, from the slight occlusion in these elements : 
 while an attempt to join the vanish of one tonic with the radical 
 of another, produces a disagreeable effort in the organs, and an 
 unpleasant impression on the ear. This hiatus, as it is termed, 
 is caused by a deficiency in the fulness of the radical ; by an 
 endeavor 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 utterance, produce that desirable 
 radical abruptness, which is easily accomplished when the tonics 
 are pronounced with a pause between them, or after the slight 
 natural pauses or occlusions of the subtonics.
 
 OF SYLLABICATION. 105 
 
 The hiatus accompanying the junction of one tonic with 
 another, will be less remarkable when the last receives no accen- 
 tual stress. Thus it is less in a account than in a accident : for 
 in the first example, a full degree of radical abruptness in the 
 tonic a is not required. 
 
 Through the syllabic agency of the radical and vanish, the 
 passed time and perfect participle of some verbs ending in edj 
 when contracted into one syllable, by rejecting the tonic e, 
 change d into t, as: snatch-ed, snatch' t; pass-ed, pass't; 
 stopp't; clieclct. For if the e be dropped, the ^ having a vocal- 
 ity, and possessing as a subtonic the power of a concrete move- 
 ment, it must, when preceded by an abrupt or atonic element, as 
 sA, s, p, and k, in the above instances, have a radical and van- 
 ish, and consequently must make another, though a mere subtonic 
 syllable, in place of ed. But if the abrupt atonic t is substituted 
 for d, that element having no concrete, may by uniting with 
 those that precede, be retained without destroying the singleness 
 of the syllabic impulse. It is however, to be remarked here, 
 that the vocule of t has a ' formative effort' towards a syllable, 
 but not sufficient to produce the effect of one, on the ear. 
 
 Those irregular verbs which, by contraction, have their pre- 
 sent and past times and perfect participle alike, generally end 
 in t, as : beat, kept, hurt, let, left. The economy of utter- 
 ance or the occasions of poetical measure, producing a con- 
 traction of the regular analogical form of heat heated heated, 
 which we may suppose to have been the original structure of the 
 verb, the influence of the radical and vanish in syllabication, 
 does not allow the contraction to be made by the mere elision of 
 e. For upon this elision, heated, can be changed to one syllable, 
 as we have seen above, only by substituting the atonic t for 
 the subtonic d, as in heafi; and this being so awkwardly uttera- 
 ble, the single word without the last t, would be used as the 
 inflection of the verb, and as the participle. 
 
 We might still further apply the foregoing principles in th& 
 explanation of some apparent anomalies in speech, that have 
 hitherto passed without scrutiny or without satisfactory interpre- 
 tation. But I have already exceeded my original intention, in
 
 106 THE MECHANISM 
 
 planning the subject of this section ; and must therefore leave 
 other particulars, to the observation, reflection, and time of the 
 reader. Perhaps I do not exceed the bounds of reasonable 
 anticipation in foreseeing his rising interest in this history of the 
 voice. But all these things, and more too that shall be told, 
 may at some future time, seem to be no more than the preface 
 to a full knowledge of this subject, — if he "will adopt the 
 Method of Inquiry which has thus far assisted me ; or which is 
 in truth, the more than co-efficient Author of this work : if he 
 will become the spy upon natui-e, through his own watchful- 
 ness, and not rely on a careless, and often itself a borrowed 
 authority : if he will turn from those discouraging prospects, 
 presented by the result of every metaphysical or transcendental 
 attempt to make knowledge out of notions ; and by entering 
 into sober communion with his own senses, lay himself open to 
 the advising of those five ministers of observation, appointed by 
 nature for his counseling in all inquiry after truth. 
 
 SECTION V. 
 
 Of the Causative Mechanism of the Voice, in relation to its 
 different Qualities. 
 
 A DESCRIPTION of the different modes and forms of sound in 
 the human voice, without an exemplification by actual utterance, 
 is always insufficient and often unintelligible. With a view to 
 facilitate instruction, it is desirable to discover the mechanical 
 movements of the organs, together with the action of the air 
 upon them ; that a reference to conformations and changes of 
 the organs, and to the impulses of the air, may enable an
 
 OF THE VOICE. 107 
 
 observer to exemplify to himself, the description of vocal sounds, 
 by using the known physical means which produce them. 
 
 The result of physiological inquiry on this subject is not satis- 
 factorj'. Unfortunately, most physiologists have been public 
 teachers, appointed to stations of profit, and influence, and 
 induced by the obligations of their office, to instruct, without 
 having the time, or ability, or disposition to investigate. Their 
 condition has obliged them to compile" without choice, to define 
 and arrange without reflection, and to aff'ect an originality per- 
 haps forbidden by the frame of their minds, or the multiplicity 
 of their duties. From these professorial instructors, the covered 
 movements of the organs of speech, seem to cut off the means 
 of observation ; and while they have feigned themselves under a 
 necessity to teach what they had never learned, or understood, 
 they have endeavored to elude the difficulty, by framing s(5me of 
 those works of fancy, long ago designed by the craft of master- 
 ship, for satisfying the cravings of undiscerning youth. The 
 puerile wishes of the scholar have been respectfully regarded 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 physiologists, on the 
 mechanism of the voice ; and by the duties of philosophy, we 
 are bound to acknowledge much ignorance and error on this 
 subject. 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; on artificial imitations of its 
 structure ; and from observations upon the vocal function of 
 dogs, by exposing the organs in the living animal, it is inferred 
 with great probability, that the production of voice is connected 
 with the ligaments of the glottis. We have no precise know- 
 ledge of the causes of Pitch ; its formation having been by 
 authors diff'erently attributed — to the variation of the aperture 
 of the glottis, — the difl"erence of length in its chords, — their 
 varied degrees of tension, — the varying velocity of the current 
 of air through the aperture of the glottis, — the rise and fall of 
 the whole larynx and the consequent variation of length in the 
 
 y
 
 1 
 
 108 THE MECHANISM 
 
 vocal avenues, between the glottis and the external limit of the 
 mouth and of the nose, — and finally, to the influence of a union 
 of two or more of these causes. Nor are we acquainted with 
 the mechanisms, respectively producing those varieties of sound 
 called Natural voice. Whisper, and Falsetto. Each of these 
 varieties has received some theoretic explanation ; and their 
 locality has, without much precision, been severally assigned to 
 the chest, throat and head. 
 
 These discordant and fictional accounts have been in some 
 
 measure, the consequence of conceiting a resemblance, between 
 
 the organs of the voice, and common instruments of music ; and 
 
 while those fluctuations of opinion, which of themselves, so 
 
 rarely settle into truth, have represented the vocal mechanism 
 
 to be like that of mouthed, or reeded, or stringed instruments, 
 
 the spirit of these unfounded or still incomplete analogies has 
 
 been carried to the outrage of all similitude, by comparing the 
 
 avenue of the fauces, mouth, and nose, to the body of a flute ; 
 
 and ascribing false intonation, to an inequality of tension, between 
 
 what are called the 'strings of the glottis.' We are too much 
 
 disposed to measure the resources of nature, by the limited 
 
 inventions of art. The forms and other conditions of matter, 
 
 which jointly with the motion of air, may produce sound, must 
 
 be innumerable ; and it certainly is not an enlarged analogical 
 
 view of the mechanism of the human voice, which regards only 
 
 the functions of those few forms that have received the name of 
 
 'musical instruments.' 
 
 The illustrations, these analogies are supposed to afibrd, are 
 no more than resting places for the mind in the perplexed pur- 
 suit of truth. The physiologists of antiquity thought they 
 explained the mysteries of the voice when they compared the 
 trachea to a flute ; and science reposed 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 instruments, and of late years, the 
 chords of the seolian harp and the reed of the hautboy, have 
 furnished their mechanical pictures of the vocal organs. One can- 
 not say positively, — a resemblance of the mechanism of the
 
 OF THE VOICE. 109 
 
 voice, to some known instrument of music, may not be proved 
 hereafter ; but cautious reflection will guard us against surprise 
 on a future discovery, that in most points, the formative causes, 
 in the two cases, are totally dissimilar. Before the use of the 
 balloon for the support and progress of man upon the air, no 
 one ever imagined the possibility of his flight, by any other 
 instrumentality than that of wings. 
 
 The history of the voice consists of some due experiment and 
 observation, and of inferences from the principles of musical 
 instruments, applied without much precision 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 constructed upon it, that we have forgotten the import- 
 ance of unbiased observation. Presumption in fancying know- 
 ledge completed, and despair in thinking it unattainable, are 
 equally adverse to the efl"orts of improvement. The pure and 
 pervading spirit of Baconian Science, directs us by itg productive 
 rules, to record all the phenomena of the voice ; and requires us 
 in our classifications, to know resemblances and difl'erences, not 
 merely to imao-ine them. There is no doing without the assist- 
 ance of analogies, as well, when looking into the co-relation of 
 the arts, as in observing the processes of nature. With peculiar 
 adaptation to a varied ofiice, they are the all-suggestive counselors 
 of intellect, in the discovery of that original truth, which they 
 afterwards both beautify and teach by illustration ; but they 
 should never be confounded with the truth itself, which they 
 merely serve to develope and adorn. In the present inquiry, 
 it might be proper to take into consideration every analogy of 
 form, in artificial instruments of sound ; but when a strict use 
 of the senses cannot prove a similarity of function between 
 them and the vocal organs, it is no benefit to retain as parts 
 of a science, those fancied means that cannot illustrate, after 
 they have been unsuccessfully used to discover its truth.* 
 
 *After the directive principles of the Xovum Orffanumh^d accomplished much 
 of the promised work of scientific precision ; and before they have been duly 
 applied to rectify the errors of Theoretic Faith, for which they were prospec- 
 tively intended ; we are invited to new efforts of inquiry, by the additional
 
 110 THE MECHANISM 
 
 When I speak of our ignorance of tliemeclianical causes of the 
 different kinds of voice, and of their pitch, let me be clearly 
 understood. To know a thing, as this phrase is applied in most 
 of the subjects of human inquiry, is to have that opinion of its 
 nature, which authority, analogical argument, and partial obser- 
 vation, prompted by various motives of vanity or interest, may 
 suggest. To knoiv, in natural philosophy, vre must employ our 
 senses, and contrive experiments, on the subject of inquiry ; 
 and admit no belief, which may not at anytime be made undeniable 
 by demonstration. Physiology has too long been led by a 
 fictional logic : and no branch more conspicuously than that of 
 the mechanism of the human voice. One, from the analogy of 
 musical strings, assumes that Pitch is produced by the varied 
 tension of the chords of the glottis ; without showing a corres- 
 pondence of the degrees of tension with the degrees of pitch. 
 
 method of a ' Positive Philosophy,' to assist the progressive piirpose of its all-suffi- 
 cient prototype. But English and American philosophy has too often.been de- 
 luded into belief of fiction and falsehood, under the promise of Positive science, 
 for this Word to afford, in our common language, a favorable omen of exactness 
 in observation and thought. Nor has the flag that bears it, as yet -waved over 
 any important ' annexation' of truth, beyond the acquisitions of that Command- 
 ing Philosophy, which has gone the way of victory before it. On the other 
 hand, the Baconian system of observation has long bung its banner of science, 
 across the Newtonian Sky ; and is daily bringing from the depths of the earth, 
 the historic leaves of Creation's Stone-and-Fossil Book ; has raised its trophies 
 of ingenious art, and national wealth, over the coal-fields of New-Castle, the 
 founderies of Wales, the thousand productive engines of Sheffield and Jlanches- 
 ter, the wonders of locomotive-agency, on every sea and civilized land, and over 
 that Electric tongue, which speaks in a moment, the exchanging purposes of 
 commerce, between them all. The spirit of this philosophy, while it has already 
 furnished those great physical advantages, still holds within itself, the sure but 
 unused means of clearing-up every intellectual and moral mystification. 
 
 To those great results of the boundless purposes of the Observative System, I 
 presume to join the humble contribution of this essay. The success of that 
 system, on a subject which has so long resisted all other means of inquiry, and 
 which has too incautiously been considered, beyond discrimination, may indeed be 
 only a triumph within the narrow field of Vocal Physiology, and Taste ; yet poorly 
 as it may compare with those extended practical achievements, it is equally with 
 them, a triumph, in principle and method, of the wise and comprehensive de- 
 .sign of the Baconian Logic, which, like the unlimited circuit of Nature, thus 
 takes-in both the greatest and the least.
 
 OF THE VOICE. HI 
 
 Another that the vibration of these chords performs the same 
 functions as the reed of the hautboy ; without showing the man- 
 ner in which this laryngeal reed fixes the degrees of intonation. 
 While a third ascribes the pitch of the falsette to the agency of 
 the base of the tongue, the fauces, the soft palate and the uvula ; 
 without showing any fixed points of relationship, between the 
 parts of this cavernous structure and the current of expiration, 
 in the production of concrete or discrete pitch. 
 
 AYhen therefore we seek to hxtoio the mechanism of the voice, 
 it should be to see, or to be truly told, by tliose who have seen, 
 the whole process of the action of the air on the vocal organs, 
 in the production of the quality, force, pitch, and articulation of 
 speech. This method, and this alone, produces permanent 
 knowledsre ; and elevates our belief above the condition of 
 vulgar opinion and sectarian dispute. The visibility of most of 
 the parts concerned in Articulation, has long since produced 
 among physiologists, some agreement as to the agency of those 
 parts. But after all I have been able to observe and learn, on 
 the subject of Quality and Pitch, I must in speaking the language 
 of an exact philosophy, fairly confess an entire ignorance of their 
 mechanical causations : and the great difi'erence on this point 
 among authors, has never impressed me with much respect 
 towards their opinions.* 
 
 As this section is addressed principally to physiologists, I omit 
 a description of the organs of the voice, since it may be found in 
 all the manuals of anatomy ; and it would be useless to transcribe 
 an account of structures and actions, when we know not with 
 specific reference, what vocal effect those actions produce. The 
 general statement of our problem is, that some part or parts of 
 the vocal passages produce all the phenonjena of the voice. Now 
 when discovery shall point out the efficient parts, and their ac- 
 tions, then it will be the duty of anatomy to describe their in- 
 ternal organization, and motive powers, that the whole may be 
 made a permanent subject of science. The anatomical structure 
 
 * If the reader cannot now agree with me, on the importance of the purely 
 observative use of the mind, here recommended, let him wait till he has finished 
 this volume, before he pronounces that it has been therein unproductive.
 
 112 THE MECHANISM 
 
 of a part, is the material cause, and thus the foundation of its 
 physiology ; but observation of the living function has almost 
 universally thrown the first light upon the formative causes of its 
 constituent details. It has been the part of anatomy to confirm 
 or complete our knowledge of them ; agreeably to the saying of the 
 Greek philosophy, that what is first to natm-e in the act of crea- 
 tion, is the last to man in the labor of inquiry. With regard to 
 the mechanism of the voice, we are yet occupied with the per- 
 plexities of analysis ; when that . work shall be finished, we may 
 begin again with muscles, cartilages, ligaments, mucous tissues, 
 and the os hyoides, and describe the whole with the synthetic 
 steps of successive causation. 
 
 In the meantime, we should not so far follow the example of 
 system-makers and professors, as to furnish an account of the 
 mechanism of the voice, solely because it is desirable and may 
 be looked for. Aiming to serve truth with our senses, we should 
 describe what is distinguishable by the ear, in the difi'erent kinds 
 of voice, together with the visible structure and movement of the 
 organs ; in the hope, that by an acknowledgment of our present 
 ignorance, and by future observation and experiment, other in- 
 quirers may arrive at the certainty which through a different 
 method of investigation has never yet been reached. 
 
 The thirty-five elements of speech may be heard under four 
 difi'erent kinds of voice ; the Natural, the Falsetto, the Whis- 
 pering, and that improved quality, to be presently described 
 under the name of the Orotund. 
 
 The Natural is employed in ordinary speaking. Its compass 
 includes a range of pitch from the lowest utterable sound, up to 
 that point at which the voice is said to break. At this place the 
 natural voice ceases, and the higher parts of the scale are made 
 by a shriller kind called the Falsetto. The natural voice is 
 capable of the discrete, the concrete, and the tremulous progres- 
 sion. By the concrete and tremulous movement, the natural 
 may be continued into the falsette, without a perceptible point 
 of union. Thus the concrete rise, in vehement interrogation, 
 sometimes passes far above the limit of the natural scale, without 
 producing that unpleasant break in the transition to the falsette,
 
 OF THE VOICE. 113 
 
 which in the discrete scale is remarkable both as to quality of 
 sound, and to difficulty in executive effort, except with persons 
 of great vocal skill. The peculiarity of sound and intonation at 
 this point of the discrete scale, has received the name of ' false 
 note.' 
 
 The natural voice is said to be produced by the vibration of 
 the chords of the glottis. This has been inferred, from a sup- 
 posed analogy between the action of the human organ and that 
 of the dog, — in which the vibration has been observed, on expo- 
 sure of the glottis during the cries of the animal, — and from 
 the vibration of the chords, by blowing through the human 
 larynx, when removed from the body. The conclusion is there- 
 fore probable, but until it is seen in the living function of the 
 part, or until there is sufficient approximation to this proof by 
 other means, it cannot be admitted as a portion of exact physio- 
 logical science. 
 
 With regard to the mechanical cause of the Variations of Pitch 
 in the natural voice, different notions, and they are but notions, 
 have been proposed by their respective advocates. They were 
 transiently enumerated above.* 
 
 * Shortly after tlie first publication of this work, in January, eighteen hun- 
 dred and twenty-seven ; Mr. Robert Willis, of Caius College, Cambridge, following 
 up the experiments of Kratzenstein and Kempelen, obtained by means of tubular 
 and other ingenious contrivances, many interesting results, approaching to the 
 satisfactory conclusion, that vocal sound is produced, on the principle of the Reed, 
 by the vibration of the ligamentous chords of the glottis. The artificial contri- 
 vances fui'thcr showed by analogy, that Pitch may be in part, produced by cer- 
 tain variations of these chords, as they form the apperture of the glottis : but 
 still leaving it undetermined, by what other influence this pitch may be partly 
 made or modified, in the proper vocal organ. By another contrivance, he was 
 enabled to produce several of the vowel sounds. 
 
 The purpose of this essay does not require a special notice of the interesting 
 details of Mr. Willis' inquiry. They do not however, in point of precise and per- 
 manent knowledge, extend the subject much beyond what we have stated in the 
 text, to be the opinions of other writers ; and it is there said in caution, — we 
 must not suppose the mechanism of the voice necessarily resembles that of cer- 
 tain instruments of music : for to be known perfectly, it must be known in itself. 
 
 It is but a partial view, to show that vowel sounds, may be made by certain 
 kinds of tubes, in connection with a reed, and a bowl with a sliding cover. Con- 
 sonants as well as vowels are only different kinds of sound, that may be classed,
 
 114 THE MECHANISM 
 
 On this subject, about which we know so little, but on which 
 theorists are ready to fix on anything, it is well to begin the 
 investigation with the logical process of exclusion ; by showing 
 what does not produce pitch, in the visible parts of the vocal 
 apparatus. 
 
 The Pitch of the natural voice does not appear to be at all 
 connected with the function of the mouth and fauces, for it will 
 be seen on examination, that the rise and fall through the scale, 
 may be severally efiiected on all the tonic elements ; and that 
 during the exclusive intonation of each, the positions of the 
 tongue and fauces remains unaltered, if we except some slight 
 unsteadiness of the tongue and soft palate, which can have no 
 relation to the definite divisions of pitch. 
 
 The sound of a-we is made, while the tongue is about on 
 a level with the lower teeth ; the mouth being open, for obser- 
 vation, and all the parts of this vocal cavity having the same 
 position, as in an act of silent respiration. In performing the 
 run of pitch on this element, we must however, have regard to 
 the change of position, produced in the articulation of its vanish 
 e-rr. The sound of e-ve is made by approximating the tongue 
 to the roof of the mouth, leaving between them a narrow pas- 
 sage for the air. Now in one of these instances, the avenue of 
 
 according to their causes, as Human, Common Animal, and Mechanical. The 
 human are few, the common animal, and mechanical, innumerable. Our associa- 
 tion of the human Yowels with alphabetic characters, in their single state ; and 
 ■with thoughts and feelings, in their combination into words, seems to represent 
 them as altogether diflFerent from animal and mechanical sounds. But there is 
 no vowel in the voice of man, that is not to be heard from some beast, or bird, 
 or insect, or in the innumerable sounds and noises, made by the reciprocal ac- 
 tion between air, and the varied forms and conditions of solids and fluids. The 
 fauces and larynx merely offer the case of a peculiar and moistened structure, 
 forming those sounds, which in the egotism of our nature, we have so far identi- 
 fied with our peculiar existence, as to prevent our immediate notice of similar 
 animal and mechanical sounds. 
 
 The common words of the world veil the true relationship of things, till phi- 
 losophy draws aside the curtain ; and nine-tenths of mankind, who may think 
 themselves very observant, never perceive in the jet of a fountain, the click of a 
 time-piece, the grating of a saw, and the rapid friction of a cable, some of those 
 prerogative elements, which set them as they suppose, so far above the brute.
 
 OF THE VOICE. 115 
 
 the mouth and fauces is free ; while in the other, the tongue 
 ahnost closes the hack of the mouth, and must be nearly in 
 contact with the veil of the palate and the arch of the fauces. 
 But in each case the respective positions remain unaltered, 
 throughout the variations of pitch ; and in both cases the pitch 
 is made with equal facility and exactness. 
 
 Among the subtonics, the pitch of ng is made when the cur- 
 rent of air through the mouth is completely obstructed, by 
 contact of the base of the tongue with the soft palate. Th-en, 
 on the other hand, may be intonated through the scale, although 
 it is produced by the stream of expiration over the tip of the 
 tongue, when in contact with the upper fore-teeth. 
 
 It is unnecessary to refer to the visible positions of the mouth 
 and fauces in the production of other elements. The identity 
 of pitch, under all their various mechanisms, must lead to the 
 conclusion, that the Pitch of the natural voice is not produced 
 by the mechanism of the mouth and fauces. 
 
 Now as the pitch of the element ng, is made by the stream 
 of air passing directly from the glottis through the nose, and 
 consequently without its coming into contact with the arch of 
 the fauces or the cavity of the mouth, we may inquire, whether 
 the varieties of pitch, if produced above the glottis at all, are 
 made in the avenue of the nose. But pitch may be made when 
 the air does not pass through the nose. Pitch too is a variable 
 function, while the parts within the nose are incapable of motion. 
 
 The Falsetto is that peculiar voice, made in the higher degrees 
 of pitch, after the natural voice breaks, or outruns its power. 
 The piercing cry, the scream, and the yell are various forms of 
 the falsetto. But it must not be understood that the compass 
 of the falsetto lies restrictively, between the point where the 
 natural voice ends, and its own highest practicable note : for 
 the same kind of falsetto sound may, by effort, be formed, even 
 below the usual point of transition between the two voices, or 
 that point, where what is called the 'false note,' is made. 
 
 All the elements except the atonies, which are only aspira- 
 tions, may be made in falsetto. It has been already remarked, 
 that the unpleasant effect both of sound and of effort, in the
 
 116 THE MECHANISM 
 
 change from natural to falsette intonation, is obviated when 
 the transition is made by the concrete, and by the tremulous 
 scales. 
 
 The striking diiFerence in quality, between the natural and 
 the falsette voices, has created the idea of a difference in their 
 respective mechanisms, not only as regards the kind of sound, 
 but likewise its pitch. 
 
 It has been supposed, the falsette is produced at the ' upper 
 orifice of the larynx, formed by the summits of the arytenoid 
 cartilages and the epiglottis :' * and the difficulty of joining the 
 falsette to the natural voice, which is thought to be made by the 
 inferior ligaments of the glottis, is ascribed to the change o^^ 
 mechanism in the transition. On this point I have only to add, 
 that the falsette or a similar voice, but without its acuteness, 
 may be brought downward in pitch, nearly to the lowest degree 
 of the natural voice ; at least I am able so to reduce it, thus 
 producing what seems to be a unison, or at least an octave con- 
 cord of the natural and the falsette. f Now since the natural voice 
 may by cultivation be carried above the point it instinctively 
 reaches, it suggests the inquiry whether these voices have a 
 different locality of mechanism : regarding these additions to 
 the range of pitch, and the difficulty of acquiring a command 
 over them, as according rather with the idea of a difference in 
 the mechanical cause of the two voices, than with that of a mere 
 extension of the powers of the same organization. 
 
 As we are ignorant of the mechanical cause of the falsette, 
 supposing it to be different from that of the natural voice, so 
 the cause of its pitch is equally unknown. But fiction is ever 
 ready to supply the wants of ignorance : and the peculiarity of 
 
 * See a summary of the discoveries and opinions of M. Dodart, in Rees' 
 Cyclopedia, under the article, Voice. 
 
 f The quality of this reduced falsette, if I may so call it, consisting of an ap- 
 parent combination of its peculiar sound with the natural voice, may, in a man- 
 ner, be illustrated on the flageolet, by singing or rather by what is called 
 ' humming,' while blowing it. A similar sound is made by joining a vocal 
 murmur with the shrill aspiration of whistling. There is however in both these 
 cases, more of a buzzing vibration, than is heard in this reduced or hoarse 
 falsette.
 
 OF THE VOICE. 117 
 
 tlie falsette, suggesting to physiologists, the idea of a difference 
 between its mechanism and that of the natural voice, writers 
 have supposed the pitch of the former is made above the larynx, 
 by the hack parts of the mouth. It is unnecessary to give the 
 particulars of their theory, as there seems to be no other 
 foundation for it, than — the idea of a sort of antithesis in 
 causation: since the naturjil voice, from which the falsette 
 differs so much, is supposed to be made within the larynx : But 
 whatever may have been the ground, we have had on this sub- 
 ject, a complete system of physiological explanation, when there 
 is scarcely fact enough to warrant a plausible conjecture. 
 
 As we are then ignorant of what is the cause of the variations 
 of pitch in falsette, we may perhaps lessen the opportunities for 
 supplying the place of ignorance by fiction, in showing what 
 it is not. 
 
 If the cavity of the mouth be observed during the exercise 
 of the falsette on the element a-we, very little alteration will be 
 perceived in the positions of the surrounding parts : except some 
 slight contractile movement in the uvula, as the pitch rises, and 
 when this is strained to its highest degree, an almost total disap- 
 pearance of the uvula within the veil of the palate. That this 
 contraction of the uvula, in the higher notes of falsette, is not 
 the sole cause of its pitch ; and that it is not produced by parts 
 of the vocal passage situated above the glottis, seems conclusive 
 from the following considerations. 
 
 The elements n and m, — both being made by the passage of 
 air from the glottis, solely through the nose, — can be precisely 
 intonated in the falsette scale. Now, in this case the current 
 of expiration does not pass-by the soft palate, uvula, sides of 
 the fauces and base of the tongue, — parts of the mouth sup- 
 posed to be the cause of the pitch of this voice. 
 
 All the tonic and subtonic elements can be made in the falsette. 
 But it is not in accordance with the laws of sound, that the iden- 
 tical quality called falsette, and its pitch, should be made under 
 mechanical forms so varied, that the causative structure of some 
 of the elements, as of a-we and a-n, give a clear passage to
 
 118 THE MECHANISM ] 
 
 expiration thi'ough the mouth, while that of others, as e-\e, I, 
 and r, nearly obstruct it. 
 
 As the falsette may be made by inspiration through the nose 
 "with a closed mouth, the air cannot come into contact with the 
 parts of the mouth which have been assigned as the mechanism 
 of the falsette. But further, if we inhale through a tube, with 
 one end reaching beyond the soft palate, the falsette may be 
 carried through its pitch, thus formed by inspiration : though 
 the current of air in this case does not impress the soft parts at 
 the back of the mouth, but passes from the tube directly into 
 the glottis. And the same is true of expiration, where the 
 current passes directly from the glottis into the tube. 
 
 I have at this time a case under professional treatment, in 
 which the tonsils are so enlarged by disease, that their near 
 approach to each other, merely allows space for the uvula to 
 hang between them : thus obstructing the passage of air through 
 the mouth, except by an effort ; and presenting a structure alto- 
 gether different from the natural condition, assigned as the me- 
 chanical cause of the falsette. And yet this individual is able 
 to make the falsette intonation. 
 
 I had lately an opportunity of seeing an instance of malforma- 
 tion, where the whole soft palate is wanting. The passage to 
 the throat being a single arch, curving along the edge of the 
 palate bone, instead of the low double arch, formed by the soft 
 palate and depending uvula, in the perfect fauces. Adhering to 
 each side of the arch, just above the tonsil, there is a small tuber, 
 or fleshy drop, seemingly formed by the curtain of the soft 
 palate, being divided vertically through the uvula to the palate- 
 bone ; and each portion of the curtain being then drawn into the 
 soft parts on its respective side, except the drops, or semi-uvulas, 
 which project in the manner and place above described. This 
 is the state, at rest. In straining the highest notes of the falsette, 
 the two u\'ular drops, by some peculiar muscularity, make an 
 effort to approach each other horizontally across the mouth, and 
 thereby convert the semicircular arch into the form of a horse- 
 shoe, by drawing inwards, each about half an inch, along the 
 diameter of the arch. Here then, the principal part of the
 
 OF THE VOICE. HQ 
 
 apparatus, said to produce the falsette, is wanting ; yet this 
 voice and its degrees of pitch are accurately executed by the 
 individual, notwithstanding her deformity. 
 
 The, back parts of the mouth are in their nature too variable 
 under the accidental influence of muscular eiFort, to be the 
 mechanical cause of the fixed and accurate degrees of the scale. 
 For when any one point of pitch is maintained, the soft palate 
 and its appendage the uvula, may be seen to undergo involun- 
 tary movements, that do not appear to have any efiect on 'the 
 voice. I am able to make twenty-four distinct notes with accu- 
 rate intonation ; fifteen are natural and nine falsette. Now in 
 running throughthis compass on the tonic a-we, in which the 
 articulative mechanism of an open mouth and embedded tongue, 
 allows the isthmus of the fauces to be distinctly seen, I perceive 
 no alteration of position in executing the natural notes, except 
 that of the articulative change, when the voice runs into e-rr^ 
 the obscure vanish of this dipthong. There is indeed an un- 
 steadiness in the positions, but none of that definite gradation 
 in organic changes, implied in the ascription of the variations 
 of pitch to the motions of the back part of the mouth. In 
 intonating the falsette, discretely, I perceive some change in 
 the palate, but little or none in the tongue, if the vanish e-rr 
 is avoided. The change in the palate consists of a convulsive 
 action of the uvula, which starts-up, as the radical of a-we 
 opens on each degree of the scale, and in a moment descends 
 again. This convulsive action is not apparent when the voice 
 ascends by the concrete ; though under the use of both scales, 
 the uvula at the highest rise of the falsette is contracted almost 
 to obliteration. That this extreme contraction is not a move- 
 ment especially productive of pitch in the falsette, I have 
 endeavored to show ; but am not able to say, whether it arises 
 from some associative muscular action, or from some change of 
 the articulative mechanism in its higher notes. 
 
 I have oflered these few remarks, in acknowledging my igno- 
 rance of the mechanical cause of the quality, and the pitch of 
 the falsette voice.
 
 120 THE MECHANISM 
 
 The Whispering voice is ■well known. It is an aspiration ; and 
 makes the short impulse, and the vocule, of the atonic elements. 
 These then are necessarily a whisper. But all the other elements 
 may be made by aspiration. The whisper of J, d, and g, 
 though considered by Holder and his followers as identical with 
 the atonies p, t, and Tc, is to my ear at least, faintly distin- 
 guishable from them, by having a less easy outset, and by a 
 slight initial effort of articulation. 
 
 "We are not acquainted with the mechanical cause of whisper, 
 as distinguished from vocality. It has been ascribed to the 
 operation of the current of air on the sides of the glottis, while 
 its cords are at rest ; whereas vocality is said to proceed from 
 the agitation of the air by the vibration of those chords. This 
 however is merely an inference from analogy, and has a claim to 
 possibility, but no more. 
 
 The whispering voice has its variation of pitch, but it is 
 effected in a very different manner from that of the natural 
 and the falsetto. The intonation of these voices, as shown 
 above, is not connected with the visible movements of the mouth, 
 tongue, and fauces, that produce articulation. But if I have not 
 been deceived in my observation, the transit through the scale 
 of whisper is made by taking different elements for the succes- 
 sive steps of the discrete movement ; each whispered element 
 being in itself incapable of variation in pitch, while its true 
 articulation remains unchanged. 
 
 For the explanation of this subject, let us designate three 
 forms of the whispering voice. The Articulated, consisting .in 
 the pronunciation of the alphabetic elements ; the Whistled, hav- 
 * ing the well-known shrillness of this function; and the Sufflated, 
 merely a husky breath, partaking of the nature of the two 
 former, without having the shrill quality of one, or the articula- 
 tion of the other. Now, when in Articulated Whisper, the 
 tonics are distinctly pronounced, without running into the Suffla- 
 tion, the changes of pitch are made upon changes of the 
 elements. In the. order of articulated intonation, oo-ze is the 
 lowest in the scale, and 2-f the highest : the succession by the
 
 OF THE VOICE. 121 
 
 first, third, and fifth, through two octaves, being upon the 
 seven following elements. 
 
 First Octave. Second Octave. 
 
 T 3 5 "^l" 3 5 s"" 
 
 oo-ze a-we a-rt e-rr e-\l a-le z-f 
 
 This scale of articulated whisper is of so peculiar a character, 
 that I do not presume to speak without doubt upon it : for such 
 a seeming anomaly in intonation, leads me, under a sense of the 
 uniformity of the laws of nature, to question my own observa- 
 tion ; and to call for the assistance of others. If, however, this 
 is the real construction of the scale, for so it appears to me, each 
 intermediate note must consist of sounds that resemble those 
 contiguous to it. Thus when we require a second in the progres- 
 sion, between oo-ze and a-we, it must partake of the articula- 
 tion, of both these elements. And of the two sounds for the 
 sixth and the seventh, between a-rt and e-rr, one will partake 
 more of the articulation of a-rt and the other of e-n\ But as 
 these intermediate sounds are not used in our language, they 
 cannot be made without careful effort. Thus, the intonation of 
 articulated whisper, is rarely executed with precision, except at 
 the points numbered in the preceding series ; since the familiar 
 elements of speech are employed only at those points.* 
 
 * It is necessary to remark, that a delicate ear, and a practical knowledge of 
 the scale are required for measuring this progression of whispered articulation. 
 The extent of the series of elements given in the text being through two octaves, 
 the series must begin on the gravest degree of pitch. I cannot on this subject, 
 draw from the experience of others ; but in executing the rising order of these 
 elements, I take oo-ze at the very lowest point, at which the articulation, freed 
 from whistle and sufflation, can be made, in order to bring the highest place of 
 t-f, within the reach of intonation : my voice being just able to compass these 
 two octaves in articulated whisper. As a matter for further investigation upon 
 this subject, it may not be irrelevant to remark, the coincidence, in my own 
 case, of the number of degrees in the scale of whispered articulation with that 
 of the natural voice : both being about fifteen. 
 
 Let me here add a suggestion, on the ground that the intonation of articulated 
 whisper is as I have observed it. Since the mechanism of the whispered, and 
 the vocal elements is the same ; and the places of the several whispered elements 
 
 9
 
 122 THE MECHANISM 
 
 The pitcli of the sufflated whisper appears to be made in the 
 same manner as that of the articulated. Eor in rising through 
 the scale, this sufflation has a husky resemblance to the whispered 
 elements ; oo-ze being the lowest, and 2-f the highest. The suf- 
 flated whisper is employed to form the tune of the Jews-harp. 
 It is owing to the difficulty of articulating the intermediate and 
 artificial elements, so to call them, and consequently of intona- 
 ting the entire scale of sufflation, that even a good musical ear, 
 is rarely able on first trials, to hit accurately, more than the 
 third, fifth, and octave, on the scale of this simple instrument. 
 
 The pitch of whistling is also produced by the same mechanism ; 
 since in this case, as well as in that of sufflation and of articulation, 
 a thin rod passed into the corner of the mouth by depressing the 
 tongue, destroys the power both of articulation, and of ascending 
 the scale. And further, there is in the lowest and the highest 
 note of whistling, as well as in those of sufflation, a quality of 
 sound, however obscure, resembling the articulated oo-ze and z'-f. 
 Closing the mouth destroys not only the articulation of whisper 
 and of the natural voice, but likewise the pitch of all the forms 
 of whisper : while with the mouth closed, the whole scale may be 
 accurately hummed in the natural voice. The shrillness of 
 whistling seems to be made by the aperture in the lips. On this 
 subject, it might be worth inquiry, whether the intonation of the 
 scale of wind instruments, is not in some cases, altogether pro- 
 duced by the pitch of the sufflated w^hisper ; in others, by its com- 
 bination with the efiect of a varied position of the lips, of a 
 varied force of breath, and of the varied ventages or stops. It is 
 well known, that the first seven notes of the key of D on the 
 flute, and their corresponding octaves, are severally, note and 
 octave, made by the same stop. The difi"erence of pitch between 
 a note and its octave in this case, is produced, not by the posi- 
 tion of the lips, nor by the force of breath, but by a difierence in 
 
 are fixed points of the scale, a record of these intonated articvilations, might \m 
 lead to a recovery, if lost, of the sounds of the vowel-symbols of the natural ■ i 
 voice. And we bear in mind that the obvious, and describable mechanism of 
 consonants, in the natural voice, would allow a recovery of their phonetic 
 character.
 
 I;* 
 OF THE VOICE. 123 
 
 pitch of the sufflated whisper. It is the same with the notes of 
 the flageolet and clarionet. 
 
 The subtonic elements, when whispered, are individually inca- 
 pable of the variations of pitch. Have they, like the tonics, 
 relatively to each other, different places in the scale ? 
 
 In order to perceive clearly the peculiar character of pitch, 
 above described, we must, in executing the articulated whisper, 
 be careful to make the elements, as it were, at the back of the 
 mouth ; thereby to avoid falling into the sufflation, and the whis- 
 tle, that have their formative cause nearer the lips. 
 
 The atonies have no variation of pitch in themselves : nor is 
 their relative place in the scale, if they have any, of the least 
 importance in speech. 
 
 The voice now about to be described, is not perhaps in its 
 mechanism, different from the natural ; but is rather to be re- 
 garded as an eminent degree of fulness, clearness, and smooth- 
 ness in quality : and this may be either native or acquired. 
 
 The limited analysis and vague history of speech by the an- 
 cients, and the further confusion of the subject by commentators 
 upon them, leave us in doubt whether the Latin phrase, ' os ro- 
 tundum,' — used more expressively in its ablative, 'ore rotundo,' 
 by Horace, in complimenting Grecian eloquence, — referred 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 term ' roundness 
 of tone,' specifying, as we may suppose, the kind or quality, 
 seems to have been derived from it. 
 
 He who by closely observing the human voice, in its best in- 
 stances on the stage, has acquired a knowledge of its powers and 
 beauties, may remember how slowly he came to the full percep- 
 tion and relish of them. Nor will he deny, they would have 
 earlier attracted his attention, had they been signalized by a 
 proper oratorical name. On the basis of the Latin phrase, I 
 have constructed the term Orotund, to designate both adjectively 
 and substantively, that assemblage of eminent qualities which 
 constitutes the highest character of the speaking voice. 
 
 By the Orotund voice, I mean a natural, or improved manner
 
 124 THE MECHANISM 
 
 of uttering the elements, with a fulness, clearness, strength, 
 smoothness, and if I may mak6 the word, a sub-sonorous quality, 
 rarely heard in ordinary speech ; and never found in its highest 
 excellence, except through long and careful cultivation. 
 
 By Fulness of voice, I mean a grave and hollow volume, re- 
 sembling the hoarseness of a common cold. 
 
 By Clearness, a freedom from nasal murmur and aspiration. 
 
 By Strength, a satisfactory loudness or audibility. 
 
 By Smoothness, a freedom from all reedy or guttural harsh- 
 ness. 
 
 By a Sub-sonorous quality, its muffled resemblance to the 
 
 resonance of certain musical instruments. 
 
 I know how difficult it is to make such descriptions definite, 
 without audible illustration. Perhaps the best means for instruc- 
 tion on this subject, is to excite attention by terms; to give the 
 sense of these terms, as nearly as possible, in figurative language, 
 and to leave its recognition to the subsequent observation of the 
 learner. The same natural relationships that suggested the 
 metaphor to its inventor, may in due time lead others to acknow- 
 ledge the aptness of the illustration.* 
 
 The mechanical structure and action that produce the orotund 
 are to me, after much inquiry, unknown. During its utterance, 
 we may perceive a motion and contraction of the back parts of 
 the mouth, difierent from the action of those parts under 
 
 * Reverberations may serve to furnish some idea of two of the qualities of the 
 orotund voice. Thus vaulted ceilings and coved recesses often give a sub- 
 sonorous echo ; and speaking with the mouth within an empty vessel produces a 
 hollow fulness. One of the best instances I ever heard, of a modification of the 
 human voice, into a full, hollow, and sub-sonorous, quality, was from a boy who 
 had sportfully got into a large copper alembic. 
 
 It may be worth thinking upon, whether the brazen and the earthen vases, which 
 were somehow formed, and then somehow set within the masonry of the seats of 
 Greek theatres, but of which we know so little, were not designed to modify the 
 voice, to the sub-sonorous quality, and hollow fulness of the orotund ; rather than 
 to increase its force, or to return a concord to its pitch. The speaking-trumpet 
 affords, though not agreeably, an illustration of the qualities above described : 
 and could the bugle or the organ diapason be made to articulate, it would show 
 the highest measure of that fulness and sub-sonorous effect, which in distant 
 similarity constitute the character of the orotund voice. 
 
 I
 
 OF THE VOICE. 125 
 
 the colloquial voice. But these indications of a cause are so 
 slight and so indefinite, that they do not at present appear to 
 justify more than this general notice. In our ignorance of the 
 mechanism of speech, we are not even able to decide whether the 
 orotund is merely an improved quality of the natural voice, or the 
 effect of its own peculiar cause. It was said above, that the 
 falsetto, or something hoarsely like it, may be executed in the 
 lower range of pitch of the natural voice. It might therefore be 
 suggested for inquiry, whether the cause of the orotund is the 
 same as that of the reduced falsetto, or as it may be called the 
 Basso-falsette ; for this has somewhat of the full, hollow, and sub- 
 sonorous effect, ascribed to the acquired orotund. 
 
 Connected with the subject of that improved quality of the sing- 
 ing-voice, galled by vocalists ' Pure Tone,' there are several terms 
 used to describe the mechanical causes of its different character 
 and qualities. Among these, the causations implied by the phrases 
 ' voce di testa,' and ' voce di petto,' or the voice, from the head, 
 and from the chest, must be considered as not yet manifest in 
 physiology : and the notions conveyed by them, must be hung up 
 beside those metaphorical pictures, which with their characteristic 
 obscurity or misrepresentations, have been in all ages, substituted 
 for the unattainable delineations of the real processes of nature. 
 
 There is a harsh quality of voice called Guttural; produced by 
 a vibratory current of the air, between the sides of the pharynx 
 and the base of the tongue, when apparently brought into contact 
 above the glottis. If then the term ' voice from the throat' which 
 has been one of the unmeaning or indefinite designations of 
 vocal science, were applied to this guttural quality, it would 
 precisely assign a locality to the mechanism. 
 
 Although I have not hesitated to acknowledge my ignorance of 
 the mechanism of the orotund, I know that its function, wherever 
 performed, may yet be subjected to the will. And as the best 
 and only pure instances of this voice, are the result of cultiva- 
 tion, I here propose some elementary means by which it may be 
 acquired. 
 
 It might seem to be sufficient for a teacher of elocution to 
 exemplify the or^otlind, that his pupil might imitate it. Vocalists
 
 126 THE MECHANISM 
 
 in their lessons on Pure Tone do little more. But singing has 
 long heen an Art : and its many votaries have rendered the 
 puhlic familiar with its leading principles, and accustomed the 
 ear to the peculiarities of its practice. While elocution appears 
 to be no more than a brutal instinct ; in vy^hich some only loiv, 
 bleat, bark, mew, whinny, chatter and bray a little better than 
 others. In describing, therefore, without fhe opportunity of 
 illustrating, it becomes necessary to address the pupil, as if he 
 had no principles to help his understanding, nor exemplified 
 sounds to satisfy his ear. For this purpose, it is necessary to 
 make him teach himself, by referring to functions of the voice, 
 familiar to him both by nature and name. When the scholastic 
 world shall understand our history of the speaking voice, and 
 apply it to practice, men, in their community of knowledge, 
 will learn the good things of elocution from one another ; chil- 
 dren will catch the proprieties of speech from well-taught 
 parents ; and many a topic of this work, which I have labored, 
 perhaps in vain, to make at this time perspicuous, may here- 
 after, from the unsought enlightening of surrounding knowledge, 
 seem to be perspicuous in itself. 
 
 With due attention, we perceive two different forms of respi- 
 ration : one being a continued stream of air throughout the 
 whole time of expiration; another consisting in the issue of 
 breath by short iterated jets. The first is that of ordinary 
 breathing, panting, sighing, groaning, and sneezing. The 
 second is employed in laughter, crying, and speech.* 
 
 By a command over the muscles of respiration, the breath in 
 speaking, is frugally dealt out to successive syllables, in limited 
 portions, appropriate to the time and force of each ; thus guard- 
 ing against the necessity of frequent inspirations : while at the 
 same time, these momentary pauses, between syllables and 
 
 * Laughter 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 rapid expiration abruptly begun ; and generally producing one 
 of the elements. 
 
 I say nothing here of the various firms of inspiration connected vrith 
 these acts. , > 
 
 i
 
 OF THE VOICE. 127 
 
 words, allow an abrupt opening of the radical, when required 
 for the purposes of speech. 
 
 The act of Coughing is either a series of short abrupt efforts, 
 in expiration ; or one continued impulse which yields-up the 
 whole of the breath. Now the last, forms one of the means for 
 acquiring the orotund voice. This single impulse of coughing is 
 an abrupt utterance of one of the short tonic vocalities, followed 
 by a continuation of the mere atonic breathing Zi, till the expi- 
 ration is exhausted. Let this compound function, consisting of 
 the exploded tonic vocality and aspiration, be changed to an 
 entire vocality, by continuing the tonic in place of the aspira- 
 tion. The sound thus produced, will with proper cultivation, 
 make that full and sub-sonorous quality, here denominated the 
 orotund. 
 
 This contrived effort of coughing, when freed from abruptness, 
 is like the voice of Gaping : for this has a hollow and sub- 
 sonorous vocality, very different from the colloquial utterance 
 of tonic sounds. It may be shown conspicuously, by uttering 
 the tonic «-we, with the mouth widely extended. 
 
 When the pupil can effect this entire vocality of the artificial 
 cough, if it may be thus distinguished from the natural cough, — 
 which is part vocality and part aspiration, — let him practice it 
 sufficiently, yet avoiding all initial fulness, and he will not only 
 acquire facility in executing it, but its clearness and smoothness 
 will be thereby improved. Let the voice be herein exercised, 
 by rising, and falling, through the concrete scale, on each of 
 the tonic elements, drawing out the vocality to the utmost extent 
 of expiration. Then let trials be made on the syllabic com- 
 binations.* 
 
 Being able to execute the tonic elements and single syllables 
 in the orotund, the pupil is not therefore fully prepared to speak 
 continuously in it : and on attempting to utter a sentence in 
 this voice, his natural manner returns. The cause of this may 
 
 * This process of forcing out the breath to the seeming exhaustion 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 long in this manner; and to 
 desist, for the time, when that affection comes on.
 
 128 THE MECHANISM 
 
 be understood, by recollecting the distinction between the two 
 kinds of expiration. For though he may be able to execute the 
 orotund on single syllables, in the continuous stream of vocality, 
 he has yet to learn the use of that voice, with those interrupted 
 jets of expiration, which are essential to easy and agreeable 
 speech. Continued practice however, with a gradual increase 
 of the number of syllables, will bring his interrupted expiration 
 in the orotund, under the same command as in common speech. 
 
 Although he may at last have acquired the power of uttering 
 any number of successive syllables, by interrupted jets of this 
 voice, yet the manner of their succession will be monotonous : 
 he will have no power of expressive intonation, and will be 
 unable to make the proper close at the end of a sentence. 
 Repeated practice will give correctness and facility on these 
 points, and the management of the orotund, for the impressive 
 and elegant purposes of speech will, in time, be no more diffi- 
 cult than that of the natural voice. 
 
 The method of acquiring the orotund, is similar to our in- 
 stinctive progress in the use of the natural voice. The first cries 
 of infants are made on the continued stream of vocality. It is 
 a long time before they employ the interrupted expiration. The 
 first speech of the child is by an apportionment of a single sylla- 
 ble to a breath. By a preparatory exercise in the interrupted 
 jets of laughter and crying, the habit of perfect speech is 
 acquired. The same kind of monosyllabic breath, employed in 
 infant articulatio.n, and in acquiring the orotund, occurs in the 
 debility of age, in pulmonary oppression, and in cases of pros- 
 tration from disease : for here the utterance frequently consists 
 of but one, or at most two syllables to an act of expiration. 
 The condition is similar in panting from violent exercise : the 
 voluntary power over the interrupted jets of expiration being 
 therein lost. 
 
 The orotund is possessed in various degrees of excellence by 
 eminent Actors. The state of mere animal instinct in which 
 they have chosen to keep themselves, with regard to the uses of 
 the voice, must convince us that they can have no systematic 
 purpose, nor indeed any rational means for improving it. There
 
 OF THE VOICE. 129 
 
 is, however, one circumstance in theatrical speech, that may 
 undesignedly produce in time, the full volume and suh-sonorous 
 quality of the orotund. I mean the practice of vociferating, 
 seemingly required by the extent of the House, by the deaf 
 taste of the audience, and by the poetical rant and bombast of 
 what are called ' stock acting tragedies.' In addition, there- 
 fore, to the previously described means for acquiring the oro- 
 tund, I shall, in a few words, point out another method suggested 
 by the vehement efforts of dramatic speech. 
 
 Let the reader make an expiration on the interjection liaJi^ 
 in the voice of whisper, with a widely extended mouth, and with 
 a duration, sufficient to press all the air from the lungs. 
 Then let the whisper in this process be changed to vocality. 
 This vocality will have the hoarse fulness and sub-sonorous 
 quality of the orotund. The forcible exertion of this kind of 
 voice constitutes Vociferation ; for vociferation is the utmost 
 effort of the natural voice, as the shriek or yell is of the falsette. 
 Actors who affect the first rank in their art, are often by strength 
 of feeling urged to a degree of force, that produces the mixture 
 of vocality and aspiration, heard in the interjection hah ; and 
 it will be shown in a future section, that the junction of a cer- 
 tain degree of aspiration with the tonic elements, is one of the 
 means of earnest and forceful expression. The frequent occur- 
 rence of exaggerated sentiments in the drama, joined to the 
 effort required by the dimensions of a Theatre, produces the 
 habit of interjective expiration, which exerted through a wide 
 extension of the mouth, leads the speaker to the attainment of 
 the orotund, if his voice is capable of it. 
 
 It must not be supposed that the full, hollow, and sub-sonorous 
 orotund is always of the same purity. It varies in its degrees 
 of strength and fulness; and is sometimes slightly infected with 
 aspiration, nasal murmur, or guttural harshness. 
 
 If it should be asked, what advantage is gained by the care 
 and labor here enjoined, for acquiring this improved quality of 
 the speaking voice ; it may be answered : 
 
 First. The mere sound is more tunable than that of th,e com- 
 mon voice. Compared with the full and sub-sonorous character
 
 i 
 
 130 THE MECHANISM 
 
 of a fine orotund, there are voices, with as little even of a hint of 
 music in them, as the noise of a hammer on a block. This qual- 
 ity is so impressive with its dignity of volume, that it often catches 
 the ear and approbation of those who are quite insensible to the 
 agency of pause, quantity, and intonation. I have known the 
 single influence of an orotund voice give extensive fame to an 
 actor, who in more essential points of good reading, was even 
 below mediocrity. It is this quality which dignifies the other 
 excellencies of speech. In the voice of women it is most obvious 
 and delisrhtful. 
 
 Second. The orotund is fuller in volume, and purer in quality 
 than the common voice : and as the latter gives a delicate atten- 
 uation to the vanishing movement, the former with no less appro- 
 priate effect, displays the stronger body of the radical. 
 
 Third. Its pure and impressive vocality gives distinctness to 
 pronunciation. For when completely formed, it is free from the 
 dulness created by nasal murmur or aspiration ; the characteristic 
 offensiveness of which is shown by their union in Snoring. 
 
 Fourth. It has a greater degree of articulative and expres- 
 sive power than the common voice. In this respect, it partakes of 
 the nature of things perfect in their kind. The ear seems 
 filled with its volume, and asks for no more. There is too, 
 on the part of the speaker himself, that conscious satisfaction 
 which accompanies the full energizing of a function : for here 
 nature herself seems to acknowledge, the voice has done its 
 whole duty. Those who by cultivation of the singing-voice, have 
 brought its tone to the utmost extent of fulness and purity, will 
 admit the importance of practice and perseverance, in preparing 
 the voice for the purposes of speech. Compared with the power 
 and facility of an endowed and high-taught vocalist, mere in- 
 stinctive efforts in song seem to be not much removed from the 
 imbecility of paralysis. 
 
 Fifth. The orotund, from the discipline of cultivation, is more 
 under command than the common voice : and is consequently 
 more efficient and precise in the production of long quantity ; in 
 varying the degrees of force ; in executing the tremulous scale, 
 and in fulfilling all the other purposes of expressive intonation. 
 Sixth. It is the only kind of voice appropriate to the master-
 
 OF THE VOICE. 131 
 
 style of epic and dramatic reading. Through, it alone, the actor 
 consummates an outward sign of the grandeur and energy of his 
 conception. When heard in what will presently be called the Dia- 
 tonic Melody, the iEbpressive authority and dignified 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, respectively transcend the poor originals of 
 life and all their wretched policies. It is the only voice capable 
 of fulfilling the solemnity of the Church-service, and the majesty 
 of Shakespeare and Milton. 
 
 Finally, as the orotund does not destroy the ability to use 
 at will, the common voice, it may be imagined how their con- 
 trasted employment may add the resource of vocal light and 
 shade, if we may so speak, to the means of oratorical coloring 
 and design. 
 
 The mechanism of the Tremulous movement of the voice does 
 not appear to be connected with the visible parts of the fauces : 
 though there is a gurgling noise, somewhat resembling it, pro- 
 duced by a vibration of the uvula, when brought into contact 
 with the base of the tongue, in the expiration of the elements 
 e-ve and e-rr. I leave it for future observers to ascertain, 
 whether the tremulous rise and fall may not be referred to the 
 organic cause of the variations of pitch, in the natural and 
 falsette voices. 
 
 I have thus endeavored to set forth what we do not knoio of 
 the mechanism of speech. The subject of the voice 'is divided 
 into two branches. Anatomy and Physiology. The first em- 
 braces -a description of the vocal organs. The second a history 
 of the functions performed by that organization. The anato- 
 mical structure is recorded to the utmost visible minuteness : 
 while the history of those audible functions which it is the 
 design of this work to develope, — and which, by the strictest 
 meaning of the term, constitute the vocal physiology, — has in a 
 great measure been disregarded, under a belief that these func- 
 tions are altogether beyond the power of human perception. 
 
 In overlooking a physiological analysis of quality, force, and 
 pitch of vocal sound, writers have merely endeavored to ascer-
 
 132 THE EXPRESSION OF SPEECH. 
 
 tain what parts of the organization produce tliese several phe- 
 nomena ; and seem to have almost restricted the name of phy- 
 siology to their vain and contradictory fancies about these 
 mechanical causations. Hence in the oratorical physiology, if 
 ■we may so call it, of the organs of speech, there is little of that 
 rooted opinion, -which in most cultivated sciences, contends with 
 an original inquirer, in every attempt to sacrifice error to the 
 cause of truth. "Whereas the subject of mechanical causation, 
 like all other matters of theory, has become doctrinal and 
 divided ; and the inquirer has here, not only to strive at reaching 
 the secresy of nature, but harder still, has to encounter the 
 obstinacy of sectaries, whose opinions have '"grown into pride, 
 by their unyielding contentions with each other. 
 
 When the reader has finished this volume, he will perceive 
 that in this fifth section I was somewhat occupied in discussing 
 the notions of men ; while in all the rest, I was entirely em- 
 ployed in attempting to delineate the works of nature : a con- 
 trast that may well induce a lover of truth and brevity to 
 exclaim, — Happy is he, who desiring to extend the circle of 
 knowledge, comes to a subject which the fictional finger of the 
 school has never touched. 
 
 SECTION VI. 
 
 Of the Expression of Speech. 
 
 In the preceding sections, we have explained the terms of the 
 five modes of speech, with many of their forms and varieties ; 
 have described these modes and forms, as they appear in the 
 radical and vanish, the alphabetic elements, and in the con-
 
 THE EXPRESSION OF SPEECH. 133 
 
 struction of syllables : and as far as accurately ascertained, 
 have shown how the Organs of the Voice mechanically produce 
 the phenomena of these modes and forms. These explanations 
 and descriptions give a preparatory view of the functions of 
 speech ; and embrace all the generalities, required by an intel- 
 ligent and attentive reader, in pursuing the subsequent details 
 of this work. 
 
 Speech is employed to declare the condition and purposes 6f 
 the mind. These are first known to us as Ideas ; and ideas 
 have been divided into Thoughts . and Feelings. The design 
 therefore of speech is to declare our thoughts and feelings. 
 And as we acknowledge this distinction in the conditions of the 
 mind, the voice must have distinct means for declaring them. 
 It is therefore of great importance to ascertain, what are the 
 difibrent means in the voice, for declaring, in one case, the plain 
 and simple condition of thought ; and in the other, the excited 
 mental condition of feeling or passion. 
 
 Schoolmen make a distinction between thoughts and feelings, 
 and common usage has adopted their language. This is not a 
 place for controversy : nor is it necessary to inquire, deliberately, 
 whether the above distinction refers to the essential nature of 
 the things, or to their degrees. Some may be disposed to con- 
 sider thoughts and feelings merely as various degrees of intensity 
 in ideas : since the function, noted as a mere thought in one, has 
 in another, from its urgency, and without apparent specific dif- 
 ference, the bright hue of a feeling ; and since in the same 
 person at diiferent times, like circumstances produce, according 
 to the varied susceptibility of excitement, the mental condition 
 of either a feeling or a thought. Perhaps it might not be 
 difiicult, to show that these states of the mind have many points 
 in common ; and that no definite line of demarkation can be 
 drawn between them. But however inseparably involved at 
 their points of affinity, they arc in their more remote relation- 
 ships, either in kind or degree distinguishably diff"erent. 
 
 Corresponding to this diff'erence between thoughts and feel- 
 ings, the vocal means for declaring their extreme distinctions 
 are, as we shall learn hereafter strongly marked : while their
 
 134 THE EXPRESSION OF SPEECH. 
 
 assimilating points prevent a strict line of separation between 
 them. In uttering a simple request, we use quite a different 
 intonation and force, from that employed on the same words, 
 in the spirit of a command. But gradually add earnestness to 
 the request, and gradually moderate the spirit of the command ; 
 and as the states of mind become identical, so will the voices, 
 if properly representing those changes. Notwithstanding the 
 universal admission of a difference of meaning in the terms 
 Thought and Passion, yet in our ignorance of the analytic 
 history of speech, we have not felt the want of a discriminative 
 nomenclature, and consequently have had no brief correspond- 
 ing terms, to designate precisely, the vocal signs that severally 
 represent them. Books on elocution have indeed, employed 
 the word Expression, to signify the utterance of feeling or 
 passion. But they furnish us with no single or appropriate 
 term for the plain declaration of simple passionless thought ; 
 which as we proceed in our history will be essentially required. 
 Till science breathes a defining and dividing voice over com- 
 mon thought and language, all is desultory and confused. Thus 
 the term Expression, though sufficient for the indefinite purpose 
 y of the Orator and Player, does not answer the purpose of 
 exact discrimination ; for it is as common to speak of the 
 expression of the thought or sense of discourse, as of its feeling or 
 ^ passion. This want of precision in the use of the terms Thought 
 and Feeling, prevents a clear distinction, between the terms of 
 the Vocal signs, by which each should be respectively represented. 
 We will however, employ the term Expression, to denote the 
 sentiment and passion of the speaker. But where shall we find 
 a contradistinguishing term, for his simple thought ? 
 
 Generally, in plain narrative and description, we state the sim- 
 ple condition of thought : and as we shall learn hereafter, that a 
 certain form of intonation is appropriate to the language of simple 
 Narrative, we may draw our term from it. I will therefore adopt 
 the terms Narrative, and Expression, respectively, for the signs 
 of Thought and of Passion, as they are employed in Reading and 
 Speech. But we shall find in the following pages, how difficult 
 it is to draw a definite line of separation between the mingling
 
 THE EXPRESSION OF SPEECH. 135 
 
 signs of simple thought, and of passion ; and how readily the 
 intellectual as well as the vocal relationships pass, by indistin- 
 guishable shades, into each other. 
 
 The classifications of science were instituted, in part, to assist 
 the memory and imagination ; but while they fulfill the purpose 
 of communicating and preserving knowledge, they unfortunately 
 produce the undesigned hindrance of its alteration or advance- 
 ment, by creating a belief of its systematic completion. The 
 numberless revolutions in scientific arrangements are full of 
 admonitions : yet we forget how often the fictitious affinities, 
 and the distinctions of system have on the one hand, pre- 
 sumptuously united the intended divisions of nature, and on 
 the other, broken the beautiful connection of her circle of truth. 
 
 In submission to the necessities of instruction, I have, in 
 this essay, tried to separate the part called, for the want of a 
 brief and better term, the ^^Simple Narrative of speech, from 
 that which treats of its Expressive signs ; with the hope that 
 future observation may determine their real relationships, by a 
 full development of the nature of the mind and of the voice. 
 For we may as well suppose, all those works of usefulness are 
 already accomplished, which are foretold by the powers of 
 human observation, and the calculated promises of Science ; as 
 that those Delightful Arts, which employ while they regulate 
 the imagination, have to minds of intelligent and refined percep- 
 tions, presented their yet undisclosed grandeurs and graces, in 
 Form, and Color, and Sound, marked-out for fulfillment in the 
 Prophetic Book of Taste. Let us leave the seventh day of 
 rest, to the holiday rejoicing of physicians, lawyers, priests, 
 and politicians, who look upon their disastrous creations, 
 and cunning schemes for human misery, and pronounce them 
 original, and finished, and good. Let them build strongly 
 around the vaunted perfection of their Theories, Codes, Coun- 
 cils, and Constitutions. Let them guard the ark of a forefather's 
 wisdom, and proclaim its unalterable holiness to the people, for 
 the safety, honor and emolument of the keeper. The great 
 Contributions to Knowledge, like the great and progressive 
 Creations of Nature herself, have never yet found, and perhaps
 
 136 THE EXPRESSION OF SPEECH. 
 
 never will find, their day of rest : while the renowned fore- 
 fathers of many a work of usefulness as well as glory are, by 
 the like merit or ambition which raised their own temporary 
 greatness, transmuted to corrigible children, in the eye of the 
 advancing labor of a later age. 
 
 It has been alleged of the expression of speech, that a dis- 
 crimination of its concealed and delicate agency, is beyond the 
 scrutiny of the human ear. If the term human ear is sarcasti- 
 cally used for that fruitlessly busy and slavish organ, which has 
 so long listened for the clear voice of nature, amid the conflict- 
 ing tumult of opinion and authority, we must admit and regret 
 the truth of the assertion. But it is not true of a keen, 
 industrious, and independent exercise of the senses ; nor can it 
 be affirmed, without profanity, of that supreme power of obser- 
 vation, deputed by the original, and final cause of creation, for 
 the efiective gathering of truth, and the progressive improve- 
 ment of mankind. 
 
 Our conquests in knowledge must be the joint achievement of 
 Numbers and Time. Leaving then to futurity the completion of 
 my design, I looked around for present assistance : and having, 
 with more need than hope, consulted the thoughts of others, on 
 the analytic means of delineating the signs of expression, I 
 generally received some query like this : Is it possible to recog- 
 nize and measure all those delicate variations of sound, that 
 have passed so long without detection, and that 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 the victorious development of 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 intonation, time, and force of 
 voice, under all their forms, constituting the expression of 
 speech, may be distinctly heard ; and that there is no liabiHty, 
 even in the common ear, to misapprehend, or to confound the 
 varied sentiments, they respectively convey. No : but it is 
 objected, that the peculiar kind, the measurable degree, and the 
 commingling variety of those forms cannot be distinguished.
 
 THE EXPRESSION OF SPEECH. 137 
 
 Now since the vocal movements thus distinctlj audible, include 
 all these conditions ; and since our sentiments are so readily 
 recognized under all their kinds, degrees, and combinations, I 
 leave it to those who make the objection, to ask themselves, 
 whether a full and clear discrimination of the vocal signs of 
 expression is not implied in that recognition. The truth is, the 
 delicate voices of expression, though supposed to be impercepti- 
 ble, are always distinctly heard ; and as far as an unhesitating 
 apprehension of their meaning may prove the assertion, are 
 always recognized and measured, in the strictest sense of the 
 word: but they Tiav» never been named. And although all 
 persons who are observant in this way, have nearly an equally 
 acute perception of the expression of speech, they have no 
 language for designating those delicate discriminations, every 
 day unconsciously made even by the popular ear. I propose to 
 give, in the course of this essay, an analysis of vocal expression ; 
 to point out its modes, forms, and varieties, and to assign a 
 definite nomenclature to them. 
 
 There is perhaps no vain confidence, in supposing the reader 
 to be now well acquainted with the character of the radical and 
 vanishing movement. This wide-reaching function, and master- 
 principle of the voice, has been represented under its varied 
 forms, in speech and song. We have traced it in the Literal 
 elements, and seen its influence in directing the phenomena of 
 syllables. I have yet to show its instrumentality in the various 
 and delicate uses of expression : and if I shall be able thereby 
 to unfold the principles of this marvellous work of nature, it 
 will be by developing that greater marvel of agency, in which a 
 strict economy of means is employed for the production of her 
 infinities. 
 
 Five general divisions of the modes of vocal sound were made 
 in the first section of this essay. In summary repetition, they 
 are. Quality, or kind of voice ; Time, or the measure of its 
 duration ; Force, or the variations of strength and weakness ; 
 Abruptness, or an explosive utterance ; and Pitch, or the varia- 
 tions of acuteness and gravity. It will be shown, that each of 
 these general modes is inclusive of many forms and varieties, 
 10
 
 138 THE PITCH 
 
 with their different degrees; and that the now assignable, and 
 measurable Expression of Speech, is effected by the un-mysterious 
 combination of the different forms and varieties of these modes 
 with each other. 
 
 
 SECTION VII. 
 Of the Pitch of the Voice. 
 
 The mode of the voice we have now to consider, although 
 not more essential than the others, in the constituency of speech, 
 has nevertheless, from our ignorance of its nature, been a sub- 
 ject of wonder ; and from our childish love of wonder, has 
 become especially a subject of interesting inquiry. To this 
 mode of Pitch, belong the many forms and varieties of Intona- 
 tion, or as they have been called in the schools of Rhetoric and 
 Prose dy, by a sort of prescriptive determination, the ' undis- 
 coverable Tones of the voice.' 
 
 The Greeks in their fondness for definition and division, were 
 always disposed to go to the root of whatever knowledge they 
 believed to have a root, and at the same time to be worthy of 
 inquiry. They seem therefore, as we might infer from their 
 want of logical curiosity on this point, to have considered a full 
 analysis of speech, either as impracticable, or as useless. But, 
 whether from these or other causes, the subject so feebly 
 attracted their attention, that we might be disposed to think 
 they derived their knowledge of the sliding or concrete move- 
 ment, from Egypt, or from some earlier Eastern source. Had it 
 been discovered in the school of Pythagoras, or of Aristoxenus, 
 it does not seem probable, that having found this key to the
 
 OF THE VOICE. 139 
 
 entrance of Speech, they would have shut-out their hearing 
 from -what yet remained within the secrecy of nature : since, 
 with very little further observation of the simple concrete, they 
 would have perceived that important subdivision of its structure, 
 which we have described as the Radical and Vanish. However 
 this may have been, neither the Greeks nor the Romans, although 
 apparently writing all they knew on the nature and practical 
 uses of the concrete accent, have left the least record of their 
 opinions, their expectations, or their hopes on this subject, beyond 
 the restricted limit of what they already knew. Yet interesting as 
 this fact of the Concrete is, and certain as it is, that they perceived 
 it ; it is equally true, they never added to the first and simple 
 idea of this accentual slide, the smallest item of discriminative 
 analysis. The earlier grammarians and commentators of the 
 Alexandrian, and of subsequent schools, in discussing the sub- 
 ject of Greek accent, never extended their ideas beyond the 
 indefinite opinions of ancient writers ; while still later authors 
 and teachers, with the determined faith and worship of classical 
 scholarship, believing it was not done by the Greeks, because it 
 really could not be done at all, have at last united in a general 
 persuasion, nay conviction, that any further discovery is im- 
 possible.* 
 
 *As Dionysius of Halicarnassus, in his treatise *0n the Arrangement of 
 Words,' has recorded more of the nature and practical uses of this accent or in- 
 flection, than any other Greek or Roman writer, I shall, in order to show how 
 limited and indefinite he is, give from his eleventh section, an extract of all he 
 says on this point ; and shall insert in its course some explanatory parenthetic 
 remarks. 
 
 ' There is in oratorical discourse, a kind of Tune, differing from that of Song, 
 and (from the melody') of Music, only in degree, but not in nature or quality.' 
 ( We suppose he means that each employs intervals, but speech fewer, and these, of less 
 extent.) Immediately, following-up the idea, he adds : 'There is in oratorical 
 discourse, the like tune, that charms the ear; the like rythmus, that sustains 
 the voice ; the like variety that excites attention ; and a like conformity of the 
 whole to its purpose; the only difference being in the more and the less.' 
 {That is, in the number and extent of the intervals.) 'In oratorical discourse the 
 tune of the voice is restricted to the interval of a Fifth, or thereabouts. That 
 is, it does not vary beyond three tones and a half, [these being the constituents of 
 a Fifth) whether in an upward or downward direction. It is not to be under-
 
 ][40 THE PITCH 
 
 If then we have, by any means come to a perception of the 
 nature and uses of the voice, let us endeavor to apply it. 
 
 There is, in our first section, a compendious view of the 
 various forms of Pitch, taken in succession, from the minute 
 interval of the tremulous scale, through wider ranges, to the 
 octave, both in their upward and downward direction, together 
 with their union into various forms of the wave. The greater 
 part of these forms, as with those, of Quality, and Time, are 
 employed in the expression of feeling and passion : and but a 
 small part for declaring a simple idea, or for what we called 
 Narrative. It is therefore my design to show how these different 
 
 stood that all the words of discourse are to be pronounced with the same accent, 
 [inflection or concrete) : for one is to have an acute, {rising) another, a grave 
 [falling) accent, and another, to have both : [that is, the acute, Joined in con- 
 tinuation with the grave, on the same syllable) which is called the Circum- 
 flex. Again, some words have the acute, and the grave, separately heard on 
 diflferent syllables. In dissyllables, there is no middle place for applying an 
 acute or grave. [Merely a truism, for where there is no middle syllable there can 
 be no middle accent). In poly-syllables of every kind, one of the syllables has 
 the acute accent, and the rest the grave.' ' The tune [say intonation) of instru- 
 ments and of song, is by no means limited, as in speech, to this interval of the 
 Fifth ; but runs through the octave, fifth, fourth, second, semitone, and accord- 
 ing to some, the quarter tone.' 
 
 Here is all Dionysius says, on what we have been taught to think the profound 
 knowledge and skill of the Greeks, in the philosophy and practice of this singing, 
 — or as we should now call it, intonation — in speech. But we find, that this only 
 attempt to describe, particularly, the melody of Grecian discourse, is directly 
 connected with an equally obscure, and disputed subject, the Accentual stress on 
 syllables ; which certainly could not have been the case, had any of the numer- 
 ous authors on this subject have had the least idea of the natural and compre- 
 hensive system of intonation. Indeed the account by Dionysius, and by all the 
 writers on rhetoric and music, seems to have been given only in reference to 
 some vague, and as we must now consider it, absurd notion of the acute, grave, 
 and circumflex accent or inflection, being invariably applied to certain syllables, 
 both when pronounced alone, and in the current of discourse. ' It would be 
 wrong, to say, Dionysius, and his Grecians did not know their own opinions 
 about the voice : but I must think, a student of nature, in this case will say, — 
 they knew almost nothing of its reality. When an error is measured by itself, 
 as happens with systems raised upon authority or fancy, all that is defective, 
 distorted, or superfluous, comes out in perfect accord with its own rule. It is 
 a comparison with the rule of observation, which is found only in nature, that 
 shows its deformity.
 
 OF THE VOICE. 141 
 
 purposes of pitch, are applied for declaring these several condi- 
 tions of the mind. 
 
 Man is so generally, merely an animal of fierce desires and 
 passions, and so rarely a being of observation and reflection, 
 that we must not be surprised to find the greater number of his 
 vocal signs, expressive of this ardent and predominating com- 
 plexion of his character. Thus of all the upward and downward 
 intervals of the scale, and all the waves, in their direct and 
 inverted, equal and unequal, single and double forms, there is 
 but one which is not so employed. The simple rise and fall of 
 the second, and perhaps its wave, when used for plain narrative, 
 or for the mere statement of an unexcited idea, is the only into- 
 nated voice of man that does not spring from a passionate, or 
 in some degree, an earnest condition of his mind. If we listen 
 to his ignorance, doubt, selfishness, arrogance, and injustice, we 
 hear the vivid forms of vocal expression, proceeding from these, 
 and related passions. Thus we have the rising intervals of the 
 third, fifth, and octave, for interrogatives, not of wisdom but of 
 envious curiosity ; the downward third, fifth, and octave, for 
 dogmatic, or tyrannical command ; waves for the surprise of 
 ignorance, the snarling of ill-humor, and the curling voice, along 
 with the curling lip of contempt ; the piercing hight of pitch, 
 for the scream of terror ; the semitone, for the peevish whine of 
 discontent, and for the puling cant of the hypocrite and the 
 knave, who cover, beneath the voice of kindness, the designs of 
 their craft. Then listen to him on those rare occasions, when 
 he forgets himself and his passions, and has to utter a simple 
 idea, or plainly to narrate ; and you will hear the second, the 
 least obstrusive interval of the scale, in the admirable harmony 
 of nature, made the simple sign of the unexcited sentiment of 
 her wisdom and truth. In short, man as an Individual, is in his 
 forms of intonation, only the type of an eternal National Cha- 
 racter, — always prone to be vividly expressive of its vain-glory, 
 and its contempt of others ; unjustly aggressive in its high-toned 
 assumptions and imperative threats; with the piercing and 
 prevailing cry of war, from within and from without, and only
 
 
 142 ' THE PITCH 
 
 occasionally resting in the quiet voice of moral and intellectual 
 peace, with the Temple of Janus shut. 
 
 In describing the radical and vanish, the simple interval of 
 the second was represented as an individual function, under its 
 form of the equable concrete, on a simple tonic element. We 
 will consider in the next section, its application to successive 
 syllables and words, in sentences of continuous speech. This 
 continuous speech, thus formed by the simple second, cannot 
 from the character of that second, have what we call expression. 
 It may therefore seem that nature has designed continuous speech 
 in the second, to be a plain and colorless ground, for the con- 
 trasted display of the vivid voice of wider expressive intervals, 
 applied to occasional syllables in its course. And here the reader 
 may perceive one reason for our proposed distinction between the 
 non-expressive, so to call it, and the expressive character of the 
 constituents of speech. It was formerly stated that the notes 
 of the musical scale, under a certain order of succession, con- 
 stitute the melody of song ; and we now have to show how the 
 concrete and discrete intervals of the speaking scale constitute, 
 under a similarity of term, the Melody of Speech. 
 
 Since I am about to represent that continuous melody of a 
 second, or tone, as the ground upon which the purposes of other 
 intervals, and of other constituents of speech are to be dis- 
 tributed, I must beg the student to give his deliberate attention 
 to the subject. 
 
 The succession of syllables in plain narrative, or description, 
 being through the intervals of a concrete and discrete to7ie, the 
 melody is specified as Diatonic. 
 
 I 
 
 -»»®
 
 OF THE VOICE. 143 
 
 SECTION VIII. 
 
 Of the Diatonic 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 vras 
 described, it was regarded individually, or as applied to a single 
 syllable. But as speech consists for the most part, of a series 
 of syllables, on each of which some form of the concrete in- 
 stinctively occurs, it is necessary to consider the use and relation- 
 ships of the radical and vanish, in its repeated application to 
 the successive syllables of discourse. 
 
 In plain Narrative or Description, the concrete of each syllable 
 is made through the interval of a tone : and the successive 
 concretes have a difference in the place of their pitch, relatively 
 to each other. The application of these concretes to syllables, 
 and the manner of varying the succession of their pitch, are 
 exemplified on the following sentence. 
 
 He reads in na ture's in fi nite 
 
 book of se ere cy 
 
 ^4 4 ^ 
 
 If these lines and the included spaces be supposed, each in 
 proximate order to denote the difference of a tone in pitch, the 
 succession of the several radicals, with their issuing vanish, will 
 show the places of the syllables of the superscribed sentence,
 
 144 THE DIATONIC 
 
 in easy and unirapassioned utterance. The perception of the 
 effect of the concretes, and their successions here exemplified, 
 is called the Melody of Speech. 
 
 A strict definition of the term, melody of speech, embraces 
 the modes of pitch, force, and time, together -with the pause ; 
 and regards likewise, intervals of the scale wider than that 
 above exemplified, as well as intervals with a downward move- 
 ment: but as the nature of each of these wider intervals, with 
 their place and purpose in melody, will be separately described 
 hereafter, the present section is limited to the subject of pitch, 
 when the melody is made exclusively through the rising con- 
 crete, and the rising and falling discrete interval of a tone. 
 
 An accurate perception of the difference of pitch in speech 
 can be obtained, only by close observation, and by well-directed 
 experiment. The pupil being able to intonate the scale, let him 
 practice the interval of a second on syllables, instead of on the 
 simple tonic element; using a different syllable for each degree. 
 Thus prepared, let him read the line of the preceding diagram, 
 and try to recognize its intonation, by slowly pronouncing, or 
 rather hacTcing-out only the tonic element of each syllable ; 
 and giving those elements so short and abrupt a sound, that the 
 reading being thus inarticulate, may resemble the successions of 
 a short cough. This method will make the variations of pitch 
 more distinguishable than when the other elements of the sylla- 
 ble are uttered along with the tonic. 
 
 If this contrived utterance should not afford a clear percep- 
 tion, that the radical of a given syllable rises or falls a tone, 
 from the place of the preceding one, let the pupil measure the 
 questionable relation of the two sounds, by the rule of the scale, 
 in the following manner. While he pronounces the two sylla- 
 bles as if he were reading, let him notice their pitch, as parts 
 of the scale. When the second is above the first, those two 
 rjyllabic sounds will form the first two steps of the rising scale ; 
 and continuing to rise by an alternate use of these syllables, he 
 will complete that scale. When the second syllable is heloiv the 
 first, he will, on adding one or more tones successively below the 
 second, recognize the peculiar effect, heard at the close of the
 
 MELODY OF SPEECH. 145 
 
 scale, and on a fall of the voice at a period of discourse : for 
 this effect is produced only by a downward movement. In the 
 use of the means here directed, the ear must, with divided 
 attention, be turned at the same time, to the progress of the 
 spoken melody, and to the successions of pitch in the musical 
 scale. 
 
 In order to explain the system of melody, we may consider 
 the succession of its sounds, as divided into that prevailing 
 generally in the sentence, and that applied to a short portion 
 at its termination. These divisions may be termed, the Current 
 melody, and the melody of the Cadence. 
 
 The current melody, or the succession of rise and fall, em- 
 ployed on all the syllables of a sentence, except the three last, 
 may be thus described. 
 
 In simple phraseology, conveying no emphatic sentiment, 
 every syllable consists of the upward radical and vanishing tone. 
 The succession of these concretes has a variation of pitch, in 
 which the radicals of any two never differ from each other more 
 than the interval of a tone. 
 
 To distinguish these two forms of melodial progression, by 
 short and referrible terms, let us call the concrete rise of each 
 syllable, the Concrete Pitch of melody ; and the place assumed 
 by the radical of each syllabic impulse, above or below that of 
 the preceding, the Radical Pitch. Thus in the foregoing exam- 
 ple of notation, every one of the syllables has the concrete pitch 
 of a tone, passing from line to space, or from space to line. 
 The two,- respectively composing the words 7iature, and hook 
 of, differ a discrete tone from each other in their radical pitch ; 
 while the radical pitch of the three syllables in mfinite is the 
 same. 
 
 It will be shown, hereafter, in its proper place, that the 
 melody employed at some of the pauses in discourse, requires a 
 certain succession of radical pitch, for the just representation of 
 sense, and the different degrees of connection between clauses. 
 But the parts contained within the divisions made by these 
 pauses, have in general, no fixed arrangement : for the effect 
 will be natural and agreeable, if the melody of these parts is
 
 146 
 
 THE DIATONIC 
 
 made by avoiding a continuation of the same radical pitch, or 
 of an alternate rising and falling ; or any other progression of 
 too remarkable a regularity. I offer three different notations 
 of the same sentence ; where the succession of the radical and 
 vanish of each reading is varied ; the above caution observed ; 
 and where the melody has a natural construction. 
 
 He ne- 
 
 drinka, 
 
 but 
 
 Ti- 
 
 -mon's sil- 
 
 ^ZZ 
 
 ¥ 4^ 
 
 treads up on his lip. 
 
 4 4L 
 
 He no ver drinks, but Ti mon's sil ver 
 
 k 
 
 ^ 4 ^ 4 ^\ 
 
 ^ 
 
 treads up on his 
 
 lip. 
 
 ^444 
 
 
 tf r ^ 
 
 He 
 
 ne ver 
 
 drinks, 
 
 but 
 
 Ti mon's 
 
 sil 
 
 —ver 
 
 4 
 
 ^ 
 
 -/ 
 
 ^ 
 
 4 ^ 
 
 ^ 
 
 4 
 
 1 - 4 - - 
 
 treads up on his lip. 
 
 ZZ^ 
 
 z:
 
 MELODY OF SPEECH. 
 
 147 
 
 Other arrangements of a proper and agreeable melody might 
 be made for this sentence, on the principles of the varied suc- 
 cession of radical pitch here exemplified. But, however varied 
 the succession, its forms are all reducible to a limited number of 
 aggregates of the concrete tones. These may be called the 
 Phrases of Melody. These phrases are shown in the notation 
 of the following lines ; 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 given with a view to illustrate description, rather than 
 to furnish examples of appropriate elocution. 
 
 That quar — ter most the skil — ful Greeks an noy, 
 
 4-4-4 
 
 Z" 
 
 Monotone. Falling Ditone. Rising Tritone. Rising Ditone. 
 Where yon wild fig trees join the ■walls of Troy. 
 
 «^«/ 
 
 ^ «f tf ^ 
 
 ^ of ^ 
 
 ^ •/ 
 
 w ^ 
 
 ^ ^ 
 
 Falling Tritone. 
 
 Alternation. 
 
 Triad of the Cadence. 
 
 When two or more syllables as in the above example, occur 
 successively on the same i)lace of radical pitch, it may be called 
 the phrase of the Monotone. 
 
 When the radical pitch of a syllable is a tone above that of a 
 preceding syllable, the phrase may be termed the Rising Ditone. 
 
 When the radical pitch of a syllable is a tone below that of a 
 preceding syllable, the Falling Ditone. 
 
 When the radicals of three syllables successively ascend a 
 tone, the Rising Tritone. 
 
 When the radicals of three syllables successively descend a 
 tone, the Falling Tritone. 
 
 A train of three or more syllables, alternately a tone above
 
 148 THE DIATONIC 
 
 and below each other, may be called an Alternation or the 
 Alternate phrase. This may seem an unnecessary distinction ; 
 as the alternate phrase is no more than a succession of the rising 
 and the falling ditone. But as this succession does often occur 
 in speech, the term Alternation is here assigned, as a brief 
 expression for this form of melodial progression. 
 
 When three syllables successively descend in their radical 
 pitch, at the close of a sentence, the phrase may be called the 
 Cadence, or Triad of the Cadence. This is, indeed, a falling 
 tritone, but since the vanish of the lowest radical in the tritone 
 of the cadence always descends, as will be shown presently, I 
 have thought proper to contradistinguish and to specify it, as 
 the Triad. 
 
 It is to be remarked here, that the terms and characters of 
 the phrases of melody are the same, when the syllabic vanish 
 has the downward course ; the movements of the radical pitch, 
 especially constituting the phrases, not being affected by the 
 direction of the concrete pitch. 
 
 I have not been able to resolve the melody of plain narrative 
 or description, into more than these seven phrases. It would 
 seem to be part of the ordination of the diatonic melody, that 
 there should not be a continued rise, or fall of radical pitch, 
 to any great extent, by proximate degrees. It is here limited 
 to the tritone, in both directions, because it appears to me that 
 a further progression is not agreeable. Whether the propriety 
 of excluding rising and falling phrases of more than three con- 
 stituents, from diatonic speech, might be grounded on the 
 perception, that the effect of such phrases somewhat resembles 
 the effect of song, particularly in ascending the scale, whereby the 
 semitone is traversed, I leave to be determined by others; hoping, 
 in the spirit of philosophy, that until this point is ascertained, 
 there will be no party divisions, or useless contention about it. 
 
 The three examples g^ven in a preceding page, of the varied 
 current melody of the same sentence, and the statement that 
 even in that short sentence, the phrases might be further agree- 
 ably diversified, enable us to understand why a speaker, with a 
 conscious command of the science of melody, may readily avoid
 
 MELODY OF SPEECH. 149 
 
 a monotonous continuation of the same radical pitch, and 
 formal returns of similar progressions. For notwithstanding 
 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 interchanges, furnish sequences of dis- 
 similar passages, quite suflBcient to prevent a recognition of 
 identity in the succession. The ear of a skilful speaker should 
 be always on the watch, against the too frequent repetition of 
 the same phrases : and there is variety enough in their several 
 forms, to afford an easy exemption from this cause of monotony. 
 The principles that govern the successions of pitch in the melody 
 of speech, are similar to those of the arrangement of varied 
 accent and quantity, in the rythmus of well adjusted prose. 
 Excellence in each is the work of a delicate, educated, and 
 discerning ear : and its habitual and almost involuntary judg- 
 ment, 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 acknowledged verse. 
 
 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 changes of 
 
 radical pitch are made through the same interval. We learn 
 
 then, that the melody is made, partly in the concrete, and 
 
 partly in the discrete scale. The radical and vanish of each 
 
 syllable is strictly concrete : the transition from one syllable to 
 
 another is strictly discrete. The reader may however, in the 
 
 last diagram, merely notice, for it is a matter of no great 
 
 practical importance, that transitions of the different phrases, 
 
 give a different extent to the distances between any one radical, 
 
 and the close of the preceding vanish. Thus in the rising ditone 
 
 and tritone, there is apparently, no discrete interval between 
 
 them. In the monotone there is a discrete second. In the 
 
 falling ditone and tritone, two discrete tones, or the interval of 
 
 a third. But these, and similar differences, produce, if we may 
 
 except the case of the two discrete tones, no perceptible effect
 
 150 THE DIATONIC 
 
 in the melody : since in the case of the rising ditone, where the 
 voices of two syllables would seem to join, the full abruptness 
 of the radical, makes a plain distinction between itself and 
 the feebleness of the vanish. 
 
 The uses of the concrete and the radical pitch, above 
 described, point out two essential distinctions between the 
 melody of speech and that of song. And first : song generally 
 employs the protracted radical and protracted vanish, on all its 
 syllables ; whereas speech always employs the equable concrete. 
 Secondly : in the melody of speech, the radical pitch proceeds 
 by proximate degrees, or changes of a single tone or second. 
 The melody of song proceeds variously both by proximate degrees, 
 and by skips of wider intervals of the scale. 
 
 In treating hereafter of the nature of emphasis, and of inter- 
 rogative sentences, the occasions and manner of using wider 
 radical changes in speech, will be shown. The melody of simple 
 narrative or inexpressive speech, now before us, always moves 
 by proximate degrees. 
 
 We proceed to analyze the intonation, applied to the three 
 final syllables of a sentence ; and which, from its position and 
 peculiar nature, I have contradistinguished as the Melody of 
 the Cadence. 
 
 When the eight tones of the musical diatonic scale are 
 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 desending, cor-do cor-do-va 
 cor-do-va. By thus sol-faing, if I may so speak, on these sylla- 
 bles, the last repetition of the word in the descent, is allotted 
 to the three lower notes of the scale : the final syllable making 
 a full close on its key-note. In this experiment, the intonation 
 is supposed to be made by the prolonged note of song ; as it 
 would certainly be so made, by a person familiar with the scale. 
 But while descending, if these three notes of song be changed 
 to equable concretes of speech, the effect on the ear will be 
 identical with that of the same word, properly uttered at a full 
 period of discourse. From this, and other trials, it may be
 
 MELODY OF SPEECH. 151 
 
 learned, that the melody of the cadence is always made on the 
 three closing notes of the downward scale. 
 
 But the most remarkable effect of the cadence lies in another 
 point. Nearly all the radical sounds of the current melody are 
 represented in the several diagrams, as terminating in a rising 
 vanish ; yet we shall learn hereafter, that the purposes of variety 
 often require the use of a downward concrete. Now, another 
 purpose of this downward movement is, to bring the current to 
 a close ; and with this intention, the last constituent or lowest 
 concrete of the cadence is made by the feeble downward vanish 
 of a tone. This falling, so easily distinguishable from the 
 rising vanish, assists in producing the repose at the end of a 
 sentence : and constitutes, in connection with the series of three 
 descending radicals, the essential characteristic of the cadence. 
 
 It was stated above, that each syllable of the current melody 
 has a radical and vanishing tone appropriated to it. The parts 
 of the cadence are not always so apportioned. Let us, for the 
 sake of reference, designate the constituent concretes of the 
 cadence, by their numeral positions. 
 
 In the First form of the cadence, the first, the second, and 
 third constituent has each a corresponding syllable, with a 
 downward vanish on the last. From the rising vanish on two 
 of its constituents, let us call it, the Rising Triad. 
 
 Sweet is the breath of morn. 
 
 The Second form has a similar appropriation of concretes to 
 syllables ; with a downward vanish on each constituent. Let 
 this be called, the Falling Triad ; or, as it denotes the most 
 complete close, the Full Cadence. 
 
 The air was fanned by un num ber'd plumes. 
 
 f-rf-v ^ ^ 4 tf^ 
 
 -^
 
 152 THE DIATONIC 
 
 In the Third, the first and second concretes, or a concrete 
 that occupies the conjoined intervals of the first and second, is 
 allotted to a single syllable. From the first and 'second tones 
 being here set to. one syllable, call this, the First Duad. 
 
 With 
 
 tur— ret 
 
 crest and sleek en — am — el'd 
 
 neck. 
 
 -^- 
 
 4 4 
 
 ^ iT ^r -r cT a 
 
 
 V IP w ns 
 
 << 
 
 In the Fourth, the second and third coalesce on one syllable. 
 From the second and third tones being set to one syllable, call 
 this, the Second Duad. 
 
 The mean ing, not the name, I call. 
 
 - ^ ^ ^ ^— ^ ^ ^ \ \ 
 
 In the Fifth, the three constituents are appropriated to one 
 long syllable. As this is the least impressive form of the close, 
 call it, the Feeble Cadence. 
 
 No, by the rood not bo. 
 
 -A — 4' r ^ 
 
 In the Sixth form, which should properly be called a False 
 Cadence, the second constituent is omitted, as in the following 
 notation. 
 
 Of 
 
 wiles. 
 
 more in ex pert, I boast 
 
 not. 
 
 
 
 f£ 4 ^ d ^ ^ 
 
 
 
 4 
 
 W w W 
 
 ^ 
 
 This takes place when the ultimate and penult syllables of a 
 sentence are each so short, that giving either the length of two 
 conjoined concretes, would deform pronunciation.
 
 MELODY OF SPEECH. 153 
 
 In this last example, the cadence should be made by a 
 successive descent of three tones, on the words I boast not. 
 Should a reader, by unskilful management, neglect to set the 
 syllable hoast^ the radical pitch of a tone below I, he will be 
 unable to complete the cadence, by a downward prolongation of 
 the short syllable not, through the interval of two tones, as 
 shown in the fourth form of the cadence. But a full close can- 
 not be made without the third constituent, or an extension of 
 the second, by a downward vanish through its place ; and as 
 the syllable not, on account of its short time, is incapable of 
 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 account of the cadence, we have learned that its 
 construction involves the consideration of the time of syllables. 
 The first or triad form may be used under any condition of 
 quantity ; but if the three, or even the second and third sylla- 
 bles should be short, and not admit of prolongation, it is the 
 only one available. The same remark may be made on the 
 second form. When the penult 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 forms of the cadence, all except the last make 
 natural and agreeable closes ; but the first and second, which 
 proceed by an equal number of concretes and syllables, are of 
 the easiest execution. The third, fourth, and fifth, each conjoin- 
 ing the intervals of two and three concretes respectively on a 
 single syllable, require unusual facility in the management of 
 Quantity. Skill in commanding the time of utterance, will 
 enable an accomplished reader to perform with equal ease and 
 elegance, these three varieties of cadence ; and to give a faultless 
 close, however unexpectedly he may meet with a period in dis- 
 course : while the ordinary reader frequently fails in the melody 
 of his cadence, from being limited to the use of its triad form. 
 For should his current melody be so continued, that a monotone 
 or rising ditone reaches to the penult syllable, his cadence will 
 necessarily be awkward or false, either from the last syllable 
 being short, or from his being unable to manage his time and 
 11
 
 154 THE DIATONIC 
 
 intonation, or a single long one. The last described form of 
 the cadence, is not uncommon with the mass of speakers ; but 
 it is strictly forbidden by the rule of a good composition in 
 melody. 
 
 The fifth form of the cadence, "which is made restrictively 
 upon the last syllabic, is peculiar. It appears that the voice 
 does pass downward through the same extent of pitch, as when 
 the cadence is made in the triad forms ; but by this wider 
 descent of the first constituent, the radicals of the second and 
 third constituents are lost. Now it is the fulness of the radical 
 that draws the attention of the ear, to the changes of pitch in 
 the current melody ; and thus conspicuously marks the descent 
 of the triad at the close. The omission therefore of the radicals 
 of the second and third concretes, lessens the impressiveness of 
 this form, and justifies its term, Feeble Cadence. When the 
 reader can follow the notation, he will perceive a difierence 
 between the effect of the full and the feeble close ; and will 
 admit, that the full or falling triad with its downward vanishes, 
 produces a more satisfactory feeling of repose. 
 
 In the diagrams of the cadence, it appears, by measuring 
 from the radical of the first constituent, to the extreme of the 
 downward vanish of the last, that all the forms except the fifth, 
 embrace the interval of a fourth. And though I have marked 
 this last form, nominally as a third, yet the feeble cadence may 
 be made by an extension of the concrete, downward to a fourth 
 or fifth. Nor do I deny, that the downward concrete of all the 
 constituents, may not, on occasion, reach beyond the tone here 
 allotted to it. I have assumed the interval of the third as the 
 characteristic of the feeble cadence, because it is the smallest 
 downward interval that has, in its place, the eftect of a close. 
 The nature, or, if I may so call it, the punctuative intonation of 
 this Feeble cadence is such, that the ear allows a speaker either 
 to pause after it, or to proceed in his discourse. 
 
 A proper construction of the cadence is essential to the just 
 melody of speech : for having the peculiar characteristic of a 
 close, and occurring more rarely than the other phrases, it does 
 more emphatically affect the ear ; wliile its position at the pause,
 
 MELODY OF ^SPEECH. 155 
 
 subjects its nature and effect to discriminative attention. It 
 must be well known to those who have witnessed the efforts of 
 learners, that the proper management of a close of the voice 
 in reading, is, if ever, acquired only with great difficulty, and 
 after a length of time. I have heard offensive deviations from 
 the true rule of the cadence, by actors of long practice and con- 
 siderable skill, who would have guarded their utterance against 
 the alleged fault, if their powers, instead of being exercised 
 only in the benumming school of imitation, had been directed 
 by that free and energetic spirit which well-observed nature 
 informs us should govern the effective purposes of speech. 
 
 In the first section of this essay, the term Key was defined, 
 to signify a certain arrangement of the constituents of the 
 musical scale : and I now proceed to inquire, with what pro- 
 priety the term is applied to the melodial ranges of the speaking 
 voice. 
 
 As a generic term in music, Key designates the proper suc- 
 cession of tones and semitones in the diatonic scale. It includes 
 several species of a similar order of successions, carried on 
 from each of the several places of the scale, as the beginning 
 of those similar orders. It was shown that there are twelve 
 keys, founded on the semitonic divisions : within each of which, 
 an air or melody may be restrictively performed ; with a regu- 
 lated method, however, of conducting that melody, by what is 
 called Modulation, from one to another, through the whole 
 twelve. But an agreeable melody may likewise be made upon 
 a progression of the scale, with the semitones differently placed, 
 from those of the progression, described in the first section. 
 This gives rise to two different ISIodes of the diatonic scale. In 
 one a semitone lies between the third and fourth notes, and 
 between the seventh and the octave, as taught formerly ; con- 
 stituting 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. Now, as there are 
 twelve points of the scale, from each of which a diatonic series
 
 156 THE DIATONIC 
 
 • 
 
 may be arranged, so there may be twenty-four keys : twelve 
 constructed in the Major mode, and twelve in the Minor. A 
 melody in music, of which we are now speaking, formed on the 
 series of the latter mode, has a plaintive expression arising from 
 the peculiar position of the semitones. But we shall learn here- 
 after, that the plaintiveness of speech is produced by an entirely 
 difterent method of intonation. 
 
 The melody of Music, whether in the major or the minor 
 scale, is made by progressions, both of skips and conjoint 
 degrees, through a series of five tones and two semitones, in a 
 given key ; and the song or movement, so constructed, is termi- 
 nated with entire satisfaction to the ear, when brought to a 
 close on the first point of the series, called the key note. 
 
 The melody of plain Narrative or unimpassioned Speech is 
 made by progressions of conjoint degrees only ; and its satis- 
 factory close at a period of discourse, is effected by a descent of 
 its radical pitch through three conjoint degrees with a downward 
 concrete from the last. The scale of the speaking voice has no 
 fixed place for semitones ; nor is it limited, like that of music, 
 to a peculiar arrangement of seven constituent intervals. "When 
 a person can speak distinctly through a compass of ten dia- 
 tonic degrees, included between the low^est pitch of articulate 
 utterance and the highest point of the natural voice, his melody 
 may, by the use of a succession of proper conjoint phrases, be 
 carried in the following manner, through any wandering cours^ 
 of ascent and descent, within these boundaries. Let him take 
 his first syllable 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. 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 place, the triad 
 of the cadence, with the downward concrete of its final con- 
 stituent, will close the melody on the first.
 
 MELODY OF SPEECH. 157 
 
 In this description, the melody is conducted formally up and 
 down, in order to elucidate the means of changing the pitch, by 
 avoiding several directly successive rising or falling concretes. 
 But the rising tritone may also be used in ascending ; while the 
 progress may be varied by a longer monotone, and by deferring 
 the rise or fall, with an occasional phrase of contrary move- 
 ment. It is by avoiding an ascent and descent of more than 
 three concretes in succession, that the desirable changes through 
 acuteness and gravity in speech, may be effected in an easy and 
 agreeable manner : for the beauty of melody consists, not only 
 in skilfully varying 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 de- 
 grees : the rule of the rise and fall being observed, and the 
 melody being therein agreeably diversified. 
 
 If thou 
 
 dost 
 
 slan — 
 
 der her 
 
 and 
 
 tor — ture me, 
 
 
 -r 
 
 
 »C 
 
 
 ^ W 
 
 ^ 
 
 tf - «r 
 
 ir 0/ 
 
 
 ^ 
 
 
 
 1 
 
 Ne — ver 
 
 pray 
 
 more: 
 
 a — ^ban — don all 
 
 re morse ; 
 
 1 
 
 ^ d 
 
 ^ 
 
 A 
 
 ^-^4 ^ 
 
 ^ tr 
 
 
 
 ^ 
 
 ^nr^ 
 
 
 1 
 
 On hor ror's 
 
 head 
 
 hor — 
 
 -rors 
 
 ac cu — 
 
 — mu — late ; 
 
 1 
 
 ^ 9i ^ 
 
 
 y 
 
 
 ^ «r 
 
 d' 
 
 
 
 
 
 
 ^ ^ 
 
 1 
 
 Do deeds to make 
 
 Heaven weep, 
 mf 
 
 all 
 
 earth 
 
 a mazed: 
 
 §f 
 
 -r^ ^ 
 
 
 ^ 
 
 ^ <i 1 
 
 ^ ti tt ^ '^ ^ 
 

 
 158 THE DIATONIC 
 
 For no-thing canst thou to dam — na — tion mid, 
 
 i**^^"? if € ^ 4^ ¥ ^- 
 
 Great er than that. 
 
 
 
 ^ 
 
 ti 
 
 
 1 
 
 ^ - ^ ^ 1 
 
 
 
 
 ■V 
 
 The above notation is designed to exemplify exclusively, the 
 means for moving through the compass of Speech. If it were 
 the place here, to represent the emphatic intonation of this 
 forcible passage, other forms of both the radical and concrete 
 pitch would be used and explained. This subject however, 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. 
 
 Although the foregoing account of the musical and speaking 
 scales, represents their respective constituent intervals and 
 melodial progressions, so widely different from each other ; yet, 
 as the several keys in music do designate different degrees of 
 pitch, and as the expressive effect of the key-note does resemble 
 that of the cadence in speech, there would seem to be some 
 similarity between them. For since a descent in speech, of 
 three degrees of radical pitch, with a downward vanish from the 
 last, always produces a cadence, and affects the ear, like the 
 consummation of a key-note in music, it follows, that in a voice 
 with a compass of ten diatonic degrees, as above supposed, every 
 degree, except the upper two, may be the place of what we will 
 here, in merely supposing the case, call a key-note of speech : 
 and consequently, by the nature and relations of a key-note in 
 music, that this voice might be said to have eight keys. But 
 there would be an unavoidable difficulty in the specification of 
 the keys of spoken melody. When a musical melody is said to 
 be in a particular key, the term designates exactly the position 
 of its key-note. But the melody of speech cannot properly be 
 
 I
 
 MELODY OF SPEECH. 159 
 
 said, to be in any one key, nor to have any fixed place for a 
 key-note ; for it may be terminated by a triad of the cadence, 
 at any place of the scale. The constituents of the monotone 
 are the only fragments of melody, to which the doctrine of key 
 could be applied, for they would all have the same cadencial 
 close. When a cadence is made on any of the other phrases, 
 the triad which descends to a close from one of its constituents, 
 must differ from the triad desending 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 varying succession of phrases. The true place of key 
 can be affirmed only of the first constituent of the cadence 
 itself, because the succession of its last two, and the place of its 
 closing concrete, with regard to the first, are unalterably fixed. 
 Looking on the first constituent of the triad as determining the 
 idea of key, when applied to speech, a particular key may be 
 appropriated to each degree of the whole compass, except the 
 lower two ; and consequently the key, if it can so be called, of 
 a current melody must perpetually change. 
 
 The peculiar series of tone and semitone, in the scales of 
 music ; the necessity for rules of modulation, to govern the 
 change from one series to another ; together with the purposes 
 of Concerting, and of Harmonic composition, led to the definite 
 nomenclature and arrangement of musical keys. But a melo- 
 dial progression by the speaking scale, formed exclusively of 
 whole tones, and the unaccompanied, or strictly solo-vocal office 
 of speech, do not require the use of Key : and the designations 
 of its range and form of melody, perhaps call for no nearer 
 precision than that of a classification into the upper, middle, 
 and lower pitch of the voice. There is therefore no Key in 
 Speech. 
 
 From this view of the speaking voice, it may be understood, 
 why in the notation of its melody I have used only the staff of 
 the musical tablature, without reference to its cliffs or its signa- 
 natures. Cliffs are used in music for the purposes of Concerting ; 
 by determining with precision the proper places of pitch, for
 
 160 THE DIATONIC 
 
 several voices or instruments, when moving in accompaniment. 
 They are therefore useless to the singleness of speech. The 
 melotly of Narrative does not require the System of Key, and 
 the Signature of Flats and Sharps, which are necessary in the 
 musical scale, from the position of its semitones. The naked 
 lines and spaces of the Staff, denoting the proximate succession 
 of a tone, afford the proper and suflBcient means for illustrating 
 the inexpressive intonation of speech. 
 
 The term modulation is used, in music, to signify the transi- 
 tions of melody, and of harmonic composition, from one key to 
 another. A consideration of the propriety of using this term to 
 signify similar changes in the melody of speech, is involved 
 in the question, of the propriety of applying the musical term 
 key to the mere variations of pitch in the speaking voice : and 
 we have seen the almost universal difference hetween 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 relationships between their respec- 
 tive functions: but it appears from comparison, — there is no 
 systematic analogy to justify the transfer of the term key, — 
 and modulation, which is merely the practical use of Key, — 
 from music to speech. The transfer was, however, long ago 
 made, and the terms 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, shall be admitted, it will be 
 obligatory on all those who derive pleasure or benefit from 
 accuracy of knowledge, to distinguish, by appropriate names, 
 those ideas which negligence may have suffered to pass as identi- 
 cal. If the musical 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 complicated with a record of the waste work 
 of investigation, which the inquirer is ready to expunge and 
 forget, Avhen he has made his simple statement of truth. And 
 had the hitherto untried subject of melody been relieved from 
 the blinding consequences of that erroneous nomenclature, the 
 unargued and unbiased history of its changes could have been 
 thus more briefly described : The melody of the speaking voice,
 
 MELODY OF SPEECH. 161 
 
 may be led, ascending and descending, through its whole com- 
 pass, by a succession, exclusively of whole tones : and may from 
 any point, be brought to the satisfactory close of a full period of 
 discourse, by the descent of three radicals through conjoint 
 degrees, with a downward concrete on the last. 
 
 If I have not here followed the preferred brevity, nor omitted 
 the detail which produced the conclusion, that the doctrine of 
 key and modulation is not applicable to speech; it was, because 
 I certainly anticipated the inquiries, — a habit of erroneous 
 nomenclature would suggest ; and because I chose, perhaps 
 advantageously, to introduce into the recorded investigation, 
 some further or varied remarks on the melody of speech. 
 
 In reviewing the subject just closed, I fear the described phe- 
 nomena of the voice may not be immediately recognized, nor 
 the system of their combination definitely comprehended. The 
 difficulties in this case 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 sense which was able to discover 
 their insulated truths. The art of observation is but a matter 
 of apprenticeship and practice ; and it is the time of employ 
 no less than the manner, that contributes to the enduring excel- 
 lence of a master. Thoughts, not impressed by the deep sealing 
 of time, nor familiarized by the close acquaintance of habit, are 
 feeble or deluding agents in the arduous task of comparison and 
 arrangement : for it will be found that the author who first 
 institutes, or who comprehensively renovates a science, rarely 
 adds the clearest economy of system to 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, while he 
 touches its divisions and points, is partially raised above the 
 bounded prospects of humanity, by this humble tendency 
 towards omniscience. To him is due that rich compliment by 
 the contemplative Greek ; Avho knowing upon what transcendent 
 faculty to place the crown of intellectual glory, declared, that 
 he who can Arrange and Define well, might be fit company 
 for the Gods.
 
 162 QUALITY OF VOICE. 
 
 SECTION IX. 
 
 Of the Quality or Kind of Voice. 
 
 Quality or Kind is one of the five Modes of speech. Its 
 principal forms are the Whispering, the Natural, the Falsette, 
 and the Orotund Voices, together with those embraced by the 
 common nomenclature of harsh, hoarse, rough, smooth, full, 
 thin, and musical. Quality is, as it were the material of speech; 
 and many of its forms are employed for the purpose of expres- 
 sion. 
 
 There are certain conditions of the mind instinctively associated 
 with appropriate forms of quality. The whisper as an articu- 
 lation, denotes the intention of secrecy : the falsette is used for 
 the emphatic scream of terror, pain and surprise : and the oro- 
 tund voice alone gives satisfactory expression to the feeling of 
 dignity and deliberation. The natural voice is accommodated 
 to the moderate or lively sentiments of colloquial dialogue, and 
 familiar reading. It is not necessary to particularize here, the 
 sentiments, calling respectively for a harsh, full, rude or cour- 
 teous quality. The history of their specific appropriation, in 
 the art of reading, may be learned from books. 
 
 Regarding these forms of quality as distributed among 
 mankind, some voices are restricted to the harsh, or to the 
 meager. Few persons have by nature, a pure orotund. Some 
 speak altogther in falsette ; and women are apt to use it in 
 careless pronunciation. Most voices however, may by diligent 
 cultivation, be improved in quality. 
 
 This mode of the voice is not to be regarded solely in 'the 
 simple and insulated light, here represented. It is susceptible 
 of combination with force, time, pitch, and abruptness.* In 
 short. Quality must necessarily be united with some of the forms 
 and varieties of the other modes. It must be either strong or 
 weak ; its time must be long or short ; its emission will be
 
 ABRUPTNESS OF -SPEECH. 163 
 
 abrupt or gradual ; and it must be of some definite radical or 
 concrete pitch. Certain forms of quality are however, exclu- 
 sively congenial with particular conditions of these other modes : 
 thus smoothness will more generally affect the moderate degrees 
 of force. Similar congenialities may be discovered by the 
 slighest reflection. 
 
 It would be easy to select from authors and from familiar dis- 
 course, phrases or sentences, requiring respectively, the forms of 
 quality here enumerated. But I designed originally, to limit the 
 pages of this work, consistently with the purpose of definite 
 description : aiming to make known the hitherto unrecorded 
 phenomena of speech, rather than to add to the present excess 
 of compilation. No diagram can represent these qualities of 
 sound : and every attempt to make them plainer than they 
 are under their metaphorical designation, would be without 
 success. 
 
 
 SECTION X. 
 
 Of Abruptness of Speech. 
 
 On the first publication of this work, I anticipated objections 
 to the classification of Abruptness, separately from Force. I 
 now in the fourth edition, add this section, to state some of the 
 grounds of that classification. I had not proceeded twenty 
 pages, in the first desultory record of my observations on the 
 voice, before the fulness of the radical opening was perceived 
 to be a fact of very general occurrence in speech. On observ- 
 ing further, its cause was traced to a certain occlusion of the 
 breath ; and this was found to be an important and peculiar 
 agent in the production of accent, emphasis, and syllabication. 
 Finding, it could not be very precisely arranged under the
 
 164 ABRUPTNESS OF SPEECH. 
 
 mode of Force, to which it is partially related, I resolved to 
 make it a mode by itself: yet a mode -with differences in degree 
 only, and not in form ; and unlike every other mode, in having 
 but one solitary position in speech, — at the opening of the radi- 
 cal. It is a manner, as it were, of enforcing Force, not merely by 
 a higher degree of that force, but by another and peculiar mode. 
 That is, abruptness may be added to force, to render it more 
 emphatic ; just as force may be added to intonation, to enhance 
 its expression ; or as any one mode of the voice may be united 
 with another, for an additional or peculiar effect : thus making 
 them, each with the other, co-eflBcient but not identical causes. 
 
 The mechanism and action that produce this Abruptness, or 
 expression, consist in an occlusion of some vocal passage, and 
 a forcing of the breath against that obstruction, till the voice 
 issues with a sudden opening of the occlusion. Thus it appears 
 to be but a momentary function ; and so far distinguished from 
 force, which is essentially made on some duration of time, quality 
 or intonation ; for force to be strong and momentary, must be 
 abrupt. But further, abruptness may be equally applied to the 
 initial of quality, to make its harshness more shocking ; of the 
 orotund, to make the fulness of its radical more dignified and 
 impressive ; and of pitch, to mark conspicuously its places on 
 the scale. We have shown, on what occasions it governs the 
 construction of syllables. We shall learn hereafter, how it 
 effects clearness of articulation ; how, in its moderate degrees, 
 — for it is here plainly contradistinguished from force, — it is 
 the principal formative cause of the tremulous scale ; and how 
 it is related to the Shake of Song. Although the voice, without 
 this natural abruptness, would want one of its striking and 
 essential characteristics, and fail in one of its important uses, 
 for emphasis and distinct articulation : yet the full and ready 
 power over this means of energetic speech is possessed by few, 
 and is only acquired by attention and strenuous effort. When 
 in an individual, it seems to be natural, it is by animal instinct, 
 the indication of an excitable nervous and muscular system ; 
 but not necessarily of a quick or effective intellect. The explo- 
 sive bark of the dog, and the short, abrupt, and repeated
 
 THE TIME OF THE VOICE. 165 
 
 syllable-like 'put of the strutting turkey, are with each, as much 
 a sign of mere animal anger, and unconscious vanity, as a like 
 abruptness would be of some of the vulgar passions of ignorant 
 man. 
 
 To this explosion of the voice, which as the means of articu- 
 lation and expression, has never been recognized, or has received 
 but a transient and heedless notice, we have occasion to make' 
 continual reference, in the course of this work. Its most 
 remarkable employment will hereafter be shown, in the full and 
 sudden opening of the radical movement. This Radical stress, 
 as we call it, will be classed under the Mode of Force, not there- 
 fore regarding it as belonging to that place ; but merely to connect 
 it in order, with two of the other stresses which, having no 
 abruptness, are properly included under the Mode of Force. 
 
 SECTION XL 
 
 Of the Time of the Voice. 
 
 Two of the cherished relationships of man to man, are selfish- 
 ness and emulation. Accustomed therefore to regard himself in 
 the light of personal importance, and of relative position, he is 
 prone to look for consequence and rank in natural things. But 
 nature affects neither egotism nor precedence. When the five 
 modes of the voice are brought before us, we have that active 
 leaven of human curiosity, to discover which is the most import- 
 ant. But all are essential and equal in the scheme of creation : 
 where alone, the Republican Idea does, or perhaps ever can 
 present itself. Considering Quality, — or its Substratum as no- 
 tional metaphysicians would call it, — to be the material of the 
 voice, we see the necessity of its universality: and we shall
 
 166 THE TIME OF THE VOICE. 
 
 find that Time, tlie mode wo arc now about to consider, is an 
 equally pervading constituent of speech. 
 
 The degrees in duration or in the time of the voice, are repre- 
 sented though indefinitely, by the terms, long, short, quick, and 
 slow ; and are variously used, both for simple narrative, and for 
 expression. 
 
 To be definite, let long and short designate the time of the 
 syllables relatively to each other ; and quick and slow, the 
 utterance of any series or aggregate of words. Thus a syllable 
 is said to have a long or short time, or Quantity, as it is called 
 in this case ; while a phrase, an entire sentence, or a larger 
 portion of discourse is said to be pronounced in quick or slow 
 time. The occasions for employing these last divisions of time 
 are well known. Sentiments of dignity, deliberation, doubt, 
 and grief aflect a slow time ; those of gaiety, anger, and eager 
 argument, together with parenthetic phrases, assume the quick 
 time in utterance. 
 
 It is necessary, however, to be more particular, on the time 
 of individual syllables, comparatively considered ; and to regard 
 them otherwise than under their ordinary prosodial distinctions. 
 The times of syllables exhibit undistinguishable shades of 
 difference, from the shortest utterable, to their utmost prolonga- 
 tion in oratorical expression. To reduce this indefinite view to 
 available divisions, for future reference, we will arrange syllables 
 under three classes. Let the First embrace those restricted to 
 the shortest quantity : the Second, those limited to a quantity 
 somewhat greater than that of the first : the Third, those, of a 
 quantity, varying from the shortest, to even an indefinite pro- 
 longation. 
 
 To the First class belong many of those syllables, terminated 
 by an abrupt clement ; and containing a tonic, or an additional 
 subtonic, or the further addition of an atonic, such as at, ap, 
 ek, 7iap-less, pz'f-fall, ac-cep-tance. It is not the shortness alone 
 of syllables that constitutes the criterion of this class ; since 
 some, belonging to the third, may be, and sometimes are, in 
 common usage, equally short. The syllables now under con- 
 sideration, have this essential characteristic; they cannot be
 
 THE TIME OF THE VOICE. 167 
 
 prolonged, but with deformed pronunciation. The word convict, 
 ■when accented on the first syllable as a noun, and on the last 
 as a verb has, in simple utterance, a certain quantity allotted 
 to the accented syllable. If, 'for the purpose of oratorical 
 expression, with the noun, the time of the first syllable is indefi- 
 nitely prolonged, the identical character of the word still remains, 
 notwithstanding that extension. But when we give the last 
 syllable of the verb, to convict, a similar extension, its drawling 
 pronunciation is remarkably deformed. The syllables assigned 
 to the first class, not admitting of any alteration in quantity, 
 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 syllables, terminated 
 by an abrupt element, and containing one or more subtonics or 
 atonies, with a short tonic. The subtonic in this case, allows an 
 additional time greater than that of syllables in the preceding 
 class ; while the abrupt element and the short tonic, limit even 
 this moderate extension. Of this class are i/et, what, Up, 
 grat-itu.de, des-^rwc-tion. In these instances the syllables are 
 longer than those of the immutable class ; and for the purpose 
 of expression, the subtonics may be slightly extended beyond 
 their length, in simple utterance. But with undue prolongation, 
 they have the same offensive drawl, perceived in the forced 
 extension of the immutable class. As those included under the 
 present head admit of a slight change in quantity, they may be 
 called Mutable syllables. 
 
 To the Third class belong all those syllables, terminated by a 
 tonic element, or a subtonic, except b, d, and g. Of this 
 nature, are go, thee, for, day, man, till, de-lay, he-guile, 
 ex-treme, and er-fo-neous. If the speaker has a ready com- 
 mand over the subtonics b, d, and g, so as to give full audibility 
 to their essential guttural murmur, their position, at the end of 
 a syllable, does not absolutely prevent an indefinite prolonga- 
 tion, as in the words deed, plague, babe, res-tored. But the 
 effect in these cases, is by no means to be compared with that of 
 an extension of time upon other subtonics, and on tonics. In
 
 168 THE TIME OP THE VOICE. 
 
 the above pure examples of this class, it will be found, that to 
 whatever necessary degree the quantity may be prolonged, the 
 character of the syllable will still be preserved, without the dis- 
 agreeable eflfect, produced ^y'an indefinite increase of time, 
 under the preceding classes. It is the peculiar nature of these 
 syllables, that they seem to be the same, under every degree of 
 prolongation ; while the immutable and mutable, in some cases 
 almost lose their identity, by too great an addition to their time. 
 From their allowable variety, the syllables o£ this class may be 
 said to be of indefinite quantity ; and may be called Indefinite 
 syllables. They furnish important means for the expression of 
 speech ; some of its most eficctive forms, being made on sylla- 
 bles, with this power of indefinite prolongation. 
 
 The reader^ is to receive the foregoing classification, as one 
 adapted to our view of the expressive powers of time. The 
 investigation of the causes of expression, soon suggested the 
 necessity of other distinctions of quantity, than those of long 
 and short ; which, after a millennium and more, of pretending 
 observation, we continue to transcribe from the meager record of 
 Greek and Latin prosody. The phenomena of expression first 
 directed the division here made ; and however it may be other- 
 wise applied, it will be necessary for the explanation of future 
 parts of this essay. Whatever may be thought of its sufficiency, 
 I must still believe it is high time for the superannuated sages 
 of classical literature to throw aside the Greek and Roman 
 auscultation in their prosodial researches ; and try if time, with 
 a new vocal analysis, may not cfi'ect upon them one of those 
 renovations of sense, which, it is said, have now and then resus- 
 citated the torpid perceptions of extreme longevity. 
 
 The power of giving indefinite prolongation to syllables, for the 
 purpose of expression, is not commonly possessed by speakers. 
 It is true, the daily use of the voice frequently calls for forcible 
 expression : but daily discourse is often mere narrative or 
 description ; or if directed by strong emotion, its sentiments 
 are those of active argument, or of contending interests, which 
 employ, for the most part, the short time of syllables and the 
 quick course of utterance. Still, the assertion that a long
 
 THE TIME OF THE VOICE. 169 
 
 quantity is not easily practicable, may seem to be questionable : 
 since persons "who sing, protract their notes to an indefinite 
 length ; and all utter interjections and cries in the same manner. 
 But these voices are generally made on prolonged notes ; Avhile 
 the difficulty, to which: we here allude, is in the execution of 
 the equable concrete of speech. We have shown that differ- 
 ent forms of the radical and vanish are respectively employed 
 in speech; and song. Without attention to the nature and use 
 of these differences, it is sometimes difficult to restrict them to 
 their appropriate places. A reader who has not by practice, a 
 facility in executing the prolonged quantity of speech, will be 
 liable, in extending his syllables, to fall into the protracted radi- 
 cal or protracted vanish. On the other hand, when persons 
 without a musical ear and a singing-voice, imperfectly re- 
 member and endeavor to imitate, the melodial successions of 
 song, they are apt to utter many of its notes, in the equable 
 concrete of speech. Prolonged cries, and interjections which 
 are only more moderate cries, are always made either by the 
 protracted notes of song ; or by the wave ; or by movements 
 through the wider intervals of the scale : and though these 
 intervals and the wave are both proper to speech, yet the pro- 
 longed cry and interjection are the forced effect of passion ; 
 which not operating to this degree, on the ordinary occasions 
 of reading and speech, the cause is not habitual, and the prac- 
 tice not confirmed. 
 
 The foregoing notice of the exclusion of the peculiar intonations 
 of song from speech, furnishes one reason why persons, of great 
 accomplishment as singers, are nevertheless indifferent readers 
 or common-place actors. In its proper place, other causes will 
 be assigned for the general want of interchangeable facility, in 
 the exercise of the arts of song and speech. That arising from 
 the different structures of the radical and vanish in the two cases, 
 is not the least influential. The endowed singer may have at 
 command all the means of expression, used in song. But these are 
 not tranfcrable to speech ; and while he is able to clothe every 
 sentiment of the melody, with the long-drawn notes of the Com- 
 12
 
 170 THE TIME OF THE VOICE. 
 
 poser, his attempts at recitation, strip off or tear to pieces, every 
 feeling embraced by the equable concrete of the Poet's words. 
 
 But to return from this account of different forms of the con- 
 crete, to the consideration of the uses of its Varied quantity. The 
 immutable, mutable, and indefinite time of syllables, has each 
 its appropriate manner of fulfilling the purposes of expression. 
 But the use of an indefinite time, for some of its higher effects, 
 is of great and pervading importance in speech. This subject 
 •will be illustrated in future parts of this essay. Readers -nho 
 are ignorant of the principles of quantity, are yet aware of the 
 necessity of a deliberate movement, for the expression of certain 
 sentiments. They therefore, endeavor to obviate the difficulty 
 of making a long syllabic quantity, by slight pauses between 
 words, and even between syllables. But propriety and taste 
 allow no compensation of this sort : they require most of the 
 prolonged time in dignified expression, to be spent on the sylla- 
 ble itself, and reject the other means, as offensive monotony or 
 affectation. 
 
 Eminent instances of the essential importance of long quan- 
 tity may be shown, by considering the syllabic construction of 
 sentences with reference to expression: for since the display of 
 certain sentiments requires the prolonged time of indefinite sylla- 
 bles, it may happen that such sentiments are to be expressed on 
 the limited duration of a mutable, or the mere moment of 
 an immutable time. 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, 
 In-sult-mg angel ! well thou know'st I stood 
 Thy ferc-est, when in battle to thy aid, 
 The blasting vollied thunder made all speed, 
 And seconded thy else not drcad-ed spear. 
 But still thy words at random, as before. 
 Argue th}- inexperience what behoves 
 From hard assays and ill successes past 
 A faithful leader, not to hazard 'all' 
 Through waj-s of danger bj- himself untried :
 
 THE TIME OF THE VOICE. 171 
 
 'I,' therefore, T 'alone' first undertook 
 
 To wing the desolate abyss, and spy 
 
 This new created world, whereof in ITcU 
 
 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, with songs to hymu his throne, 
 
 And practis'd distances to 'cringe,' not Jiyht. 
 
 The language of this extract is variously made up of argu- 
 ment, narrative, and feeling. We here refer to the last. I 
 have marked in italics, some of the syllables representing these 
 feelings, but which are incapable of prolongation. The sylla- 
 bles, less^ shrink, suit, fierce, else, and dread, belong to our 
 class of mutables, yet they cannot bo extended, without making, 
 in the several cases, the prolonged radical on I, e, and r ; and 
 this would change the pronunciation to a drawl. Now let us 
 suppose less, taken with endure, to embrace the sentiments of 
 suifering and resignation ; shrink, those of taunt and exultation ; 
 suit, those of complaint, pride and reproach ; fierce, the senti- 
 ment of scornful defiance : else, a condition of self confidence 
 and contempt; and dread, when interpreted by the preceding 
 exceptive, else, a similar condition of self-relying courage. The 
 expression of all these sentiments, as we shall learn hereafter, 
 calls for a prolonged quantity, on the wider intervals of pitch, 
 and on the Avave ; which the shortness of the elemental sounds, 
 in the above emphatic syllables, does not allow. The emphasis 
 of stress might indeed be laid upon them, but this would not 
 express their purpose. The last marked phrase of the fore- 
 going extract, afifords a more conspicuous illustration of the 
 subject before us : for of the words not fight, the first is only 
 mutable ; and the last being strictly immutable, does not admit of 
 extension, without a disagreeable departure from correct pronun- 
 ciation. Now the sentiments of this phrase being those of strong 
 contempt and exultation, their expressive intonation should be 
 made upon an indefinite time. A reader of discernment, and
 
 172 THE TIME OF THE VOICE. 
 
 of delicate feeling can never satisfy bis ear on these restricted 
 quantities. I have in the same extract, marked Avith commas, 
 a few words, embracing sentiments that call for wide intervals 
 on an extended time ; and these words by their power of indefi- 
 nite prolongation fulfill every purpose of expression. 
 
 I add here another exemplification of this subject, from that 
 magnificicnt picture of Satan's Imperial Presence in Pandemo- 
 nium, at the opening of the second book of Paradise Lost. 
 
 High on a throne of royal state, which far 
 Outshone the •wealth of Ormus and of Ind, 
 Or where the gorgeous East with richest hand 
 Showers on her Kings barbaric pearl and gold, 
 Satan exalted sat. 
 
 In these lines, Milton, with a just instinct of versification, 
 has employed long quantities, in happy adaptation to the stately 
 sentiment of the description. 
 
 I use here, rather remarkably, the term instinct of versifica- 
 tioji, 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 full resources of the accentual 
 measure by Milton, was a new and absorbing labor. Had this 
 advance-step preceded him, the originality and restless enter- 
 prise of his genius, would most probably have joined with the 
 many principles of Greek and Roman composition, so happily 
 transferred to his own language, the accomplishment of the sup- 
 posed impossibility of adopting the rules of their ry thmus. In the 
 above example, where the majesty of his thought secured so 
 much homage from his ear, some of the quantities suddenly 
 arrest the perception of continued movement and deliberate 
 dignity, produced by the protracted time of the generality of the 
 measure. The syllables state, rich, and sat, are too short 
 for the otherwise good iambic temporal ry thmus of these lines ; 
 and the word harharic 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
 
 THE TIME OF THE VOICE. 173 
 
 longer than the second, -which will not, in this case, bear unusual 
 extension. But the longer syllable is here in the place of the 
 weak syllable of iambic accent ; and the impressiveness of ex- 
 ceeding length thus reverses the succession of the prevailing 
 rythraus. Nor does the simple meaning of the epithet barbaric, 
 allow a sufficient degree of accentual stress on the second sylla- 
 ble, to overrule the impressiveness of greater length in the 
 first. If the reader, excusing the rhetorical change, will substitute 
 the adjective orient for bay-baric, he will perceive by compari- 
 son, the difference between the accentual and the temporal 
 rythmus. 
 
 Showers on | her kings | her or | lent pearl | and gold. 
 
 Now whether the first and the fourth is considered respectively 
 in order, a trochee and an iambus, as here marked, or as a dactyl 
 and an anapasst, as they may be read, consistently with the 
 genius of our iambic measure, the admissible prolongation of 
 the indefinite syllable or, produces a dignity of utterance that 
 cannot be effected on the short time of the accented syllable of 
 barbaric. And it may be added further, that this line does fulfill 
 the conditions of poetic quantity, as completely as any line ever 
 constructed Avith Greek or Roman words.* 
 
 To a bad reader, nearly all sentences are alike, however 
 improperly constructed for vocal expression. While he who 
 looks abroad for excellence, through all the ways of the voice, 
 
 * If the reader would know how certain words may be pronounced as a foot 
 or prosodial phrase, either of two or of three syllables, let him recur to our prin- 
 ciples of syllabication, formerly described. The words shoicers is one syllable, 
 when the e is omitted ; the dipthongal tonic ou, vanishing directly into the 
 subtonic r. If the sound of e is retained, that element requires a radical, and 
 the word becomes, thereby, of two syllables. The trisyllable orient, is reduced 
 to a dissyllable, by withholding a radical from the sound represented by «, and 
 thereby dropping that sound as a distinct syllable. Now i, in the trisyllable, 
 is expressed by the proper sound of ee-\, and this element passing readily into 
 the subtonic y-e, as in yent, coalesces with the succeeding tonic e; or rather 
 taking the place of that tonic, joins itself to the subtonic n, to form the short 
 syllabic impulse. 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 construction, but to form thereby, a regular iambic line, and to illustrate 
 one of the principles of English pronunciation.
 
 174 THE TIME OF THE VOICE. 
 
 must often find the tendencies and demands of his utterance 
 restricted, by the unyielding nature of an immutable phraseo- 
 logy. A limited discernment, and the common uses of quantity 
 often suffice to set forth the sense of an author ; but the picture 
 of passion, "\^■ill be in many cases imperfect, if made on the short 
 time of syllables. A reader 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 Gabi;iers 
 answer, to Satan's apology for his flight from Hell, just quoted, 
 and is a comment on the title of faithful leader, vaunted by 
 Satan. 
 
 name, 
 sacred name of faithfulness profan'd ! 
 Faithful to whom ? to thy rebellious crew ? 
 Army of Fiends, fit body to fit head. 
 
 The six syllables of this last phrase are short, and all the 
 emphatic ones are immutable. They contain a degree of admi- 
 ration at the well marked fellowship, between a ring-leader and 
 his crew, mingled with scorn at the wicked faithfulness of the 
 rebellious outcast : and these sentiments, we shall learn here- 
 after, cannot be eminently shown on the abrupt shortness of the 
 syllabic time here employed. With an accomplished speaker, 
 the management of this phrase would be like the efi'orts of a 
 musician of feeling and skill, on a limited instrument : and the 
 difi"erent efi"ect of his voice, on the above short syllables, and on 
 indefinite quantities embracing the same sentiments, would be 
 like the effect of the inexpressive chattering of the harp or 
 piano-forte, compared with the rich resources and swayful con- 
 crete of intonation, in the violoncello. The harsh and unyielding 
 character of the short syllables in the above example, would be 
 striking to a good reader, from its contrast with the preceding 
 phraseology : in which, the two interjectives, the words name, 
 profaned, zvJiom, thy, creiv, army, fiends, and perhaps faith- 
 ful, — being all of indefinite time, and some of them emphatic, 
 — afford the most ample means, for a true and elegant intona- 
 tion of any sentiments they may convey.
 
 THE TIME OF THE VOICE. 175 
 
 The abrupt and atonic elements produce, in discourse, many 
 instances of syllabic construction that restrain, or altogether 
 prevent intonated expression. But perhaps the greater number 
 of sentences admit of the quantity, required by their sentiments. 
 For it is not absolutely necessary that every word should join 
 in the expression. One or two well accommodated quantities, 
 sometimes sufficiently convey the character of the sentence. 
 The syllable Par in the following line has a natural quantity, 
 which, without impropriety, may be doubled or more, in expres- 
 sive utterance ; and the same may be said of bleed. 
 
 Pf/T-don me thou bleeding piece of eavtli, 
 
 That I am meek and gentle with these butchers I 
 
 The circumstances of the scene in Julius Ccesar, from which 
 this is taken, inform us that Mark Antony's sentiments, ex- 
 pressed in the first line, are those of love, grief and contrition ; 
 his feeling of revenge does not appear until the second. Those 
 sentiments, it will be shown hereafter, call particularly for an 
 extension of syllabic time : and we here regard the words partZow 
 and bleeding as emphatic, since they respectively picture the 
 special object of the suppliant, and the disastrous assassination, 
 that with self reproach, he had delayed to punish. Now the 
 accented syllables of these words admit the prolonged concrete ; 
 and the employment of the proper expression on their indefinite 
 quantity alone, spreads the coloring of that expression over the 
 Avhole line. 
 
 In the preceding illustrations, the reader may now perceive 
 some ground for our arrangement of syllables, according to their 
 time, and in reference to the subject of expression : and may 
 thereupon, admit the usefulness of its nomenclature, for the 
 purposes of criticism and description. But there is another 
 view to be taken of syllabic quantity. From the limited re- 
 sources and the necessarily generic character of language, the 
 same word may in different sentences, have a varied meaning. It 
 is still more common to find the same word imbued with a dif- 
 ferent sentiment, in its changeable combinations with other words. 
 Now as some sentiments are only properly represented by a
 
 176 THE TIME OF THE VOICE. 
 
 short and abrupt utterance ; it follo'W'S that a word or syllable, 
 ■which on otiB occasion frustrates the designs of feeling, by resist- 
 ing the required prolongation, may on another, fulfill the purpose 
 of expression with its immutable quantity. It was shown in a 
 former example, that the word fight was incapable of the 
 extension, there necessary for the full display of the sentiment 
 of scorn. When Hamlet in the violent scene with Laertes says. 
 
 Why, I will fight with him upon this theme, 
 Until my eyelids will no longer wag : 
 
 the quick time of the whole sentence, is generically inclusive of 
 the short time of its constituent syllables : and the immutable 
 quantity of the word fight, by admitting of abruptness and 
 force, may fully denote the resolute rage of the prince. 
 
 Interjections are the only part of speech, employed exclusively 
 for expression. Those common to all languages, consist of 
 tonics, that freely admit of indefinite prolongation. Interjec- 
 tions are the instincts of the animal voice ; and by nature 
 always have an extendible quantity, required for the expression 
 of feeling. Other parts of speech are sometimes the picture 
 of more thoujrht, and sometimes of sentiment : and accommo- 
 dated to this, there is a natural diff'erence in the time of sylla- 
 bles. Had words been invented as signs of feeling only, most 
 of them would have been made with a prolonged voice. Since 
 then the tonic elements may be uttered either as long or as short 
 quantities, and since the abrupt and atonic, in certain positions, 
 inconveniently produce short time in syllables, it might be 
 inferred, that a language consisting entirely of tonic sounds, 
 manageable both for long and short quantities, would better 
 fulfill all the purposes of the voice, than a language containing 
 in part, elements of immutable quantity. But some sentiments 
 are Avell represented by a short quantity, and a sudden issue of 
 voice : and the abrupt elements are, "in certain positions, merely 
 the best contrived means for producing that suddenness with the 
 greatest variety and force.* And further, the atonies, though 
 
 * Those who delight in searching for undiscoverable things, may institute an 
 inquiry, whether the abrupt elements derive their existence in speech, from the 
 sudden utterance which anger and other violent passions instinctively assumed, 
 at that nonentity of date, the origin of language.
 
 THE TIME OF THE VOICE. 177 
 
 not in their own nature explosive, yet arrest the concrete pro- 
 gress of vocality, and thus allow a succeeding tonic readily to 
 take on the abrupt opening. A language made up of sounds, 
 having the varied character of our tonic, subtonic, atonic, and 
 abrupt elements, is well accommodated to the system of those 
 expressive signs, ordained throughout all vocal creation.* 
 
 The employment of prolonged time, in the emphatic places of 
 discourse, with a view to expressive intonation, seems never to 
 have been thought of by ordinary writers ; and has been so far 
 overlooked in the schools, that it has never received formal 
 notice either in Rhetoric or Elocution. Dramatists, to whose 
 taste and duty this remark is especially applicable, frequently 
 neglect that proper adaptation of time, which would afford an 
 Actor the means of adding the finishing touches of his voice, to 
 the vivid and forcible picture of poetic composition. 
 
 The judicious use of the variations of time is the very life of 
 elocution, and the right hand of the rythmus of poetry and prose. 
 
 The human ear has cognizance of two kinds of proportion in 
 the successions of sound : one embracing the relationship of its 
 forces, the other of its durations. 
 
 The First consists in the perception of impressions of unequal 
 
 * This remark will scarcely be acceptable, to those who have always thought, 
 — the greater the proportion of vowels to other elements, the greater the 
 harmony, as it is cMJed, of a language. And hence the sneer of Grecian scho- 
 larship at olir barbarian cacophony ; if I may with a repugnant ear, thus lay an 
 example of classsical harmony on an English page. A language that would 
 give to a, e, i, o, u, oi, and ou, an over-share of speech, would be very mono- 
 tonous, and might perhaps remind us of its vowel roots among the animals. 
 But as regards sound, it would be far from our idea of the harmonious. The 
 term harmony, taken from other arts, has not a very descriptive meaning, when 
 applied to language. Architecture, Music, Painting, and the Landscape, re- 
 quire, respectively, a unity in their varied distribution of sound, color and 
 form, and a variety in the unitizing power of contrasts, to make-up the engag- 
 ing effects of their harmony : while each has its peculiar manner, if I may so 
 speak, of Preparing, and Striking, and Resolving its discords. What the lite- 
 rary critic calls harmony of language, is the audible impression of Rythmus ; 
 and consists in the varied combinations and contrasts, of the forms of Force, 
 Quality, and Time, with the intersections of pause; shown in English Compo- 
 sition, by a due apportionment of tonic, subtonic, and atonic elements, to 
 mutable, immutable, and indefinite syllables.
 
 178 THE TIME OF THE VOICE. 
 
 force alternately successive. Of this there are many species, 
 derived from the order of succession, or the number of the 
 varied impulses ; as exhibited in the following illustration : 
 where the first species shows a heavy impulse followed by a 
 lighter one ; the second, one heavy followed by two lighter ; 
 the third and fourth being respectively the reversed order of 
 the other two. 
 
 %^ #• #e I #«e #oa | •# •% \ ••• ••^ 
 
 The Second kind of proportion consists of perceptions of the 
 different duration of two or more sounds. Of these there are 
 species, arising from the relation of long and short, and from 
 the order of succession : as in the following illustration : where 
 the first is meant to represent a sound of given duration fol- 
 lowed by one of half or lesser fraction of its time ; the second 
 shows a given time followed by two shorter ; the third and 
 fourth being respectively the reverse in order, of the times of 
 the first and second. 
 
 1, 
 
 The reader can audibly illustrate these schroics, by sounds 
 of different force and duration. 
 
 We can reach no further in the investigation of this subject, 
 than to know, the measurement of these proportions is an agreea- 
 ble exercise of the ear : and that we arc more pleased with varied 
 percussions, and varied durations of any mechanical sounds, of 
 these or other symmetrical arrangements, than with one unvaried 
 succession of percussions and durations, except regular pauses 
 are interposed between them ; as in the following notation : 
 where the space of a pause is represented between a series of 
 two, and of three similar sounds. 
 
 I^# @# ©® I 999 ••• ••d
 
 THE TIME OF THE VOICE. 179 
 
 Now as the voice has the power of this momentary percus- 
 sion, and as syllables have different degrees of duration, both of 
 the above forms of succession in force and time, may be applied 
 to speech. The perception of the former is called Accent, and 
 that of the latter, Quantity. To one who has equally exercised 
 his ear in these two kinds of measurement, the alternation of 
 quantity is by far the most agreeable. For, in the case of 
 accent, no momentary sound or mere ' ictus' can be tunable ; 
 whereas a prolonged quantity is the very essential of tune. If 
 then the perception of equal momentary sounds, with pauses 
 between the given aggregates, or of unequal momentary sounds, 
 alternately continued, is agreeable, the perception of a similar 
 order of differing tuneful quantities must be more so. Since 
 the accentual function may be conjoined with quantity, by giving 
 the abrupt ictus to the beginning of a prolonged syllable : while 
 pauses may be interposed between aggregates that make up the 
 succession of quantity. 
 
 The above view regards brute sound only. When quantity 
 carries the concrete, and thus becomes susceptible of vocal 
 expression, its claims over accent are incalculable. 
 
 The preceding remarks on the quantity and accent of language, 
 refer especially to the use of the voice in reading verse : since 
 a principal cause of the difference between a good and a bad 
 reader therein, lies in their ability to command the accent and 
 quantity of syllables. 
 
 It may be supposed, I allude to the Latin and Greek 
 languages, when speaking of the quantity of verse. No, it is 
 to the English language, and to the partial, though unsought 
 use of quantity, at present prevailing in its measure: and I 
 wish further to intimate an anticipation of the future construction 
 of its versification, on the sole basis of quantity ; if the scho- 
 lastic formalists of literature can be made to believe, — the 
 subject of ancient prosody has, for ages past, been exhausted ; 
 that the labors of wrangling compilation, arc inferior to the 
 works of inventive improvement, and that the investigation of 
 their own respective languages, may assure to them the first 
 births of genius, and to their productions, if ambitious of such 
 things, the consequent undivided heritage of fame.
 
 180 THE TIME OF THE VOICE. 
 
 About the time we are taught to measure the syllables of 
 Virgil, bv the relations of long and short, we are told, the 
 genius of our own tongue does not admit of the rythmus of 
 quantity ; and that the prosody of the English as well as of 
 other modern languages, is restricted to the use of the alter- 
 nately strong and weak percussive accent. For the sake of 
 the general principle in some important matters, we do well 
 perhaps, in the present make-shift state of the human mind, to 
 rely implicitly, for a time, on the authority of our teachers ; 
 but many 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 posseses 
 similar, if not equal resources, with the Greek and the Latin, 
 in this department of the luxury of speech : and I thus found 
 myself indebted to the Stage, for the opening of a source of 
 poetical and oratorical pleasure, which the more virtuous pre- 
 tences, and the hack instruction of a College, either knew not 
 or disregarded. While listening to the intonations of this surpass- 
 ing Actress, I first felt a want of that elementary knowledge which 
 would have enabled me to trace the ways of all her excellence. 
 I could not however, avoid learning from her instinctive example, 
 what the appointed elders over my education should have taught 
 me ; that one of the most important means of expressive into- 
 nation, consists in the extended time of syllabic utterance.* 
 
 I must not be understood here, as asserting, the quantity 
 of English syllables has not been recognized by prosodians ; or 
 
 * I had the good fortune to hear this admirable Actress, b^h in Edinburgh 
 and London, while pursuing my medical studies, from eighteen hundred and 
 nine, till eighteen hundred and eleven. On the first publication of this work, 
 in eighteen hundred and twenty-seven, it came into my mind, though unwar- 
 ranted perhaps, by my admiration both here, and subsequently expressed, 
 to send her a Copy : not however, without sufficient warning, from some floating 
 idea, that the work itself would be regarded, by that peculiar Actor-ism of 
 Actors, as an unwelcome, if not a presumptuous offering on the Theatric Altar of 
 Anti-docility and Self-sufficient Genius, I think it was then, and now after 
 seven and twenty years, when I add this note, I more than think it is still so 
 regarded.
 
 THE TIME OF THE VOICE. 181 
 
 that its beauty has not been perceived by a good ear, wherever 
 it has been well used by design, or accidentally, in English 
 versification, and in the well adjusted syllabic successions of 
 prose. I mean to convey a regret that its powers have been 
 undervalued ; that it has been thereby excluded from its place 
 in elementary rhetorical instruction ; and that the ear has thus 
 been deprived of one of its highest prerogatives of perception, 
 in poetry and speech. 
 
 We may very reasonably ask whether a classical scholar is 
 gravely in earnest, or only vain of a college livery, in declaring 
 his enjoyment of Greek and Latin rythmus, while he is ignorant 
 of similar resources of neglected quantity, in his own language. 
 The Greeks and the Latins have left us their grammar, their 
 written words, syllables, and elements ; but our uncertainty of 
 the true voice of these elements in their several combinations, 
 has given rise, among modern nations, to a difference in the 
 pronunciation of them. Assuming the English manner, the 
 subject of Greek and Latin quantity may be resolved into these 
 simple principles. Long syllables, or the temporal effects of long 
 syllables, are made in two ways : First, by the absolute duration of 
 syllables, constituted like those we called indefinite : Second, by 
 the short time of those we called immutable and mutable, followed 
 by a pause ; the time of pronunciation added to the time of the 
 pause, being equal to along syllable. Short syllables are made 
 by the short-timed pronunciation of indefinite syllables, or by 
 immutable ones. Now there is nothing in this account of 
 ancient quantity, not true of the English language. 
 
 And further, not only are these general principles of syllabic 
 construction the same in Greek, Latin, and English, but the 
 very syllables themselves are common to these three languages ; 
 nay, we may say, to all languages. For we must bear in mind, 
 there is in all languages, about the same number, both of 
 vowels and consonants ; and that universally, no syllable ever 
 includes more than one vowel. If the reader will run over 
 every line of Homer, and Horace, he will find few if any sylla- 
 bles that do not form the Avhole, or part, of some word in his 
 own tongue ; both as regards the elemental sounds, and the
 
 182 THE TIME OF THE VOICE. 
 
 most exact coincidence of quantity. But it is on the nature of 
 syllables alone, that the doctrine of quantity is founded, in every 
 language. When we therefore deny, that the genius of the English 
 tongue admits of the temporal measure, we must come to the 
 absurd conclusion, that identical sounds have in Greek type, the 
 most finished fitness for quantity, and in English have none 
 at all.* 
 
 These remarks refer principally to the time of syllables sepa- 
 rately considered. There may be some differences in the several 
 words of these languages, that may render it easier to construct 
 a rythmus 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 mea- 
 sure, arising out of the greater length of the generality of words 
 in this language. The Greek may possess an advantage over 
 the English in some of the purposes of vocal expression and 
 poetic quantity, by having a greater number of indefinite sylla- 
 bles, and by making less use of the abrupt elements, in positions 
 that produce an immutable time. Greek syllables have, in 
 
 * That this may not be regarded as an exaggerated conclusion, I add, from 
 among a thousand authorities that might be quoted for the same purpose, the fol- 
 lowing substantial sujtport to it. In the chapter on versification, in Baron 
 Bielfeld's 'Elements of Universal Erudition,' after many remarks on the subject 
 of ancient quantity and modern accent, which in nowise qualify the following 
 extraordinary assertion, the author says, ' Properly speaking, there are not, there- 
 fore, in modern languages, any sensible distinctions of long and short syllables, but 
 many that are to be lightly passed over, and others on which a strong accent, 
 or inflection 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 lan- 
 guages, has been generally admitted, yet it is still held to be impossible to make 
 agreeable measure out of their relations. 
 
 In candor, it should be stated, the Baron was a compiler; but such 
 writers generally represent current opinions, and they always know more of 
 indexes, popular books, and other men"s notions, than is either known or 
 coveted by those who 'observe, and read, and think, for themselves.'
 
 THE TIME OF THE VOICE. 183 
 
 general, fewer letters than English ; and they more frequently 
 end with a tonic element. 
 
 The employment of quantity, in the composition of English 
 prose writers, produces portions of the regular measure of Greek 
 and Latin lines. If these occasional passages of temporal 
 rythmus are well accommodated to the genius of the English 
 language, it does not appear why the studied contrivance of a 
 poet might not use those existing quantities, in the continued 
 course of verse. The following sentence has not the accentual 
 form of any of our established metres, and is therefore, in its ryth- 
 mus, purely English prose : Rome, in her downfall, blazoned the 
 fame of barbarian conquests. This sentence derives its impres- 
 siveness, from the position of its long and short quantities. 
 Now the position is exactly that of a Latin and of a Greek 
 hexameter line, as may be seen by comparison. 
 
 Dactyl Spondee Dactyl Dactyl Dactyl Spondee. 
 
 Ev SiTTC I at fw(J 1 tr^^i a, | ^r^goti \ 7rt.xgo^ o | laroj. 
 
 Si nihil | ex tant | a siipe ] ris pUcet | urbe re | Unqui. 
 
 Rome in her | downfall | blazon'd the | fame of bar | barian | conquests. 
 
 If this last sentence should be read with its proper pauses, 
 and with deliberate pronunciation, it will correspond in measure 
 with the long and short times of the superscribed Latin and the 
 Greek. Let us not, however, think it strange, for anticipation 
 takes oflF 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 reference to their quantity, that it is difficult, at first, to make 
 it even a subject of perception. For he who, according to 
 vulgar persuasion, believes, there is an openness of the senses 
 to first physical impressions, greater than of the mind to new 
 'subjects of thought, plainly indicates that he has overlooked the 
 ways and powers of both the senses and the mind ; since the 
 senses have equally their ignorance, obstinacy, and prejudice ; 
 they equally perceive what is familiar, and for a long time can 
 perceive no more. A cultivated and searching eye and ear arc
 
 184 THE TIME OF THE VOICE. 
 
 as rarely found, as a "well disciplined and self-dependent mind ; 
 and a wise master, in human policy and morals, would not have 
 more difficulty, Avhere interest is not inimical, in effecting his 
 designs of melioration, than an original observer in physical 
 science would experience from the mass, — I was about to say of 
 the Philosophical world, — upon soliciting an immediate assent 
 to the reality of a manifest development of nature, or of some 
 useful invention of art. • It is a passive and an easy thing 
 to look and to listen ; but, with a spirit of intelligent inquiry, 
 it is a labor of wisdom to see and to hear. 
 
 In speaking of the indefinite syllables of the English lan- 
 guage, it was saidj — their time might be varied without deforming 
 pronunciation ; and it was formerly shown, that the abrupt ele- 
 ments, which generally terminate immutable syllables, have 
 necessarily, after the occlusion, a pause that allows an immutable 
 syllable, with the addition of the time of that pause, to hold the 
 place, and fulfill the function of a long one. With these mate- 
 rials for the construction of a temporal rythmus 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 ; why should we refuse to the measure 
 of verse, a less striking departure from the rules of common 
 pronunciation. 
 
 Mr. Sheridan, who* does not overlook the existence of quan- 
 tity in the English language, and its use in the expression of 
 speech, but who, nevertheless, maintains that the genius of our 
 tongue is exclusively disposed 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 con- 
 cluded, that the good English style of his own lectures could 
 not be as perspicuous as a Latin construction, because his natu- 
 ral arrangement, is different from the appropriate inversions of 
 the latter toncrue. 
 
 5
 
 THE TIME OF THE VOICE. X85 
 
 The brief inquiry on this subject is ; Has the English lan- 
 guage long and short syllables ; and can these varying quanti- 
 ties be so arranged as to produce an agreeable rythmus ? The 
 answer is as brief. We have, equally with the Greeks and 
 Romans, the variation of long and short, in syllables ; and it 
 requires some other argument against the design of employing 
 it in metre, than that derived from its having never yet been 
 done. I would not choose to contend with him who doubts that 
 quantity necessarily belongs to every spoken language. The 
 ancients not only recognized it in theirs, but by attention to 
 its nature, availed themselves of its uses in the creations of 
 literary taste. If Greek and Roman grammarians, in recording 
 their special rules for the quantity of particular words, had 
 furnished us with a little of that philosophy of elemental and 
 syllabic sounds, which authorized, or instintively produced the 
 rules of their prosody, the moderns would, in all probability, 
 have seen its application to their own languages. 
 
 If it is true, — the Greeks did not derive the Knowledge and 
 use of Quantity from Egypt and the East, there is some ground 
 for the opinion, though this part of history is not altogether 
 clear, that the restricted melodial nature of their music; its 
 relation to song ; the care therein taken to adjust the temporal 
 correspondence of syllables to notes ; together with its forming 
 part of the liberal education of their orators, poets, and philo- 
 sophers, — may have led to the close investigation of quantity, 
 and to its application by the later Greeks to their rythmic 
 composition. For we are not justified in assuming its early 
 use at the date assigned to the Iliad ; since the fabulous accounts 
 of that Poem leave its original condition, altogether unknown. 
 We cannot therefore but believe in its countless alterations : 
 and that its first mingled measure of quantity and accent, was 
 subsequently changed to its present prosodial form. The modern 
 extension 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 
 united duties of the composer and the poet. 
 13
 
 186 THE TIME OF THE VOICE. 
 
 I here offer the conjecture, but leaA'e others to determine 
 its truth, — that the establishment of Greek rythmus on the 
 relations of quantity, did contribute, with other causes, to the 
 euphony of that language. We know what alteration rhyme, 
 and the accentual measure have made in the pronunciation of 
 English ; and there is reason to believe, that one means for 
 enlarging the resources of its rythmus, would be, even in its 
 present state of maturity, 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 or abrupt elements, from the end of 
 syllables ; and thus, by those large labors which the mere critic 
 seems not to contemplate, is rarely disposed to encourage, and 
 certainly never has accomplished, our language might be invited 
 towards that condition of syllabication which constitutes, in 
 part, the prosodial superiority of the Greek. We know that 
 the diaeresis and other licenses of Greek versification, to say 
 nothing of the dialects, which must have been widely diffused 
 by their literature, were constantly used for facilities in the 
 arrangement of poetic quantity ; and we might inquire whether 
 the addition to its alphabet of the Heta and Omega, was not 
 part of the contribution, suggested and afforded by the circum- 
 stances of the temporal measure. 
 
 Those who are in the habit of poetical composition, 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 we may so call it, is in this matter so 
 unfailing, that if the sense of words be disregarded, there will 
 be no hesitation in sorting such unmeaning discourse into 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 extempore ryth- 
 mus of mere unrelated words or phrases. But he who is not in 
 the practice of metrical composition, even if aware of the 
 required succession of accents, would show as much delay in 
 gathering words to fulfill his accentual purposes, as the former 
 would, under the present state of the English ear, in aptly
 
 THE TIME OF THE VOICE. I37 
 
 furnishing syllables for a temporcal rythmus. Habit must have 
 given to the Extemporizing poets of Greece, if there ever were 
 such persons worth hearing, the same elective affinity of ear, for 
 the appropriate quantity of their verses, as the Improvisatori of 
 later Italy had for their required 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 employed. Until, therefore, we 
 have a larger experience in the use of quantity, for modern 
 versification, and until the English ear knows more of the 
 appreciable time of syllables than it does at present, we may be 
 Justified in considering the denial of the susceptibility of a 
 temporal rythmus to modern languages, as a mere assumption. 
 
 It is true, 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 
 certain systems of measure. On this ground it has been 
 asserted that English words could not be arranged in an agree- 
 able dactylic succession. This may be the case, but we have too 
 little sleight in the management of quantity, to justify a positive 
 opinion on this point ; and the trials already made, are not 
 quite decisive. Habit is a forestalled and obstinate judge over 
 existing institutions, and often pronounces unwisely upon their 
 better substitutes. It is certain that an anapaestic measure, 
 founded on a mixture of accent and quantity, and nearly identi- 
 cal in effect with the ancient full dactylic line, is well suited to 
 the syllabic and verbal condition of our language ; and that a 
 very agreeable rythmus is produced by it.* Admitting the 
 
 * Let us subjoin a word here, for our delusions and prejudices. The dactylic 
 foot, and the anapaestic, fall with a similar effect upon the ear. The ancients 
 used the former for themes of the highest dignity ; and school boys are taught 
 that it richly and gravely fulfills its purpose. We use the anapaestic foot for 
 doggerel and burlesque, and believe too, there is something in its light skip 
 peculiarly adapted to the familiar gayety of its modern 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 can be 
 made to meet. But on this, as on some other articles of the classical creed 
 they may be reduced to say, in the sole words by which the Yezedi of Pe sia 
 who worship the devil, briefly explained their faith, and pertinaciously defended 
 it against a Christian missionary ; ' Thus it is.'
 
 Igg THE TIME OF THE VOICE. 
 
 above objection, it will not overrnle the design to establish 
 the forms of Iambic and Trochaic measure, now in use, on the 
 basis of quantity alone. 
 
 Although English versification is avowedly founded on the accen- 
 tual rythmus, entire lines are occasionally 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 relations of both quantity and accent. One who 
 is skilled in the art of measuring the time of syllables, will, over 
 this compounded rythmus, be shocked by the irregular and 
 unexpected variation of its dissimilar impressions. An ear of 
 delicate prosodial organization, which y£t makes no inquiry into 
 the nature of its perceptions, often experiences this rythmic 
 ^'iolence from English verse, but is ignorant of its cause. The 
 poet, by intellect, who has at the same time a ready discrimina- 
 tion of quantity, and a copious language at command, instinctively 
 avoids, in composition, much of the evil of these conflicting 
 systems. And one of the merits of a good reader of verse, 
 consists in changing our metrical accents into conspicuous 
 quantities, by protracting the voice on all those syllables, that 
 have a stress in the measure, and will bear prolongation. 
 
 From all that has been said on the comparative nature of 
 quantity and accent, and from the slow progress of modern 
 nations in distinguishing the relations of the former, it would 
 seem, of these two metrical impressions, accent is more easily 
 recognized. Nor is it unwarrantable to infer, from the greater 
 facility in arranging an accentual measm-e, that the first rythmic 
 essays of all nations were made in this form of versification ; 
 and that the Greeks themselves passed through this rattling 
 amusement of poetical infancy. There is no fact opposed to 
 this inference; and I could as soon be persuaded, — 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 of time. Our language, though neither young nor 
 indigent, is but in its unformed childhood on this point : and 
 many of those who have worked with good wishes, but ineffectual
 
 THE TIME OF THE VOICE. 189 
 
 means, towards its improvement ; and wbo, by taste and author- 
 ity, have been qualified to listen to living voices, with progressively 
 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 — who have the heart 
 to feel — an august delight over the yet enduring works of 
 the distant dead : There is scarcely a page of the poetic ryth- 
 mus of the Greeks and the Romans, or a remaining trace of 
 their plummet and chisel, that might not make me forget, 
 through intense 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 endeavor to transfer to our own language, the 
 admissible principles 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 Mode of speech. 
 
 The English language has an unbounded prospect before it. 
 The unequalled millions of a great continent, to whatever Forms 
 of Government they may hereafter decline, must still hold commu- 
 nity in the wide and wonderful diffusion of an identical speech : 
 and we should not so far undervalue the emulative efforts of its 
 future Scholars, as to suppose they will all merely vaunt in retro- 
 spective vanity, over what has been done, and not extend their views 
 to other and deeper resources of their art. But, in thus looking 
 forward to the establishment of English versification, on the basis 
 of quantity, we must allow a limitation of the poet's abundance, 
 for the substituted excellence of his few but finished lines. Our 
 measure is now drawn from the two different sources of accent 
 and quantity. To construct a rythmus by quantity alone, will 
 require more rejections, and a wider search in composition ; more 
 copiousness in the command of words; greater readiness and
 
 190 THE INTONATION AT PAUSES. 
 
 accuracy of ear, in measuring the relationships of time ; and 
 longer, much longer labor for a shorter work. I am here speak- 
 ing of the great results of the pen. Of these, as of all enduring 
 human productions, labor, associated -with time, must be the 
 assistant means ; and must deservedly divide the merit of the 
 achievement, ■with the wisdom that invoked their aid. Let him 
 who could patiently devote a life, to laying-up store of ' goodly 
 thoughts' for Paradise Lost, unravel the idler's fable about that 
 ' inspiration,' of the so-called immortal works of man. Let 
 them, who to the soul of genius have joined the strong body of 
 laborious care, say, wherein consists the true life and the embalm- 
 ing of fame : let them touch the sleeve of early and voluminous 
 authoi'ship, and whisper one of the useful secrets, for accom- 
 plishing more that may wisely instruct and endure, and less 
 that with ambitious haste, may merely teach itself to fail, — and 
 perish. 
 
 SECTION xn. 
 
 Of the Intonation at Pauses. 
 
 I'uE term Pause, in elocution, is applied to an occasional 
 silence in discourse, 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. . 
 
 The philosophy of grammar, consistently with those two great 
 Categories, Matter and Motion, has reduced all the words of uni- 
 versal language to two corresponding classes ; the Substantive, 
 denoting Things that exist ; and the Verb, denoting the various 
 conditions of their Actions : all the other Parts of Speech being
 
 THE INTONATION AT PAUSES. 191 
 
 only specifications of the attributes of these things ; and the 
 predication of their actions, with regard to time, place, degree, 
 manner, and all their possible relationships. Now pauses sepa- 
 rate by sections, the aggregates of words which severally describe 
 these existences and agencies, with their relationships : and 
 while the continuity of utterance, within these inclusive sections 
 gives unity to the impression on the ear, the mind remains 
 undistracted, through its temporary restriction to a single sub- 
 ject of attention. The division of discourse, by means of this 
 occasional rest, prevents the feebleness or confusion of impres- 
 sion, resulting from an unbroken movement of speech, no less 
 remarkably than the skilful disposition of color, and light, and 
 space, significantly distinguish the pictured objects and figures 
 of the canvas, from the unmeaning positions and actions of a 
 chaos and a crowd. 
 
 The sections of discourse, thus separated by pauses, vary 
 in extent from a single word, to a full member of a sentence. 
 There are indeed, some purposes of expression which require a 
 slight pause even between syllables. It was shown that for the 
 full opening of the radical, it must be preceded by an occlusion 
 of the voice. Now the accented syllable of the word a,t-tack 
 being an immutable quantity, can receive a marked emphatic 
 distinction, only by an abrupt explosion of the radical, after a 
 momentary pause. 
 
 The times of the several pauses of discourse vary in duration, 
 from the slight inter-syllabic rest, to the full separation of suc- 
 cessive paragraphs : the degrees being accommodated to the 
 requisitions of the greater or less connection of the sense, and 
 to the peculiar demands of sentiment. 
 
 All the parts of a connected discourse, should both in subject 
 and in structure bear some relation to each other. But these rela- 
 tions being severally nearer and more remote, grammatical Points 
 were invented to mark their varying degrees. The common 
 points, however, very indefinitely efiect their purposes, in the art 
 of reading. They are described in books of elementary instruc- 
 tion, principally with reference to the time of pausing ; and are 
 addressed to the eye, as indications of grammatical structure.
 
 192 THE INTONATION AT PAUSES. 
 
 It is true, the symbols of interrogation, and exclamation are 
 said to denote peculiarity of 'tone.' But as there is, in these 
 cases, no designation of the nature or degrees of the vocal 
 movements, the extreme generality of the statement affords 
 neither preceptive nor practical guide to the ear. The full 
 efficacy of Points should consist in directing the appropriate 
 intonation at pauses, no less than in marking their durations : 
 and a just definition of the term Punctuation would perhaps, be 
 as properly founded on variations and distinctions, produced by 
 the phi'ases of melody, as on a difference in the time of rest. 
 Before Mr. Walker, no writer, as far as I can ascertain, had 
 formally taught the necessity of regarding the inflections of the 
 voice, in the history of pauses. 
 
 It is of much importance in speech, with regard to mere 
 variety of sound, as well as to sense and expression, to apply 
 the proper intonation at pauses. The phrases of melody have 
 here a positive meaning, and often mark a continuation or a 
 completion of the sense, when the style and the temporal rest 
 alone, would not to an auditor, be decisive of its natm-e. But 
 the pm-poses of pausing being various, an appropriate intonation 
 must, by its changes, prevent the monotony, so common with 
 most readers, at the grammatical divisions of discourse. 
 
 The effect of pause, in relation to a separation of time, will 
 be illustrated in the next section, on Grouping : and I now 
 (lescribe the successions of pitch, at the different places of rest. 
 
 The triad of the cadence denotes a completion of the pre- 
 <;eding sense, and is therefore inadmissible, except at a proper 
 grammatical period. But it docs not therefore follow, — it 
 must be always applied at the close of a preceding sense ; for in 
 those forms of composition called loose sentences, and inverted 
 periods, there are members Avith this complete and insulated 
 meaning, to which, however, an additional and related clause, 
 may be subjoined, that consequently do not admit the downward 
 closing phrase. 
 
 The rising tritone indicates the most immediate connection 
 between parts of a sentence, separated by the time of the pause. 
 The ditone carries on the sense in the next degree. The phrase
 
 THE INTONATION AT PAUSES. 193 
 
 of the monotone denotes a diminished relationship between 
 divided members : the failing ditone still less ; and the down- 
 ward tritone with rising concretes, produces the fullest suspension 
 of sense, without positively limiting its further continuation. 
 Now as the triad of the cadence, produces a maximum of dis- 
 tinction among the parts of discourse, and utterly terminates a 
 sentence, a comparison of its downward intonation with tlie 
 respective characters of the other phrases, may explain the causes 
 of the varying indication of each, by showing the degrees of 
 their departure from the form and direction of this terminative 
 phrase. The degrees of connection between the members of a 
 se*tence are so various, and the acceptation of them by readers 
 may be so different, that I do not here pretend to assign the 
 species of phrase to every kind of rhetorical pause. From pre- 
 sent knowledge on this subject, I would say generally, the into- 
 nation at some pauses may be varied, without exceptionably 
 affecting either the sense or expression : but there are cases in 
 which the species of phrase, from its exclusive adaptation to the 
 character of the pause, is absolutely unalterable. 
 
 The foregoing remarks on the use of the phrases of melody, 
 have not been made in allusion to common grammatical punctua- 
 tion. Writers on elocution have long since ascribed the faults 
 of readers, 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 lines, the phrases of melody 
 are applied with reference, both to my own acceptation of the 
 sense of the author, however erroneous that may be, and to its 
 distinct and appropriate vocal representation. I have pre- 
 sumed to differ, in the second and in the fifth line, from the 
 punctuation of the London edition of Todd's Milton, from which 
 the passage is taken. 
 
 So spake the Seraph Abdiel, faithful found 
 
 Among the faithless, faithful only he ; 
 
 Among innumerable false, unmoved, 
 
 Unshaken, unseduced, unterrified. 
 
 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.
 
 194 THE INTONATION AT PAUSES. 
 
 When the reader looks upon the change of pauses, in the 
 following notation, he must bear in mind, that whether his 
 decision is favorable to it or otherwise, it may still illustrate my 
 idea of the power and place of the phrases of melody. If this 
 is accomplished, we need not dispute about the free Anil of taste, 
 in the particular application of these phrases. My pm-pose in 
 this essay is to explain some of the untold functions of the 
 voice : not to contend with those who may otherwise, know more 
 than myself, 
 
 In the use of the phrases of melody, at the pauses of discourse, 
 the phrase is to be applied to the last syllables preceding the 
 pause. Nevertheless, for particular purposes of expression, tfle 
 monotone may be continued on the succeeding syllable. 
 
 As this notation, represents only the use of the phrases of 
 melody at pauses, I have marked the whole passage with the 
 simple concrete ; omitting waves of the second, on the long 
 quantities, which would be its proper intonation, as dignified 
 narrative, in the diatonic melody. 
 
 So spake the 
 
 Se raph 
 
 Ab diel, 
 
 faith— ful found 
 
 -4-.^-^ 
 
 _4- 4 
 
 ^ «r 
 
 't ^ 4 
 
 •^ 9 
 
 
 A — mong 
 
 the 
 
 faith-less. 
 
 Faith- 
 
 -ful 
 
 on ly 
 
 he. 
 
 -,Mt 
 
 4 
 
 fn 
 
 4 
 
 4 
 
 4 ^ 
 
 
 ^ €^ 
 
 
 
 li? 
 
 ^ 
 
 A — mong in nu me ra ble false, un — moved. 
 
 Un sha — ken, un se — duced, un ter ri 
 
 -fied, 
 
 ^dd^44^44 
 
 -r 
 
 
 His 
 
 loy — al— 
 
 — ty he 
 
 kept, 
 
 his 
 
 love. 
 
 his 
 
 zeal. 
 
 
 4 4 
 
 i^^-r 
 
 4 
 
 4 
 
 
 4 
 
 ^ 
 
 4 - - w ^ 1
 
 THE INTONATION AT PAUSES. 195 
 
 Nor num — ber, nor ex — am — ^ple, with him -wrought 
 
 ^ it 4 
 
 ^-4^ 
 
 4^ 4 A 
 
 ^ 
 
 r 
 
 ^ 
 
 -w — ^ 
 
 
 w ^ 
 
 
 
 
 1 
 
 To STverve 
 
 from truth, or 
 
 change 
 
 his 
 
 con— 
 
 -stant 
 
 mind, 
 
 i^# 
 
 "^ 
 
 u- «r 
 
 4 
 
 ¥ 
 
 _«r, 
 
 4 
 
 «r 
 
 
 Though sin gle. 
 
 31_^.^ 
 
 The first pause at Abdiel is marked with a falling ditone, 
 because the included member does not necessarily produce the 
 expectation of additional meaning or qualification : and because 
 this phrase does not absolutely dissolve the grammatical concord, 
 between the members 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 this place with a comma, and 
 thus made the three succeeding words, faithful only he, a 
 dependent clause. I have regarded this clause, and with gram- 
 matical reason, as an elliptical sentence, in order to promote the 
 expressive efi'ect of the sentiment. These words reiterate the 
 previous attribution of faithfulness to Abdiel, with the fur- 
 ther aflSrraation Qf his singleness in virtue. This definite and 
 emphatic 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 undivded 
 merit of defending it. There is a touch of feeling in these 
 sentiments, that even with all other due means for an appropriate 
 utterance, cannot, as it seems to me, be answerably displayed, 
 except those sentiments are separated from preceding and suc- 
 ceeding thoughts, by the marked distinctions of the limitary 
 cadences. If the word faithless should be read with what is 
 called, in the schools, a suspension of the voice, which in their
 
 196 THE INTONATION AT PAUSES. 
 
 indefinite language means, avoiding a fall, the spirit of the suc- 
 ceeding clause will be perverted or lost. Milton's fine ear, his 
 vivid feelings, and his discriminating intellect, qualified him to 
 he a good reader ; and though he may not have been one by 
 practice, I would with difficulty believe, — he thought the pas- 
 sage we are here considering, with the close sequence, implied 
 by the editor's comma and semicolon. 
 
 The next pavise at false, is preceded by the rising ditone. 
 The structure of this member evidently creates expectancy, and 
 the species of intonation indicates the continuation of the sense. 
 
 Of the four succeeding pauses, each rests on a single word. 
 The first three are noted with the monotone, to foretell the con- 
 tinued progression of the sense : the fourth, at terrified, has 
 the falling ditone, to denote a change, but not a close of thought. 
 In ordering these four pauses, variety might be shown without 
 afi"ecting the sense, by giving to the last two syllables of 
 unshaken, a rising phrase. The phrase at kept is the rising 
 ditone, and is expectant ; for love and zeal being equally with 
 loyalty, the objectives of kejjt, are therefore held within the 
 prospective eye of the grammatical construction. But the three 
 objectives being separated by the construction, the rising ditone 
 at he'pt prepares the expectant attention to bring them back 
 into company on the ear, at the feeble but sufficient cadence on 
 zeal ; and thus impresses on the auditor, the true syntax of the 
 sentence. 
 
 At zeal, marked by the editor with a semicolon, I have 
 applied a period, and a form of the cadence ; for this, as just 
 stated, throwing back love and zeal, as objectives to the verb 
 kept, prevents their bearing forward, as if nominatives to some 
 expected verb ; which might not be avoided by employing, at 
 this place, one of the continuative phrases of melody, with a 
 semicolon. We may account for the semicolon at zeal, by sup- 
 posing the editor considered the following word nor, as a 
 connective. Yet it certainly begins a new sense ; and in regard 
 both to its place and its immediate repetition, may be looked 
 upon as only a poetical inversion, and a redundancy of negative. 
 The remaining part of the notation contains examples of the 
 principles just elucidated, and therefore needs no explanation.
 
 THE INTONATION AT PAUSES. 197 
 
 I have thus endeavored to fill up, in part, a blank in elocu- 
 tion, by giving a definite description of the intonation, to be 
 joined with pauses ; and by illustrating the manner of framing 
 rules to direct the use of the several phrases of melody. 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 pro- 
 per use. But he makes no analysis of that intonation which he 
 may perhaps have joined with it, in the accomplished practice 
 of his own 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 his view of the temporal purpose 
 of pause, an inquiry into the applicable forms of intonation. In 
 a philosophical view of the subject, his treatise contains no 
 description of the functions of pitch, beyond the ancient gene- 
 ral distinctions into rise, and fall, and turn. Not having the 
 materials, for a specific discrimination and use of the phrases of 
 melody, he was under the necessity of regarding his four gene- 
 ral heads, as ultimate species, capable of no further subdivision : 
 and hence, the limited, the indefinite, and the erroneous appli- 
 cation of his whole doctrine of Inflection at Pauses. Mr. Walker 
 undertook the investigation of the nature of speech, without 
 possessing a discriminating ear ; without sufficient familiarity 
 with certain distinctions of sound, long established in music ; and 
 without seeming to keep in mind the means and end of philoso- 
 phical inquiry. The example of the highest masters in natural 
 science, had taught that all he should aim to accomplish, would 
 be, to discover the effective functions of the voice, and to class 
 them with known facts in the history of sound. But the most 
 precise nomenclature, if not the most comprehensive histoi-y of 
 tunable sound, that is, sound distinguished from the endless 
 kinds of noise, is contained in the science of music : and Mr. 
 Walker appears to have had too feeble or too limited a percep- 
 tion of its clear and abundant discriminations, to enable him to 
 recognize an identity, or analogy between the speaking voice, 
 and the familiar phenomena of musical sounds.
 
 198 THE GROUPING OF SPEECH. 
 
 Even though we might despair that future inquiry -will teach 
 us the structural cause of the vanishing movement, and of the 
 orotund, and falsetto voices : it is certainly now within the ahility 
 of a disciplined and attentive ear, to discover whether sounds, 
 supposed to he peculiar to the human voice, arc 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 nomenclature, as far as the terms of 
 music are applicable to the phenomena of speech. Such a 
 method of investigation, with its satisfactory results, being the 
 whole means and gains of a true and useful philosophy, we 
 might as well believe, the Newtonian discoveries in optics, could 
 have been effected, without a previous acquaintance with the 
 laws of motion, the variety of colors, and the relations of 
 mathematical quantity, as look for a description, and an avail- 
 able arrangement of the phenomena of the human voice, from 
 one who is inrnorant of the known distinctions of sound. 
 
 
 SECTION XIII. 
 Of the G-rouping of Speech. 
 
 I HAVE adopted a term from the art of painting, to designate 
 the instrumentality of pauses, and certain uses of the voice, in 
 uniting the related ideas of discourse, and separating those 
 which are unrelated to each other. 
 
 The inversions of style, the intersections of expletives, and 
 the wide separation of antecedents and relatives, allowed in 
 poetry, may be 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 GROUPING OF SPEECH. I99 
 
 reading or to speech, we can employ no scrutinizing hesitation : 
 and though the memory may retrace, to a certain limit, the 
 intricacies of construction, the best discernment cannot 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 involu- 
 tion of style. A reader, therefore, is frequently obliged to 
 employ other means, for exhibiting the true relationship of 
 words, besides the simple current of utterance, that may be 
 sufficient for the clear syntax of a more natural idiom. 
 
 The following are some of the means by which deviations 
 from the simple construction of sentences may be rendered per- 
 spicuous in speech : 
 
 Pauses ; here to be regarded merely as divisional agents. 
 
 The Phrases of melody ; already in part explained. 
 
 A reduction of the pitch and the force of the voice, for which 
 I use the term Abatement. 
 
 A quickness of utterance ; here called the Flight of the 
 voice : and 
 
 A mode of indicating grammtical connection, that may be 
 named the Emphatic Tie. 
 
 I have summed up the several means here enumerated, under 
 the generic term Grouping, in order to explain their purposes 
 by metaphorical illustration ; and have distinguished each by a 
 specific name, thereby to invite attention to the subject, by the 
 institution of a definite nomenclature. 
 
 The most common form of grouping the related parts of a 
 sentence, under a given condition of the voice, is by its con- 
 tinuity 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, to a certain 
 degree, the ideas of a sentence, and in giving the proper inde- 
 pendency 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.
 
 200 THE GROUPING OF SPEECH. 
 
 I have omitted the punctuation of this passage : and if cor- 
 respondingly read without a pause, it would not be absolutely 
 destitute of meaning ; for the auditor would understand the 
 general course of the action described. But there could be no 
 expressive picture of the whole, through the marked, but con- 
 nected individuality of its parts. There are here four sepa- 
 rate 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 hoiTid strides. 
 
 The first division, ending with at hand, gives notice of the 
 rapid approach of Satan. The second represents the monster 
 Death rising from his seat, and is insulated by a pause at 
 moving. This division is properly separated from the next 
 onward came as fast ; for though the last describes the further 
 movement of Death, and in this view might seem to forbid the 
 separation, yet its principal aim is to show the speed of his 
 progress by comparing it with that of Satan ; and this justifies 
 the distinction, here made. The last division, with horrid 
 strides, must be separated from the preceding : for if read, 
 onward came as fast with horrid strides, the immediate connec- 
 tion of the manner of movement with the declaration of the 
 likeness between 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 
 manner of moving onward, to Death alone, agreeably to a pre- 
 vious part of the context, where Satan is described, as moving 
 on 'swift wings.' 
 
 Some of the uses of the Phrases of melody were stated in 
 
 the preceding section. I here ofier one or two examples of the 
 
 efiect of an appropriate melody, in carrying on the connection 
 
 of thought, and in producing an immediate perception of 
 
 grammatical relationship : 
 
 On the other side. 
 Incensed with indignation, Satan stood 
 Unterrified, and like a Comet burned, 
 That fires the length of Ophiuchus huge, 
 In the arctic sky.
 
 THE GROUPING OF SPEECH. 201 
 
 Should the phrase of the falling ditone be used at the necessary 
 pause, after burned, it will, to the ear, destroy the grammatical 
 concord between the relative that and the antecedent, comet. 
 By applying the monotone to the two words in italics, that con- 
 cord will be properly marked, notwithstanding the intervening 
 pause at burned: the grouping power of the melody, in this 
 case, counteracting the dividing agency of the pause. 
 
 A similar instance of the influence of the monotone, in effect- 
 ing a close connection of the antecedent with the relative, is 
 shown 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 unheard, that passed through fire 
 To his grim idol. 
 
 Let us take one more example, illustrative of this principle of 
 a grouping intonation : 
 
 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 interposed between 
 peace and faith, the two objectives of brohe. Now, that the 
 syntactic connection between these words may be impressively 
 shown, the slighest pause only is admissible after heaven ; and 
 a more conspicuous one must be placed after faith. But 
 the further expletive, till then unbroken, is immediately con- 
 nected with faith ; and the only means for representing this 
 close relationship, in contravention to the delay of the pause, — 
 so necessary, after /az'^/t, for another point of perspicuity, — is 
 by using the phrase of the rising ditone or the monotone ou 
 and faith. Thus the pause at this word, represents clearly the 
 full government of the verb broke, while the continuative phrase 
 of melody at that pause, prevents its dissolving the connection 
 of the previous sense with the succeeding expletive clause, till 
 then unbroken. The pages of poetry are full of instances of 
 phraseology that require the management of the voice here 
 14
 
 202 THE GROUPING OF SPEECH. 
 
 described. Milton and Shakspeare cannot be read well, without 
 strict attention to the apparent opposition between the purposes 
 of the pause and of the sense, and to the Reconciling Power of 
 the phrases of melody. 
 
 A reduction of the Pitch, and Force of the voice being 
 generally combined in reading, I have, in this section, desig- 
 nated them collectively, by a single term. Abatement. Common 
 elementary books sufficiently explain the nature and uses of this 
 means for denoting the sense and sentiment of discourse. Its 
 power of grouping together the related parts of sentences, is 
 shown by the well known utterance, in a parenthesis. 
 
 I come now to speak of the perspicuity, to be given to a sen- 
 tence, by the Flight of the voice. There is a familiar rule in 
 elocution, which directs us to use a quickened utterance on 
 common expletive clauses. This function may be extended to 
 other grammatical constructions. I give it here the importance 
 of a name, and an illustration, from its affording assistant means 
 for representing the sense of some of those instances of close- 
 trimmed phraseology and extreme inversion, occasionally found 
 in the higher species of poetical composition. 
 
 In the following example, the part requiring the flight of the 
 voice is marked in italics. \ 
 
 You and I have heard our 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 easily, here qualifies the verb brook'd ; and one of 
 the means for impressing this on the auditor, is by the rapid 
 flight here directed. A London edition of Reed's Shakspeare, 
 from which this passage is quoted, has a pause after Rome. 
 The rationale of the flight, consisting in assigning the shortest 
 lapse of time between the utterance of related words, suggests 
 the obliteration of this pause, and the addition of a slight one 
 after easily. This tends to prevent the adverb from passing as 
 a qualification of keeping his state, which certainly cannot be 
 the sense of the author; but which on instant hearing, might 
 be mistaken for it, without the aid of the altered pause and the 
 
 i
 
 THE GROUPING OF SPEECH. 203 
 
 flight. This is not the place to speak of the nice points of em- 
 phasis and of melody, to be connected with the flight in this 
 passage, in order to give clearness and strength to its eff"ect. 
 
 Say first, for Heaven hides nothing from thy view, 
 Nor the deep tract of Hell. 
 
 To make it appear at once, in speech, that the deep tract of 
 hell is equally with heaven, a nominative to hides, the phrase 
 of the monotone must be used at vieiv, in addition to the flight 
 of the voice on the portion marked in italics ; nor should there 
 be a pause at vieiv, as given by the editor. 
 
 If the mere grammarian should raise objections to any of 
 these proposed changes of punctuation, he must recur to the 
 design of this section. AVe speak now of the means of address- 
 ing the ear; and its jealous demands sometimes justify a neglect 
 of the usual temporal pauses, from the sense and expression 
 in these cases being more obvious without them. The art of 
 reading-well may compensate for voluntary faults on some 
 points, by the accomplishment of eminent efi'ects on others. 
 
 By the grouping of Emphasis, or what is here called the Em- 
 phatic Tie, I mean the application of stress to words, not 
 otherwise requiring distinction, merely for the purpose of asso- 
 ciating those ideas which cannot, by any other means of vocal 
 syntax, if we may so speak, be brought together or exhibited in 
 their true grammatical connection. The nature of this form of 
 grouping, may be easily understood : for related words, however 
 disjoined in composition, are at once brought together within the 
 field of hearing, in their real relationships, whenever they are 
 raised into attractive importance, by force or any other kind of 
 emphasis. 
 
 The following lines, from Collins' ' Ode on the passions,' 
 embrace a construction, requiring the emphatic tie. 
 
 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 rung, 
 
 The hunter's call, to Faun and Dryad known.
 
 204 THE GROUPING OF SPEECH. 
 
 These last two lines have an embarrassing construction. The 
 phrases inspiring air^ and hunter s call are in apposition ; but 
 there intervenes a clause, that might make rung pass for an 
 active verb, and thereby render call the objective to it. To 
 show, therefore, that by hunter s call the author means the 
 inspiring air, previously mentioned, the words marked in italics 
 should receive emphatic stress. This is the best means for 
 clearly impressing on the ear, that natural order which is inter- 
 rupted by the construction. 
 
 This emphatic tie is often employed in combination with other 
 means of grouping. Thus, in the several'examples, illustrating 
 the use of the phrases of melody, their influence will be assisted 
 by applying this connecting emphasis to comet and fires ; chil- 
 dren's and passed ; peace and faith. In the examples of the 
 flight, the relationships between the words brook' d and easih/ ; 
 and between heaven hides nothing and nor the deep tract of 
 hell, will be more manifest by the additional use of the em- 
 phatic tie. 
 
 In short, it is sometimes necessary to employ all the means of 
 grouping upon a single sentence, in order to correct an irregular 
 syntax, and supply an ellipsis to the ear. The extreme distor- 
 tion of English idiom in the following lines, must be exceedingly 
 perplexing to a reader : and, as far as I understand the gram- 
 mar, and sense of the description, can be rendered somewhat 
 less embarrassing, only by the use of all these means. The pas- 
 sage 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; 
 AYhich marr'd his borrow'd visage, and betray'd 
 Him counterfeit, if any eye beheld. 
 
 Milton uses the word pale, here, and again near the close of 
 his tenth book, as a substantive. Its common adjective-meaning 
 tends to throw some confusion into the sentence. Ire, envy, 
 and despair, are in apposition with passion, and are severally 
 concordant with the distributive pronoun each. Now the only
 
 THE GROUPING OF SPEECH. 205 
 
 manner in which I can approximate towards a clear representa- 
 tion of this blameable piece of latinity, is by making a quick 
 flight over the portion, dimmd his face thrice changed tvith 
 pale, and by an abatement thereon ; by laying a strong em- 
 phasis on' each passion, and on ire, envy, and despair, thus 
 marking the concord, by the emphatic tie ; and by applying the 
 phrase of the rising ditone, with a pause, at pale. 
 
 After all, it is a hard picture to paint, for a taste that will 
 have true colors, well laid on. 
 
 Upon these last two subjects, we have been more occupied, 
 with the audible means for marking the sense of discourse, than 
 with the signs of expression. But the delineation of sense 
 must, in all cases, be co-existent with the representation of 
 what is distinctively called sentiment. 
 
 In the present section, and in other parts of this essay, the 
 exemplifications are chiefly extracted from two illustrious Poets : 
 since the boundless range of their sentiments ; the arresting, 
 but resolvable intricacy of their style ; the thoughtful bearing 
 of their emphasis ; together with the insignificance of scarcely a 
 word, afford every variety of construction, and every turn of 
 feeling, for exercising the full-suflScient, and illuminating powers 
 of the voice. And as the greater includes the less, I am per- 
 suaded, that should the principles therein established, be adopted 
 by the reader, he will have no great diflficulty in applying them, 
 to more simple and natural constructions, whether of conversa- 
 tion, or of narrative, or impassioned discourse, both in poetry 
 and prose. But while thus drawn aside, from the perfection of 
 nature in the human voice, to eulogize the admirable things of 
 intellect, which it is intended and ready to display ; let me again 
 repeat, I have taken upon me, not the part of the Rhetorician, 
 but merely of a Physiologist of Speech.
 
 206 THE RISING OCTAVE. 
 
 SECTION XIV. 
 Of the Interval of the Rising Octave. 
 
 Ix the foregoing sections, the variation of Pitch was described, 
 only as it appears in the radical and vanishing movement through 
 the interval of a single tone. 
 
 It was shown, under the head of the melody of simple Narra- 
 tive, that the vanish never rises above the interval of a tone ; 
 and that changes of the radical pitch, whether upward or down- 
 ward, never exceed the limits of this same interval. Now, such 
 plain narrative melody as then supposed, is rarely found of long 
 continuance : but to avoid confusing the subject, I deferred the 
 notice of those variations, both of concrete and discrete pitch, 
 so generally interspersed throughout its current. The wider 
 intervals of pitch, used for expression, in the course of a dia- 
 tonic melody, are now to be described. 
 
 By the term rising Octave, when applied to speech, is meant 
 the movement of the voice, from any assumed radical place, 
 through superior parts of the scale, until it ends or vanishes in 
 the eighth degree above that radical place. This concrete inter- 
 val is employed for the expression of interrogation ; and for 
 astonishment, wonder, and admiration, when they imply some 
 slight sentiment of doubt or inquiry. It is further used, for 
 the emphatic distinction of words. Nor is it limited to phrases, 
 having the common grammatical construction of a question ; 
 for even declaratory sentences, are made interrogative by the 
 use of this interval. 
 
 Although the voice in interrogation, and emphasis, may 
 sometimes rise above the eighth, of the natural voice, and into 
 the falsette ; the octave is the widest interval of the speaking 
 scale, technically regarded in this work. It expresses therefore 
 the most forcible degree of interrogation, and of emphasis, on 
 a rising interval. It is the appropriate intonation of questions 
 accompanied with sneer, contempt, mirth, raillery, and the 
 temper or triumph of peevish or indignant argument.
 
 THE RISING OCTAVE. 207 
 
 From the time required in drawing out the interval of an 
 octave, this form of interrogation can be executed conspicuously, 
 only on a syllable of extended quantity. How then can the 
 interrogative expression be given to a short and immutable 
 syllable ? The means for eflFecting this, will be described here- 
 after, with particular reference to interrogative sentences. It 
 may be here transiently illustrated by the following notation : 
 
 -M— i f ^ ^ /L £ 
 
 7^^=t 
 
 In this diagram, a discrete change or skip is made from the 
 radical line of the concrete octave, to a line along the hight of 
 its vanish. Now immutable syllables, in an interrogative sen- 
 tence, are transferred by this discrete or radical change, to a 
 line of pitch at the summit of the concrete interrogative inter- 
 val, and thus discretely produce the expressive effect of that 
 interval, though less remarkably than the indefinite syllables which 
 pass through the same extent of the scale by the concrete rise. 
 As there are more short and unaccented, than long and accented 
 syllables, in discourse, the radical change, here exhibited, gives 
 the general character of interrogative intonation. The diagram 
 shows further, that after the radical pitch of the short quantities 
 has assumed the summit-line of the octave, it proceeds in the 
 diatonic melody on that line, until the occurrence of an indefi- 
 nite syllable ; when the radical pitch descends, to form a new 
 concrete rise of the octave. Thus it appears, the rule of into- 
 nation, laid down when speaking of the diatonic melody of 
 simple narration, does not apply to the melody of interrogative 
 sentences ; for these employ a more extended concrete interval, 
 and a wider discrete transition in their changes of radical pitch. 
 
 When an octave is used for the purpose of emphasis, the voice, 
 after its concrete rise on the emphatic word, immediately de- 
 scends to the original line of radical pitch, as in the following 
 notation.
 
 208 THE RISING FIFTH. 
 
 _^ ^ ^ ft dZ^H^. 
 
 4-S-4- 
 
 But this subject of emphasis will be considered particularly, 
 hereafter. 
 
 The concrete octave and its radical change, being employed 
 for very earnest interrogation, and for a high degree of expres- 
 sive emphasis, are of less frequent occurrence in speech, than 
 the following intervals of the fifth and the third. 
 
 SECTION XV. 
 
 Of the Interval of the Rising Fifth. 
 
 The rising radical and vanishing Fifth, like the octave, is 
 used for interrogation ; for wonder and admiration, when they 
 embrace a slight degree of inquiry or doubt ; and for emphasis. 
 It has, however, less of the smart inquisitiveness, of this last 
 interval ; is the most common form of interrogative intonation : 
 and without having the piercing force of the octave, is equally 
 capable of energy, and is always more dignified in its expression. 
 The explanatory remarks in the last section, on the subject of the 
 change of radical pitch, in interrogation and emphasis, apply to 
 the like uses of the fifth. That is, in interrogative sentences, after 
 the voice, in adapting itself to short quantities, has made a dis- 
 crete change by radical pitch, through the interval of a fifth, the 
 succeeding melody continues at its elevation, till again brought 
 down for the purpose of a new concrete rise. And in like
 
 THE RISING FIFTH. 209 
 
 manner, after the use of the fifth, for emphatic distinction on a 
 single word, the pitch immediately returns to the original line 
 of the current melody. 
 
 From the preceding account of the intonation of the octave 
 and of the fifth, we learn, that their effects are cognizable under 
 two different forms, the Concrete rise, and the Radical change ; 
 that the octave is impressed more remarkably on the ear ; and 
 that the distinction between the interrogative and emphatic 
 use of these intervals, consists in the difierence of the number 
 of syllables, to which they are respectively applied. 
 
 It was said, the iatonation of the octave, whether by concrete 
 or by radical pitch, is rarely employed ; since a rise of eight de- 
 grees above the ordinary line of utterance carries most speakers 
 into the falsetto. And even with those in whom the rise might 
 not exceed the natural voice, the melody when suddenly changed 
 in radical pitch, would often be ludicrous, from contrast ; or 
 would be in danger of breaking into the falsetto in its variations ; 
 or would be beyond the limits of the speaker's skillful execution. 
 These objections do not apply to an occasional skip of radical 
 pitch through the ascent of the fifth ; the variation being 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, some 
 canting forms of exclamation, and other familiar voices, in 
 common life, are made on these intervals. They require no 
 further notice. 

 
 210 THE RISING THIRD. 
 
 SECTION XVI. 
 
 Of the Interval of the Rising Third. 
 
 The concrete rislnof Third, like the two last named intervals, 
 is used for interrogative expression, and for the intonation of 
 emphasis. But its degree in both these cases, is less than that 
 of the fifth. It is the sign of interrogation in its most moderate 
 form ; and carries with it none of those sentiments which, 
 jointly with the question, were allotted to those other move- 
 ments. 
 
 Besides the exceptions to the rule of the plain diatonic 
 melodj, by an occasional 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 its change of radical pitch. It is more frequently used 
 than either of the two former; for, although more rarely 
 employed than the fifth, as an interrogative, it is a common 
 form of emphatic intonation. In describing the phrases of 
 melody, it was said, the rising tritone, or upward succession of 
 three radicals, on as many syllables, is occasionally employed. 
 Now by the nature of the scale, three radical places contain the 
 interval of a third : it is therefore the space or interval occupied 
 by the constituents of a tritone, rejecting the vanish of the last, 
 that makes the proper concrete third. This concrete as regards 
 interrogative effect, is more impressive than the discrete rise of 
 the radicals of the tritone : for if the "words, Cro you there, — 
 in grammar equally a command and a question, — be uttered 
 with the phrase of the rising tritone, or one syllable successively 
 a tone in its radical pitch above the preceding, with a doivnward 
 vanish on each, it will have the character of an imperative 
 sentence. But if the first word rise concretely a third, that is 
 through the space occupied by the tritone ; and the last two be 
 carried by discrete skip to the hight of the concrete, the efiect will
 
 THE RISING THIRD. 211 
 
 be interrogative, notwithstanding the last two may bear the 
 downward vanish. The same will be the eifect when the second 
 word has the concrete, and the last the radical change ; or, 
 when the first and second have the common diatonic melody, 
 and the last alone the concrete rise. 
 
 There is a form of replication in common speech, especially 
 used by the Scots, consisting of a repetition of the afiirmative 
 yes or aye, in the rising third; and while the words seem to 
 pay the courtesy of assent, the interrogative nature of the 
 intonation still insinuates the hesitation of doubt or surprise. 
 Should the sentiment conveyed by these words be of unusual 
 energy, the expression will assume the form of the fifth, or 
 octave. 
 
 When the reader will hereafter have acquired the prefatory 
 knowledge, necessary for the full comprehension of the nature 
 of emphasis, it will be definitely explained, in what manner, and 
 on what occasions the octave, fifth, and third, are employed, in 
 this important function of correct and impressive speech. But 
 as the emphasis, given to prominent words of concessive, con- 
 ditional, and hypothetical sentences, carries with it, in a mea- 
 sure, the latent sentiment of an interrogatory, its application 
 may properly be illustrated here. The following examples of 
 conditionality and concession, call for one of the wider rising 
 intervals, on the words marked in italics : 
 
 Then -when I am thy captive talk of chains, 
 Proud limitary Cherub ! but ere then, 
 Far heavier load thyself expect to feel 
 From my prevailing arm, though Heaven's kiiig 
 Ride on thy ■wings. 
 
 So in the hypothesis of the following sentence : 
 
 If I 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 fear'd. God and his Son except. 
 Created thing naught valued he, nor shunn'd.
 
 212 THE RISING THIRD. 
 
 It is not the purpose to decide here, which of the wider inter- 
 vals is to be set respectively, on the strong words of these 
 examples. The citations were made, merely to show that the 
 rising third, fifth, or octave, may be used on the emphatic sylla- 
 bles of such sentences. 
 
 The interval of the minor third, as we have seen in the first 
 section, consists of one tone and a half. It has a plaintive 
 expression, but is not, as far as I have observed, employed in 
 speech for any of those purposes of interrogation, conditionality, 
 or concession, which are here ascribed to the major third. 
 
 It may perhaps be useful, in this place, for the reader to take 
 a retrospect over the subject of melody, as it has thus far been 
 described ; and to look upon it as consisting of the diatonic 
 phrases formerly enumerated, varied for the purposes of inter- 
 rogation, and of emphasis, by the occasional introduction of the 
 Avider rising intervals of the octave, fifth, and third. In speak- 
 ing of the melody of simple narrative, the radical changes of 
 that style were reduced to seven elementary phrases. It may 
 be thought, the further use of these wider intervals, in the 
 transitions of radical pitch, justifies an additional nomenclature, 
 for the phi'ases, employed in expression. It does so; and the 
 Phrase of the Eighth, the Fifth, and the Third, when the 
 transition is made by the radical skip, either in an upward or 
 downward direction, are the terms for designating these new 
 forms of melodial progression in speech.
 
 OF INTERROGATIVE SENTENCES. 213 
 
 SECTION XVII. 
 
 Of the Intonation of Interrogative Sentences. 
 
 Having assigned an interrogative expression to the rising 
 octave, fifth, and third, I defer, for a moment, the history of 
 the remaining forms of pitch, to describe the manner of employ- 
 ing those intervals, in the course of an interrogative sentence ; 
 and thereby to learn, how they are related both to its current 
 melody, and to its cadence. 
 
 With a view to exhibit the striking effect of the interrogative 
 intervals, let us take the following merely declaratory or assertive 
 sentence, as contradistinguished from the grammatical construc- 
 tions that generally indicate a question : 
 
 Give Brutus a statue with his ancestors. 
 
 This sentence is significative of an intention to honor the 
 patriot ; is imperative in its purpose ; and this purpose is ex- 
 pressed by a downward movement on every syllable. But if 
 the versatile plebian should, the next moment, have a new light 
 of discernment, he might affect to refuse the honorary tribute, 
 by repeating the very words of the decree, with the sneering 
 intonation of a question. 
 
 Give Brutus a statue with his ancestors? 
 
 The difference of expression in these two instances, would be 
 perceptible to every hearer : nor could the altered intention of 
 the speaker, in the last case, be mistaken. The conspicuous 
 effect of this line, when thus read, proceeds from the use of the 
 rising interval of the fifth or octave, according to the energy of 
 the case, on each of the syllables ; and it shows the power of 
 that rise in changing an imperative into an interrogative sen- 
 tence. In this way only, by the concrete, or the radical rise of
 
 214 THE INTONATION 
 
 a fifth or octave on every syllable, will the question be fully 
 expressed; for should the interval be employed upon every 
 word except the last, and should this be uttered with the diatonic 
 triad, the interrogation will be lost. If the interrogative inter- 
 val be given to the last word, and omitted on the others, it will, 
 in some degree, denote an inquiry ; but much less forcibly than 
 when the intonation is applied to every syllable. Besides 
 exhibiting the characteristic of interrogative intonation, the pre- 
 ceding examples likewise show the effect of the wider intervals, 
 when compared with the simple concrete of the tone or second, 
 in a diatonic melody. The manner of applying these wider inter- 
 vals, for interrogation, will be presently described. 
 
 Before we enter on this. subject, the purposes of elementary 
 instruction require some notice of the varied extent of the 
 interrogative expression ; since some sentences demand its em- 
 ployment on every syllable, while others are fully significative 
 of the question by its partial application. But to be more 
 definite : 
 
 By Thorough Interrogative Expression, I mean a use of the 
 intended interval on every syllable of the sentence. 
 
 By Partial Interrogative Expression, a use of the interval 
 on one, or on a few syllables ; others, particularly those at the 
 ■close, having the melody of plain declarative discourse. For 
 brevity, and for substitutive terms, these distinctions may be 
 called, the thorough and the partial interrogation, or — intona- 
 tion, or — expression. 
 
 The proper reading of the questions contained in the follow- 
 ing selections, may illustrate the nature of the above named 
 divisions. When Clarence enters guarded, at the end of the 
 opening soliloquy of King Richard III, Gloster thus addresses 
 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 cadence of the diatonic melody. 

 
 OF INTERROGATIVE SENTENCES. 215 
 
 When the Queen, in the third scene of the first act, says : 
 
 By Heaven, I will acquaint liis Majesty 
 Of those gross taunts I often have endured. 
 
 Gloster retorts: 
 
 Threat you me with telling of the King ? 
 
 This proud and angry question must bear the interrogative 
 intonation throughout its current, with the rising interval at 
 the close, or it will not have the required expression. 
 
 As the characteristic intonation in each of these questions 
 cannot be interchangeably transferred, and as every question 
 makes a thorough or a restricted use of the interrogative interval ; 
 it would seem, there must be some instinctive principles, to 
 direct a good reader, in designating the places and marking the 
 limits of this use. I propose in the present section to describe, 
 the nature of interrogative sentences ; and to set forth some of 
 the principles that appear to govern their intonation. 
 
 To state and arrange clearly, the causes that seem to direct 
 the Thorough and the Partial use of interrogative intonation, we 
 must consider both the Grammatical Structure of the question ; 
 and the Spirit and Purpose included in it. 
 
 Sentences are employed interrogatively, under various gram- 
 matical forms. 
 
 First. They are constructed assertively, and derive the power 
 of a question solely from intonation. Let us call these, Asser- 
 tive or Declaratory questions. They have an ironical turn, for 
 their intonation speaks ' otherwise than what the words declare.' 
 
 Second. They are formed by reversing the usual position of 
 the nominative and the verb, with its auxiliary. Let these be 
 called, Common questions. 
 
 Third. By joining pronouns to the common question. These 
 we call. Pronominal. 
 
 Fourth. By joining adverbs to the common question. These, 
 Adverbial. 
 
 Fifth. By joining a negative to the common, the pronominal, 
 and the adverbial. These, Negative questions.
 
 216 THE INTONATION 
 
 In the Purpose and Spirit of a question, there may be many 
 kinds and degrees of meaning, and expression. 
 
 First. A question may be made vrith an uncertainty or with 
 an entire ignorance in the interrogator, on the subject of the 
 question. This is a question of Real inquiry. 
 
 Second. The interrogator, from collateral circumstances, may 
 have some intimation of Knowledge, or a reservation of belief, 
 on what is verbally the point of the question. Call this a 
 question of Belief. Both these questions may be made in either 
 the second, third, or fourth grammatical forms. 
 
 Third. But a question with the negative construction, is made 
 as a demand for an according answer ; and when furnished with 
 collateral grounds of belief, is sometimes put with the spirit of 
 triumphant assertion. We may call this, the Triumphant 
 inquiry. 
 
 Fourth. In connection with claims to truth and justice, 
 a question is sometimes an appeal to the candor of an 
 opponent. This is an Appealing question. To this may be 
 added, the Conclusive, the Exclamatory, and the Imperative : 
 all of which requiring a downward intonation, will be described 
 under the section, on Exclamatory sentences. 
 
 Fifth. Questions may be addressed with an Earnest spirit, or 
 with Moderation. They may be made with Astonishment, and 
 Exultation. In short we may say, that as curious, and unjust 
 and impertinent ignorance is always subject to the sway of 
 temper, questions are found with every kind and force of 
 passion. 
 
 Upon the subject of intonation in the various forms of ques- 
 tions above mentioned, I here offer some general rules ; or 
 furnish approximations towards them, for the assistance of 
 future researches. 
 
 It may be laid down as a rule, almost without exception, that 
 where an interrogative sentence has the assertive construction, 
 it requires the Thorough expression. In addition to an example 
 of this case, given in a preceding page, let us take an instance 
 from Coriolanus, where the same words are used as a declarative
 
 OF INTERROGATIVE SENTENCES. 217 
 
 and as an interrogative phrase. In the fifth scene of the fourth 
 act, the servant of Aufidius says to Coriolanus, 
 
 
 Where dwellest thou? 
 
 Cor. 
 
 Under the canopy. 
 
 Ser. 
 
 Under the canopy ? 
 
 Cor. 
 
 Ay. 
 
 Ser. 
 
 Where's that? 
 
 Cor. 
 
 In the city of kites and crows 
 
 Ser. 
 
 In the city of kites and crows ? 
 
 The replications here set in italics, should be read with an 
 interrogative interval on every syllable ; and the reason seems 
 to be this. All assertive sentences, when put as questions, are 
 elliptical : since they imply, and should properly include some 
 grammatical phrase of interrogation. Thus the speaker here 
 means, either with inquisitive doubt as to the words, did you 
 say, under the canopy ? or with real inquiry as to the place, 
 Where is, under the canopy ? And so of the other instance. 
 But the grammatical phrase of the question being omitted in 
 these cases, it is necessary to supply the defect of the ellipsis, 
 by the use of a thorough interrogative intonation. For when 
 the interrogative interval is applied exclusively to any one of the 
 words or syllables, except the last, it constitutes a mere declara- 
 tion, with an intonated emphasis on the word so marked. When 
 set on many syllables, or on all except one, it indeed pro- 
 duces a degree of interrogation, _but quite unsatisfactory to the 
 demands of sense, and of the ear. Should the interrogative 
 expression be made on the last, while the other words are in 
 the diatonic melody, the reading will fall short of the meaning 
 of the phrase, if it would not, indeed, misrepresent it : since 
 the unexpected rise at the close, instead of the consistent termi- 
 nation by the diatonic cadence, would produce an anomaly of 
 utterance irreducible, by me at least, [^to any purpose of ex- 
 pression. 
 
 When a sentence is constructed with the interrogative pro- 
 nouns or- adverbs, constituting what we called Pronominal and 
 Adverbial questions ; and embraces none of those cases which 
 15
 
 218 THE INTONATION 
 
 require the Thorough expression, it commonly appears under 
 the Partial form ; as in the following examples : 
 
 Who hath descried the number of the traitors ? 
 Jlotc came the these things to pass? 
 What sum owes he the Jew? 
 
 These lines do not severally require a thorough expression ; 
 for the question is here, sufficiently marked, -when the interroga- 
 tive intervals are applied on portions only of the sentence, 
 particularly on its emphatic words. The reason of the rule of 
 partial application may he this. In adverbial and pronominal 
 constructions, there is no question about the existence or agency 
 of the subject of inquiry ; and thus its part in the sentence does 
 not call for an interrogative expression. The uncertainty, is in 
 the relation of that existence, to time, place, manner, number, 
 and degree ; and on these only, the interrogative intervals are 
 required. Thus in the first example, the existence of the 
 traitors is admitted ; the question relates only to their number, 
 and the person who had seen them. In the second, the 
 existence of the things, and their agency in the event, is ad- 
 mitted ; the question being, in what manner, or how they came 
 to pass. In the third, the existence of the debt is admitted ; 
 the assertion being onl^" as to its amount. Some of the excep- 
 tions to the generality of this rule will be mentioned, in speaking 
 of the varying sentiments of an interrogative phrase, and of its 
 final emphatic syllable. 
 
 When the sentence is constructed by the nominative being 
 placed after the verb, or between the verb and auxiliary ; 
 forming what we call a Common question ; 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 
 under it, in which the intonation must be determined by the 
 nature of the sentiment, the place or places of the emphasis, 
 and the form of the sentence, whether it is short and simple, or 
 extended and complex. 
 
 Common, pronominal, and adverbial questions are made directly 
 to the point of inquiry, or indirectly by a negative, to its opposite.
 
 OF INTERROGATIVE SENTENCES. 219 
 
 The intonation of negative questions, has the Thorough or 
 Partial expression ; according to the spirit and purpose of the 
 sentence, — to be illustrated hereafter. 
 
 When a sentence, besides the point of the question, has addi- 
 tional members or clauses which contain an address to a person, 
 or assertions, or expletives, or reference to causes, the expression 
 assumes the partial form, as in the following instances : 
 
 Of address : 
 
 Why with some little train, my lord of Buckingham? 
 Of assertion : 
 
 Why did you laugh then, when I said, Man delights not me ? 
 
 Of expletive : 
 
 WhaVs 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 show'd to day? 
 
 The reason of the rule, seems to be, that the additional 
 clauses, though modifying in some degree the leading point of 
 the question, yet do not, in their separable membership, carry 
 an interrogation, which the portion of the sentence, marked in 
 italics, and called here, the point of the question, does. 
 
 When two or more questions of moderate temper are connected 
 by conjunctions, or when, without this connection, they follow in 
 series, it is not necessary that each question should severally 
 have the degree of interrogative expression, required in its 
 solitary use. 
 
 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?
 
 220 THE INTONATION 
 
 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's death? 
 
 When this rule is not contravened by conditions, requiring 
 universally, the thorough expression, the question, in such 
 instances as the above, is sometimes sufficiently marked, if each 
 of the several constituents of the series has an interrogative 
 interval only on a single word ; and this reduces the case, as far 
 as regards expression, to an ordinary sentence, having an em- 
 phatic word, so signalized by the given interval. Perhaps the 
 reason of the rule is, that the mind or ear of the auditor being 
 in the feeling, or humor of the question, the interrogation is 
 sufficiently indicated by the grammatical construction. 
 
 With respect to the Purpose or the Spirit of a question, some 
 notable circumstances govern the use of intonation. 
 
 When the question is prompted by the ignorance or uncer- 
 tainty of the speaker, and thus contains a Real inquiry, it 
 generally bears the thorough expression; which must conse- 
 quently in many instances, overrule the formulae for the partial 
 intonation of pronominal, adverbial, and common questions ; and 
 of questions in conjunction, and in series : as in the following 
 examples, where the lines in italics, including a question of real 
 inquiry, call for the thorough interrogation : 
 
 Hamlet. Dost thou hear me, old friend? 
 
 Can you play the murder of Gonzago 7 
 
 Polonius. Do you know me, my lord? 
 Hamlet Excellent well. 
 
 Hamlet. Have you a daughter? 
 Polonius. I have, my lord. 
 
 Although in the stated form of this rule, only a general 
 effect is ascribed to it, yet, when the question has much earnest- 
 ness, its bearing is universal.
 
 OF INTERROGATIVE SENTENCES. 221 
 
 Those questions, in wliicli the interrogator intimates some 
 knowledge, on the subject of his inquiry, and which were termed, 
 questions of Belief, call for only the partial intonation. Under 
 this head, there are even declarative questions, containing so 
 much of an absolute assertion, that they require the slightest 
 degree of interrogative expression, as in the following, of Hamlet 
 to Polonius : 
 
 My lord, you play'd once in the University, you say ? 
 
 There is some doubt in this sentence, and it is therefore pro- 
 perly marked as a question : yet the phrase, you say, puts the 
 question, if such, as referring to an event that was known 
 before, to the interrogator. 
 
 Of the negative question, that seems to anticipate, or at least 
 to hope for, an according answer, we find an illustration in 
 Shylock's noted parallel between the Jew and the Christian, 
 with his earnest resolve upon revenge. 
 
 He hath disgraced me, and hindered me of half a million ; laughed at ray 
 losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled 
 my friends, heated mine enemies ; and what's his reason ? I am a Jew : Hath 
 not a Jew eyes ? Hath not a Jew hands ? Organs ? Dimensions ? Senses ? Affec- 
 tions? Passions ? Fed with the same food, hurt with the same weapons, subject 
 to the same diseases, healed by the same means, warmed and cooled by the 
 same winter and summer, as a Christian is ? If you prick us, do we not bleed ? 
 If you tickle us do we not laugh ? If you poison us, do we not die ? And if you 
 wrong us, shall we not revenge ? If we are like you in the rest, we will resem- 
 ble you in that. If a Jew wrong a Christian, what is his humility ? Revenge. 
 If a Christian wrong a Jew, what should his sufferance be by Christian exam- 
 
 ' e ? Why revenge. The villainy you teach me, I will execute ; and it shall go 
 iiard, but I will better the instruction. 
 
 Here the questions begin with, — what's his reason? Now as 
 the answer is made by the inquirer himself, the question is 
 rather one of belief, or an appeal, than a real inquiry, and is to 
 be made by rising intervals, on the first three syllables, with a 
 downward interval on son ; thus constituting a partial interro- 
 gation. The answer is a full sentence, and serves to illustrate 
 the expression of the triad of the cadence. This triad is always 
 set at a full period. When therefore, Shylock, to his own qucs-
 
 222 THE INTONATION 
 
 tion, responds, and assigns the reason, / am a Jew ; giving a 
 down^Yard interval to /, and tlie triad of the cadence, -with its 
 downward vanishes, to the last three syllables ; he joins to the 
 close of the sense by words, a positive closing intonation, which 
 emphatically declares, this alone to be the reason, and implies 
 by the close, that no more is to be said : Thus affording a beau- 
 tiful instance both of the grammatical, and the intonated effect 
 of the cadence. Add to this, the contrasted variety, of the 
 rising intervals on the question, and the downward intervals on 
 the answer : much preferable, I would say, for its truth, dignity, 
 and force, to the answer when made by the sneering into- 
 nation of rising intervals, or of waves, sometimes applied to 
 it. The next two questions, Hath not a Jew eyes ? Hath not 
 a Jew hands ? are similar in argumentative meaning, and should 
 have a like intonation. They are both negative. And as the 
 negative question has a peculiar logical construction and effect, 
 I here offer an explanation of that peculiarity. 
 
 Let us take the following, as a common question ; Hath a Jew 
 eyes ? Then as a simple negation ; A Jew hath not eyes ? Now 
 if we join an inquiry to this negative declaration ; Is it, that a 
 Jew hath not eyes ? or hath not a Jew eyes ? we question a 
 negative. But to doubt or question a negative, is in a certain 
 degree, to imply an affirmative. Thus to question his not having 
 eyes, is at least to intimate that he has. Hence negative ques- 
 tions may be considered as questions of Belief, under the form 
 of an appeal. If this view is correct, Shylock does not look to 
 Salanio, his interlocutor for an answer ; but implies in the 
 negative appealing question, his conviction that the identical, 
 physical and moral constitution in the Jew, and the Christian, 
 equally entitles the former to the rights of truth and justice. 
 Under this view, the question put by Shylock, though one of 
 belief, and appeal, has its claims to the partial intonation, over- 
 ruled by the vehemence of its spirit ; and therefore demands 
 the thorough interrogative expression. 
 
 Next follow in succession, five words, each being an ellip- 
 tical declaratory question ; and they are here so marked ; 
 having dropped the grammatical phrase, — Hath not a Jew ?
 
 OF INTERROGATIVE SENTENCES. 223 
 
 These questions then, severally call for the rising interrogative 
 interval, on each of their syllables. Let there be no fear of 
 monotony in this case : the variety of sound and meaning in the 
 words, enable the ear to bear the repeated identity of a truthful 
 intonation. We next have a sentence beginning at fed, con- 
 sisting of five clauses. This is still a declaratory question : 
 but the ellipsis that makes it so, does not avoid a solecism ; for 
 the interrogative verb, whether expressed or understood, must 
 be changed, and the question, if complete should be, not. Hath 
 not, but. Is not a Jew fed with the same food, as a Christian is ? 
 in its declaratory state in the text, its negative embraces, like 
 the preceding questions, a degree of belief and appeal. But 
 the vehemence has somewhat subsided, and the intonation may 
 therefore be partial ; particularly at the end, where the diatonic 
 cadence may be applied. The next four questions are similar : 
 and each is made up of a condition, and of a negative question 
 thereon. If you prick us, do we not bleed ? This union of the 
 condition and the negative, puts the question of belief and of 
 appeal, in so strong a light, that its meaning takes the lead, 
 in the intonation of the several questions. All the interrogative 
 })arts should therefore have the downward intervals ; for these, 
 we will learn hereafter, form the intonation of appealing ques- 
 tions : while the conditional clauses, should have the partial, or 
 the thorough expression, as the meaning, or as variety may 
 require. The next two ((uestions are alike in construction, and 
 contain, severally, a condition, together with a pronominal ques- 
 tion, If a Jew wrong a Christian, what is his humility ? Here 
 the interrogator returning his own answer, the question may be 
 taken as an appeal, and thus receive the downward intonation. 
 15 ut as the sentiment of the question requires something of a 
 -aeer, the emphatic syllable of humility, may receive the direct 
 wave, which will be shown hereafter to be its proper vocal 
 expression : while at the same time, the rise of the first interval 
 of this wave, forms a striking and elegant contrast to the em- 
 phatic downward intonation of the answer, — Revenge. The 
 other answer, — ivhy revenge, should have the triad of the 
 cadence, on its three syllables, forcibly declared by its downward
 
 224 THE INTONATION 
 
 vanishes : meaning, as it would seem, — there is an end of the 
 subject, let no more be said. As an example for the higher 
 Elocution, this composition has great strength and beautj. The 
 vehemence with which the rising intonation begins, moderates 
 as it proceeds ; till it gradually declines to the downward, but 
 still impressive intonation of an appeal. If the several ques- 
 tions seem to bear too close a succession of the same rising 
 intervals ; let it be remembered, this is not monotony. It is 
 the truth of intonation : and in the purposes of a Really Natu- 
 ral and expressive use of the voice, truth and fitness can never 
 be monotonous, to a scientific, and cultivated ear. 
 
 For a further illustration of the negative interrogatory, under 
 that degree of belief, called the triumphant question ; I give 
 here an example, showing at the same time, the difference 
 between the negative and the common form. 
 
 When Paul, before the Judgment Seat, exclaims, — King 
 Agrippa, believest thou the Prophets ? he addresses a real 
 inquiry, and cannot, therefore, with propriety, return the answer 
 himself. For unless, Agrippa had remained silent after the 
 question, of which we are not informed, we see no reason why 
 Paul should so confidently afiirm the belief of Agrippa. His 
 personal narrative, and his very naturally ascribing to Agrippa, 
 a knowledge of Jewish affairs, even if grounds at all, are not 
 implied in his real inquiry. But let the question be negative, 
 and the belief will then be implied, Paul's respondent remark 
 might be anticipated, and would perhaps be fairly conclusive ; 
 Dost thou not, King Agrippa, believe the Prophets ? I knoiv 
 that thou believest. Now apply rising interrogative intervals to 
 the words, — dost thou not King Agrippa ; making the three first 
 strongly and deliberately emphatic, with a slight pause after 
 Agrippa ; and reducing the octave or fifth, which ever may be 
 used on the sentence, down to a third on the syllable grip, and 
 to a second on pa ; and terminating the question, by positive 
 falling intervals on, — believe the Prophets : and further, give 
 an emphatic downward intonation to the declaration, -7- 1 know 
 that thou believest, with an exulting tremor on Tcnoiv ; and the 
 question, by the implied belief of its negative structure, will be
 
 OF INTERROGATIVE SENTENCES. 225 
 
 a forcible figure of speech, and a striking example of the triumph- 
 ant inquiry.* 
 
 The extent of interrogative intonation appropriate to ques- 
 tions put argumentativelj, and to those embracing a confident 
 appeal, varies from the full thorough application, through all 
 the degrees of its partial use, to the very opposite expression of 
 the most positive declaratory sentence : But of the argumenta- 
 tive, and appealing interrogation, I shall speak, in a future 
 section. 
 
 When a question is vehemently made, under any grammatical 
 construction, and with any number of such questions, either in 
 ■onjunction or in series, the rule very generally assigns to the 
 expression, the thorough extent. 
 
 Show me what thou'lt do. 
 Woo't weep? woo't fight? woo't fast? woo't tear thyself? 
 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? 
 
 •We are told, in the 'Acts of the Apostles,' that Paul addressed Agrippa, in 
 what we have called a common question of Real inquiry. But Paul, from his 
 own account of his persecuting the Christians, was a choleric, and a violent 
 man ; and was besides, an Enthusiast in the Platonic Philosophy ; that scho- 
 lastic source of the fanatical delusions of the 'real presence of Spiritualism,' 
 and of political craft, in the prophecies of ' Manifest Destiny.' Urged and sus- 
 tained by the overbearing energy, and the self-confidence of his character, he 
 was necessarily fearless before his accusers, and eloquent in the conscious 
 honesty, and declaration of his belief. In the fervor of that belief, he put his 
 question, as if his own conviction had reached his judge. Now either nature or 
 
 uvention, as I maintain, has appointed the form of a Negative question, to 
 express this hopeful reliance of the interrogator, on the yielding assent of the 
 respondent, But this is not the form recorded in the case before us. If Paul's 
 friends or foes in the crowd, reported the Address, we cannot be surprised at a 
 mistake. If it was written out by Paul, or repeated by him to others, the senti- 
 ment must then have lost the purpose apd ardor that directed the meaning, and 
 force, and appropriate grammar of his impressive vocal question. We may 
 then be allowed, with some probability, to doubt whether the question was written 
 down in the very words of the speaker. 
 
 The philosophical critic must pardon the merely illustrating fancy of this 
 Note. And if this, my pastime of commentary, should disturb the nervous 
 Orthodoxy of those who do not like to be called ' Lovers of Wisdom ;' they will 
 please to observe, that the proposed emendation of St. Luke, who though a 
 Physician, may not have been an Elocutionist, is suggested by a law of Nature,
 
 226 THE INTONATION 
 
 The spirit that directs the voice in these several questions, has 
 an excess of vehemence, and the purpose of that spirit, is inter- 
 rogative. The interrogative therefore, must be vehemently 
 marked by its rising intervals on every word, or there will be 
 no correspondence between the passionate purpose and the vocal 
 expression. But it may perhaps be said, this repetition of the 
 same interval, would be monotonous. If so, the charge is made 
 against nature ; and it is always hopeful to defend her. Let 
 him who would try it, for variety, give the several questions, 
 alternately with a rising and a falling octave or fifth ; and hear 
 then, their meaning and spirit quite destroyed, by this see-saw 
 of real monotony. Again, let him otherwise contrast these 
 intervals, for some must rise, and try every succession, that may 
 seem to promise variety ; then we shall have, together with a 
 striking oddity, a far worse monotony of ajBfectation. After 
 these trials, let him give each question with its proper rising 
 interval : and we can then say, if the purpose and passion are 
 not as deeply impressed on us, as they are forcibly expressed by 
 him. He is only telling the truth of utterance, with emphatic 
 repetition ; and we, if fit for sympathy, cannot perceive a mono- 
 tony, which he does not feel. But see the elocution, in the 
 Poet's soul and pen ! He put eight questions into these lines, 
 and felt then, as we may therefore say now, that all should have 
 the rising intonation. He paid this tribute to nature, in the first 
 six. Then with a mind unconcious of monotony in truth, 
 but merely to give it variety, by another thought with the 
 downward interval, and its vehement assent, he felt, and thought, 
 and wrote, — Til do it. 
 
 Say, spirit of Shakspeare ! do I thus speak the truth, of 
 thy discrimination, as it so often speaks to me the everlasting 
 truths, and truthful analogies of nature and of life ! 
 
 But to return. Should a question be addressed in a moderate 
 temper of inquiry, the speaker will generally afiect the partial 
 form of expression. When Hamlet says to Guildenstern, 
 
 Will you play upon this pipe? 
 
 who among the countless, so called, orthodoxies of men, has never yet found one, 
 in likeness of her own.
 
 OF INTERROGATIVE SENTENCES. 227 
 
 the composure of mind and the rank of the prince, mingle in 
 the question, the mild authority of a request, with the doubt of 
 an inquiry ; and this is perhaps properly represented by the use 
 of a moderate interrogative 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 
 stress or force, on the last constituent of the triad, as well as 
 by a rising interrogative interval. 
 
 When a question is asked with astonishment, surprise, indig- 
 nation, scorn, and other emotions of similar spirit, it generally 
 receives the thorough expression. Let us take an example 
 from the scene, in the first act of Samlet, between Hamlet, 
 Horatio, and the two officers ; where we find, from the moment 
 Horatio informs Hamlet of his having seen his father, there fol- 
 lows, on the part of the Prince, a succession of questions, with 
 both the declaratory and interrogative construction, requiring 
 with one or two exceptions, a marked use of the thorough 
 expression. 
 
 There are thirteen questions in this dialogue. In remarking 
 on them, it is to be regretted, — the nature and novelty of this 
 work obliges me to anticipate some points of our subject, that 
 will be fully explained hereafter. Others gain knowledge from 
 books in their own way ; but, from experience, I have found, 
 what is worth reading at all, should be read more than once ; 
 different parts of a system being the best expositors of each 
 other. The Student of Nature is always again, and again, 
 going over her Book. 
 
 After some words about the late King, our extract from the 
 dialogue begins here : 
 
 Hor. My lord, I think I saw him yester-night. 
 Ham. Saw ? who ? 
 
 There seems to be here, two separate questions. The first 
 is elliptical ; either for the declaratory phrase, you saw ? Or 
 for the common question, did you see? And refers merely to
 
 228 THE INTONATION 
 
 the fact of an apparition. Since Hamlet's thought is, for the 
 moment, exclusively directed to the impossibility of the King 
 his father, having been seen. The second is elliptical either for, 
 saw "who ? or for, who did you see ? And refers to the person 
 of the apparition. By thus making two separate questions, we 
 are enabled to give more force and variety to the intonated ex- 
 pression of their sense and sentiment. They both express 
 astonishment and inquiry, the former predominating : and this, 
 we shall learn hereafter, calls for a wide downward interval ; 
 while the question requires a wide rising interval. These differ- 
 ent expressions are therefore connected, by the falling continued 
 into the rising octave ; thus forming what we call the inverted 
 wave. The astonished interrogation of this wave, is then to be 
 applied to the first question, saw ? The second question, who f 
 is elliptical, for — who did you see ? But it is not here a declara- 
 tory phrase, requiring a rising interval ; for being an interrogative 
 pronoun, it does even when alone, always convey the meaning of 
 a question. But the question has already been emphatically 
 made on, — saiv? With a moderate pause after this word, the 
 astonishment may therefore be expressed, by an emphatic down- 
 ward octave on wlio ; forming what will be described hereafter, 
 as the Exclamatory question. In this way, the expression of 
 these two words, while both forcible and true, is effected with 
 more variety, than if the same intonation were used on each. 
 
 Hot. My lord, the King, your father. 
 Ilam. The King, my father? 
 
 This is a declaratory question, with the sentiment of astonish- 
 ment : and therefore calls for an emphatic thorough interrogation. 
 This interrogation may be made, as in the last case, by the 
 inverted wave of the octave on King ; but as the short quantity 
 of the syllable /a, will not bear the prolongation of the wave, 
 and perhaps, not even the simple rise of an emphatic octave, 
 without deforming its pronunciation ; the interrogative expres- 
 sion might be effected, by taking — fa, at the current level of 
 the voice, and then rising Avith ther^ by an upward skip of 
 radical pitch, to the hight of an octave, as exemplified in the 
 fourteenth section.
 
 OF INTERROGATIVE SENTENCES. 229 
 
 Horatio having then detailed the circumstances of the Ghost's 
 visitation, Hamlet asks, — But where was this ? What was said, 
 in illustrating the intonation of sentences constructed with the 
 adverb and pronoun, applies here : for the question is em- 
 phatically put as to the place ; where must therefore have either 
 a simple interrogative rise of an octave, or fifth, or a union of 
 these respective intervals, in the form of an inverted wave. 
 
 Mar. My lord, upon the platform where we watch'd. 
 Ham. Did you not speak to it? 
 
 This, as the reader may now perceive, is a Negative Appeal- 
 ing question. All therefore that was said formerly of the 
 example. Hath not a Jew eyes ? may be referred to, and applied 
 liere : with the exception however, that the present question is 
 less vehement, and therefore less confident in its belief and ap- 
 peal, and in the expectation of an according answer. The 
 greater energy in the former case, required the thorough in- 
 terrogation : while here, the application may be either thorough 
 or partial, as the thought or feeling of the reader may direct. 
 If however, as it appears to me, there is in the idea that Horatio 
 should, yet might not have spoken to it, some passing sentiment 
 of reproof on the part of Hamlet, the intonation should be partial, 
 to show that reproof, perhaps on the word not, by a positive 
 downward interval. 
 
 Hor. My lord I did; but answer made it none. 
 Ham. 'Tis very strange. 
 
 Hor. As I do live, my honored lord, 'tis true. 
 Ham. Indeed, indeed sirs, but this troubles me. 
 Hold you the watch, to night? 
 
 This is a question of real inquiry, and should have the thorough 
 intonation. But there may be another cause for this. Think- 
 ing men, in their purposes, whether good or bad, — if indeed, 
 that exalted agent real thinking ever stoops, as fictional though 
 often does, to a bad purpose, — always have a reason for them. 
 When therefore, Shakspeare makes the whole company at once, 
 answer this question, we must not suppose it done without 
 thought, but to show, the question was not addressed to you, as
 
 230 THE INTONATION 
 
 an individual. Consequently, the interrogative expression should 
 be thrown over the Avhole sentence, with a slight emphasis on, 
 to niglit : the time being the unknown, while holding the watch, 
 and the sentinels to be set, are the given quantities, so to speak, 
 in the mind of Hamlet. 
 
 All. We do, my lord. 
 Ilam. Arm'd, say you? 
 
 This is not a question of real inquiry. For Horatio having 
 formerly described the king, 'arm'd at point, exactly, cap-a-p^,' 
 Hamlet was aware of his having so appeared. But as happens, 
 in cases where the mind is unprepared for a new impression, and 
 hardly receives it, Hamlet recurs, by the phrase, say you, to 
 the former report by Horatio, and asks for a confirmation of it. 
 This then being a question of belief, might seem to call for only 
 the partial intonation. Yet as the thought comes back to 
 Hamlet, with some surprise ; as an earnest feeling is implied in 
 the desire to have the sentiment repeated ; and as there are but 
 three words in the question, and those, important to the point, 
 each should receive the interrogative expression. 
 
 Uor. Arm'd, my lord. 
 Uam. From top to toe? 
 
 This is a declaratory question, and requires the thorough 
 interrogation. 
 
 Ilor. My lord, from head to foot. 
 Uam. Then saw you not his face ? 
 
 This is a negative question, and thus carries a degree of be- 
 lief; yet as the spirit is earnest; as the last word is emphatic, 
 and thus requires an interrogative interval, the whole question 
 calls for the thorough expression. 
 
 Uor. 0, yes, my lord; he wore his beaver up. 
 Uam. What ! Look'd he frowningly ? 
 
 It is not quite clear to me, what should be the intonation, on 
 the first part of this question. I am inclined to take what^ as 
 an exclamation rather than an interrogative. In each case it
 
 OF INTERROGATIVE SENTENCES. 231 
 
 must be considered an ellipsis : in'the former, perhaps for, what 
 a wonder ; in the latter for, ivhat was his appearance. As a 
 pronominal interrogatory, it requires a "wide rising interval ; 
 while the following phrase, looked he frowningly, being a ques- 
 tion of real inquiry, with the thorough expression, we have 
 unnecessarily, and with seeming levity of voice, two consecutive 
 interrogations. In the other case, taking the pronoun as an 
 elliptical exclamation, with a downward fifth or octave, and a 
 subsequent pause, the gravity of this wider interval would con- 
 trast agreeably with the thorough rising interrogation, and give 
 greater dignity to the whole expression. 
 
 Ilor. A countenance more in sorrow than in anger. 
 Ilam. Pale, or red? 
 
 This is a declaratory elliptical question, and should receive a 
 thorough expression. But perhaps we may find an overruling 
 reason Avhy it should take the partial. As these words make an 
 emphatic contradistinction, and as intonation is the sign of sense 
 and sentiment ; that contradistinction must be shown by the 
 intonation. We would then give to pale, a rising interrTfga- 
 tive interval ; and to red, a downward positive intonation. 
 Were the quantity of this last word greater, it might receive, 
 with more propriety, the direct wave ; its first or rising interval, 
 moderating by its interrogative effect, the positiveness of its 
 downward termination. But, even with the single intervals 
 above proposed, the question, is marked, and the words contra- 
 distinguished, by an emphatic and varied expression. This 
 example forms one of the exceptions to the very general rule, 
 that declarative questions should receive the thorough interro- 
 gative expression. 
 
 Hor. Nay, very pale. 
 
 llam. And fixed his eyes on you? 
 
 This is a declarative sentence, and requires the interrogative 
 intervals throughout. 
 
 Hor. Most constantly. 
 
 Ham. I would I had been there. 
 
 Hor. It would have much amazed you. 
 
 Ham Very like, very like. Staid it long ?
 
 232 THE INTONATION 
 
 The three last words, are here the question ; and containing 
 a real inquiry, call for the thorough expression. 
 
 Ilor. While one with moderate haste might tell a hundred. 
 
 Mar. Ber. Longer, longer. 
 
 Hor. Not when I saw it. 
 
 Ham. His beard was grizzl'd ? No ? 
 
 Hor. It was, as I have seen it in his life, a sable silvered. 
 
 There seems to be some difficulty in this last question. If 
 the phraseology were completed thus : His beard was grizzl'd, 
 was it not ? the case would be quite clear. For taking the first 
 phrase, under this form, as a declaratory question, it would 
 receive a thorough interrogative intonation : while the second — 
 being a proper grammatical question, with its rising interval, 
 and following the first, — would have the propriety and force of 
 an emphatic repetition of the question, under a negative and 
 appealing form. But when, as in the dialogue, the construction 
 of the last phrase, is reduced by ellipsis, to the monosyllable no, 
 an(i both the phrases are then made intonated questions, it ren- 
 ders, in some .degree, the elocution awkward, and the meaning 
 obscure. Every edition of Shakspeare, I have examined, makes 
 each of these phrases, a separate interrogation. As they stand 
 then in the dialogue, the first is a declarative, question, and 
 must have the rising interval on every word : while no, being 
 ^also a declarative question, must likewise have its rising interval. 
 The question having, however, been distinctly expressed by the 
 first phrase, an endeavor to enforce it by repetition, under this 
 brief monosyllabic construction, would Droduce only an inef- 
 fectual kind of vocal tautology. For a single interrogative interval 
 on no, does not here, give that double impression of the ques- 
 tion, which is eflfected, by the same interrogative intonation, 
 on the above proposed and full grammatical question, was it 
 not ? If the reader will give a thorough expression, to these 
 two different forms of the sentence, Ilis beard was grizzl'd ? no ? 
 and. His beard was grizzl'd ? was it not ? he will perceive, that 
 in the latter, the inquiry is clearly enforced, by its repetition 
 under the different form of a negative appeal : while in the
 
 OF INTERROGATIVE SENTENCES. 233 
 
 former, there is a degree of confusion in the sense, and conse- 
 quently an undetermined character in the elocution. For in this 
 case, it might seem, without due reflection, that Hamlet having 
 first inquired whether the beard was grizzled, immediately an- 
 swers his own question, by a declaration that it was not. But 
 taking this single word, according to the text, as a question, 
 even a wide interrogative interval on wo, has not the power to 
 destroy entirely, the usual, and strongly declarative meaning of 
 this negative monosyllable. And this produces, a confusion, 
 which the full grammatical question, was it not, would entirely 
 obviate. 
 
 There is another view to be taken of this example : for Elocu- 
 tion is a current of divided and sometijnes diverging rills-. Thus 
 the phrase, his beard was grizzl'd, may be taken as a positive 
 affirmation, founded on Hamlet's certain knowledge of its living 
 color ; and made as additional means for identifying his father. 
 In this case, it should have the downward intonation of a 
 common assertion. The phrase being so regarded, Hamlet 
 seems, for a moment, to question his own conviction : and there- 
 upon, by the declaratory question, no, — an ellipsis here, for, was 
 it not grizzl'd, — asks Horatio, by a rising fifth or octave, on 
 this negative monosyllable, if it was not so. My own ear and 
 reflection incline me to this manner of treating the example. 
 But the two parts of the sentence, being universally marked as 
 real and separate questions, I did, on that condition, propose 
 for them, what seemed to me a suitable intonation. 
 
 To the scientific and practical Artist-Reader of another 
 age, skilled in the principles, and if we may so speak, in the 
 design, light and shade, color, and perspective, of Elocution, we 
 may predict, that without some further discernment in his day, 
 the structure of this sentence will never allow a quite satisfac- 
 tory intonation. As however, Hamlet must speak from some 
 recollected knowledge, I would propose, according to the manner 
 just described, to make the first clause a simple assertion, with 
 a downward intonation ; and no, with a wide interrogative 
 interval. Yet this, from the influence of the usual assertive 
 meaning of no, does not satisfy me ; and perhaps it is only a poor 
 16
 
 234 THE INTONATION 
 
 apology for my own inability, to say, the sentence should never 
 have been written, to be read, and that here, Shakspeare, the 
 Actor, slept. 
 
 I have said little of the emphatic words, and of other points 
 in these questions ; and have only occasionally noted the extent 
 of the intervals : the purpose being to describe some of the 
 forms of partial and thorough interrogation, and the general 
 character of their expression. Among the purposes of this work, 
 the title page announces, its design to render criticism intel- 
 ligible, through the study, and promulgation of its system and 
 principles. I have therefore endeavored to show, by the pre- 
 ceding explanatory criticisms, how some of these principles may 
 be applied : leaving others, with competent knowledge, and an 
 observant spirit, to make particular applications for themselves. 
 Personal Authority has always laid such a stupefying weight, on 
 the human mind, that it is hoped this book may be consulted, 
 only for those submitted principles which observation, experi- 
 ment, and well-watched thinking, may hereafter confirm ; and 
 not for suggestions, or critical opinions recorded by the author, 
 merely to illustrate the meaning of his subject ; an illustration 
 being often, no more than an analogy to the sense of a pro- 
 position, not an examplary proof of it. 
 
 Under the present head, for illustrating the influence of 
 forcible sentiments, in producing a thorough intonation, we have 
 another instance in the retort of Cleopatra, 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 thow 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 interrogative coloring. 
 As there seems, however, to be some implied appeal, in the 
 word, sliall, it might be supposed, the question is one for partial
 
 OF INTERROGATIVE SENTENCES. 235 
 
 intonation. But under this, or any other exceptive condition, 
 the earnestness of the sentiment -vvould overrule it. 
 
 When the last syllable of a question is emphatic, and its 
 intonation not directed to the partial expression by the preceding 
 rules, particularly that, regarding the series, this last syllable 
 bears the interrogative interval. Should the sentence be short, 
 or consist of a single member, the expression ■will have a 
 thorough application. In the dialogue between the murderers 
 of Clarence, the second speaker exclaims and asks : 
 
 AVhatj shall we stab him as he sleeps? 
 
 From the answer of his companion it is plain, the question 
 points at the act of sleeping, and this produces an interrogative 
 emphasis on the last word. Had the incjuiry been whether the 
 victim should be stabbed or strangled, the word stah would 
 carry the emphatic intonation, and the sentence might end with 
 the diatonic cadence. 
 
 It will be shown, in a future section on Exclamatory sentences, 
 that a phrase having the grammatical form of a question, — but 
 from some collateral influence, imbued with sentiments that 
 overrule the interrogative purpose, — is not properly expressed 
 by rising intervals, but by a contrary movement of pitch. 
 
 Having thus endeavored to bring the subject of thorough and 
 partial interrogative intonation, into something like a managea- 
 ble form, I leave the correction of the errors of the effort, and 
 the amplifying of its approved hints, as a work for the better 
 ear, and closer attention of others. 
 
 Let us now consider more particularly, the manner of employ- 
 ing the interrogative intervals on individual syllables. 
 
 Prefatory to this investigation, it is necessary to consider the 
 radical and vanishing movement, when applied to short and im- 
 mutable syllables. In the second section I described the means 
 by which the various concretes may be exemplified on long quan- 
 tities : and there asserted that no syllable however short, can be 
 uftered without passing through the radical and vanish, under 
 some form of intonation. Perhaps the reader is now prepared 
 to receive proof, that the concrete does pass through the wider 
 intervals, or immutable syllables.
 
 236 THE INTONATION 
 
 We will then suppose, he is familiar with the interrogative 
 expression of a concrete rise through a third, fifth, and octave. 
 Now let him take the immutahle syllable top, one of the shortest 
 in the language, and pronounce it as a mere sound, without 
 meaning or sentiment : and again, as an earnest question. He 
 will perceive, that however quickly pronounced, it will still have 
 the peculiar interrogative expression. There is therefore in the 
 last experiment, some condition of the voice not heard in the 
 first. Since then, this interrogative expression, on the slow and 
 measurable time of an indefinite syllable, is made by the wider 
 interval of the fifth or octave ; and as there is no other means 
 for producing this interrogative eifect, the inference is fair, that 
 the voice in producing that same efi"ect on a short syllable, must 
 have passed through one of those wider intervals. For it does 
 not in this case, proceed from any peculiar quality of voice ; nor 
 from an impressive degree of force : and that it is not pro- 
 duced solely by a radical skip of the syllable to a high place of 
 pitch, may be ascertained by the following experiment. Let 
 the reader, rise through the musical scale by repeating the word 
 top, taking care to give it no more than the concrete of a second 
 at each degree : yet with this discrete rise to any hight, there 
 will be no interrogative effect. To what then is this interroga- 
 tive intonation, on an immutable syllable to be ascribed, if not 
 to a momentary flight of the voice, through a concrete interroga- 
 tive interval. The audible efi"ect justifies the conclusion ; though 
 the increments of time, and of space on the scale, so distinctly 
 perceptible in the slower concrete, are on the immutable syllable, 
 altogether beyond the power of measurement. 
 
 From this view of the diflference in time of the radical and 
 vanish, on indefinite, and on immutable syllables ; and with 
 reference to the uses of their difi'erent times in the intonation of in- 
 terrogative sentences ; let us call the measurable movement of the 
 voice through an indefinite syllable, the Slow Concrete: and 
 its momentary flight through a short and an immutable one, the 
 Rapid Concrete. 
 
 It appears by the trials above proposed, that the interrogative 
 efi'ect is producible on the shortest syllables : and similar experi-
 
 OF INTERROGATIVE SENTENCES. 237 
 
 ments warrant the general conclusion, that every interval of the 
 scale is practicable on every syllable of speech. But it is to be 
 remarked, that the effect of the wider intervals or short sylla- 
 bles, compared with their effect on long and indefinite ones, has 
 a feebleness of interrogative expression, directly proportional to 
 the rapidity of their flight ; and consequently, that the slow and 
 distinctly measurable concrete on indefinite syllables produces a 
 more marked impression on the ear. It is desirable, however that 
 the thorough expression should be equally diffused throughout 
 the sentence : and as all syllables have not sufiicient length, to 
 bear the slow and most impressive interrogative concrete, it 
 follows that other means, besides those already described, must 
 be employed on short syllables, for the purpose of fulfilling 
 strongly and uniformly the intonation of a question. The 
 means for strengthening the comparative feebleness of interroga- 
 tive expression on short syllables, consists in raising them, by 
 change of radical pitch, through the interrogative interval, to 
 the summit of the slow concretes on the indefinite quantities ; 
 as the following notation of a case of thorough expression will 
 exemplify. 
 
 Give Bru tus a stat ue with his an ces tors? 
 
 ^^E^^E^^f- 
 
 4^ 4 g 
 
 In this case the interrogative intonation is made by the fifth 
 on every syllable. To the first two Avhich are indefinite and 
 emphatic, the slow concrete is applied. But the third being 
 immutable, cannot bear the slow concrete ; the pitch is therefore 
 suddenly transferred by radical change to the hight of the 
 preceding vanish ; where, at the same moment, the syllable 
 takes on the rapid concrete of the fifth. The melody continues 
 at this hight, on all the following unemphatic syllables, or which, 
 if emphatic as may be said of stat., are of immutable quantity. 
 From A?.s, the radical pitch descends to the indefinite syllable
 
 238 THE INTONATION 
 
 an, for the purpose of rising on this syllable by the slow con- 
 crete : and the two final short quantities terminate the melody by 
 radical change and the rapid concrete. 
 
 It is by this method then, the union of a 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. 
 
 The reader may satisfy himself of the nature and effect of 
 this radical change, by deliberately pronouncing the noun con- 
 vict, as an earnest question. The syllable con being an indefinite 
 quantity, and emphatic, will be distinctly heard to rise con- 
 cretely from a given point of pitch, to the place of the fifth or 
 octave, according to the earnestness of the expression : and the 
 immutable syllable vict, with its rapid concrete, will be heard at 
 the hight of that previous vanisL "When vict is kept down at 
 the level of the radical of con, and there uttered with a rapid 
 concrete rise, carefully guarding against the descent to a close, 
 the interrogative eifect is indeed still perceptible, but in a 
 degree far inferior to the keen questioning of the former into- 
 nation. 
 
 It is not difficult to assign the reason why the interrogative 
 effect of the rapid concrete is enhanced, by its being taken on 
 the higher places of the scale. For the rise by the slow con- 
 crete, is after all, but a gradual change from a low to a high 
 pitch : and though that gradual, or continuous change is plainly 
 distinguishable, in its degree of expression, from a discrete skip to 
 the same hight, still an essential though not the exclusive power of 
 the gradual movement, is, its designating that higher place by its 
 termination there. Now this power is the sole efficient in the 
 radical skip ; and like that |0f two discrete notes on a musical 
 instrument, when heard in immediate succession as the ex- 
 tremes of a wide interval of the scale, it does produce an 
 effect closely resembling that arising from a concrete transition 
 of sound between the same extremes. When to this effect of 
 the radical change, the co-operating expression of the rapid 
 concrete is added, the combined effects become equivalent to the 
 interrogative expression, produced by the slow concrete on an 
 indefinite syllable.
 
 OF INTERROGATIVE SENTENCES. 239 
 
 As the rapid concrete on a short syllable, whether emphatic 
 or not, docs, however moderately, produce an interrogative 
 expression, it may be used, without the radical change in cases 
 not requiring a strongly marked intonation of the question. 
 That is, all the interrogative syllables of sentences, bearing the 
 partial expression, for a thorough expression is generally forci- 
 ble, 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 interrogative interval : and it will generally 
 be found, that the moderate temper of such questions receives 
 the abated expression, ascribed to the Third, in the history of 
 that interval. 
 
 Besides that succession of radical change above noted and 
 explained, there is another method of applying the general 
 principle of its construction. When the first part of a sentence 
 consists of short quantities, that do not bear extension, the 
 interrogative expression may be made, by the voice setting out 
 :it once with a rapid concrete, on the high pitch, and descending 
 afterwards at the first emphatic syllable of long quantity. Thus, 
 taking the two first symbols of intonation from -the preceding 
 example, and setting over the remaining notation, the following 
 phrase, as an earnest question, 
 
 Pitt a statue -with his ancestors? 
 
 it will have the just interrogative expression. 
 
 Perhaps the reader is now prepared to understand this general 
 statement : That the current melody of interrogation, in sen- 
 tences requiring the Thorough expression, is made by the slow 
 concrete interval of the third or fifth or octave, on long and 
 emphatic syllables ; and by a change of radical pitch, together 
 with the rapid concrete, on the short and unemphatic, and the 
 unaccented : that in sentences, restricted to the Partial expres- 
 sion, the intonation is made by a similar use of the above named 
 interrogative intervals, in connection with the phrases of the 
 common diatonic melody : and that in each separate case of 
 a Thorough, or a Partial expression, the interrogation may, in 
 the same sentence, be formed solely by the Third, or Fifth, or 
 Octave ; or more than one of these intervals may be used in the
 
 240 THE INTONATION 
 
 same sentence ; accordingly as the emphatic force and the senti- 
 ment of the several words require, on the one hand, the same ex- 
 pression, 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 means for constructing the cadence of 
 interogative sentences : or, as most of these sentences have not 
 the peculiar close, or descent, of the cadence strictly so called, 
 let us to speak more precisely, learn the manner of intonation on 
 their three final syllables. 
 
 "When a sentence has the Thorough expression, the close is 
 made in one of the following ways. And let the reader bear in 
 mind, that when applied to interrogative sentences, the terms 
 slow and rapid concrete, mean always, the rise of the interval. 
 
 If the. last three syllables are un emphatic, or immutable if em- 
 phatic, or are the unaccented syllables of an emphatic word, the 
 interrogative effect is produced by a radical change, and a rapid 
 concrete of these three final syllables : these syllables at their 
 elevated pitch, being carried on in the phrase of the monotone or 
 rising ditone. " For since the interrogative expression always 
 gives an idea of a continuation of the voice, as contradistinguished 
 from the close of the Triad ; the above named plu-ases do add 
 their peculiar character to that of the rapid concrete, and thus 
 effect the required continuation, at the end of the sentence. This 
 species of close is here exemplified. 
 
 lie said you -were in com pa — ra ble? 
 
 I 
 
 n , i ~i ^=T^^ 
 
 £e^^ 
 
 The same case of thorough expression being supposed : if the 
 antepenult syllable is emphatic, and of indefinite quantity, it as- 
 sumes the slow concrete, and the last two take on the radical 
 change and the rapid concrete ; shown by the notation of the 
 word ancestors in a preceding example. 
 
 In a like case, when the penult is a long quantity, it will rise 
 by the slow concrete ; and tlic last will have the rapid concrete 
 with the radical change. This form of intonation may be well
 
 OF INTERROGATIVE SENTENCES. 241 
 
 understood witliout a diagram ; and from what has heen already 
 shown, it will be unnecessary to give an illustration by the staff, 
 to all the succeeding descriptions within the present subject. 
 
 If the last syllable of a sentence, requiring the thorough ex- 
 pression, be emphatic and capable of bearing the slow concrete, 
 it will assume that form of intonation. Under this condition, 
 the radical pitch of the three syllables may go through the down- 
 ward tritone, as here shown. 
 
 Give Fab ius a tri umph for his de — lay? 
 
 T—TTl- 
 
 i 
 
 P^ 
 
 In such instances the concrete rise of the octave, fifth, or third, 
 as the case may be, will create a perception of continuity, and 
 thus counteract the tendency of the radical descent, through 
 three successive tones, to produce a close : for it is a condition of 
 the terminative cadence, that the vanish of its last syllable 
 should be in a downward direction. 
 
 When the expression is Partial, and the last clause of the sen- 
 tence does not require the interrogative intervals, the melody of 
 that clause must be of the common diatonic species, and should 
 therefore terminate with the appropriate triad. But sentences 
 with the partial expression sometimes have one of the three syl- 
 lables emphatic, and thus require the interrogative expression. 
 Under this condition the following will be the forms of the ca- 
 dence. 
 
 When the antepenult syllable is emphatic, and of indefinite 
 quantity, it will take the slow interrogative interval : and the last 
 two will successively descend from the point below the radical of 
 that concrete, and form with it, a proper diatonic triad. 
 
 Should the penult be emphatic, and bear the slow concrete, 
 the last syllable will have its radical pitch a tone below that of 
 the preceding, and by its downward vanish will produce the 
 close of the triad; the emphatic syllable with its interrogative 
 intonation, being in radical pitch, a tone below the antepenult. 
 This construction however, is not common : for if the emphatic
 
 242 OF INTERROGATIVE SENTENCES. 
 
 interrogative expression on the concrete interval comes so near 
 the close, it is frenerally continued, by the last syllable rising 
 with the radical change. 
 
 When the final syllable is . emphatic, and of indefinite time, 
 the cadence is made like that of the last diagram, in the pre- 
 ceding account of thorough expression. 
 
 The history here given of interrogative intonation, embraces 
 a few leading points of its purposes and efi'ects. The subject 
 oiFers some interesting views on the philosophy of the human 
 mind, as well as that of speech. It shows how far, the demands 
 of thought outrun the significant powers of the voice ; how 
 counter-currents of expression meet without confusion, and how 
 varied sentiments, under the same forms of intonation, are con- 
 tradistinguished by the conventional specifications of language. 
 I leave the discovery, and better arrangement, of other phe- 
 nomena, and the exhibition of reason and rule of their variety, 
 for the observation of others. Upon some future extension of 
 the principles of this essay, to the universal practice of speech, 
 the subject of interrogative intonation will form a full chapter 
 of methodic detail. I see, perhaps dimly, some of its abundant 
 and unsorted materials ; but have not time, if even the ability, to 
 light-up, to gather-in, to disentangle, to specify, combine, and com- 
 plete. "What is here done, may seem to be too much. . For the pre- 
 sent age, I believe it is. But this is a concession altogether foreign 
 to the progress of knowledge, and to the pleasure we derive 
 from its development. A history of the desirable and welcome 
 truths of Nature, in the dignified confidence of even its humble 
 contributions, no more asks the favor and applause of those who 
 read, than Nature herself asks the gratitude and worship of 
 those who enjoy her bounties. She gives what she gives, for 
 her own purposes, without distracting her self-energized dispen- 
 sations, by the subordinate schemes of ambitious expectation. 
 A record of her admirable things should be, in all, 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 por- 
 tion of the unostentatious spirit with which she bestows, and who 
 could put on some of her indifierence, to the, too often, thought- 
 less praise or blame of those who receive.
 
 THE RISING SECOND. 243 
 
 SECTION XVIII. 
 
 Of the Interval of tlie Rising Second. 
 
 We return from the foregoing account of the use of the "wider 
 intervals of pitch, in the construction of interrogative melody, 
 to the enumeration and description of other intervals of more 
 limited extent, but of no less essential eflficacy in the scale of 
 intonation. 
 
 The rising interval of the second, or the rising radical and 
 vanishing tone, has in previous parts of this essay been atten- 
 tively considered, both as regards its nature and its position in 
 speech. In continuing our orderly notice of all the intervals of 
 the scale, "sve here resume the subject of this Second, with some 
 further remarks on its important uses. It is the basis of the 
 diatonic melody ; and in correct and agreeable elocution, is more 
 frequently used than any other interval : since it is appropriate 
 to those parts of discourse -which convey the plain thoughts 
 of the speaker ; as contradistinguished from the feelings and 
 emphatic sentiments, that call for wider intervals, and other 
 signs of Expression. Although the Tone, in its simplest state, 
 is thus excluded from among the especial agents of expression, 
 ■we shall learn hereafter, it may be made impressive by stress on 
 different parts of its concrete ; and that an extension of the 
 voice into the wave of this interval, gives groat dignity, to the 
 diatonic melody, without destroying the plain and unobtrusive 
 character of its intonation. 
 
 The radical and vanish is a necessary function of utterance ; 
 or in other words, no syllabic impulse can be made without its 
 passing through some one form of the concrete. But in as- 
 serting here, that immutable syllables in a diatonic melody do 
 pass instantaneously through the second or tone, I confess my 
 ear cannot measure the progress of the transition. Yet I am 
 led to the conclusion, by the following considerations. 
 
 Every concrete utterance of a tone, with its measurable incre-
 
 244 THE RISING SECOND. 
 
 ments of time and motion, has manifestly the radical and vanish- 
 ing progression. Now when the time of this slow and manifest 
 concrete, is gradually shortened, in repeated pronunciation, till 
 the syllabic impulse becomes, as it were, a mere point of sound, 
 the characteristic effect of this instant-impulse on the ear, does 
 not differ materially from that of the concrete, in which the in- 
 crements of time and the progress of pitch are measurable. 
 
 But further, it has been shown that the concrete interrogative 
 intervals of the third, the fifth, and the octave, may be passed 
 through on an immutable syllable. This was proved by the pecu- 
 liar effect of the interrogative voice being thereon distinctly cog- 
 nizable : and we shall learn in the next section, by the peculiar 
 expression of the semitone, which cannot be mistaken, that it 
 does likewise pass through the concrete, on the shortest syllables. 
 Now we can scarcely suppose, the Tone, has not the same concrete 
 movement on momentary syllables, as all the other intervals of 
 the scale, when uttered with the same momentary impulse. This 
 however, is certain ; there is a plain but characteristic effect in 
 the momentary enunciation of immutable syllables, clearly dis- 
 tinguishable from that of their protracted utterance through the 
 concrete space of a semitone, a third, and othey wider intervals. 
 This may be a mere point of voice ; but for the above reasons, we 
 are scarcely allowed to doubt, its being a rapid concrete passage 
 through the second or tone. 
 
 Perhaps the reader may desire to know particularly, what por- 
 tions of discourse receive the tone or second ; and with what con- 
 tinuity the diatonic melody, is employed. In describing and 
 illustrating this melody, it was for a purpose, represented as ex- 
 tended through successive sentences. The diatonic movement is 
 however, rarely found of long continuation : the current of the 
 Tone being interrupted by other forms of upward and downward 
 concrete and radical pitch. We have already learned in what 
 manner the wider rising intervals are employed in this melody, 
 both for emphasis, and interrogation ; but other intonations are 
 also occasionally introduced for this same purpose of emphatic 
 expression. As then, occasions for using these expressive inter- 
 vals occur in most discourse, the diatonic melody generally
 
 THE RISING SECOND. 245 
 
 exists only in detatched portions ; its continuity in the tone or 
 second, being interrupted by these other intervals, more or less 
 frequently, as the occasions for their expression return. A 
 Gazette advertisement, a legal instrument, and the purely com- 
 municative style of plain narrative and description, may generally 
 be read in the thorough diatonic melody. Yet even these must 
 have emphatic words ; and there are few compositions, addressed 
 to taste, that have not their melody varied, by the more or less 
 frequent occurence of other intervals than the second. Accord- 
 ing to the line I have endeavored to draw between mere thoughts, 
 and what are called sentiments or feelings, and consistently with 
 their appropriate intonation, it might be supposed, the demonstra- 
 tions of Euclid should be read in one continuous stream of 
 diatonic melody ; but even these are perpetually varied by wider 
 intervals, introduced upon illative, absolute, and conditional 
 phrases. The fragments of diatonic melody, occurring in prose 
 declamation, in poetry, and in the drama, are generally of limited 
 extent : and common conversation, when not didactic, nor de- 
 signedly solemn, nor unavoidably dull, in the heedless purposes 
 of its intonations, almost effaces the simple lines of this melody 
 by the vivid coloring of its widely varied intervals. 
 
 Since the diatonic melody, is assigned restrictively to a cer- 
 tain character of discourse ; and since it is desirable that this 
 melody should be executed with the greatest propriety and 
 elegance, we must carefully regard the uses of the interval of 
 the second for the attainment of these ends. 
 
 This proper second of the diatonic melody, being incapable of 
 the intonated expression of other intervals, is limited in its 
 characteristic powers, to the means of time, and stress, on its 
 own simple concrete, and wave. The different forms of stress 
 applicable to a concrete rise of the second, will be described in 
 a future section. The other principal means for adding dignity 
 and grace to a passage of this plain melody, and for producing 
 a well measured rythmus, is by the varied length, of syllabic 
 quantity : the prolonged quantity being made by a continuation 
 of the upward into the downward tone, in the form of a wave. 
 It is not however, prolongation alone, that produces a clear and
 
 246 THE RISING SECOND. 
 
 agreeable effect, in a dignified form of diatonic speech. That 
 length should be made in the equable concrete movement : and 
 further, the wave, as well as the simple rise, should have the 
 initial fulness, and gradual termination, except otherwise varied 
 by the purposes of stress. He who has not cultivated his voice 
 in these particulars, Avill find it difficult to give extended length 
 to an indefinite syllable, with its co-existent equability and van- 
 ish : and will, on trial, be very apt to carry out a long quantity, 
 with the intonation of song. But if he will throw away some 
 of his ideas, about a ' Natural Turn' for things ; and all his vain 
 conceit about self-sufficient Genius ; cease to believe, that a good 
 elocution, is co-eval with the first cries of infancy ; and then set 
 himself to learn the rudiments, and overcome the difficulties of 
 this elegant art, the light and guidance of a special purpose in 
 study and practice, may lead him to an unerring command over 
 the equable concrete ; and to the attainment of every propriety 
 of speech. 
 
 Facility in managing long quantities on indefinite syllables, 
 with a precision of interval, and a smoothness and nicety of 
 vanish in the execution of this equable movement, is one of the 
 most effective resources of a speaker. The skillful performance 
 of this concrete function, in the impressive fulness and dignity 
 of the Orotund voice, gives the acknowledged satisfaction to a 
 discerning ear, when an Actor, as I have heard one, first breaks 
 his silence in the dialogue ; even by a solitary syllable. With 
 this accomplishment of voice, his opening effort receives at once, 
 from a competent critic, the seal of approbation : while the 
 Young Genius of Inspiration, stooping for help, to Green Room 
 traditions, and distracted, perhaps by a buzz in the audience or 
 a mistake of his Costumer, is obliged to work through a whole 
 act, before he can, in the language of a Natural strutter of the 
 Stage, bring himself ' up' to his voice. 
 
 i
 
 THE CROMATIC MELODY. 247 
 
 SECTION XIX. 
 
 Of the Interval of the Ilising Semitone ; and of the Chromatic 
 Melody founded thereon. 
 
 The smallest but not the least important division of the scale, 
 through -^vhich the radical and vanish may be heard, is the inter- 
 val of a Semitone. In the second section of this essay, ^ve 
 learned themean^s for acquiring a distinct perception of this con- 
 crete interval. It was there said, — if, in ascending the scale, the 
 effect of the transition from the seventh to the eighth place be 
 compared with the syllabic utterance of a plaintive sentiment, 
 their identity will be acknowledged. Now the interval from the 
 seventh to the eighth, in the diatonic scale, is a semitone. This i 
 interval is used in speech for the expression of complaint, pity, | 
 grief, 'plaintive supplication, and other sentiments allied to these. 
 In ascending through the diatonic scale, by a repetition of the 
 word fire^ subdivided into two syllables, with a prefix of the 
 subtonic y-Q to the last, so that fi, and yer shall be alternately 
 set on successive points of the scale, the transition from the 
 seventh to the eighth place gives to the word, here reduced to a 
 single syllable, the same plaintive expression it has through the 
 streets, in the outcry of alarm. 
 
 Intonation by the concrete semitone, is universally, the sign 
 of animal distress ; and when exemplified by the scale, the effect 
 is very different from that of the concrete passage of the word 
 as a single syllable, through the space of a whole tone, between 
 its first and second degrees. Among a multitude of voices 
 where the alarm is given by public cry, this utterance through 
 the second is occasionally heard : and perhaps some of my 
 readers may be able to call to mind the defect of its dissonant 
 difference from the plaintive intonation of the great majority. 
 It cannot be exemplified by the pen : but when the uncommon 
 impression of a particular cry, among a number, is not produced 
 by quality or shrillness, it generally arises from this misapplied
 
 248 THE CHROMATIC 
 
 form of pitch. "We are much disposed to estimate men by 
 assumed characteristics of their classes; and though our judg- 
 ments thereby may sometimes be erroneous, there is often truth, 
 and always caution in this method of opinion. Be this as it 
 may, I never hear the phlegmatic cry of fire, through a whole 
 tone, without a pursuasion of the general impotence or de- 
 formity of the voice or the ear, that in this particular, can 
 so far transgress the ordination of nature.* 
 
 The semitone is employed for the expression of gentleness of 
 feeling : and rarely for great energy, harshness, or impetuosity 
 of thought. It affects generally a slow time and long quantity. 
 The interjective exclamations of pain, grief, love and compassion, 
 are prolongations of the tonic elements on this interval. But 
 its effect is distinctly perceptible, on the short time of immutable 
 syllables. For it will be found on experiment, that the word 
 cup.) and other immutables, can be uttered with a plaintive 
 intonation, even in its shortest time. Since then this plaintive- 
 ness, on long quantities, distinctly measurable, is always produced 
 by the concrete semitone, and not by any other known interval 
 of speech ; it may be fairly concluded, when this plaintiveness 
 
 * Since the first publication of this work, in eighteen hundred and twenty- 
 seven, the practice of public out-cry in the streets of Philadelphia, has now in 
 eighteen hundred and fifty-five, entirely passed away. Instead therefore of being 
 as formerly, aroused, in the stillness of midnight, by the Watchman's hollow 
 Orotund, to the plaintive interests, and solemn contrasts of near and distant 
 solitary cries, awaking our safety to sympathy with the perils of a conflagration ; 
 hear what we have now, under the prosperous onward-ism of our great political, 
 moral and aesthetic 'mission' : the Alarm-bells of a whole city at once; the jangling 
 clappers of Hose-carriages without number ; the ceaseless roar of inarticulate 
 trumpets ; the screams of boys ; the yells of men ; the wrangling preparations 
 for a street-fight ; the o«<-shouting shouts, upon the first volley of stones ; the 
 discharge of revolvers ; the uproar of a thousand brutal throats ; and the silent 
 absence of a 'non-committal' republican police. After the Imperial Roman had 
 robbed-out every Treasury, every Temple, and every private purse, within 
 reach of his quarrelsome and ruthless sword, his avaricious courage failed ; and 
 the Barbarian came back, and down upon him in righteous revenge. We with 
 overmatching cupidity, are pursuing and exterminating the Native Indian from 
 his Land. But Hah ! with retributive justice, he seems, in the forced submis- 
 sion of his retreat, to have thrown away to the winds, his gross and unlawed 
 spirit ; which now, like a national malaria, is spreading an avenging savagism 
 among his conquerors.
 
 MELODY OF SPEECH. 249 
 
 is heard on an immutable syllable, that the semitone is rapidly 
 performed, even though the gradual course of its time and 
 motion is imperceptible. 
 
 In the next section, we shall consider the nature and uses of 
 the downward vanishing movement. But it is necessary to con- 
 sider here transiently, the downward vanish of the semitone ; 
 since it is one of the constituents of the chromatic melody of 
 speech, now to be described. 
 
 The downward radical and vanishing semitone may be exempli- 
 fied comparatively, by beginning with the word fire divided, as 
 before, into two syllables, fi and yer, and descending except at 
 the extremes of the scale, by their alternate use. The con- 
 crete movement on the syllable fire^ from the eighth degree to 
 the seventh, has a plaintive expression ; whereas the movement 
 on the same single syllable, from the second to the first, has 
 not that character. When therefore the voice rises concretely 
 through the semitone, at the summit of the scale, and imme- 
 diately in continuation descends through it ; this repetition of 
 the interval must prolong the plaintive impression. Now, as 
 the sentiment which dictates the semitone usually affects a slow 
 time, and an extension of syllabic quantity, the expression is 
 generally made by this continuation of its upward into its 
 downward concrete, in the form of a wave. This answers two 
 important purposes. It produces a stronger impression of the 
 sentiment : and by repeating the interval, in its concrete form, 
 allows a prolongation of voice, without the liability of a long 
 quantity, to pass into the protracted radical or protracted van- 
 ish of song. The expressive effect of this doubled semitone 
 may be exemplified on the word fire, as a single syllable, by 
 making an immediate return in the downward direction, after 
 ascending to the top of the scale : for this exactly resembles 
 the plaintive utterance of a protracted syllable of speech. 
 
 The sentiments naturally expressed by the semitone, are some- 
 times restricted to individual words ; sometimes they extend 
 over phrases and sentences, and even throughout a whole 
 discourse. These last occasions, requiring the semitone on 
 every syllable, necessarily produce a melody consisting of a 
 17
 
 250 THE CHROMATIC 
 
 continued succession of that interval. In the eighth section, 
 the Diatonic melody was represented, by the progression of 
 pitch thrpugh the interval of a whole tone. The progression 
 here described, being through a semitone, may be called the 
 Semitonic or, by its other term, the Chromatic Melody. Like 
 the former, it is subdivided into the current melody, and 
 the melody of the cadence. The movement of its current 
 may be resolved into seven Phrases, similar to those in the dia- 
 tonic progress. But as the change by radical pitch in the 
 chromatic current, as it appears to me, is through the interval of 
 a tone, only when it descends, and not when it ascends, the use 
 of the nomenclature must be pardoned, when I call the several 
 semitonic phrases by the terms assigned to those of the diatonic 
 melody. 
 
 The doctrine of key, and modulation is the same in the two 
 melodies. A similar appropriation of phrases to the pauses of 
 discourse, for continuing, suspending, or closing the sense, is 
 used in each ; and the same rule for varying the phrases of the 
 current melody. But the expression of the chromatic, being gene- 
 rally more grave, or subdued than that of the diatonic, the 
 former more frequently affects the phrase of the monotone. 
 
 In describing the diatonic melody, its essential movements were 
 subdivided into the concrete, and the radical pitch. The same 
 distinctions occur in the progression of the chromatic melody. 
 Its concrete pitch is always the interval of a semitone. Its 
 radical pitch, if I have not erred in observation, is conducted 
 in the following manner. When the current melody descends, 
 the radical change is downward, over the space of a whole tone. 
 But when it ascends, the radical change is upward over the 
 space of a semitone. This change of a tone in descending, will 
 be perceived on executing the downward ditone of a chromatic 
 melody, and comparing its effect with that of the two first con- 
 stituents of the triad of the diatonic cadence: for if the down- 
 ward 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, 
 
 I
 
 MELODY OF SPEECH. £51 
 
 that it requires for its consummation, only the faint downward 
 vanish of that triad on its last constituent. Now the radical 
 pitch of the triad of the cadence is formed of the successive 
 descent of whole tones. 
 
 The following considerations lead to the conclusion that a 
 radical change in the upward direction, is in some cases made 
 by the step of a semitone. By intonating the scale in the man- 
 ner directed at the beginning of this section, it will be perceived 
 that after rising through the first semitone, on fiy the next 
 syllable yer begins at the top of that preceding concrete ; thus 
 making the radical change of the ascent in this case, a semi- 
 tone : and as every concrete of a chromatic melody is a semitone, 
 it would seem to follow, by the rule of the scale, that each suc- 
 cessive syllable of a chromatic progression, when the radical 
 pitch rises but one degree, 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 continued 
 into the returniug downward vanish of the semitone, in the form 
 of a wave. On this occasion then, the above reason for the 
 radical change taking the interval of a semitone in its upward 
 progress does not perhaps, apply. Whether in this case of the 
 returning downward concrete, the subsequent radical change 
 upward is by the semitone or the tone, I am not prepared to 
 decide, with the confidence I have felt on other points of obser- 
 vation recorded in this work. On the whole, however, there is 
 not much change of radical pitch in this melody ; since the 
 monotone is its prevalent phrase. The question is however, left 
 for the inquiry of others ; but not to be made a subject of useless 
 refinement and dispute ; for as such, it can be of no importance 
 in our Practical Philosophy of Speech. 
 
 We learned in a previous section, that in the diatonic melody, 
 special purposes of expression call occasionally for the intro- 
 duction of the interval of the octave, the fifth, and third. It 
 will be asked, perhaps, whether these intervals are found in the 
 course of a chromatic melody : and if so, how they are engrafted 
 on it. They have a place in it, for the purpose both of interro- 
 gation and emphasis ; and are applied in the following manner.
 
 252 THE CHROMATIC 
 
 Since plaintiveness is the characteristic of this melody ; if an in- 
 terrogative word should require the rise of either the octave, fifth, 
 or third, it is clear that the expression both of the semitone, and 
 of that wider interval, should if possible, be conjoined. But by 
 the direct rise of the wide interrogative interval, in continuation 
 of the semitone, the plaintive expression would be lost. These 
 two apparently incompatible efiects therefore can be conjoined 
 on one syllable, for the purpose of chromatic interrogation, or 
 for emphasis, only by leading the voice in the form of a wave, 
 through the upward into the downward semitone on the appointed 
 syllable ; and afterwards in continuation from the extremity of 
 the downward vanish through the upward concrete of the octave, 
 fifth, or third, as the intended interrogation, or the emphasis may 
 require ; thus forming what we called in the second section, a 
 double-unequal wave. When the peculiar keenness and force of 
 expression, ascribed to the octave is recollected, it must at once 
 be supposed, — it is rarely found among the signs of semitonic 
 interrogation : the third or fifth being commonly used for this pur- 
 pose. Perhaps the reader may not here require an illustration 
 of the chromatic melody, by the staif. The precision I have 
 endeavored to give to the terms of the description, will it is 
 hoped, enable him to understand it without delineation, or to 
 mark the tablature for himself.* 
 
 • I here give place to the reader ; for surely, by a knowledge of our princi- 
 ples of delineation, he can make the illustration for himself. 
 
 It is the great recommendation of a System of Elocution, derived from the 
 pure and living Fountain of Nature, whence every true and lasting work of 
 genius flows, that its principles may be recorded, and an available knowledge 
 of its precepts and practice, diffused and perpetuated. But it is worthy of 
 notice, on this subject, as on most others, that exactness of knowledge, whether 
 from the modest quietude of its progress, or its freedom from ill-tempered 
 controversy, has always been the least sought, if not the last desired, by the 
 mass of even the so-called wiser part of mankind. And certainly, it is not a 
 little remarkable, in regarding all the Five Modes of the voice, that Pitch, — 
 which with its exact intervals of vocal Intonation, has been, and ever will be 
 unalterable in nature, and which is the only one precisely describable by defi- 
 nite degrees, — should be that particular Mode, of the Five, which has been, 
 and still is declared not only to be unknown, but to be beyond the reach of 
 future discovery. And all this, because somebody first said so ; and then every 
 following individual of the Flock said so, after him.
 
 MELODY OF SPEECH. 053 
 
 The cadence of a cliromatic melody is made by a peculiar 
 construction of the triad. 
 
 The reader will find on experiment, there is no other means 
 for reaching the full and satisfactory pause of discourse, on three 
 distinct syllables, than that of the diatonic cadence, formed by 
 the radical descent of whole tones, as noted in the first and 
 second diagrams of the cadence, in the eighth section. Conse- 
 quently 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, thus descending 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 is to be remarked here, that a sentence requiring the chro- 
 matic intonation, may sometimes be terminated by the plain 
 diatonic triad, whether the close is made on separate, or on con- 
 joined constituents ; and further, that unimportant and slightly 
 marked particles in a chromatic sentence, may receive a radical 
 and vanishing whole tone, without affecting the plaintive expres- 
 sion ; provided the semitone is heard on all important words, 
 and long quantities. The forms of the diatonic cadence, occa- 
 sionally applied to a chromatic melody, are described in the 
 eighth section. I here consider the cadence that bears a plain- 
 tive expression. 
 
 The chromatic cadence may be made on a single long syllable ; 
 or it may be allotted to two syllables ; or the space of its descent 
 may be divided between three. 
 
 "When the three constituents are joined severally to three sepa- 
 rate syllables, the close is made by taking the radicals, at the 
 interval of a whole tone in descent from each other ; and by giv- 
 ing to each of the constituents, except the last, the rising vanish 
 of a semitone ; the last having the feeble downward vanish of the 
 diatonic close. This is exemplified in the following diagram ; 
 • where the vanish and the upiuard change of radical pitch are 
 both to be taken as a semitone ; and the downivard radical,
 
 254 
 
 THE CHROMATIC 
 
 either as a whole tone or a semitone ; for I leave this as a ques- 
 tionable point. 
 
 Pit ty the sor rows of a poor old man. 
 
 It is true, the last constituent may terminate with a downward 
 semitone ; or may rise through a semitone, and then in continua- 
 tion descend concretely below the pitch of its radical ; thus car- 
 rying the plaintive expression to the very close. But in this case 
 the perception of the cadence will not be so complete as when 
 made according to the above notation. 
 
 The chromatic triad may also be made by forming a wave with 
 the interval, and carrying its downward concrete, into the full 
 body of the succeeding radical : or otherwise by the downward 
 concrete, meeting as it were, the radical but not coalescing with 
 it. In the latter case the radical can receive an abrupt fulness, 
 but not in the former. Now a cadence is more complete, with 
 the radicals strongly marked : as in the following diagram: 
 
 A 
 
 poor 
 
 old 
 
 man. 
 
 ^ 
 
 ^ ^ 
 
 ^\-r-^ 
 
 -^ 1 
 
 ^ 1 
 
 When the plaintive cadence is restricted to two syllables, they 
 may be connected, in like manner, by the wave of the semitone 
 on the first constituent of the triad, continued downward to the 
 last; either, by carrying the downward concrete into the full 
 body of its radical, or by its only meeting but not coalescing with 
 it : which last case is here illustrated : 
 
 A 
 
 poor 
 
 old 
 
 man. 
 
 ^ 
 
 4 
 
 ^ ^^ 
 
 ^-\ 
 
 -•< 
 
 The reader can imagine, or draw for himself, two dia- 
 grams, in other respects similar to the above, but with the 
 downward vanish entering into the radicals, for the coalescing
 
 MELODY OF SPEECH. 255 
 
 form : in wliicli case there will be a swelling fulness of voice, 
 at the place of the radicals, without a break in the line. 
 
 There may be a chromatic descent on a single long syllable : 
 but it should never be used in correct speech, except for some 
 special design of expression, unconnected with the mere cadence. 
 For, to distinguish it, as a chromatic close, from the feeble dia- 
 tonic cadence, it is necessary, by the previous rise of a semitone, 
 to give it a plaintive character. Now the continuation of this 
 rising semitone into a downward terminative concrete may indeed 
 have the effect of a close : but it has at the same time, an intona- 
 tion, altogether foreign to the desirable and appropriate character 
 of the chromatic cadence. 
 
 There is still another form of the Chromatic close, resembling 
 the skipping, or false cadence of the diatonic melody. It consists 
 of a concrete semitone on the antepenult syllable, and an imme- 
 diate discrete descent by radical pitch to the final constituent of 
 the triad ; omitting the second altogether. We do not need a 
 diagram of this form, since it is shown by the last example of 
 notation, supposing it to be without the concrete meeting of the 
 two constituents. It is rarely used as a close ; and only when a 
 peculiar emphasis may be required on the last word of the sen- 
 tence. 
 
 As in the diatonic cadence, so in the chromatic, there are 
 different degress of repose : and these depend on its construc- 
 tion. That entire consummation, required at the period of 
 discourse, is effected by the triad form in the first of the above 
 notations. The second which is still a triad, with its three con- 
 stituents meeting, but not coalescing by the downward vanish, has 
 as strongly marked a character as the first. The coalescing form 
 denotes less repose ; since the radicals are less distinctly marked by 
 the abrupt fulness : and it is this conspicuous display of a descent 
 in radical pitch that produces the remarkable effect of a vocal 
 period. The third construction represented above, is the most 
 feeble form of the chromatic cadence ; for being upon two 
 syllables, it is deprived in a grefit degree, of the effect of the 
 downward change of radical pitch ; and therefore falls short of 
 the expression, required for a satisfactory close.
 
 256 THE CHROMATIC 
 
 In concluding this history of the five rising intervals of pitch, 
 and of their uses in elocution, I have only to add that the 
 Fourth, Sixth, and Seventh may be employed, for interrogative, 
 and emphatic expression, respectively similar to that of the 
 third, fifth, and octave. But the third, fifth, and octave, 
 severally adjacent to those other intervals, are by some natural 
 constitution of the ear, more easily recognized as definite points, 
 not only on the discrete steps of an instrumental scale, but as 
 terminative places, in the concrete and discrete movements of 
 the human voice. On this account therefore, the enumeration 
 in the preceding sections has been limited to the semitone, 
 second, third, fifth, and octave of the diatonic scale. I have 
 not particularly inquired into the characters of the remaining 
 fourth, sixth and seventh, or of any fractional extensions of the 
 other five : believing, — they only express unimportant variations 
 in degree, of the sentiments conveyed by those vre have particu- 
 larly described. 
 
 In the foregoing description of the concrete, its rising inter- 
 vals have been represented as bounded by fixed points of the 
 scale. But it has just been said, — besides the second, third, 
 fifth, and octave, other intermediate variations of these intervals 
 may be used, as vocal synonymes in speech. It is therefore 
 necessary to be more particular on this subject ; and to answer 
 my own question, whether the attenuated close of the vanish, 
 does impress the ear, with the exact place of a musical interval 
 on ■ the scale. I might not have noticed this matter, if the 
 possibility of measuring the intonations of speech, had not, 
 almost universally, been denied ; and if I had not thought, this 
 old prejudice, CA'en after all we have shown, might when driven 
 to its corner, make a desperate defence, by some unnecessary 
 refinement on such a question. I do not say, the stops, as they 
 may be called, of the vanish, if even sufiSciently exact as I 
 believe them to be, are as strikingly impressed on the ear, as 
 those marked with a full note, either by the voice or by instru- 
 ments. And although a want of accuracy in the vanish, may 
 not be as readily perceived, as in the other cases, still great 
 precision on this point, is not required in speech. In music,
 
 MELODY OF SrEECH. 257 
 
 with its full notes of the discrete scale, false intonation is im- 
 mediately obvious, even in the successions of melody ; and in 
 the co-existent notes of harmony, the effect is still more remark- 
 able. But speech is a solo, as well as a concrete performance, 
 and therefore, any slight want of accuracy at the point of the 
 vanish, even if perceptible, is nevertheless, under my observa- 
 tion, of very little consequence. If our sentiments were 
 marked in degree, by nice distinctions, it would be proper 
 to express them, by like gradations in the voice. But as in the 
 grammatical variation of adjectives, the three degrees suffi- 
 ciently distinguish the countless shades of comparison, so with 
 the interrogative intervals, a difference of third, fifth and octave, 
 is sufficient for present practical use of their vocal expression. 
 
 The second it has been shown, has what we call a plain dia- 
 tonic character, appropriate to narrative, and unimpassioned 
 discourse. It may then be asked, whether a want of precision, 
 in marking the interval would destroy that character. By my 
 observation, it would not ; provided the variation be slight, and 
 not diminished one half, down to a semitone, nor extended half 
 a tone, up to a mijior third ; the former producing a plaintive 
 expression, and the latter, as a fault, being inadmissible into 
 speech. But should the voice, in executing its various intervals, 
 even exceed, or fall short of the exact points of the scale, let 
 others decide the question of its impropriety. To my ear how- 
 ever, for all the precision required by this case, there is no 
 false intonation at the close of the vanish, that has ever marred 
 the purpose of a correct and elegant elocution. 
 
 But admitting precision of interval to be a matter of import- 
 ance, the command over it may be easily acquired ; since the 
 vanish cannot be attenuated beyond the ability of the ear to 
 measure it. The place in pitch, of a prolonged note of song, 
 with what is called a diminuendo, is still cognizable, as long as 
 it is heard ; and it is equally so in the vanish, or diminuendo of 
 a concrete interval of speech : though the sentiment is conveyed 
 more forcibly by the louder voice. How far this accuracy of 
 intonation may be required in speech, when we shall have 
 arranged the chaos of our thoughts and feelings, into some effi-
 
 258 THE DOWNWARD RADICAL 
 
 cacious system of definite ideas, with open and honorable purposes, 
 must be determined by time. From the past, present, and 
 prospective disorderly state of the human mind and passions, I 
 have, in this essay, probably assigned more definite degrees, and 
 forms of intonation, whether true or false, than will ever be used 
 by the greater part of oratorical mankind. 
 
 If this trifling matter is really indeterminable, let it be ex- 
 cluded, with all like refinements, from what should be a Practical, 
 not a Contentious system of elocution. Those who have so dog- 
 matically asserted the impossibility of measuring, what they 
 call the 'tones of the voice,' could not have referred to the point 
 under consideration. For had the renowned Adam Smith, — who, 
 as one of the number, may fairly represent them, — only carried 
 his sagacious powers of inquiry, thus far into speech, he would 
 have clearly seen that the determination of this question is of 
 little if any importance to an effective elocution. 
 
 SECTION XX. 
 Of the Downward Radical and Vanishing Movement. 
 
 The functions of pitch hitherto described, are performed 
 principally by a rising progress of the concrete, and of the 
 radical change. 
 
 In an early page of this essay we learned, that the voice 
 takes a reverse direction ; that the radical movement, opening 
 with fulness on a given place in the scale, descends through its 
 destined interval, with the same equable concrete structure and 
 diminishing force which characterizes the upward vanish. We 
 must now consider the varieties of form in the downward con- 
 crete, the occasions of its use, and the nature of its expression.
 
 AND VANISHING MOVEMENT. 259 
 
 The downwcard progress of the voice is made through all the 
 intervals of the scale. In like manner with the rise, the 
 descent is both by a concrete movement, and by a discrete 
 change or skip of radical pitch. The characteristic effect of 
 the descent, whether made concretely, or by discrete skip, and 
 the expression of the several intervals, may be learned, by the 
 following experiments. 
 
 Let the reader express himself with astonishment, on the 
 exclamatory phrase, well done ; assuming the first word at a 
 high pitch ; bringing down the last concretely from that hight, 
 on a prolonged quantity ; and uttering the phrase as if it were 
 the close of a sentence. Should the intonation on the word 
 done, be measured by the scale, it will in his yet unskillful 
 attempt, exemplify the Downward concrete Octave, or near it. 
 Again, let him give the interjection, heigli-lio, with a degree 
 of emphasis that may throw these two syllables on the extremes 
 of the compass of the natural voice. He will thereupon per- 
 ceive, the transition from the elevated pitcb of heigh, to the 
 inferior place of ho, is by a discrete or skipping descent. Now 
 this transition, when measured by the scale, illustrates the down- 
 ward Radical pitch of the octave, or near it. 
 
 The Downward Fifth, may, in like manner be distinguished, 
 both in its concrete pitch and its discrete radical change, by re- 
 spectively applying them to the words of the preceding examples ; 
 but with less emphatic force, and with a less striking intonation. 
 
 The concrete Descent of the Third may be illustrated, by pro- 
 nouncing the word No, as if it were the last word of a sentence ; 
 observing to give it some length, and to exclude every expression, 
 except the simple indication of the cadence. The downward 
 Radical pitch or skip of the third, may be exemplified by pro- 
 nouncing 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 quan- 
 tity, incapable of completing the cadence through the descent 
 of the slow concrete, the voice of necessity leaps over the place 
 of the. second constituent, and closes on tack, in the proper point 
 of the third.
 
 260 THE DOWNWARD RADICAL 
 
 The effect of the Downward concrete Second or tone may be 
 heard on the last constituent of the diatonic triad ; and the radi- 
 cal change of the second, in the descent of the constituents of 
 the same cadence, since its radicals succeed each other by the 
 downward difference of a tone. 
 
 The downward concrete of the Semitone was deswibed in the 
 last section, as being plaintively obvious in the vocal transition 
 from the eighth to the seventh place of the scale. If the down- 
 ward change of the Radical pitch, in a chromatic melody, is like 
 that of its cadence, but of which I have made a question, in the 
 last section, it follows that we have no instance in speech, of 
 the discrete downward pitch of the semitone. But we leave 
 this for future observers. 
 
 If the reader is by this time, expert in ascending both con- 
 cretely and discretely, through every interval of the scale, 
 he may, after ascending, immediately return through the same 
 interval, with the impression of its extent upon his ear; 
 and thus by practice on all the intervals, become familiar with 
 the different degrees and characters of the downward movement, 
 both in its concrete and discrete forms. 
 
 We have been considering; the downward movement on long 
 quantities : but like the rising progress, it may be rapidly per- 
 formed on immutable syllables. Yet when the characteristic ex- 
 pression of a downward interval is required on immutable syl- 
 lables, the transition as with the upward, is generally made by 
 the change of radical pitch. 
 
 The expressive powers of the downward radical and vanish 
 will be assigned, in a future consideration of the particular inter- 
 vals of the scale. As a general remark on its character, it may 
 be said, in contradistinction to the interrogative effect of the 
 rising Third, Fifth, and Octave, that the downward progress 
 through these intervals, whether concrete or discrete, denotes 
 positive affirmation ; directly the reverse of doubt, implied in a 
 question. Some other inquirer may hereafter, more accurately 
 refer this expression of the downward concrete, to a general class 
 of phenomena in vocal science; and thus satisfy the demands of 
 philosophy. I cannot, however, withhold the suggestion, yet
 
 AND VANISHING MOVEMENT. 261 
 
 wishing to be cautious "vvith mere analogical argument, that the 
 positiveness may arise from its conjoining with an emphatic im- 
 port, a certain degree of the decisive character of the cadence : 
 for this seems to preclude the expectation of further doubt or re- 
 ply, by a satisfactory repose of the ultimate intonation on a fin- 
 ished sense. In support of this suggestion, let us bring to mind, 
 that the replications of doubtful argument, from mere courtesy 
 between speakers, are not so often marked with complete cadences 
 as the termination of the sense in many of the phrases would 
 otherwise bear. But we know that when assertions become au- 
 thoritative from truth, or dogmatic from opinion, the closing 
 intonation of the cadenceisfreely employed as the definite seal of 
 self-confident affirmation. 
 
 After all, however, Truth, the strict monitor of philosophy, 
 reproves us for our conjectures, and allows us here, only to set 
 forth this new instance of consistency in the ordinations of 
 nature : for as the sentiment of inquiry is contrary to that of 
 assured declaration, so in the instinct of the voice, for the 
 expression of these opposite sentiments, the very opposite courses 
 of rise and of fall, are employed as their respective intonations. 
 
 The downward movement, whether in its concrete, or discrete 
 form, is used for the purpose of emphasis ; and will be particu- 
 larly described in a future section. It has perhaps an equal 
 power of attraction over the ear, with the upward movement in 
 each of its forms. The expression of amazement, wonder, 
 surprise, and admiration, when not conjoined with an interroga- 
 tive meaning, generally assumes this form of intonation ; the 
 extent of the interval being proportional to the degree of energy 
 in the sentiment. Since the downward progression differs from 
 the upward, only by its taking a different direction, we may look 
 for the same characteristic construction in each. The same 
 explosive fulness should mark the radical ; the same equable 
 movement, its descent ; the same delicate diminution, its final 
 vanish into silence. 
 
 After these general remarks on the subject, we proceed to the 
 history of the particular intervals of the downward concrete.
 
 262 THE DOWNWARD OCTAVE. 
 
 SECTION XXI. 
 Of the Interval of the Downward Octave. 
 
 The concrete Downward Octave, in addition to the expression, 
 ascribed generally to the downward movement, conveys in the 
 colloquial uses of the voice, the vivacity of facetious surprise, 
 as in the instance of the phrase ivell done, given above. It is 
 in this case, the very picture of amazement, and so to speak, 
 raises the brow and opens the eye of the voice. In its more 
 dignified uses, there is the highest degree of admiration, aston- 
 ishment, and positive command, either alone, or united with 
 other sentiments. Thus the astonishment and positiveness 
 marked by this interval, may be coexistent with the complacent 
 feeling of mirth and sociability, or with the repugnant senti- 
 ment of fear, contempt, hatred, or in short, with almost any 
 state of mind not incompatible with that of astonishment, and 
 positiveness. For though these associated sentiments have other 
 signs 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 thus represents different sentiments, 
 it may be inquired, whether some modification of its structure 
 may not be necessary. It was shown in the second section, that 
 the concrete movement, whether in its upward or downward 
 direction, bears with distinguishable audibility, additional force 
 or stress, on the beginning, the middle, or the end of its pro- 
 gress through a prolonged quantity. Now the application of a 
 different stress to the downward octave, variously modifies its 
 expression. On the radical, it denotes a high degree of mirthful 
 wonder. On the middle of its course, by a swell at that place, 
 the expression becomes more serious and repulsive with its 
 wonder. On the upper extreme, reversing thus the natural 
 structure of the radical and vanish, it increases the degree of
 
 THE DOWNWARD FIFTH. 263 
 
 the repulsion, and mingles with it some slight sentiment of anger 
 and 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 colloquial excitement, 
 and in the fervor of the drama : but never, perhaps, in the 
 course of plain narrative or description, since the strained 
 energy of its expression must be the real or the personated 
 pouring out of the heart. 
 
 For an illustration of the downward Radical Pitch of the 
 octave ; there is, in the first diagram of the fourteenth section, a 
 notation of the fall of the voice, from an upper current of melody, 
 — supposed to be on immutable syllables, — to an~ indefinite 
 syllable, an octave below, for the purpose of rising again through 
 a concrete octave. This downward radical pitch has the same 
 expression as the downward concrete octave ; and is employed 
 in skipping from immutable syllables, in phrases of emphatic 
 astonishment, admiration, and command. 
 
 SECTION XXII. 
 
 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 Downward concrete Fifth has in many respects 
 a similar meaning ; but it clothes its sentiment of smrling sur- 
 prise, admiration, and command, with greater dignity than the 
 octave. This interval is often used on imperative phrases. Its 
 concrete, like that of the octave, may be modified in meaning, 
 by diiferent applications of stress. 
 
 In the following derisive exclamation of Gabriel to Satan,
 
 26-4 THE DOWNWARD FIFTH. 
 
 from the fourth book of Pardise Lost, the syllable ra is pro- 
 perly made by the natural form of the fifth : that is, by stress 
 on the radical or opening portion of the interval, ■while the 
 vanish dwindles away in its descent. 
 
 Courageous chief! 
 The first in flight from pain ! 
 
 When the Queen says to Hamlet, 
 
 If it be, [that is, if death be the common lot] 
 Why seems it so particular with thee? 
 
 Hamlet returns, 
 
 Seems, Madam, nay it is! I know not seems. 
 
 Now, is, uttered with the natural downward concrete of the 
 fifth, represents 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 indignation, the pro- 
 fanity of the supposition, that there is any formal show in the 
 deep reality of his grief, cannot be expressed by the natural 
 form of the radical and vanish. There is a light and pleasant 
 surprise in the form of this concrete, that would misrepresent 
 the sentiment. If the voice is swelled to a greater stress as 
 it descends, the grave severity and dignified conviction of the 
 speaker become at once conspicuous. The intonation of this 
 line, without, however, the swelling stress on the falling fifth, 
 may be thus delineated : 
 
 Seems, Ma dam, nay it is! I know not seems. 
 
 ^-^^ 
 
 ^I^jCj^= 
 
 Here a rising third, or the most moderate form of interroga- 
 tive expression, is set to the first word : for it includes a slight 
 sentiment of inquiry. The succeeding clause, containing a most 
 positive affirmation, has the downward fifth ; and the whole 
 diagram is calculated to show the opposite powers of expression
 
 THE DOWNWARD FIFTH. 265 
 
 in the rising and falling intervals. In a future section, it -will 
 be shown y^hj the radical of this emphatic downward movement 
 is set, as here represented, so far above the line of the current 
 melody. 
 
 The Discrete transition of the falling fifth, has the same 
 expression as its concrete form. It is used for syllables that do 
 not bear a prolongation, necessary for the concrete ; the two 
 extremes of the interval, as in all cases of discrete transition, 
 whether rising or falling, being on two different syllables. The 
 following notation exemplifies the radical change or skip of the 
 falling fifth : 
 
 Yet Bra tus says he was am biti ous. 
 
 The sentiment of this line, as it seems to me, requires the 
 intonation of grave surprise rather than that of contemptuous 
 contradiction, with which it is sometiqies read : and this I have 
 endeavored to express, by the radical skip of a fifth, between 
 the syllables of Bru-tus, and of biti-ous. The craft of Antony's 
 oration, in Julius Ccesar, turns upon the design to excite odium 
 against the conspirators, by a favorable and moving repre- 
 sentation of Caesar's virtues, rather than by the coloring of 
 their crimes. And though in the well known burden of the 
 speech, they are reported as 'honorable m^n,' certainly not 
 with the least good will in the title ; still, the vocal curl of 
 sneer, sometimes heard on the words just quoted, is inappro- 
 priate and affected. At least this may be said of it, as it oceura 
 in the early part of the speech : and when at last the speaker ia 
 encouraged to bolder sentiments and declarations, they are those 
 of anger and revenge; and these waste no time in the winding 
 course of contemptuous intonation. But whatever may be said 
 of other parts of the speech, I must claim for the above sen- 
 tence, the intonation which expresses the surprise of the orator, 
 that any one could so violently reverse the just conclusions to be 
 18
 
 266 THE INTERVAL OF 
 
 drawn fi'om the enumerated motives and actions of Csesar : 
 leaving to the audience to infer, from this surprise, that some 
 other than ordinary or honest reasons must have infl-uenced 
 Brutus to make the charge of ambition against him. When 
 the line is read in the common diatonic melody, with the differ- 
 ence of a tone only in the radical pitch of its emphatic words, 
 it merely reports what Brutus had said : without the least show 
 of the sentiment I have ascribed to it, and endeavored to illus- 
 trate by the preceding diagram. 
 
 SECTION XXIII. 
 Of the Interval of the Downward Third. 
 
 The Downward Concrete Third has an expression similar to 
 that of the fifth, but of a more moderate degree. 
 
 Dignity of vocal character, like that of personal gesture, 
 consists not only in the slowness of time, and the restraint of 
 forceful effort, but in a limitation within the widest range of 
 movement. And as there is more composure in an interrogation, 
 by the rise of the third ; so the expression of surprise and 
 admiration by a downward interval, is most subdued and digni- 
 fied, when heard on the falling third. 
 
 One remarkable effect of the concrete descent of the third, on 
 a single syllable of long quantity, is shown at the end of a sen- 
 tence, or of a clause, containing 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 eighth 
 section, and there described as the feeble Cadence. Its cha- 
 racter is not quite definite : for while indicating a close of the 
 sense at its place, it does not altogether destroy the idea of 
 its further continuation. No one on hearing this cadence, would 
 suppose the discourse to be necessarily finished.
 
 THE DOWNWARD THIRD. 057 
 
 As the rising third is sometimes used for emphasis alone, inde- 
 pendently of its interrogative import ; so the falling third may be 
 employed without expressing surprise or command, merely for 
 varying the effect of intonation. This may be illustrated by the 
 following diagram. 
 
 None but the brave! None but the brave! 
 
 #— l^—J 
 
 None 
 
 but 
 
 the 
 
 brave 
 
 de — 
 
 —serve 
 
 the 
 
 fair. 
 
 *^- 
 
 ^ 
 
 
 r- 
 
 ^ 
 
 d" 
 
 
 
 ^ 
 
 ^ 
 
 4 
 
 W 
 
 ^ 
 
 <# 
 
 ^\ 
 
 
 
 
 
 
 
 
 ^ 
 
 There is certainly no inquiry conveyed by these words : yet 
 we have the rising interval of the third on one of the emphatic 
 syllables. But there is a feeling of admiration in the case, that 
 may be expressed by the upward third. And it will be shown 
 hereafter that all emphatic words, whatever other sentiments 
 they may embrace, do carry with them something of the ad- 
 mirable. On this ground then the emphatic repetitions of the 
 word hrave 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, in its third place, does at least produce a varied effect. 
 Speakers who are not aAvare of the full efficacy of intonation, and 
 who cannot therefore skillfully command it, endeavor to attain a 
 desirable variety in these lines by a transfer of the emphasis 
 of force ; and apply it successively to none and hut and brave. 
 Such, I know, was, and perhaps still is the formula for these 
 lines, in all our Schools and Colleges. Regarding here the ap- 
 parent purpose of the poet, and the consistent design of vocal ex- 
 pression, this variation is altogether inadmissible. The contra- 
 distinction made in this case, by applying stress to different 
 words, in each repetition, gives different meanimgs to the phrase. 
 But reiteration is the rhetorical sign of fulness of feeling, or of
 
 268 THE INTERVAL OF 
 
 its rising energy ; and never of a change of sense. Tiie attempt 
 therefore to vary the meaning of this phrase, which must be iden- 
 tical under any change of emphasis, offends against both dignity 
 and truth, and betrays a limited power over the ample means for 
 vocal variety. A full command of quantity, and of the nume- 
 rous forms of expression, renders it easy to relieve the ear from 
 monotony on this passage, without changing or distorting the 
 sense of the author : for, if the composition was a prompting of 
 poetry, and not a mere trick of words and emphasis, the sense 
 must have been intended, under any climax of feeling, to be one 
 and the same, in all the repetitions. 
 
 In the above notation, I have not illustrated the uses to be 
 made of time, force, the tremor, and other forms of intona- 
 tion, though all are available, and give additional means for 
 variety. 
 
 The downward radical pitch of the third is employed for the 
 purpose of emphasis : particularly where this is necessary on im- 
 mutable syllables. But there is a special use of this interval, for 
 effecting a full consummation of the close of melody. In the 
 eighth section it Avas shown that different species of the cadence 
 denote various degrees of repose : the triad form, in which each 
 of the radicals with its downward vanish, is heard distinctly in 
 successive descent, being the most marked indication of the pe- ' 
 riod. It is possible however, to increase the characteristic of 
 this form, by additional means. When a melody is in the higher 
 range of pitch, a gradual descent of the current, as it approaches 
 the cadence, may be employed with that intent ; and properly. 
 But another more elegant and impressive manner is, to apply 
 the downward radical change of a third, with cither a rising or 
 falling concrete, according to the effect desired, on some syllable 
 preceding the close, as in the following notation: 
 
 Through E den look their sol i ta ry way. 
 
 ^^
 
 THE DOWNWARD THIRD. 269 
 
 When this line is read throughout, with only the radical change 
 of a second, the cadence, with its three descending radicals 
 and concretes, does indeed mark a completion of the sense ; but 
 the radical skip of a downward third, from de?i to took, gives 
 that warning of the period, or that note of preparation, which 
 produces the utterly reposing conclusion, required by the 
 audience, and due by the reader, at the termination of Paradise 
 Lost. The last line of Pope's translation of the Iliad, may be 
 read to the same notation. ' And peaceful slej)t the mighty 
 Hector's shade.' It does not appear, in this form of the Cadence, 
 that the syllable should be emphatic, except for its preparatory 
 purpose ; or that it should be, in different sentences, at any 
 fixed distance from the cadence. Nor is a choice forbidden, 
 between words more or less removed from the close, in the same 
 sentence. In the two examples of iambic lines, it falls on the 
 cesura of a like foot, in each. In the following, from the final 
 Benediction of the Church-service, it occurs immediately pre- 
 ceding the Triad, ' The fellowship of the Holy Ghost, be with 
 us all evermore. In the fulfillment of Elisha's imprecation 
 on Gehazi, it may be placed either on the sixth or ninth syllable 
 before the cadence, and perhaps on both. ' And he went out 
 from his presence, a leper as white as snow.' 
 
 Other cadences denote, in various degrees, the conclusion of 
 a particular sense. This Prepared Cadence, if we may so call 
 it, implies that the subject itself, of a paragraph, a chapter, or a 
 volume, is finished. 
 
 In the eighth section, five forms of the cadence are named. 
 Now the Prepared, which is however, no more than an em- 
 phatic addition to the close, may be united with each of these, 
 if we may perhaps except the feeble cadence; but its purpose is 
 only strictly fulfilled when it is placed before the second triad, 
 with a downward concrete, on each of its constituents. All the 
 forms of the cadence are severally required by speakers, to give 
 a just character and variety to the close. 
 
 It is not expected, the reader will be able at once to distin- 
 guish, and to apply all the forms of tho cadence. Some of 
 them, however, cannot be mistaken. The prepared form of the
 
 270 THE DOWNWARD SECOND AND SEMITONE. 
 
 falling triad, is the most complete close ; and this is clearly 
 separable from -what was called the feeble cadence, or the 
 faintest indication of the period. With attention to our history, 
 no ear will, on exemplification, confound the effect of the two 
 triads, and the feeble, with that of the prepared cadence. 
 
 I have little to say of the minor third ; the expression of its 
 downward, like that of its upward concrete movement, is plain- 
 tive ; but as well as my car informs me, it is only heard as a 
 fault in speech. 
 
 SECTION XXIV. 
 Of the Downward Second and Semitone. 
 
 I HAVE classed the Downward Second and Semitone, under 
 the same head, on account of the limited extent of the remarks 
 here made upon them. They have a high importance in speech, 
 but it is principally as downward continuations of their previous 
 rise, into that form of intonation, called the wave. 
 
 A remarkable use of the downward concrete second or tone, 
 is as the last constituent of both the diatonic and the chromatic 
 cadence. It forms severally, the constituents of the falling 
 triad: and is used, — though its effect is not very conspicuous, 
 — in the successions of the diatonic melody, for the purpose 
 of contrast with the rising second, which, in the history of that 
 melody, was, according to the progressive method of unfolding 
 our subject, given as its sole characteristic. 
 
 The downward concrete semitone is employed for the pur- 
 pose of variety, in the current of a chromatic melody. It is 
 also applied to the first and second 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.
 
 THE DOWNWARD SECOND AND SEMITONE. 271 
 
 In terminating the history of the downward intervals, one can- 
 not avoid pausing for a moment, in admiration at the simple 
 and well adjusted means, for the multiplied combinations, and ap- 
 parent complexity of vocal expression. Nor can the prophetic 
 eye of science and taste, well survey these means, without 
 reaching to some foreknowledge of that Systematic Art of 
 Speech, which at no distant day, must be raised upon the new 
 and lasting foundation of Analytic Elocution. I have not 
 extended the inquiry, nor presumptuously endeavored to apply 
 the principles founded thereon, to the entire detail of the sub- 
 ject ; being contented to encourage others towards a work of 
 greater range and precision, by setting before them what is here 
 accomplished, in a case of supposed impossibility. For if the 
 Course-Art of Popularity is not now at work, to make the 
 Fine Arts all his own, I must hope, there will be some beautiful 
 finishing of that system for the ordering of speech, which is 
 here but just begun. He who chooses to follow the path thus 
 opened, may fortunately find himself among the first comers to 
 an ungathered field : a field, un visited and unclaimed, only 
 because it is believed by the indolent, to be barren or inaccessi- 
 ble ; or because the eye of irresolute inquiry has been turned 
 from the leading star of observation, by the vain attractions of 
 theory, and the delusive authority of names. For what does 
 the term, genius for discovery mean, besides — the art of for- 
 getting ourselves and others, and looking broadly, exclusively, 
 and perseveringly at our work ? Too many, alas ! imagine they 
 are doing all these things, when they are only thinking exclu- 
 sively, and perseveringly, of themselves and notoriety ; and 
 hunting, sharp-scented, and broadly, after the favorable opinion 
 of mankind.
 
 272 THE WAVE OF THE VOICE. 
 
 SECTION XXV. 
 
 Of the Wave of the Voice. 
 
 The "Wave of the voice, as briefly explained in the second 
 section, signifies a continuation of the upward into the downward 
 concrete movement. TVe are told by the Greeks, that this 
 function was known to them. But if nature did favor them 
 with the important secret, they were thriftless in the trust, 
 and only hid their talent in the napkin. It is noticed by 
 modern writers, particularly by Mr. Steele and Mr. Walker, 
 under the term. Circumflex accent. 
 
 As the wave is composed of the two opposite courses of pitch, 
 each of which may be of difi"erent intervals ; and as the direction 
 of the voice at its outset, and the number of its flexures may 
 vary, the reader must expect to find in the history of this sign, 
 numerous and somewhat complicated subdivisions. 
 
 The Wave is a very frequent form of expression, and performs 
 important oflSces in speech. It therefore becomes him who is 
 willing to turn from the falterings of an instinctive elocution, to 
 the fulness, the purpose, and the precision of scientific rule, 
 not to overlook the subject of the wave. 
 
 In order to represent this matter clearly, let the several 
 upward and downward movements, of the wave, be called its 
 Constituents. The constituents may then' be severally octaves, 
 fifths, thirds, seconds and semitones, either in an upward or 
 downward direction. 
 
 Further, as the upward and downward concrete may be of 
 varied extent, it follows that the wave may be constituted of an 
 upward and downward movement of the same interval ; or these 
 constituents may differ from each other. Thus the wave may 
 consist of a rising and a falling third conjoined ; or of a rising 
 second continued into a falling third. These varied construc- 
 tions give occasion for a distinction of the wave into Equal, and 
 Unequal.
 
 THE WAVE OF THE VOICE. 273 
 
 It will be found on experiment, that the wave with its first 
 constituent ascending, and its second descending, has a diflferent 
 expression from one, with a reverse course of its constituents. 
 Of the variations thus produced, let the former case be called 
 the Direct wave, and the latter the Inverted. 
 
 I have thus represented the wave as consisting of two con- 
 stituents only ; but it may have three or even more ; for the 
 Direct may have a subsequent rising interval, and the Inverted, 
 a subsequent falling one. When there are but two constituents, 
 it may be called the Single, and when three, the Double wave. 
 Should there be more than three, as may happen in cases, to be 
 pointed out presently, it may be called the Continued wave. 
 
 These several forms admit of various combinations with each 
 other. Thus the equal and the unequal wave may each be 
 direct and inverted, single and double. The double-unequal 
 may have its three constituents dissimilar ; or two of them, the 
 first and second, or second and third, or first and third may be 
 alike. The direct and inverted, 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.
 
 274 
 
 TABULAR VIEW OF THE WAVE. 
 
 Equal, 
 
 ^ 
 
 Single, 
 
 W 
 
 Double, 
 
 g ( Octave, 
 g tb j Fifth, 
 Direct, .S I i Third, 
 -jg "C I Second, 
 •p Semitone, 
 
 ^ f Octave, 
 I ^0 I Fifth, 
 
 Inverted, • S S ^ Third, 
 "S t^ i' Second, 
 •^ I Semitone, 
 
 W 
 
 Direct, 
 
 Inverted 
 
 3 
 
 ? f Octave, 
 S fab f Fifth, 
 •S -i ^ Third, 
 "S 'S I Second, 
 •^ (^ Semitone, 
 
 £ . Octave, 
 I %' Fifth, 
 'ZB-i Third, 
 ,S =2 I Second, 
 S l^ Semitone, > 
 
 Single, 
 
 Unequal, 
 
 
 t r Octave, 
 
 Direct, 
 
 ^ to Fifth, 
 .S -i ^ Third, 
 
 
 m 'E j Second, 
 •f^ 1^ Semitone, 
 
 
 
 > 1 Octave, 
 
 Inverted 
 
 -2 ^D Fifth, 
 •S 13 ^ Third, 
 M t^ Second, 
 i§ 1 Semitone, 
 
 w 
 
 Direct, 
 
 Double, o ■* 
 
 W 
 
 "3 f Octave, 
 I tb I Fifth, 
 -S .5 -j Third, 
 '.Z^ "S 1 Second, 
 £ 1 Semitone 
 
 Inverted, ^ .2 
 
 Octave, 
 
 Fifth, 
 _ Third, 
 j Second, 
 i^ Semitone,
 
 THE WAVE OF THE VOICE. 275 
 
 In the preceding table, only the first constituent of the un- 
 equal wave is given. I therefore subjoin a tabular scheme of the 
 second and third constituents of this wave, in its single and its 
 double forms. But the reader is to take the greater part of these 
 tabular views, as the history of what may be performed by the 
 voice, in the multiplicity of its combinations ; not as the record 
 of a point, as yet, of any practical utility. 
 
 In thus penetrating the recesses of nature, we must be allowed 
 to describe her most minute phenomena, however presently use- 
 less it may be. Nearly all the forms of the wave here noticed, 
 might be made designedly by a skillful effort of intonation ; and 
 perhaps are made in daily discourse, by the instinctive efforts of 
 speech. But the expression of the unequal wave, as far as I can 
 perceive, is limited to a few sentiments : most of the varieties 
 here given, being only permutations of constituents, answering 
 the same purpose. Whether these signs, not specially significant 
 with us, have ever been used to denote ideas or feelings, or ever 
 will be, is yet to be told. We have heard, — but belief should 
 keep a skeptic watch on hearing, — that the Chinese vary the 
 meaning of the same elemental or syllabic sound, eight or ten 
 times, by changes of intonation. Do they draw upon any of the 
 forms of the following table of the unequal wave ?
 
 276 
 
 TABULAR VIEW OF THE WAVE. 
 
 The first consti- The geoond con- 
 tueot being Blitucnt being 
 
 either a 
 
 The third con- 
 stituent being 
 either a 
 
 Single. 
 
 Direct 
 
 Inverted, 
 
 Direct 
 
 Inverted, 
 
 Direct 
 
 Inverted, 
 
 Direct 
 
 or 
 
 Inverted, 
 
 Direct 
 
 or 
 
 Inverted, 
 
 Double. 
 
 < 
 
 Direct 
 
 an Octave. 
 
 a Fifth. 
 
 a Third. 
 
 a Second. 
 
 a Semitone. 
 
 an Octave. 
 
 a Fifth. 
 
 a Third. 
 
 ^ Semitone 
 J second 
 \ third or 
 
 t fifth. 
 
 {Semitone 
 second 
 third or 
 octave. 
 
 C Semitone 
 J second 
 J fifth or 
 L octave. 
 
 {Semitone 
 third 
 fifth or 
 octave. 
 
 {Second 
 third 
 fifth or 
 octave. 
 
 a Second. 
 
 Inverted, 
 
 Direct 
 
 or 
 
 Inverted, 
 
 J 
 
 Direct 1 
 
 ^ °'" , V a Semitone. 
 Inverted, I 
 
 Sem 
 Scm 
 Sem 
 .Sem 
 i Sem. 
 
 ''sem. 
 Sem. 
 Sem. 
 Sem. 
 Sem. 
 
 Sem. 
 Sem. 
 Sem. 
 Stm. 
 
 Sem. 2d .3d 5th or 8lh. I 
 Sem. 2d 3d 5th or 8th. 
 Sem. 2d 3d 5th or Sth. 
 Sem. 2d 3d 5th or 8th. 
 Sem. 2d 3d or 5th. 
 
 Scm. 2d 3d 5th or Sth. 
 Sem. 2d 3d Sth or Sth. 
 Sem. 2d 3d Sth or Sth. 
 Scm. 2d 3d or Sth. 
 Sem. 2d 3d Sth or Sth. 
 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth. 
 2d Sth or Sth. 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth. 
 
 2d 3d Sth or Sth. 
 3d Sth or Sth. 
 2d 3d 5th or Sth. 
 2d 3d Sth or Sth. 
 2d 2d Sth or Sth. 
 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth. 
 2d 3d Sth or Sth.
 
 THE WAVE OF THE VOICE. 277 
 
 From a comprehensive view of this table it is manifest, there 
 might be other methods of arranging its details. Each 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, for heads of as many sections. 
 Then under each, for instance the octave, we might consider, 
 First, the equal form of this interval, and its combination with 
 other intervals into the unequal form ; Second, its direct and in- 
 verted ; and Third, its single and double forms. Or we might 
 take the distinction into single and double for 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. 
 
 I shall, according to the arrangement in the table, divide the 
 phenomena of the wave into two great classes, the Equal and Un- 
 equal ; and subdividing each of these by the five intervals of the 
 scale, shall under the heads of these intervals, consider the direct 
 and inverted, the single and double forms. 
 
 The pains taken to define the technical terms of this essay, 
 together with the exemplification by diagrams, in the second sec- 
 tion must have rendered all the movements through the scale, 
 quite familiar to those who really desire to learn. The descrip- 
 tion of the wave may therefore be so easily understood, that with- 
 out a further notation, the reader can readily imagine its various 
 forms, in applying them to syllables. 
 
 In order to understand the purpose, and expression of the 
 wave, let us recollect that it is compounded of a rising and a fall- 
 ing interval, the several characteristics of which have already 
 been described. Now it will be found, that the wave generally 
 partakes of the respective powers of its constituents ; and further, 
 that a continuous line of contrary flexures, enables the voice 
 to carry on a long quantity, without the risk of falling into the 
 linear intonation of song. 
 
 The expression of the wave in all its forms, is modified by the 
 application of stress to different parts of its course : at the begin- 
 ning, or at the end, or at the place of junction of its constituents.
 
 278 THE EQUAL WAVE OF THE OCTAVE. 
 
 SECTION XXVI. 
 Of the Equal Wave of the Octave. 
 
 The Equal "Wave of the Octave, is made by a movement of the 
 voice, through its upward, and continuously into its downward in- 
 terval. 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 constructed, by the first con- 
 stituent ascending, and the second descending, forming the di- 
 rect ; and by a reversed succession, forming the inverted wave. 
 
 The equal wave of the octave in its single form is rarely em- 
 ployed in serious discourse. If used in the lower range of pitch, 
 to avoid the sharpness of the falsettte, it gives an appropriate 
 expression to the strongest sentiment of astonishment and of ad- 
 miration. When it assumes the higher range, as it is apt to do, 
 it loses its dignity as an impressive sign. Children sometimes 
 employ it for mockery in their contentions and jests. Its double 
 form has the same expression, under a more continued quantity. 
 The reverse order of its constituents, gives a different character, 
 respectively to its single-direct, and its single-inverted forms ; 
 for the latter by ending in an upward concrete, has the intona- 
 tion of a question, through what we called the Interrogative 
 Wave : while the former by a downward final movement, has the 
 positivcness and surprise of the simple falling intervals. When the 
 direct and the inverted wave of the octave is respectively double, 
 the rule of final expression will be reversed ; for the double- 
 direct Avill then end with the rising or interrogative movement. 
 
 On the whole, the double form of the wave claims attention 
 rather as a part of our physiological history, than as a subject 
 of oratorical propriety and taste ; and may, in point of use and 
 expression, be rather classed among vulgar mouthings.
 
 THE EQUAL WAVE OF THE FIFTH. 279 
 
 SECTION XXVII. 
 Of the Equal Wave of the Fifth. 
 
 Enough has been said of intervals, to explain the nature of 
 the Equal Wave of the Fifth. Its nomenclature is descriptive 
 of its structure. Nor need it be shown particularly of this, nor 
 indeed of the succeeding sectional heads of the wave, in what 
 manner the single and double, the direct and inverted forms are 
 made. 
 
 The equal wave of the fifth, is used as one of the means of 
 emphatic distinction ; and has therein an expression varying 
 Avith its form. The equal-single-direct wave of the fifth consists 
 of an ascending and descending concrete, each having in its 
 separate state, respectively, the sentiment of interrogation and 
 of positiveness and surprise. But a junction of these opposite 
 constituents takes in a great degree, from the rising, its indica- 
 tion of a question, while it leaves to the falling, the full character 
 of positiveness and surprise. There is however, another efi'ect 
 of this junction, besides the overruling of interrogation. When 
 a sentiment requiring the downward fifth, is grave or dignified, 
 that character is expressed by pre-joining the rising fifth, and 
 thus forming the direct wave. And further, the direct wave 
 is used instead of the simple fall, merely to give time to the 
 syllable that bears it ; for should the sentiment of the emphatic 
 syllable require a prolonged quantity, this wave takes the place 
 of the simple interval, which under unskillful intonation might, 
 in the efibrt to extend it, be liable to pass into the linear 
 intonation of song. 
 
 The inverted wave of the fifth has the compound expression 
 of surprised interrogation, produced by the termination of its 
 last constituent in the upward vanish. And thus it appears, the 
 direct wave of this, as well as of other wider intervals, retains 
 a degree of interrogation ; and the inverted, a degree of its 
 positiveness and surprise.
 
 280 THE EQUAL WAVE OF THE THIRD. 
 
 There is not much difference between the expression of the 
 single, and the double wave of the fifth, except what arises from 
 a change of structure 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 form of the equal wave of the fifth. This is .certainly 
 the case when the last constituent receives greater stress than 
 the others. On the whole, however, this double form is not 
 very frequently used as a sign of expression. 
 
 
 SECTION XXVIII. 
 Of the Equal Wave of the Third. 
 
 TiiE Equal Wave of the Third, in the degree of its expression, 
 bears such a relation to the equal wave of the fifth, as the simple 
 rise of the third bears to the simple rise of that interval. 
 
 In all its forms, whether single or double, direct or inverted, 
 the expression resembles respectively, but in a more moderate 
 degree, that of the different species of the equal wave of the fifth. 
 From its less impressive character, it is more frequently em- 
 ployed for emphasis in plain and dignified discourse, than the 
 fifth and the octave, which are especially appropriate to col- 
 loquial dialogue, and to the wider intonation of the drama. 
 It also serves, like the other waves, to extend the quantity of 
 syllables in deliberate and dignified discourse; and to preserve, 
 at the same time, the characteristic concrete of speech. 
 
 The equal wave of the minor third is used in song, but is not 
 admissible into speech. The expression of the inverted wave 
 of this interval, docs not differ much from that of its direct 
 form.
 
 THE EQUAL WAVE OF THE SECOND. 281 
 
 SECTION XXIX. 
 
 0/ the Equal Wave of the Second. 
 
 We have now to consider the equal wave of the second, which 
 if ever the time for a Natural, and thereupon a Scientific Sys- 
 tem of Elocution shall come to pass, will be regarded as a very 
 important and interesting part of intonation. 
 
 The difficulty 'of arranging perspicuously the details of a 
 subject, altogether as new to the author himself, as to his 
 reader ; and of giving a full description of parts that are ele- 
 mentary and closely related, but that must be successively 
 explained, has obliged me to proceed in the way of gradual 
 and partial development; of subsequent addition; of antici- 
 pation ; and of frequent reconsideration, which distinguishes the 
 proposed method of this essay. For the complete arrangement 
 of a science, which in the progress of years or centuries, has 
 gradually grown to the fulness and accuracy of its definitions 
 and order, method after method has been tried and rejected ; 
 and the studious inquirer, knowing the attempts and failures of 
 liis predecessors, is taught the deficiencies and requisites of 
 classification. But for this oficred system of intonation, there 
 was no preceding outline of truth ; no instructive sketches of 
 corrected errors, to save me from my own ; and as yet, even no 
 friendly-enmity of criticism to ' pluck' them from my pages and 
 'throw them in my face.' I was therefore at first, and even in 
 preparing this fourth edition, obliged to ask the poor assistance 
 of my own endeavors, to supply ray oversights, and correct my 
 faults. A hard, and too often a vain and fruitless labor. 
 Consistently with the manner of Dividing and Instructing here 
 ;aploycd, our account of the diatonic melody, regarded only 
 the radical and concrete pitch of the second, and its successions; 
 in order thereby to avoid confusing the reader. Other functions 
 and uses of the concrete were therefore kept out of view. It 
 19
 
 282 THE EQUAL WAVE OF THE SECOND. 
 
 has since been shown, that the dovrnward vanish of a second is 
 introduced, for the purpose of varying the current ; and that 
 for interrogative, and for emphatic expression, other intervals, 
 both rising and falling, and these united into the wave, con- 
 tribute to form the full and proper melody of speech. "VYe 
 proceed to show further, that the Diatonic Melody, this Ground- 
 work of all other intonation, employs the wave of the second as 
 an important, indeed an essential constituent of its grave and 
 dignified character. The reader has already learned that long 
 quantity is necessary for executing the wider intervals and 
 waves. When therefore the vivid expression of these forms of 
 pitch, is required on the diatonic Ground, it can only be effected 
 on prolonged syllables. But as the plain melody of narrative or 
 description does not, along Avith its dignified character, convey 
 any remarkable feeling or passion, there should be some means, 
 different both from the wider intervals and waves ; and from the 
 simple rise and fall of the second, which we have shown are 
 suitable only to short quantities, in a quick and ' tripping' 
 speech. These means are a protracted quantity, and the wave 
 of the second, in its direct and inverted, and sometimes its 
 double form. In a previous section, there is an illustration, 
 from Paradise Lost, of the want of sufficient length for the 
 purpose of expression, in certain accented and emphatic sylla- 
 bles. I here use that extract for exemplifying the wave of the 
 second : where the simple rise and fall of this interval is set on 
 all the short and unaccented syllables ; and the direct or inverted 
 wave, on all that are at the same time of long quantity, and 
 accented and emphatic. 
 
 High on a throne of roy al state, Tyhich far 
 
 ^•^-•^ ^•^-^v-e'^ 
 
 Out — shone the wealth of Or mus and of Ind, •
 
 THE EQUAL WAVE OF THE SECOND. 283 
 
 Or where the gor — geous East -with rich — est hand 
 
 4 <^ 
 
 % ^^ * 
 
 A A 
 
 4ir^r^ 
 
 
 \ 
 
 
 T \ 
 
 
 
 Show ers 
 
 on her 
 
 Kings bar- 
 
 -ba — ric 
 
 pearl and 
 
 gold, 
 
 <^- 
 
 •r^- 
 
 -«^^ 
 
 4 4 
 
 €^4 
 
 9 
 
 
 T 
 
 Sa tan 
 
 ex 
 
 —alt ed 
 
 sat. 
 
 
 
 4 
 
 -V 
 
 -5^ 
 
 
 
 
 w 
 
 ^ 
 
 
 
 This is a fine passage of descriptive poetry : and the intona- 
 tion here directed, seems, to me at least, appropriate to its 
 character. There is great grandeur in the idea of the Occasion ; 
 while the language is richly associative, and the comparisons 
 striking and magnificent. But the description is not prompted 
 by that state of mind which we distinguished, as feeling or 
 passion : nor indeed should it excite that condition in the mind 
 of an audience. The subject is presented by the narrator, for 
 dignified and grave attention. We are invited to look up, and 
 behold this super-human greatness, and the splendor surrounding 
 its 'bad eminence.' It is however, only the Still-life of the 
 imperial Throne, and has not as yet aroused a passion. The 
 poet, without himself stooping to overcome the beholder with the 
 vulgar disturbance of wonder, has raised his fixed attention, to 
 the refined and reflective sentiment of admiration. We then 
 require no passionate intonation ; no wider rising and falling 
 thirds or fifths or octaves ; no semitones ; no wider waves ; no 
 tremors, nor percussive accents ; in short, no excessive nor 
 extraordinary use of quality, time, force, abruptness or pitch. 
 The diagram shows the simple upward or the downward con- 
 crete, on all the short and unaccented syllables ; and the direct 
 or inverted wave of the second, on the long and accented. The 
 feeble cadence is set on the word gold^ as this terminates the
 
 284 THE EQUAL WAVE OF THE SECOND. ' 
 
 description of the Throne; but not the sentence, which is 
 finally closed by the falling triad : and this is made more com- 
 plete, by the radical descent of a third on the syllable tan, 
 forming thus the Prepared cadence. I have endeavored so 
 to arrange the intonation, as to give variety to the current of 
 the melody. For although the prevailing phrase is the mono- 
 tone ; with its radicals, — whether the concrete rises or .falls, 
 or the wave is direct or inverted, — upon a level line of 
 pitch ; yet this line is broken occasionally by the rising and 
 falling ditone. The monotone as here used, is strictly appro- 
 priate to a deliberate and solemn style, when this is the reigning 
 spirit of narrative and descriptive discourse. And though we 
 cannot, according to our distinction between plain thought and 
 sentiment, speak of the expression of the monotone, yet we 
 perceive, it has a remarkable character of its own.* 
 
 I am left so alone with my subject, that I like even to ima- 
 gine a eompanion. I therefore suppose the reader may with 
 me, recollect, that the immediate succession of the rising and 
 the falling ditone, forms what was called the phrase of Alterna- 
 tion. When this is employed in a current melody, the constant 
 variation of the radical pitch, together with a short syllabic 
 time, and a use of the simple concrete, broadly distinguishes 
 its effect, from that which employs a long quantity and the 
 monotone. The following notation of the description of Abdiel's 
 encounter with Satan, in Milton's Sixth book, will illustrate the 
 character, we must not call it the expression of the alternate 
 melodial phrase. 
 
 •Sometimes the nature of a thing is more clearly viewed, in the broad light 
 of its contrary. Let our extract then be read in the Falsette, with every kind 
 of interval and wave, mingling as if they had been given us, only to run up and 
 down the voice, and tumble over syllables, without a steady regard to sense or 
 soul. Such outrages always suggest contrasts; and we close our ears upon the 
 nuisance, to imagine the lines, delivered, — in a full orotund, with a well adjusted 
 intonation of the diatonic melody, — by a Garrick or a Booth. It may perhaps 
 be too ludicrous an illustration, even for a note: But just think of that solemn 
 Anthem, • Before Jehovah's Awful Throne,' sung by a single Soprano, with the 
 accompaniment of a fife and a violin.
 
 THE EQUAL WAVE OF THE SECOND. 285 
 
 So say — ing, a no — ble stroke he lif — ted high, 
 
 d ^ m d d ^ 
 
 / "^ • « ^ 
 
 w m 9 9 
 
 • ^^ • 
 
 Which hung not, but so swift 
 
 with tem — pest fell 
 
 d ^ 4 ^ *^ " 
 
 • ^ n ^ 
 
 • V • 
 
 On the proud crest of Sa — 
 
 --tan, that no sight, 
 
 ^d^dd^ 
 
 •I ^-^^ 
 
 Nor mo — -tion of swift thought, less could his shield, 
 
 ^-J-^^-JT^^*^-^ 
 
 •L^^ 
 
 Such 
 
 ru 
 
 — in in ter — cept. 
 
 
 i 
 
 
 iT d 
 
 
 w 
 
 ^ 
 
 " «r - 
 
 
 On comparing the two preceding diagrams, "we find a 
 predominance of monotones, in the former, and of the alterna- 
 tion in the latter : the line of the monotone being broken by an 
 occasional ditone ; and the alternation, by an occasional mono- 
 tone. In the last case, the spirit of the description, is carried 
 out on this varying intonation ; and a Milton-like propriety and 
 taste, have furnished a phraseology suitable to that spirit. 
 Consistently, as it seems to me, with the language, and with the 
 rapid energy of the occasion, I have set the wider interval of 
 the third, on but three syllables ; and the wave of the second, only 
 on four: nor should these intonations have more than a limited 
 quantity. A feeble cadence is set on the last syllable of
 
 286 THE EQUAL WAVE OF THE SECOND. 
 
 saying: since this phrase, as the sequel to an antecedent decla- 
 ration, is slightly terminative. All the rest of the intonations 
 are simple rising and falling concretes, and are thus accomo- 
 modated to the drift of the description. The earnest purpose 
 of the action does not allow a full and reposing cadence. I 
 have therefore used a tripartite form, and given the first two con- 
 stituents, rising concretes. There is a wider range of pitch in the 
 successions of the melody ; that is, the radicals ascend higher 
 on the staflF, and thus produce a lively contrast with each other. 
 Now all these conditions give to the lines before us, a character 
 very difi'erent from that of the former example. A prevalence 
 of the monotone here, might perhaps represent the dignified 
 courage, and calm security of an aggressor confident of success : 
 but it would be misapplied and faded coloring, for the ideal 
 picture of hurried watchfulness and dreadful expectation, which 
 the description of the huge impetus is calculated to excite. It 
 is true, the above lines are merely descriptive of a super-human 
 action. But it seems to be a rule of sympathy in such cases, 
 that he who describes, should to a degree, take part in the sen- 
 timents excited by his own verbal picture of the scene. 
 
 The former of the above illustrations, is purely in the dia- 
 tonic melody : and though the latter is strictly descriptive, still 
 its character either calls for, or admits the rising and falling 
 thirds assigned to it : while at the same time, it affords an exam- 
 ple of the introduction of wider intervals into the diatonic cur- 
 rent. Others may think, that still wider intonations might be 
 employed. Let it be as they wish. I am endeavoring to 
 instruct them in the principles of an art, not to direct them in 
 its practice. In any case, the last example may serve to show 
 how difficult it is, nicely to divide the expressive, from the 
 now-expressive in 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 Avave. For if the reader is able to make the con- 
 tinuous rise and fall through a tone, or reversely the fall and 
 rise, on a literal element, or word, he will observe a difference in 
 the effect. But each case will be equally destitute of the striking
 
 THE EQUAL WAVE OF THE SECOND."" 287 
 
 intonation of the wider intervals, whether upward or downward. 
 Thus these two contrary forms of the wave of the second, with- 
 out adding any peculiar expression to the melody, give variety to 
 the intonation of dignified and impressive discourse. 
 
 I am not aware that the double-equal wave of the second has 
 a character different from that of its single form, except what 
 may arise from extending the quantity of syllables. Indeed an 
 unusual protraction of quantity in the diatonic melody, instinc- 
 tively produces the double wave ; since the voice may take this 
 serpentine line, through the second, without producing any un- 
 })leasant snarl, similar to that of the double wave on some of the 
 wider intervals. 
 
 There is what we called a Continued wave, or a progress of 
 the line of contrary flexures beyond the term of three constituents. 
 It is only to the time of an equal wave of the second in a dia- 
 tonic melody, and of a semitone in the chromatic, that this con- 
 tinued extension, if at all, is to be added. For should some extra- 
 ordinary expression of solemnity, upon an indefinite syllable, re- 
 quire an umisually 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 if still continued, 
 necessarily be carried-on either in the note of song, or through 
 farther flexures of the wave. When it takes the course of the 
 flexures, the bad effect of the former case 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 im- 
 pression.* 
 
 I have ascribed an importance to the subject of this section, 
 because it is the foundation of a very general principle in elocu- 
 tion. The reader will now perhaps admit Our distinction between 
 
 * It may be asked here, why, if the voice can be thus prolonged in speech, 
 should the length of syllables, as stated in our fourth section, be restricted ? The 
 extreme prolongation, in the above case, is made on a single tonic or subtonic 
 clement: whereas proper syllables are the product df certain combinations of all 
 the elements; and these by their position, in our language, arrest the syllabic 
 impulse. The syllables all and ame might indeed be continued during the whole 
 term of expiration ; but when made in these continuous diatonic flexures, if at 
 all true syllables, they are only exceptions to our general laws of syllabication.
 
 288 THE EQUAL WA.VE OF THE SECOND. 
 
 the plain melody formed by a varied rise and fall of the voice 
 through the interval of a tone, and that formed by the occasional 
 introduction of other and Avidcr intervals, producing what was dis- 
 tinctively called Expression. Now, very few speakers are able 
 to execute this plain melody, in the beautiful simplicity of its 
 diatonic construction. Some constantly use throughout their 
 current, the rise of a third, a fifth, or a semitone : or give every 
 emphatic syllable in an impressive form of the wave. Perhaps 
 these faults arise from an ambitious attempt to effect a greater 
 degree of dignified expression, or variety in the simple melody, 
 than the speaker is able to accomplish by the second alone. In 
 this attempt he employs some of the wide and exceptionable in- 
 tervals, and by their continued repetition, produces a false into- 
 nation and a disgusting monotony. For these expressive inter- 
 vals so remarkably affect the ear, that, unduly repeated, their 
 identity becomes conspicuous and offensive. Whereas the simple 
 and unobtrusive second, maybe frequently repeated without pro- 
 ducing a like disagreeable uniformity : since changes of the sim- 
 ple rising and falling second, of the direct and inverted equal 
 wave of this interval, together with a judicious use of time, and 
 pitch, afford sufficient variety to the diatonic melody, without 
 destroying its characteristic plainness. 
 
 No one without inquiry on this subject, can be aware of the 
 unpretending yet dignified force, the diversified succession, and 
 severe simplicity of the diatonic melody, when conducted on the 
 principles of the radical change formerly laid down ; and varied 
 by the appropriate disposition of the single rise and fall, the di- 
 rect and inverted wave, the degrees of quantity, and certain 
 forms of stress to be described in a future section. Upon the 
 simple level, so to speak, of this melody, the occasional expres- 
 sion of the wider intervals comes with all the effect that variety 
 of impulse and measurable contrast must necessarily produce. 
 Whereas he who is constantly dealing out his semitones, thirds, 
 fifths, and octaves, allows no repose to the ear ; and when the 
 real occasion for their expression occurs, the sensibility to their 
 emphatic application is exhausted.
 
 THE EQUAL WAVE OF THE SEMITONE. 289 
 
 SECTION XXX. 
 
 Of the Equal Wave of the Semitone. 
 
 The chromatic melody was formerly described as a succession 
 of radical and vanishing semitones. But it was even then stated, 
 there is a continuation of the rising into the falling interval, for 
 the purpose of repeating the plaintive impression of the single 
 concrete, and for adding length to the quantity of syllables. 
 This wave is remarkably distinguished by its peculiar and attract- 
 tive expression. Its direct, inverted, and double forms have 
 necessarily, from repeating the interval, greater plaintiveness 
 and dignity than the simple rise ; and at the same time furnish 
 means for diversifying the current melody. 
 
 A mingling of the reverse forms of the wave, is required in 
 the chromatic melody ; for the continued repetition of this re- 
 markable interval, and the frequent occurrence of the phrase of 
 the monotone, make it desirable to vary the impression of the 
 melody, without destroying the essential nature of its plaintive 
 constituents. Now this is accomplished in a degree, by an appro- 
 priate disposition of the direct and inverted wave ; these contrary 
 movements having a difference of character, perceptible on com- 
 parative trial : for the effect of the simple rising interval, being 
 different from that of the falling, the varied final constituent 
 gives its character, respectively, to the reverse forms of the semi- 
 tonic wave. 
 
 It may be remarked, on the subject of this and the preceding 
 section, that whenever a good reader expressively prolongs the 
 quantity of his syllables, and surely no one can read well without 
 this use of quantity, he does instinctively employ these waves, in 
 all deliberate and solemn utterance : Avhile on the other hand, 
 his voice assumes the simple rise and fall of these intervals, with- 
 out the continuous flexure, in delivering those gayer and more
 
 290 THE EQUAL WAVE OF THE SEMITONE. 
 
 energetic sentiments that naturally suggest a shorter time of syl- 
 lables, and a more rapid pronunciation. 
 
 If these then are the spontaneous and satisfactory efforts of the 
 voice, on two such important points, it may be asked, "why we 
 should labor, so deeply in search of principles, that brought into 
 practice, would be no more than the fulfillment of the instinct of 
 speech. I have said, these points of intonation are accomplished 
 by a good reader, if there can be a good reader, without the edu- 
 cative means of science ; one to whom nature has given a mind, 
 and sensibility, to assume the thoughts and feelings of an author, 
 and the vocal power to represent them with propriety : by one 
 who, when he feels the uneasiness of error, will give even pain- 
 ful industry for its correction ; and who, in his self-directed 
 labors, is unconsciously following the order, and effecting much 
 of the purpose of scientific analysis and rule. 
 
 But how shall he find out, or preserve his way, who has not 
 this native grace of improvement; who searches after right, 
 without knowing what is wrong ; and who copies both the faults 
 and merits of an individual example, instead of reaching forth, 
 under the direction of broad-founded precepts, to gather excel- 
 lence by discriminative selection. It is to such a person that a 
 development of the principles of speech becomes indispensable. 
 To him the fulness of history, the strictness of definition, and 
 the diffusive light of system, afford those aids, which the eagle- 
 eye of observation, and that sure-winged thrift of genius, which 
 sometimes bears itself from instinct, up towards science, may not 
 so strictly require.
 
 THE WAVE OF UNEQUAL INTERVALS. 291 
 
 SECTION XXXI. 
 Of the Wave of Unequal Intervals. 
 
 This term denotes a vocal movement, hj contrary flexures, 
 with constituents of different extent. Thus, if the voice rises 
 through a second, and then in continuation falls through a tliird ; 
 or falls through a given interval and rises through a different 
 one, it is called the Unequal Wave. 
 
 It will at once be perceived, there is a direct and an inverted, 
 a single and a double form of this wave ; while the possible 
 combinations of its constituents are so various, that the com- 
 plex enumeration of them would be altogether useless, except 
 the expression of each of their permutations could be pointed 
 out. But the recognized varieties of its expression bear a very 
 small proportion to its multiplied species. It embraces wonder, 
 positiveness, and interrogation, in different degrees, according 
 to the extent of the interval and the direction of its last con- 
 stituent. I am not however able to assign to the unequal wave, 
 in its various forms, any general characteristic of expression, 
 except that of strongly marked scorn, and other feelings of a 
 like nature and force. These sentiments are in a slight degree 
 conveyed by the curling of the Equal wave, and even by the 
 simple rising and falling fifth, and octave, when there is much 
 stress, or an aspiration laid upon their vanishing extremes. But 
 the most striking sign of contempt, and of similar sentiments, 
 consists in a wide variation of the constituent intervals of the 
 wave ; especially if the wave is double, with the intonation 
 strongly aspirated, or with a guttural vibration on its final 
 concrete. 
 
 This wave of unequal intervals is employed for the stronger, and 
 generally exaggerated passions of the drama, and in the peevish- 
 ness, and colloquial cant of common life : but it should be rarely 
 used in the moderate temper of a greater part of written dis-
 
 292 THE WAVE OF UNEQUAL INTERVALS. 
 
 course. It has a vulgar earnestness, and a quaint familiarity, 
 that render it adverse to a grave or graceful design of speech. 
 
 When the expression of scorn is required on an occasional 
 word, in a current melody of dignified or solemn utterance, it is, 
 under the direction of feeling and taste, generally made by the 
 proper use of stress and aspiration, on the simple. rise or fall of 
 the third or fifth ; for this conveys a more moderate degree of 
 the sentiment ; at furthest, in such a case, the expression is not 
 carried beyond the aspirated structure of the single-equal wave. 
 
 There is a peculiar expression of the unequal wave, described 
 under the head of Chromatic melody, which forms an exception 
 to the general characteristic of scorn, above ascribed to it. I 
 refer to its employment, for the purpose of chromatic interroga- 
 tion. In this case it is necessary to give, on the same syllable, 
 an intonation both of plaintiveness and of the question ; and 
 this can be accomplished, only by subjoining to the last con- 
 stituent of the equal-direct wave of the semitone, or to the 
 last constituent of its double-inverted form, the rise of the third, 
 or fifth, or octave. But it is to be observed here, that this, and 
 other forms of the unequal wave, cease to be expressive of scorn, 
 by merely withholding the aspiration for them, and by avoiding 
 the guttural vibration on their last constituent. 
 
 The unequal wave may form the cadence of a chromatic 
 melody, on one syllable. In this case the voice rises through 
 the interval of a semitone, and then in continuation descends 
 concretely a third to the close. This intonation however, on 
 account of its peculiar expression, is unsuitable to the general 
 character of repose required in the cadence. From the nature 
 of its constituents, this form of the wave, particularly if enforced 
 by stress, bears the sentiment of plaintive or querulous surprise: 
 and consequently, is admissible on the last long quantity of a chro- 
 matic sentence, only when it conveys this sentiment. Should 
 the stress be increased with an aspirated close, it would give the 
 expression of querulous scorn. 
 
 As the wave, under every form, especially requires syllables 
 of indefinite time, it is obvious, Avhy long quantities are neces- 
 sary for reaching full dignity of speech, since these alone are
 
 THE WAVE OF UNEQUAL INTERVALS. 293 
 
 capable of bearing the wave ; dignity of expression being an 
 effect of the wave of wider intervals, on emphatic words, and of 
 the wave of the second and semitone, in the respective currents 
 of the diatonic and chromatic melody. With the light of this 
 principle, the reader may see on what defensible ground, it was 
 formerly maintained, that the majestic movement of the first 
 line of the second book of Paradise Lost, was shocked by the 
 limited and insufficient quantity of the word state. 
 
 High on a tbrone of Royal state which far 
 
 All the accented syllables of this line, except state, are of 
 indefinite time, and will bear the equal wave of the second. 
 The same is true of nearly all the syllables in the three succeed- 
 ing lines of the passage : and with the exceptions here alluded 
 to, the whole is admirably fitted, by its time, for the vocal 
 representation of this magnificent description, by the Poet of 
 unsurpassed Sublimity. 
 
 From inattention to this subject of quantity, it often happens 
 that poets use syllables of immutable time, in emphatic places 
 that call for the expression of the wave. The following exam- 
 ple, cited in the eleventh section, will now be better understood. 
 
 And practised distances to cringe, not fight. 
 
 The sentiment of scornful exultation, conveyed by the words 
 not fight, here requires a form of the unequal wave on each ; 
 but from the limitation of their quantity, this movement cannot 
 be employed, without a remarkable departure from correct pro- 
 nunciation. 
 
 In speaking of the various ascending and descending concrete 
 intervals, it was shown that a similar, though diminished effect 
 of intonation is produced by the leap or change of the voice, 
 from the radical of a concrete to the pitch of its vanish, without 
 passing through the intermediate space. Now since the wave is 
 only a junction of the concretes of its constituents, it might 
 naturally be supposed that some expression analogous to the 
 effect of a concrete wave, may be produced by radical changes 
 to the extremes of its flexures. Such a correspondence may be
 
 294 THE WAVE OF UNEQUAL INTERVALS. 
 
 effected on some of the forms of the wave. Thus in the case 
 of the immutable words not fight, an approximation may be 
 made towards the required expression of the continuous con- 
 crete, by giving not, at a discrete fifth above the line of the 
 current melody ; then returning discretely to that line on fight ; 
 and finally, rising on fight, from that line, with the rapid con- 
 crete of a third: thus producing a kind of discrete imitation of 
 the direct-double-unequal wave of the fifth and third. For if 
 we suppose the radical of cringe, to be on a line with the cur- 
 rent melody, and its concrete to be carried from that radical 
 place, through the points of the rising and falling discrete fifth 
 above mentioned, it will, with the rapid vanish of the third, form 
 such a wave. This discrete intonation by the wider intervals, 
 comes much nearer to the expression of contempt, designed by 
 the exultation of Satan, than can possibly be reached on the 
 triad of the cadence, to which the voice is prone, in this case, 
 from the short time of the syllables, and their position at the 
 close of a sentence. 
 
 Another example, given in the eleventh section, may still further 
 illustrate this design to convey, by radical changes, the expres- 
 sion of a wave of equal intervals, when a limited syllabic time, 
 renders its continuous or concrete movement impracticable. 
 
 Faithful to whom? To thy rebellious crew? 
 Army of Fiends, Jit body to fit head. 
 
 The words here marked in italics, convey the sentiment of 
 admiration, and scorn, and should be intonated by an alternate 
 skip of radical pitch through the rise and fall of a fifth. That 
 is, with fit on the line of the current melody, take bod, by 
 radical skip, a fifth above fit; y again at the current line, a 
 fifth below hod ; to also on the current line ; fit a fifth above 
 this last ; and finally head a fifth below, at the current line : 
 observing, that with the radical skips, there is still a feeble and 
 rapid downward concrete on all the syllables. I offer in the 
 following diagram, two notations ; one of the discrete changes 
 proposed for the Poet's phrase ; and another, with the same num- 
 ber of words taken, as well as I could compose them, to represent
 
 THE WAVE OP UNEQUAL INTERVALS. 295 
 
 something like the spirit of the short-timed phraseology ; and 
 with sufficient quantity to bear the concrete, and the wave. 
 
 Fit bod-y 
 
 to fit head. 
 
 Well paired with all thy sins! 
 
 A ^ 
 
 4ft ^ ^ 
 
 ^ 
 
 "V 
 
 (• ^ ^ ^ 
 
 M m. 
 
 % ^ 
 
 ^^^=t^«-.-r 
 
 W ^k 
 
 The First of these notations is described above. In the 
 Second, the word well has the inverted wave of the fifth, with 
 its rising constituent, expressive of a sort of admiration, ironical 
 it must be, at Satan's preposterous claims to an honorable 
 faithfulness. I say nothing of a slight tremor on this rising 
 constituent, to show the exulting scorn of Gabriel ; nor of any 
 form or degree of quality and stress, for the impressive display 
 of the whole phrase. After the lighter sneer has thus been 
 intimated, the rest of the words convey a positive assurance on 
 the part of the speaker, of the truth of the contemptuous com- 
 parison, and should therefore have the conclusive intonation of 
 the downward intervals. Paired has the falling fifth : with, the 
 feeble and falling rapid concrete of a third, on the line of the 
 current melody: all, a positive downward fifth, from the hight 
 of that interval above the current : thy, a direct unequal wave 
 of the second and third ; and sins, a feeble cadence to close the 
 phrase. Now in all this, there is but the plain intelligible up 
 and down of the voice, without assistance from any occult 
 quality, emanating from the soul, that has never yet been seen, 
 scented, touched, tasted nor heard. In the first of these ways only, 
 that is by marking, the extremes of those intervals, which, upon 
 extendible syllabic quantity would be given as a wave, can that 
 open eye of wonder, and snarling of scorn, be substitutively 
 executed. But even with every assistance from the radical skip, 
 the reader, if he possesses the soul of elocution, must still find it 
 imprisoned within these words. 
 
 We have had occasion to apply the term simple or single, to 
 the un-flexed concrete, to distinguish it from the wave. The 
 above example of intonation on immutable syllables, suggests
 
 296 RECAPITULATING VIEW OF MELODY. 
 
 the antitlietic use of the terms, concrete, and — inconsistent as 
 it may appear, — discrete wave. 
 
 Let me here recall the attention of the reader to the subject 
 of syllabication. It was shown how the construction of sylla- 
 bles is governed by the radical and vanishing movement. It was 
 likewise stated, that the course of syllabic sound is always 
 limited by the extent of the upward and downward concrete ; 
 but that the prolonged and perfect syllable is practicable upon 
 another form of pitch. We are now prepared to hear that the 
 unbroken current of the voice, may be carried through the con- 
 trary flexures of the wave, without destroying that singleness of 
 impression which forms one of the characteristics of a syllable. 
 
 Enough was said on the subject of the alphabetic elements, to 
 explain this in a few words. The wave is a continuous sound, and 
 consequently aifords no opportunity in its course, for the outset 
 of a new radical, which, with its following vanish would produce 
 another syllable. For it was shown that an interruption of the 
 concrete, 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 preface to the beginning of another. 
 
 After the description, thus far given of the individual func- 
 tions of the speaking voice, we may take a more comprehensive 
 view of the subject, by Recapitulating the account of these 
 functions, 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 individuality of decomposition. 
 
 We speak with two purposes. First, to communicate mere 
 ideas, or thoughts, apart from passion. And Second, to express 
 our feeling or sentiments. According to that difference, the 
 voice should have a different set of signs, for each of these 
 purposes : and this, upon inquiry into nature, is found to be 
 the case. But as it is difficult, if not impossible, to draw a 
 strictly dividing line between mere thoughts, and what are called 
 sentiments ; so the vocal signs, severally representing them, 
 cannot be clearly divided, in arrangement. I have however, 
 in previous parts of this essay, marked out a practical distinc-
 
 RECAPITULATING VIEW OF MELODY. 297 
 
 tion, founded on the more obvious difference of the cases. For 
 plain narrative and simple thought, we employ the Diatonic 
 melody. 
 
 This melody, consists of a simple rise through the concrete of 
 a tone, A^aried by the occasional use of the downward tone ; 
 with a radical pitch changing through its several diatonic 
 phrases ; and a termination of the melody by the descent of the 
 cadence. The grace and refinement of speech, in this case, is 
 largely dependent on that construction of the radical and vanish, 
 which displays a full and well-marked opening of the concrete, 
 and a gradual diminution of its force. These are the constitu- 
 ents employed, and this their disposition, for reading plain 
 narrative or description : and generally, if such subjects, as the 
 definitions of astronomy, title-deeds of property, and gazette 
 advertisements, are not read for the most part, in thia style of 
 intonation, the effect will be unsuitable to their passionless 
 thoughts. 
 
 In the above cases, as well as in others, requiring the diatonic 
 melody, the movement is supposed to be with a tripping step and 
 a short quantity. If however, the thoughts should have a digni- 
 fied importance, an increase of quantity in the accented sylla- 
 bles, together with a general slowness of the time will be 
 assumed : the concrete still continuing in its simple, though 
 somewhat more protracted form. 
 
 Should this deliberate character be further raised into solemn 
 dignity, the melody will assume the mingled progression of 
 the direct and the inverted-equal wave of the second. Much of 
 the Church-service should be read with this plain protracted into- 
 nation. It conveys in full, the sentiments of august composure, 
 solemnity, and veneration. A proper management of the con- 
 trary courses of the waves, together with a change of radical pitch, 
 gives sufficient variety to the melody : while it avoids the force- 
 ful impression of wider intervals, that would overrule the self- 
 possessed ease and grave simplicity of this unobtrusive into- 
 nation. This style of melody, includes the means for producing 
 that graceful dignity of voice, which is in vain attempted through 
 the breadth of ' o'b and ' aw's in mouthing ; through strong 
 20
 
 298 RECAPITULATING VIEW OF MELODY. 
 
 percussive accents mth long pauses ; the waves of the wider 
 intervals ; and that heartless affectation which passes "without 
 motive or rule, in unexpected transition from the strongest 
 cushion-beating emphasis, or stage vociferation, to the attempted 
 significancy of a mysterious whisper. 
 
 Although the diatonic melody i^ represented above, as consist- 
 ing exclusively of the second and its waves, yet it must be 
 understood that the rise, and fall, and wave, of wider intervals, 
 are frequently found mingled with the simple second, and its 
 waves. For this plain melody may happen to contain a ques- 
 tion ; which must be made, according to its grammatical 
 construction, or its sentiment, either with a thorough or partial 
 use of the intervals of the third, fifth, or octave : or some words 
 conveying a sentiment of surprise, positiveuess, or scorn, or 
 mirthful admiration, may call for distinction above the rest. 
 Now the emphatic syllables of such words are so distinguished, 
 by the wider rising and falling intervals of the scale, and by 
 the wider waves, either in the concrete or discrete form. 
 
 These last remarks, showing how the two purposes of speech 
 are unavoidably connected with each other, bring us to the 
 second division, properly called, Expression. This is effected 
 by the wider intervals, both in an upward and downward direc- 
 tion, and by the wider waves. But, with some exceptions, the 
 expressive intervals are only applied occasionally ; and not 
 generally, like the second, in a diatonic melody. It will be 
 shown, in a section on the Drift of the voice, to what extent, j 
 phrases and sentences of expressive intervals may be employed. 
 
 There is one expressive interval of the scale, the Semitone, 
 sometimes employed on single words, and conveying a sentiment 
 of complaint, pity, tenderness, or supplication. But its more 
 general use is on phrases, and sentences, and throughout dis- 
 course. This is called the Chromatic melody. Like the two 
 forms of the Diatonic, its current is either in the rise and fall 
 of the simple interval, for less deliberate and serious sentiment ; 
 or for its more plaintive and dignified expression, in the equal 
 wave of the semitone, with the variations of its direct and 
 inverted, its single and its double forms. Some parts of the
 
 EXCLAMATORY SENTENCES. 299 
 
 Church-service, containing words of complaint, penitence and 
 supplication, call for this solemn wave of the chromatic melody. 
 
 Other functions contribute to the means of correct, elegant, 
 and expressive speech. These were considered under the terms. 
 Quality of voice ; Melody, or the run of radical pitch on its 
 different phrases ; Pauses, with the proper phrases of intonation 
 to be used at them ; and Grouping, or the means of impressing 
 on an auditor, more definitely, the syntatic relation of words 
 and phrases, by means of pause, emphasis, and the variations of 
 time and force. 
 
 This summary includes the constituents, thus far enumerated, 
 that enter into the composition of melody. Some important 
 functions, yet to be described, will furnish us with the signs of 
 ■ither sentiments. 
 
 SECTION XXXII. 
 
 Of the Intonation of Exclamatory Sentences. 
 
 The downward concretes, and the wave, are variously expres- 
 sive of surprise and admiration ; and as these, with like senti- 
 ments, are embraced by that form of speech, called Exclamation, 
 I shall point out some of the principles that seem to govern the 
 use of these intervals, in Exclamatory sentences. 
 
 Beyond a mere admission of the existence and importance of 
 such a thing as intonation in the art of speaking, Philology has 
 given no other explanation of its specific forms, than what is 
 vaguely signified by the common ' notes' of Interrogation and 
 Exclamation. But as these notes only imply some undescribed 
 peculiarity of voice, without being employed according to a sys- 
 tem or rule of intonation, they can be considered as no more
 
 300 THE INTONATION OF 
 
 than grammatical symbols to the eye. The indefinite state of 
 knowledge, with regard to the intonation of these forms of speech 
 has been further confused by the vague uses of their symbols. 
 For wc find the note of interrogation often applied to what are 
 really interjective, or argumentative appeals : and what, by the 
 light of inquiry may be shown to be strictly exclamatory. 
 
 In the section on interrogative sentences, it was shown even 
 in the questions, there exemplified, that the downward intervals 
 and the wave, are often necessary for the partial, and occasionally 
 for the thorough intonation. Had the reader been prepared, by 
 previous explanation of the nature of these intervals, it would 
 have been more particularly shown, that some questions with the 
 grammatical form, are made, altogether by these downward move- 
 ments. He may therefore now be told, after what has been said 
 of the positive expression of the falling intervals, that whenever 
 a question employs the direct wave, or the downward movement, 
 the interrogative character is lost in the sentiments which re- 
 quire these adopted intervals. 
 
 Interrogations are, in their purpose or spirit. Questions of 
 Belief ; Appealing ; Argumentative ; Exclamatory ; and Im- 
 perative questions. 
 
 The Question of Belief has a latitude of meaning, from a mere 
 intimation by the inquirer, of his knowledge upon the subject of 
 the question, to his full assurance, that the answer must accord 
 with the hopes and belief that prompted his question. This 
 question takes its purpose and spirit from its construction ; and 
 infers it from the premises of facts, feelings, and reasons, pre- 
 ceding the ({uestion ; or, if we may so abuse the term, premise, 
 from the subsequent action or discourse ; constituting what we 
 called the collateral grounds of indication in a question. 
 
 In treating formerly, on negative questions, some examples 
 were given, in which the tendency to partial interrogation, was 
 overruled and the question made thorough, by the energetic feel- 
 ing of the appeal. But the questions, reserved for this section, 
 contain the Spirit of Belief to a degree, that calls universally, 
 for an intonation of the positive downward intervals. 
 
 I have therefore included the above named forms of interroga-
 
 EXCLAMATORY SENTENCES. 301 
 
 tion under the present head of Exclamatory Sentences ; for these 
 require the same downward forms of pitch. It will be difficult 
 however to draw a precise line of separation between the pure 
 interrogation of the rising intervals, and the interrogative use of 
 the downward positive movement. And though we may not be 
 able to make the points of their near resemblance, a matter of 
 exact discrimination, this is no reason, we should not describe 
 and arrange their manifest distinctions. 
 
 The Appealing Question. The spirit of this interrogatory is, 
 in most cases, that of positive conviction. For no one ever ap- 
 peals, but with the expectation of judgment in his favor. The 
 appeal is put in the questionary form, either with a persuasive 
 deference ; or with cunning sophistry, as a leading idea towards 
 the required decision. Now the real or the feigned belief of the 
 interrogator produces, in questions of this kind, the same down- 
 ward intonation that positive declarations require. I say the 
 reference of these questions is made, rather for confirmatory ap- 
 probation than for the unbiassed voice of judgment ; and this is 
 more clearly exhibited in the forms of poetical appeal to the will 
 of heaven. For this implies the highest assurance on the part 
 of the interrogator. Thus in the fourth act, and second scene of 
 Julius Ccesar, Brutus says. 
 
 Judge me ye Gods ! Wrong 1 mine enemies ! 
 And if not so, how should I wrong my brother! 
 
 Here are two appealing questions put, not in the doubt of inquiry, 
 and with anxiety for a reply, but with the full expectation of a 
 favorable hearing. The words in italics therefore properly re- 
 quire throughout, the downward intonation. In truth, the spirit 
 of the expression is exclamatory. 
 
 There is a fine example of this question, in HamUt : where 
 this Prince comes upon the king, at prayer, after his penitent 
 Boliloquy. 
 
 Now might I do it, pat, now lie is praying ; 
 
 And now I'll do't ; — and so he goes to heayen : 
 
 And, so, am I revenged ? 
 
 The last line is an appealing question of belief, to the speaker's
 
 302 THE INTONATION OF 
 
 own sense of retributive justice. The intense seriousness of 
 Hamlet, does not allow this question to take the more cheerful 
 intonation of the rising intervals ; but calls for a strong down- 
 ward expression ; which may be applied in this manner. With 
 a slight pause after, and, and so, give to the first of these words, 
 a forcible emphasis of the falling fifth, or octave ; and to the 
 second, a direct wave, of either of these intervals : the rest of the 
 sentence having a downward intonation, with a strong emphasis 
 on venged. Hamlet satisfies himself, that sending the king to 
 heaven by killing him at prayer, would not be revenge, but 
 'hire and salary,' on his part, and grace and ' salvation' to the 
 king. And the positive spirit of his belief on this point, directs 
 his question ; And, so, am I revenged ? And is here to be 
 taken as an illative particle ; so, as an ellipsis, for, hy so doing. 
 The meaning of the passage may then be amplified thus ; Now, 
 might I do it ; {hill him) and now [tvliile he is at prayer) I'll do't ; 
 and so {by killing him at prayer) he goes to heaven. And so, 
 {hut hy so doing) am I revenged ? or, {hy so doing am I, there- 
 fore revenged f) This full phraseology requires no special aid 
 from intonation to show the thoughtful vengeance with which 
 Hamlet questions the connection between the cause and the con- 
 sequence, and thus justifies his appeal. But when the sentence 
 is reduced to its textual brevity, the emphasis of a positive into- 
 nation is necessary to assist the grammatic feebleness, if not to 
 clear up the obscurity of the elliptical construction. 
 
 The Argumentative or Conclusive question. The object of 
 this question is not inquiry : for it is generally addressed upon 
 data, that make the phrase, though grammatically an interroga- 
 tion, rather a logical conclusion from premises admitted or proved. 
 Thus Antony, over the body of Ccesar says. 
 
 He hath brought many captives home to Rome, 
 Whose ransoms did the general coffers fill: 
 Did this in Civsar seem ambitious! 
 
 Or as more strongly marked in this : 
 
 Yon all did see that on the Lupcrcal, 
 
 I thrice presented him a kingly crown, 
 
 Which he did thrice refuse. Was this ambition !
 
 EXCLAMATORY SENTENCES. 303 
 
 These arguments, for so they may be called, though addressed 
 -\vith the words of a question, certainly cannot be received in the 
 spirit of one. That spirit is really inferential that Caesar was 
 not ambitious. In short, these cases belong to what might be 
 figuratively termed an interrogative syllogism, of that species 
 which logicians call an Enthymeme, or an argument of two pro- 
 positions only, the minor and the conclusion, thus : 
 
 Cassar thrice refused a kingly crowu ; 
 Therefore Cajsar was not ambitious. 
 
 The syllogism being completed by the addition of its major pro- 
 position, thus: 
 
 An Ambitious man ■would not refuse a kingly crown ; 
 But Cassar thrice refused a kingly crown, 
 Therefore Caesar was not an ambitious man. 
 
 Such being the positive character of these phrases, it follows 
 from the rules we have laid down, that they should receive a 
 forcible intonation of the falling intervals ; the very opposite to 
 those which denote interrogation. 
 
 According to the present method of reading, by confusing the 
 natural laws of the voice, and thereby corrupting its practice, 
 these questions might be given with a thorough application of 
 the rising intervals. But in this case the intonation would be 
 apt to assume the sneering expression of the double-direct or 
 single-inverted wave, in order, by its ironical effect, to endue the 
 inquiry with the force of a real negation. 
 
 And here our history points out one of the many relations, 
 discoverable between the arts of logic, grammar, and rhetoric, 
 and that of elocution : or, in other words, between all the pur- 
 poses of the human mind, and the vocal means of expressing them. 
 It has been shown, that the words in italics, of the above exam- 
 ples, are in meaning, positive declarations of belief in a fact. 
 But by a figure of speech, this meaning is conveyed in the form 
 of a question : and questions are generally taken as words of 
 doubt. Consequently in cases like the above, where the voice 
 has a positive meaning to express, it should be able to annul 
 the usual power of the grammatical question. The means for
 
 i 
 
 304 THE INTONATION OF 
 
 effecting this, is by the use of the most emphatic degree of (he 
 downward intervals ; for their expression is furthest removed 
 from that of the rising interrogative voice. And this instance 
 may serve to pre-signify the kind of vocal and grammatical con- 
 trariety, that the future cultivators of elocution will be called 
 upon to analyze, and to reconcile, by the extended powers and 
 resources of their art. ThiLS, strictly, every proposition of a syl- 
 logism must either affirm, or deny. No question therefore, can 
 form part of the process of logical reasoning ; since it neither 
 affirms nor denies. Yet see, in the above cases, how the voice 
 breaks through this law of the school, by its forcible intonation, 
 and endues an undetermined inquiry, with the power of a posi- 
 tive declaration. 
 
 The Exclamatory Question. The appealing question, it was 
 stated above, is exclamatory ; and conversely, it may be said 
 here, the exclamatory question embraces an appeal. The only 
 ground for distinguishing them, is that the exclamatory phrase 
 appears to be further removed from the nature of a question, 
 than the appeal, by its seeming the less to require an answer. 
 
 In Shakspeare's Richard 11^ the King, in that celebrated 
 descant on the state of princes, says, 
 
 I live with bread like you, feel want, taste grief, 
 
 Need friends, — subjected thus, 
 
 How can you say to me, I am a King! 
 
 The words in italics do not require an answer, for they 
 contain the sentiments of reproof, displeasure, surprise, and 
 conclusive denial ; but not inquiry : and therefore are properly 
 expressed by the use of the downward concrete, and the direct 
 wave. m 
 
 The Imperative Question. There is such a thing as overbear- 
 ing impetus in feelings, as well as in physical momentum ; 
 whereby the expression, appropriate to one thought is carried 
 into another, which under different circumstances would not 
 admit of that expression. Now the intonation of an imperative 
 question, seems to be one of this character : for there are here 
 two sentiments in the mind of the speaker, Command and
 
 EXCLAMATORY SENTENCES. 305 
 
 Inquiry ; and these are in immediate connection with each 
 other. But the zeal of the question is exhibited in the vehement 
 desire for an answer ; and this desire displays itself in the earnest 
 authority of command. By this transfer, the command assumes 
 the whole energy of the case ; and seeming to forget, if I may 
 so illustrate the subject, the expression due to the question, 
 throws the positiveness of the imperative sense over the whole. 
 This is exemplified by Macbeth's consultation with the witches. 
 
 Witches, Seek to know no more. 
 
 Macbeth. I will be satisfied. Deny me this, 
 
 And an eternal curse fall on you. Let me know, 
 Why sinks that caldron! and what noise is this! 
 
 The eagerness of Macbeth is here changed to anger, at the 
 prospect of disappointment. This anger assumes the command, 
 in the phrase let me knoiv, and the strong downward intonation 
 of this command is, by the impetus of feeling, continued 
 throughout the two succeeding questions. The intelligent 
 reader will, on trial, at once admit the propriety of this positive 
 intonation ; for let him, after the angry command, immediately 
 give to the questions the rising intervals of interrogation, and 
 not only will the defect of appropriate gravity and force be 
 apparent, but the violent contrast of expression, will be even 
 ludicrous. Yet without the overruling of this imperative senti- 
 ment, the questions would naturally take the interrogative 
 intonation ; for they contain a real inquiry. 
 
 In the above instance, the question has the previous command 
 expressed ; b-ut in all cases where it is wanting, we are to under- 
 stand the phrase, tell me, or some equivalent imperative. 
 
 Perhaps one of the reasons why the class of questions, now 
 under consideration, drop their proper interrogative intonation, 
 is that the grammatical phrase suflBciently indicates the inquiry ; 
 and thus allows the associated sentiment to thoroughly assume 
 the downward interval. 
 
 There arc other sentiments, requiring the downward intervals, 
 embraced in a grammatical interrogation. But perhaps I have 
 given examples enough on this subject, to furnish means for an 
 analysis and classification of all its forms.
 
 306 THE INTONATION OF 
 
 Upon the subject of the common Note of interrogation, we 
 may remark, that as most questions are signified, by their gram- 
 matical construction, and as this symbol, in most places, sets no 
 rule for intonation, it may be regarded as useless in all the 
 forms of interrogation, except the declaratory, and some phrases 
 that "without it might be mistaken for imperatives. In these, 
 the mark placed properly at the beginning of the question, 
 would be definite in its indication, from such sentences always 
 requiring the rising intonation. That the common manner of 
 applying this symbol, may confuse a reader who attempts to 
 direct his voice by it, is a fair conclusion from its being used 
 indifferently in cases which requires, as we have now learned, a 
 totally different intonation. 
 
 Having in the present, and a former section, considered the 
 various kinds of interrogation, let us survey them in recapitu- 
 lation. 
 
 Questions in their grammatical construction, are Declarative, 
 Common ; Adverbial ; Pronominal ; and Negative. 
 
 With regard to their Spirit, or meaning, they are questions of 
 Real Inquiry, of Belief, and Triumphant questions. 
 
 A declarative question, is an elliptical sentence, from which 
 the interrogatory clause being omitted, the question must be 
 signified by wide rising intervals on every syllable. * Of this, 
 examples were given in the seventeenth section. But some 
 declarative questions partake so much of the Spirit of Belief, 
 that they may be uttered with only a partial use of interrogative 
 expression : as in the following, of Hamlet to the Player : 
 
 You could, for a need, study a speech of some dozen or sixteen 
 lines, which I would set down and insei't in't? 
 
 Declarative, and indeed all other questions, vary in extent, 
 from the usual length of sentences, to that of a monosyllable ; 
 as was shown in the sixteenth section, on the interrogative into- 
 nation of the word yes. A similar use may be made of no ; 
 for though this declaratory negative is always identical, in its 
 grammatical sense ; yet the interrogative intonation, suspends, 
 or changes that sense, and thus throws the meaning into doubt.
 
 EXCLAMATORY SENTENCES. 307 
 
 Questions of real inquiry imply the interrogator's entire igno- 
 rance of the subject. They are generally of the declarative, 
 common, pronominal, or adverbial form. 
 
 Questions of belief imply various degrees of knowledge, on 
 the subject of inquiry : that knowledge being frequently inferred, 
 from collateral reasons and circumstances, declared, or intimated 
 in the context. They are generally negative in their construc- 
 tion ; but may have other forms. 
 
 The triumphant question, is the highest degree of the ques- 
 tion of belief: and is generally negative. 
 
 Figurative questions, — to which however the imperative is an 
 exception, — denoting a full and positive belief on the part of the 
 interrogator, are included under the present head of Exclama- 
 tory sentences ; and call for the downward intervals, or the wave, 
 such as I now proceed to show proper Exclamations require. 
 
 Many exclamations may be regarded as elliptical sentences. 
 The design of these broken phrases is to give a quick and 
 forcible representation of thought or feeling : and as this is done 
 with a brevity of style, which sometimes might not clearly 
 convey the sentiment, it is necessary to employ the additional 
 means of intonation. And hence arise the structure and the 
 characteristic expression of Exclamation. 
 
 The shortest exclamatory, like the shortest interrogative sen- 
 tence consists of a monosyllabic word ;and this may be any of the 
 parts of speech, if perhaps we except the article, conjunction and 
 preposition ; the interjection being the most common. And 
 here we have the power of intonation in the strongest light ; 
 for thus it seems to be the art of speaking, almost without words. 
 From the monosyllable, exclamations vary in extent through de- 
 grees of the ellipsis, to the full syntax of a sentence ; though the 
 greater part are abbreviations by the haste of passion. Exclama- 
 tions might then be arranged according to their structure, as 
 grammatically imperfect, or as complete. I shall class them ac- 
 cording to their sentiments. 
 
 When it is said, exclamatory sentences generally, if not 
 always, bear the falling intervals or the wave, it must be under- 
 stood that the extent of the interval is in proportion to the force
 
 308 THE INTONATION OF 
 
 of the sentiment. Thus the following interjective reflection, from 
 its moderate temper, might require no more than the direct wave 
 of the second on 0, and the triad of the cadence, on the remain- 
 ing three syllables. 
 
 withered truth ! 
 
 While the energetic emphasis of Hamlet's revengeful exclama- 
 tion at the atrocity of the King, 
 
 Tillain, villam, smiling damned villain ! 
 
 should receive the deep and forcible descent of the octave. 
 
 Of the many kinds of exclamatory sentences, I shall only no- 
 tice, the Admiring, the Plaintive, the Scornful, and the Impera- 
 tive ; since these illustrate the several forms of intonation re- 
 quired by this impressive class of phrases. 
 
 The Admiring Exclamation. Admiration is an earnest approba- 
 tory sentiment, felt at new and elevated perceptions or thoughts. 
 Now, the newness of objects or of our thoughts upon them, 
 involves in a degree, the sentiment of inquiry as to their nature 
 and cause ; and thus seems to call for the use of the rising 
 intervals. But this sentiment has not quite the force, requi- 
 ring a verbal or a vocal question : while, at the same time 
 there is in the character of Exclamation, a positive conviction of 
 the rare importance of the object of Admiration. It is from 
 embracing these two sentiments, that the admiring exclamation 
 calls for the direct wave or union of the rising and the falling in- 
 terval ; the positive character of the exclamation, by the down- 
 ward course of the last constituent, predominating over whatever 
 sentiment of inquiry may be indicated by the previous rise. Let 
 us take as an example, the following description of the assem- 
 bling of the fallen Angels at Pandemonium. 
 
 So thick the airy crowd 
 Swarm'd and were straightened ; till the signal given, 
 Jiehold a ivonchr .' 
 
 Here the syllables hold and wond require the direct wave of 
 the fifth, and by their indefinite quantity freely admit of it. 
 
 The Plaintive Exclamation. It was shown in the nineteenth 
 section, in what manner a plaintive interrogation may be made,
 
 EXCLAMATORY SENTENCES. 309 
 
 by the junction of the semitonic expression with the wider up- 
 ward intervals. The plaintive exclamation is produced by the 
 rise of the semitone continued into the descending third, or fifth, 
 or octave, according to the force of the sentiment ; thus constitu- 
 ting a direct wave of unequal intervals. The direct Avave of the 
 semitone and fifth is the proper intonation, for the accented syl- 
 lables of the following plaintive exclamation of Macdufi": 
 
 Banquo, Banquo, 
 Our royal master's murdered! 
 
 The Scornful Exclamation. It was said in the thirty-first sec- 
 tion, that Scorn according to its degree, is expressed by the sim- 
 ple rise or fall of the wider intervals, or by the various forms of 
 the wave, when made with an aspirated or a guttural voice ; the 
 lighter degrees of expression, or the simple rise and fall being 
 appropriate to the sneer ; and the stronger, consisting of the wider 
 waves, to the deepest contempt and execration. Now when such 
 sentiments are contained within short emphatic sentences, they 
 require what is here called the Scornful Exclamation ; as in the 
 following, from the Merchant of Venice. 
 
 Bassanio. This is seignor Antonio. 
 
 Shylock. How like a fawning publican he looks ! 
 
 The sentiment of this last line will be properly expressed, if 
 the syllables in italics receive the unequal wave of the rising 
 fifth and falling octave, under a slight degree of guttural aspira- 
 tion ; and the rest of the sentence, the falling fifth, with the 
 like aspiration. 
 
 The Imperative Exclamation. An imperative sense univer- 
 sally requires a downward interval, or a direct wave. Other 
 functions, such as stress, aspiration, and guttural grating, to be 
 spoken of hereafter, serve to mark the degrees of force or 
 authority in the command. The following exclamation of 
 Macbeth to the Ghost of Banquo, requires the downward fifth 
 or octave throughout ; according to the degree of energy the 
 speaker may think appropriate to it. 
 
 Hence horrible shadow, 
 Unreal mockery hence !
 
 310 THE TREMOR OF THE VOICE. 
 
 We need not pursue this subject further. Exclamations arc- 
 but forcible expressions ; and there may be as many kinds as 
 varieties of feeling and thought. Thus every mental energy and 
 passion may be found in discourse, under the exclamatory form. 
 Let others define and divide them. Perhaps the nomenclature, 
 and examples here given, may assist the work of inquiry and 
 classification : and when hereafter, Elocution shall be raised into 
 a Science, and so cease to be, at least in intonation, a mere 
 animal instinct ; all those things in the art, that can be to me 
 but subjects of hopeful imagination, may, in the fulness of 
 knowledge, be accomplished by others. 
 
 Upon the subject of Interrogation and Exclamation, it is to be 
 remarked, that in some cases, emphatic distinction may require 
 the use of a downward interval or a direct wave, among the 
 rising intervals of interrogation ; and a rising interval, among 
 the downward concretes and direct waves of exclamation. The 
 contrasts of intonation in such instances, constituting one of the 
 characteristics of what is called emphasis, or an impressive 
 designation of single words. 
 
 SECTION XXXIII. 
 
 Of the Tremor of the Voice. 
 
 If the reader has borne in mind the explanations in the first 
 section of this essay, he must be aware that the forms of pitch 
 thus far described are, severally, phenomena of the concrete, 
 the discrete, and the chromatic scales. He has now to learn 
 the means of expression derived from the Tremulous scale. 
 • This scale consists of a rise and fall through the whole com- 
 pass of the voice, by a more delicate exercise of that particular 
 vibration in the throat, called in common language, gurgling.
 
 THE TREMOR OF THE VOICE. 311 
 
 Although the Tremor has always been known as a vocal func- 
 tion, its nature is here first analyzed, and its use and manage- 
 ment in speech, described. 
 
 In our first section there is a general account of the Tremulous 
 scale. We must now be more particular. 
 
 It has been shown, that every effort of the voice is necessarily 
 through the radical and vanishing movement : and that the 
 audible characteristic of the several intervals of the scale may 
 be distinctly recognized, even on the shortest immutable syllables. 
 
 Since then each of the tonic and subtouic elements does, 
 even in its shortest time, always pass through the concrete, it 
 follows that, however quickly successive any one of them may 
 be repeated, each impulse must be a concrete interval. When 
 therefore the tremor is made on any of the above named ele- 
 ments, either alone or in syllabic combination, — and in this last 
 case, it is heard only on the single element;. — the successive 
 constituent impulses of that tremor must each consist of an 
 abrupt radical, and of a rapid concrete of some one interval of 
 the scale. Let us for more precise description, call these im- 
 pulses, or iterations, the Tittles. Thus the tremulous scale is 
 made up of a succession of Tittles, each of which, like the com- 
 mon syllabic impulse, has its radical, and its concrete pitch. 
 Taking the name of the interval as a designation, there may be 
 a tremor of the semitone, second, third, fifth, and octave. That 
 is, the concrete pitch of each successive tittle may rapidly rise 
 or fall through those intervals respectively. In this case, the 
 tittles are supposed to be continued on the same line of radical 
 pitch, the vanishes rising therefrom to their required hights; 
 but it is easy to understand that while an iteration of these 
 vanishes is going on, through any concrete interval, the radical 
 pitch of these vanishes may, in its iterations, be carried upward 
 or downward through the whole compass of the voice. In this 
 tremulous scale, we have Abruptness as an independent 3Iode; 
 constituting, with the feeblest voice of pitch, the whole matter 
 of the function ; and suggesting, no more the common idea of 
 Force, than an immutable syllable suggests the idea of Time, 
 or a point, the idea of a line. This change of radical pitch in
 
 312 
 
 THE TREMOR OF THE VOICE. 
 
 the tremulous movement is therefore, made in two ways, as in the 
 following diagram : 
 
 First. A given number of these Tittles, are cofitinued on one 
 line of radical pitch : as in the first and second bars of the 
 diagram ; the first, having the rapid concrete of a third ; the 
 second, that of a fifth. The third bar represents an iterated 
 line of tittles, with a skip of radical pitch through a second or 
 tone ; then again, an iteration at the summit of that tone : 
 and thus by an alternate succession of iterations on a line, with 
 a radical change by proximate degrees, the voice may ascend 
 through the whole extent of the scale. In this way, the radical 
 skip is through the diatonic scale of song, writh an iteration of 
 the tittles on each degree of the scale. 
 
 Second. The ascent through the scale may be made, by 
 taking the radical of each tittle of the tremor successively above 
 the last, at a less distance than the tone or even the semitone : 
 as in the fourth and fifth bars ; the rapid concrete in the former, 
 being a third, and in the latter a fifth. Thus, by a gradual rise of 
 the radical pitch, through what we called minute intervals, the 
 whole compass of the voice is traversed. 
 
 We have no means for ascertaining the extent of space 
 between the tittles, in this second kind of ascent. It may be 
 inferred that it is considerably less than a semitone : for if we 
 make a tremulous movement through any cognizable interval, 
 for instance, an ascending third, — and this may be done by 
 familiarizing the ear with a discrete skip from first to third, 
 and then comparing it with a like rise by the tremor, — the num- 
 ber of tremulous impulses will greatly exceed five ; which is the
 
 THE TREMOR OF THE VOICE. 31, 3 
 
 number of concretes in a rising third, through the successive 
 degrees of the seraitonic scale.* 
 
 When the tremulous movement is through the descending 
 scale, whether by the diatonic progress and iteration on a line, 
 or by the gradual change of minute intervals, the concrete of 
 the tittles takes likewise the downward movement : for the 
 expression designed by the downward course of the radical 
 pitch of the tittles, seems to require a like direction of the con- 
 crete. Nor have I been able to perceive, in the ordinary uses 
 of the voice, that the radical pitch of the tremor, and its con- 
 crete, move in directions contrary to each other. 
 
 The tremor then consists of a number of impulses of sound, 
 or tittles, of the least assignable duration ; each of which does 
 nevertheless pass concretely through some one interval of the 
 
 * Some one, it seems, has gone far beyond common perception in distinguish- 
 ing such minute intervals : as I find the following statement under a note, on 
 the nine hundred and twentieth page of a recent, comprehensive, able, and 
 popular English Work on Physiology. ' It is said that the celebrated Mme. 
 Mara was able to sound one hundred different intervals between {ivilhin the limits 
 of) each tone. The compass of her voice was at least three octaves, or twenty- 
 one tones ; [notes ;) so that the total number of [minute) intervals was twenty-one 
 hundred, all comprised, [produced,) within an extreme variation of one-eighth 
 of an inch ; [in the glottis ;) so that it might be said that she was able to deter- 
 mine, [that is accurately/ to execute, and as I understand it, to perceive the effect of) 
 the contractions of her vocal muscles to nearly the seventeen-thousandth of 
 an inch.' 
 
 Here is, as to execution and effect, a most extraordinary power. If how- 
 ever, the Author, or Contributor, who records the instance, and who appeass to 
 have read every treatise on the voice, but one, would just look into our un- 
 valued work, of which there is a copy in the British Museum, he might perhaps 
 agree with us in the conclusion, that by the division of a tone into one hundred 
 parts, — if even a muscular possibility in the human voice, — the iteration of 
 the tittles, either by immediate rise or fall, would be so close, that it could only 
 be heard, as a continuous or concrete sound. The greater tone of the aoale is 
 theoretically divided into nine parts, called commas : and as even this ninth 
 part, in our belief, as well as in the words of Rousseau ' is to cars like ours, 
 useless except in calculation:' what ear was it, perceived the fraction of a 
 hundredth, and numerically followed it up or down in tremulous progression 
 through a single tone? 
 
 Perhaps the present note may in part, illustrate what is said in the fifth 
 section, on the groundless authorities, and careless conclusions^ so common in 
 vocal Physiology. 
 
 21
 
 314 THE TREMOR OF THE VOICE. 
 
 scale. These impulses being either iterations on the same line 
 of pitch, or iterations whose radical pitch rises or falls through 
 the scale, by very minute discrete intervals. 
 
 That the tremor is so constructed, may be learned from ex- 
 periment ; for it will show that the tremulous iteration may be 
 continued on a line, without rising or falling ; and that it may 
 be carried gradually, to the lowest audible pitch, or to the highest 
 reach of the falsetto. And further, that the constituent tittles 
 of the tremor, however momentary, do pass rapidly through 
 concrete intervals may be proved by trial : for the plaintive 
 effect of the semitone, may be heard on every part of the ascend- 
 ing series of the tremor, through the whole compass of the voice ; 
 and in like manner the plain effect of the tone, and the inter- 
 roo'ative expression of the third, or fifth, or octave, may be 
 ffiven to this rising tremor. Now as the interval of the radical 
 ascent in this case, is not a semitone, tone, or wider interval, but 
 a very minute space ; it is plain, the expressive effect here 
 spoken of is not produced by this minute skip, but by a momen- 
 tary transit of the concrete tittles through those intervals 
 respectively. 
 
 It was in reference to this peculiar progression, so different 
 from the concrete movement ; from the discrete steps of the 
 diatonic scale ; and from the purely semitonic succession of the 
 chromatic, that I ventured, in the first section, to call this dis- 
 crete and chattering variation of pitch, the Tremulous scale. 
 It is scarcely necessary to add that the concrete pitch, or vanish 
 of the tremor, from its momentary duration, is restricted to its 
 simple rise, and fall. But the radical pitch, besides the simple 
 rise and fall by its minute interval, may have these united into 
 the form of the wave. This tremulous wave has all the forms 
 of the common concrete wave ; while the rapid vanish still 
 accompanies the radical pitch throughout its winding progress. 
 
 The uses and power of the tremor, in the work of expression, 
 can be better explained after a prefatory consideration of the 
 functions of Laughter and Crying. 
 
 The pure and unpronounced act of Laughter consists in the 
 use of the tremulous scale, both in its concrete and radical pitch.
 
 THE TREMOR OF THE VOICE. 315 
 
 Its concrete pitch may be any of the intervals of the scale, 
 except the semitone and minor third ; Avhile its radical pitch may 
 either be continued on the same line, or may rise or fall by its 
 minute intervals, through the whole compass of the voice. In 
 speaking of the application of a concrete interval to immutable 
 syllables, it was shown that the space of the rapid concrete, 
 though immeasurable directly, as an interval of the scale, is yet 
 recognized by its characteristic expression : and the reader may 
 practically apply the principle here, in discriminating the inter- 
 vals used in laughter. 
 
 When the concrete pitch is a tone, and the tremor is continued 
 on a level line of radical pitch, especially if that line is at the 
 lower range of the voice, the function may indeed bear the name 
 of laughter, but it will be a mere phlegmatic chuckling in the 
 throat. While the concrete is still in the tone, if the iterations 
 of the radical pitch rise and fall alternately through a second 
 or a third, the expression of the laugh will become more 
 sprightly and colored. When the third or fifth is used in the 
 concrete pitch, and the radical iterations are carried through 
 the wider intervals of the scale, it gives the utmost indication of 
 vivid expression. 
 
 Laughter is generally made on one of the tonic elements ; 
 but it may be executed on the subtonics, and even on the atonies 
 in a whispering breath. In the case of the atonies, the discrete 
 pitch rises and falls, through the scale of whisper, described in 
 the fifth section. Laughter is made on all places within the 
 compass of the voice, but it generally affects the falsetto. Sup- 
 posing the quality of the voice to be given, laughter will be most 
 agreeable and varied and spirited, when it consists of a tremor 
 of well accented tittles, distinctly separated from each other; 
 with a concrete pitch, moving in succession, by simple rise and 
 fall, through every interval except the semitone, and minor 
 third ; and through the whole range of the vocal compass, in its 
 radical pitch: the expression being still further marked by 
 variations in force, as the tremor rises and falls by these radical 
 changes. 
 
 Crying is made by a movement through the simple rise and
 
 316 THE TREMOR OF THE VOICE. 
 
 fall of the semitone, or perhaps the minor third, or through the 
 direct or inverted wave of these intervals. No other interval is 
 used in this function : The act of crying has two forms : it may 
 be in the concrete, or in the tremulous scale. Infants cry in 
 the first manner, by a mere prolonged quantity on some tonic 
 element. 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 increases in frequency, and the cry 
 becomes thereby, at last composed of the rapid iteration of the 
 tremor. 
 
 The tremulous function of crying, like that of laughter, con- 
 sists of a concrete and of a radical pitch. That is, the 
 iteration of tittles, each with its rapid concrete semitone or 
 minor third, 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. 
 
 It sometimes happens that children while crying in the tremu- 
 lous movement, do from some momentary change of sentiment, 
 and without a cessation of the tremor, pass into laughter. Here 
 a cheerful sentiment necessarily produces a change of the con- 
 crete, from the semitone or minor third, to the second or other 
 wider interval. And in a paroxysm of hysteria, the transition 
 between these different means of gay and of plaintive expression 
 is so frequent and rapid, that the hearer is sometimes at a 
 momentary loss, to say which function is in operation. Under 
 these circumstances, a person may properly be said to laugh 
 and cry in the same breath. 
 
 The association of the semitone or minor third, whether in 
 their simple-prolonged or in their tremulous form, with the sen- 
 timent of distress is so close, that though crying may have 
 ceased, still should the feeling of distress not have passed away, 
 there will be a kind of mental hiatus in the attempt to return 
 even to the diatonic intonation of speech.* There are persons, 
 who, for the sake of sport or fraud, play the part of crying. If 
 
 * Perhaps, some of my readers may recollect such a case having occurred 
 to themselves, in childhood. I make the remark from my own experience, at 
 that uncorrupted period, when nature, as yet, had kept us all alike.
 
 THE TREMOR OF THE VOICE. 317 
 
 they are habitual mimics, and have flexible voices, they may per- 
 haps succeed. But nature is always honest, while humanity, 
 her intended, but false representative, is ever ready to deceive. 
 Crafty men are so well aware, the lips may mar the underplots 
 of the heart, that they are obliged to guard the ruling passion 
 by circumspection, or brevity, or silence. When mirth or sorrow 
 is within us, it is hard to restrain its instinctive expression. He 
 who would be to the intelligent observer, an unsuspected hypo- 
 crite in his voice, must mask even his sentiments to himself. 
 
 After the foregoing account of the use of the tremor upon 
 single elements, in the functions of laughter and crying, it is 
 not difficult to foresee the effect of its application to syllabic 
 utterance in the current of discourse. 
 
 When the semitone, in the chromatic melody of speech, is 
 given under the form of tremor, it enhances the plaintive expres- 
 sion of the simple concrete. For since crying is the ultimate 
 voice of distress, its tremulous characteristic is applied to speech, 
 as the means of marking an excess of complaint and grief, and 
 the ardor of distressful or tender supplication. Tremulous semi- 
 tonic speech is the utmost practicable crying upon words. 
 
 To exhibit the engrafting of the tremor on a syllable, let the 
 reader pronounce the word name, in a tremulous movement 
 through the simple rise, or fall, or wave of the semitone. He 
 will perceive, the tremor equally on the tonic, and on each of 
 the two subtonic elements. 
 
 The tremor on the semitone may mark emphatically, the 
 plaintive sentiment of a single word : or it may be continued on 
 occasional, yet limited portions of discourse. If this restricted 
 application deserves a name, it may be called the Tremulous 
 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 ; 
 give relief and heaven will bless your store.
 
 318 THE TREMOR OF THE VOICE. 
 
 Here the tremor of the semitone may be applied to every 
 emphatic syllable capable of prolongation, which is the case with 
 all except those of yity and sJiortest : but even these may in a 
 limited degree, receive it. For, particular purposes of expres- 
 sion allow a slight extension of quantity on immutable syllables, 
 and unemphatic and unaccented words, that in dispassionate 
 utterance would bear but the shortest time. 
 
 The occasional use of the tremulous semitone upon individual 
 words, will be noticed in the future section on Emphasis. 
 
 When the tremor passes through the second, third, fifth, or 
 octave, or through the wave of these intervals, it joins the 
 sentiment of derision, mirth, joy, or exultation to that of inter- 
 rogation, surprise, command, or scorn, respectively conveyed by 
 the smooth concrete of those intervals. In short, it is applying 
 to speech what is transferable from the function of laughter ; 
 and it adds thereto all the meaning and force of its satisfaction. 
 
 The tremor on wider intervals, and on the waves, is used prin- 
 cipally for emphasis : 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, as we may call its 
 inarticulate execution on the second, third, fifth, and octave, 
 which deserves notice. I mean its employment in that hysteri- 
 cal exclamation, heard in the exaggerated scenes of the drama. 
 In this case, the laughing tremor seems to be strangely sub- 
 servient to all species of expression : for there is scarcely an 
 excessive degree of passion, whether of joy or suffering, in which 
 it may not with caution, be effectively used. One can under- 
 stand readily, why this vehement expression should denote the 
 excess of those feelings, naturally connected with laughter ; but 
 it is not at once manifest why nature should so reverse the 
 ordination of her signs, as to give the concrete tremor of the 
 second or of wider intervals, to sentiments that in cases of less 
 excitement, instinctively receive the plaintive tremor of the 
 semitone. Let us try to explain this matter. 
 
 The occasions on which this hysteric laugh is employed, are 
 those of the highest possible intensity of distress. Now by the 
 
 I
 
 THE TREMOR OF THE VOICE. 319 
 
 natural rule of moderate expression, the tremulous semitone 
 should be used : and with this indeed the expression does gene- 
 rally 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 the mere habit 
 of employing the wider intervals for keen and forcible expression, 
 leaves the concrete and the tremor of the semitone, for the more 
 free expansion and piercing energy of the third, fifth, or octave, 
 in its concrete and tremulous forms. This is the reason why in 
 hysteria, which is usually brought on by distress, or other con- 
 genial emotions, the ordinary course of plaintive expression is 
 overruled ; and while the more moderate forms of this nervous 
 excitement are signified by the semitonic intonation, its higher 
 gusts are characterized by an idiotic laugh : idiotic, because a 
 motiveless and imbecile confounding of the natural law of vocal 
 expression. Although this hysteric expression may, when 
 judiciously applied, be both proper and efiective, in an extraor- 
 dinary scene of the drama ; yet as it is generally accompanied 
 with considerable grimace, is strongly impressive, and can be 
 well heard in the remote corners of the Gallery, it is apt to 
 be employed on the Stage, as a vocal trick ; especially by the 
 Actress, who without feeling its appropriate occasion, has yet, 
 by ambitious practice, or nervous habit, a skillful command 
 over its mechanical execution. 
 
 It requires more than common facility of voice to perform the 
 tremor with precision and elegance. Its full efficacy and grace- 
 ful finish is accomplished, by giving it the greatest number of 
 tittles of which the assumed interval is susceptible ; by making 
 these tittles in fluent succession, with a distinct accent, with 
 equal time, with a stress, varied as expression requires, and with 
 a ready progression by radical pitch, through the simple inter- 
 val, and the wave. It may be added that the tremor, generally 
 in speech, and always in continued laughter, employs the wave. 
 
 As the tremor is applied to all intervals both ascending and 
 descending, and to the wave, it has under such application, the 
 degree and variety of their several characters. For if made on 
 a downward interval of the fifth, the expression will be of a
 
 320 FORCE OF VOICE. 
 
 graver cast than on a rise of the same extent : and on the rising 
 second it will have less gaiety than on the rising fifth or octave, 
 or their waves. 
 
 After the preceding view of the simple intervals, and of the 
 tremor, the reader must be able to recognize, and with the 
 anticipative resoui'ces of science, even to /ore-hear the effect of 
 their detailed combinations. If with all I have said, he will not 
 do this for himself, it would be to no purpose to do it for him. 
 It is an agreeable office to stand prompter to a pausing, yet a 
 ready comprehension : but it is an irksome duty, to be obliged 
 to push an unwilling intellect on to the last syllable of its part. 
 
 SECTION XXXIV. 
 
 Of Force of Voice. 
 
 This Mode of the voice is subdivided into forms and degrees. 
 These degrees, without much precision, are denoted in common 
 language by the words, loud, soft, strong, and weak. Indefinite 
 as the rule may be, yet taking common conversation as a divid- 
 ing line between the strong and the weak in speech, we might 
 apply the terms Forte and Piano, as relative degrees severally 
 above and below it. 
 
 Force may be applied to phrases, or to one or more sentences, 
 for the purpose of energetic expression. Or it may 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 concrete. A detailed history of 
 this limited application of force, will be given hereafter. Under 
 the present section, its use on phrases and sentences, is tran- 
 siently noticed. 
 
 Writers on elocution, and school books on the art of reading,
 
 FORCE OF VOICE. 321 
 
 give general rules for enforcing, and reducing the voice, in 
 continued speech. It is not necessary to swell the bulk of this 
 volume, by transcribing them. We may however inquire, on 
 what principles various degrees of force, are associated 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 employment, when distance is 
 pictured in discourse. The indication of nearness, on the con- 
 trary, is well expressed by an abatement of that force. 
 
 Secrecy muffles the voice against discovery : and doubt, while 
 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 impressiveness of strength. 
 
 Anger declares itself with force, because its charges and 
 denials are made with a wide appeal, and in its own sincerity of 
 conviction. A like degree of force is employed for passions 
 congenial with anger ; as hate, ferocity and revenge. 
 
 All sentiments, unbecoming or disgraceful, smother the voice 
 to its softer degrees, in the desire to conceal even the voluntary 
 utterance of them. 
 
 Joy is loud in calling for companionship, through the over- 
 flowing charity of its satisfaction. 
 
 Bodily pain, fear, and terror, are also strong in their expres- 
 sion ; ~ with the double intention, of summoning relief, and 
 repelling the offending cause when it is a sentient being. For 
 the sharpness and vehemence of the full-strained and piercing 
 cry are universally painful or appaling to the animal ear. 
 
 In thus suggesting the reasons tvliy certain degrees of force, 
 are associated with certain states of mind, I have perhaps 
 ventured too far towards the presumptuous doctrine of Final 
 Causes. And though we may have therein transiently strayed, 
 let us not forget the duties of philosophy. It is her office, first 
 to inquire Iww things exist ; the knowledge of ivhy they so exist, 
 must be the last act of favor which time and toil will bestow. 
 Our steps over the works of man, may go hand in hand with
 
 322 FORCE OF VOICE. 
 
 the comprehension of their final causes ; for the author can tell 
 us the narrow purpose of their parts. But the great circle of 
 accommodated final causes in nature, will be unfolded, only in 
 the last recapitulating chapter of her infinite revelation. 
 
 We defer for the present, the subject of force or stress on 
 single words and syllables, constituting Accent and Emphasis, 
 to consider that remarkable application of stress, to different 
 imrts of the concrete syllable itself. Experiment shows that 
 the varied effects of stress, are severally perceptible, on the 
 beginning, the middle, and the end of the concrete movement, 
 or when heard in immediate succession at its two extremes : that 
 the same force may be so continued throughout the concrete, as 
 to alter the characteristic feebleness of the vanish : and that 
 while the relative structure of the simple radical and vanish, 
 remains the same, force may magnify proportionally the whole 
 of the concrete. 
 
 These functions are severally denominated, the Kadical, the 
 Median, the Vanishing, and the Compound, the Thorough stress, 
 and the Loud concrete, as in the following diagram : 
 
 
 '^ U 
 
 1 i t I T I 
 
 where I have endeavored, visibly to illustrate the audible charac- 
 ter of the forms of stress on the concrete, to be described in the 
 six following sections. The reader is however to observe, that 
 for the Radical stress, the initial opening should be repre- 
 sented fuller and more abrupt than here shown by the symbol 
 of the Natural concrete.
 
 THE RADICAL STRESS. 323 
 
 I 
 
 SECTION XXXY. 
 Oj the Radical Stress. 
 
 The Radical stress consists in an Abrupt and forcible utter- 
 ance at the beginninor of the concrete movement. 
 
 The natural concrete, described in the second section, and 
 here called natural, to distinguish it from its stressful forms, is 
 indeed represented in the above diagram, as having an initial 
 fulness ; but the function now under consideration, is charac- 
 terized by a more sudden explosion, at the first opening of the 
 voice ; while the' subsequent vanish is carried on in the dimin- 
 ishing structure of the natural concrete. There are so few 
 speakers, able to give a radical stress, with this momentary 
 burst, and therefore so few who may comprehend the mere 
 description of it, that I must draw an illustration from the 
 effort of coughing. 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 ; which is not 
 the case in syllabic utterance : 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, Avhen used in 
 discourse. 
 
 The clear and energetic radical stress must be preceded by an 
 interruption of the voice. There seems to be a momentary 
 occlusion in the larynx, — or, somewhere, to speak with caution, 
 — by which the breath is barred and accumulated for the pur- 
 pose of a full and sudden discharge. This occlusion is more 
 under command, and the explosion is more powerful, on syllables 
 beginning with a tonic element; or with an abrupt one, preced- 
 ing a tonic : for in this last instance, the articulative, if there is 
 any difference in the cases, is combined with the vocal occlusion. 
 When a syllable begins with a subtonic, or with an atonic Avhich 
 is not abrupt, the full degree of explosion is not practicable, as
 
 324 THE RADICAL STRESS. 
 
 in manful^ foster. If such words are pronounced with vehe- 
 ment stress, there is always an interruption of the voice after 
 the initial element, as m or /, in the examples, to allow the 
 succeeding tonic the full force of a radical explosion. This 
 account may explain more particularly the part performed in 
 intonation, by subtonic elements at the beginning of syllables. 
 It was said in treating of syllabication, that the subtonic does 
 not always make a part of the concrete movement : for should 
 it have more than a momentary quantity, it is continued upon 
 the same line of pitch, till the succeeding tonic opens with a 
 proper radical, and then finishes the concrete. This occurs on 
 most occasions ; for though it is possible to open a tonic with so 
 feeble a radical, that it may seem absolutely to join itself with 
 a subtonic, which has previously risen partly through the con- 
 crete, 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. 
 
 When an immutable syllable, beginning with a subtonic, is 
 prolonged by oratorical license, it can be effected only in two 
 ways. By continuing the subtonic on a level line of pitch, in 
 the radical place, till the tonic opens with its radical, and with 
 its vanish completes the syllable. Or by prolonging the short 
 tonic, as the note of song. Of these, the first changes least, 
 the character of the syllable ; but in each, there is a disagree- 
 able drawling pronunciation. This may be exemplified on the 
 words let and ijluck, when so prolonged. AVe had some years 
 ago, a Player, from abroad, with so many shocking faults, that 
 the Town, in unconcious irony, was all in an uproar about his 
 extraordinary powers ; and who, when quantity was required on 
 an immutable syllable, always made it in this affected drawl on a 
 subtonic element. I remember, the whole philosophy of this 
 Actor's Histrionism was included in what he and his School 
 called 'Identity :' the meaning, or rather the empty mysticism 
 of which will be noticed hereafter. 
 
 The power of giving a strong, full, and clear radical stress to 
 a tonic element, is not a common accomplishment among 
 speakers ; yet the free and proper management of this function
 
 THE RADICAL STRESS. 325 
 
 is highly important in elocution. Its two principal purposes 
 are, to contribute to the clearness of articulation ; and to form 
 the distinguishing accent and emphasis on immutable syllables. 
 These syllables not allowing the slow concrete, and being incapa- 
 ble, as will be shown hereafter, of bearing the other forms of 
 stress, the abrupt or explosive enforcement of the radical, apart 
 from intonation and quality, is their only means for emphatic 
 distinction. 
 
 Having pointed out the instrumentality of the radical stress, 
 in articulation, this is perhaps the place to consider the means 
 for insuring the distinct audibility, and elegance of syllabic 
 pronunciation. 
 
 This subject has three divisions : the First embraces a con- 
 sideration of the specific sounds, which the changeable degrees 
 of human convention give to the alphabetic elements. The 
 Second regards the subject of radical stress : and the Third, an 
 appropriation of the several constituent elements of a syllable, 
 to the concrete movement. 
 
 The First of these matters is as yet under the rule of any 
 body : and until some extraordinary revolution with every body, 
 is therefore very properly to be excluded from the discussions of 
 a philosophy that desires to be exact and effectual in its instruc- 
 tion. How can we hope to establish a system of elemental 
 pronunciation in a language, when Great Masters in Criticism, 
 and their whole School, condemn at once, every attempt in so 
 simple and useful a labor as the correction of its orthography. 
 
 Supposing then the sound of the elements to be precisely 
 what temporary authority has determined, the clearness of pro- 
 nunciation will depend, 
 
 Secondly, on the effective execution of the radical stress. 
 Although every element should be heard in the syllabic impulse, 
 yet the tonic, from its very nature, is generally the most remark- 
 able in the compound. The characteristic of the syllable, 
 therefore, lies, in a great measure, within this element ; and a 
 full explosive radical stress upon it, contributes much to distinct 
 enunciation. It is this which draws the cutting edge of words 
 across the ear, and startles even stupor into attention : this, 
 which lessens the fatigue of listening, and out-voices the mur-
 
 326 THE RADICAL STRESS. 
 
 mur, and imrulj stir of an assembly : and a sensibility to this, 
 through a general instinct of the animal ear which gives author- 
 ity to the groom, and makes the horse submissive to his angry 
 accent. Besides the fulness, loudness, and abruptness of the 
 radical stress, when employed for distinct articulation, the 
 tonic sound itself should be a pure vocality. When mixed 
 with aspiration, it loses the brilliancy, that serves to increase 
 the impressive effect of the explosive force. 
 
 Third. The doctrine of syllabication, set forth in this essay, 
 suggests additional means for effecting what is called distinct 
 articulation. In order to insure a clear and striking utterance, 
 the whole syllable should not only be suflSciently loud, but each 
 elementary constituent, rejecting redundant elements, should be 
 so distinct, as to prevent the possibility of confounding syllables, 
 having the same tonic element, but differing partially or univer- 
 sally in their subtonics. Now this is effected, by distributing 
 the time and movement of the concrete, properly among the 
 elements of the given syllable. This will be best explained by 
 particular instances. I once heard an Actor of great celebrity, 
 pronounce the word plain, by prolonging the voice on I, and 
 then terminating the syllable, by a momentary transit on ain. 
 And though in this case, I was clearly audible, yet the rapid 
 flight and blending of a and n rendered the characteristic effect 
 of the whole syllable both faint and confused. One of the con- 
 sequences of this pronunciation, and it was a common fault with 
 the popular Actor to whom I allude, was, that on turning his 
 face from the audience while speaking, many of his words, 
 though forcible enough in mere sound, were unintelligible to an 
 attentive ear, at medium distances in the theatre. A practice 
 like this obstructs the equable flow of the concrete, and over- 
 rules the proper apportionment of time to the constituents of a 
 syllable. For when each element of the word plain has its due 
 portion of time and of the concrete, the pronunciation 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 Caesar less, but that I loved Rome more. 
 
 t
 
 THE RADICAL STRESS. 327 
 
 If we give emphatic importance to the word more, solely by 
 the extent of quantity, and not by peculiarity of intonation : 
 and if this quantity be spread upon an unequal wave of the 
 rising second and falling fifth, with a view to give a feeble 
 cadence to the dignified protraction of the word : then, in 
 apportionment of the elements, if m should be carried through 
 the rise of the second, and continued downward through nearly 
 the whole extent of a fifth, the o and r being rapidly made at 
 its termination, the word will not be well articulated. But if 
 the time of the wave be divided into three parts severally about 
 equal, and the w, o, and r be respectively assigned to these 
 parts, the word will have all required distinctness. 
 
 Many immutable syllables beginning with a subtonic, are, in 
 the current of dignified utterance, sometimes prolonged beyond 
 the limit of their allowable time. When this practice is assumed 
 by oratorical license, the added quantity is generally expended 
 wholly on the initial subtonic. Thus if the syllables not, met, 
 rock, lit, that, and vie, be unusually prolonged, there will be 
 less departure from proper pronunciation, by giving the addi- 
 tional quantity to the subtonics, than to the tonics. Still there 
 will be a want of that distinctness by which a syllable is imme- 
 diately recognized t for syllables are known in part, by the 
 habit of their quantity, both in the absolute time of the whole, 
 and the comparative time of their constituent elements. Now 
 in each of the above instances, the time of the several elements 
 should strictly, be about equal, but by supposition, they are not ; 
 for while the subtonic is unduly extended, the tonic and the 
 following abrupt element have only their proper momentary 
 duration. 
 
 And this disproportionate time of the elements, here assigned 
 as the cause of indistinctness in speech, will be shown, to be 
 still more frequently a cause of inarticulate pronunciation in the 
 Singing voice. 
 
 In the instances of the word flain and more, the time of 
 the concrete should be apportioned equally among the elements ; 
 and this is necessary for the correct pronunciation of many 
 other syllables, having a similar construction. But we cannot
 
 328 THE MEDIAN STRESS. 
 
 give a universal rule on this point ; since such indefinite sylla- 
 bles, as men^ run, lin, and gel^ have their prolongation on the 
 subtonic elements, and will not bear addition to their short tonics. 
 
 The radical stress may be exhibited both on immutable and 
 on indefinite syllables ; in the former case, the shortness of 
 the quantity produces as it were a mere explosive point of 
 sound. 
 
 This stress may be given to all concrete intervals both rising 
 and falling, and to the beginning of the wave. 
 
 From what has been said, it must not be understood, the radi- 
 cal stress is used, merely to give the distinction of loudness to 
 immutable syllables : the enforcement is likewise appropriate to 
 the various sentiments embraced by them. But this form of 
 stress is more particularly a sign of the highest degree of 
 passion. 
 
 SECTION XXXVI. 
 Of the Median Stress. 
 
 The Radical stress is principally efi'ective in distinguishing 
 immutable syllables. Long quantities, admitting other means 
 for attracting the ear, more rarely require the initial explosive 
 fulness. They receive their stress, with greater embellishment, 
 from an enforcing of the middle portion of the concrete move- 
 ment. 
 
 As a pause is always the preface to abruptness, the explosive 
 characteristic of the radical stress, cannot be employed during 
 the course of a continuous movement. The Median stress is 
 therefore a gradual strengthening and subsequent reduction of 
 the voice, similar to what is called a Swell in the language of
 
 THE MEDIAN STRESS. 329 
 
 musical expression. There is this diiference between them. 
 The swell of song is sometimes on a note continued upon the 
 same line of pitch : whereas the median stress is always in 
 either an upward or downward course ; or about the junction of 
 these opposite movements, in the wave. 
 
 This form of force is not applicable to all the intervals of the 
 scale. Its very nature indicates the necessity of protracted 
 quantity for its- execution ; and therefore, that it is generally, 
 if not always applied to the waves. It might perhaps be dis- 
 tinguishable on the simple rise, and fall of the fifth and octave, 
 when slowly prolonged. It is not practicable on the simple rise 
 or fall of the second ; for the quantity of this interval, as well 
 as that of the semitone, is rarely extended to any considerable 
 degree in its simple state. "When a melody of these intervals, 
 conveys a dignified sentiment, the required long quantity, is made 
 on their waves. In this case the median stress is applied to about 
 the middle of the course of the concretes : that is, about the 
 junction of the two lines of contrary flexure. And what is 
 here said of these waves, must be understood of the wave of 
 every interval. When the median stress is applied to the double 
 wave, it is laid on the course of a downward or an upward con- 
 stituent, as the wave may be direct or inverted ; for such 
 constituent will be, in each case, respectively, the middle 
 portion of its whole extent. 
 
 The median stress is applicable to the intervals of the tremu- 
 lous scale : and in effect, only enforces by greater loudness, the 
 tittles in the middle of any given interval, or at the junction of 
 a sinorle wave, or on the middle constituent of a double one. 
 When thus employed, it adds impressiveness to the sentiments 
 signified by the tremor, and affords variety to the ear. 
 
 Inasmuch as force, under any form, may be used with other 
 means of expression, its principal purpose, in combination, is to 
 enhance the power of those other means. Thus the median 
 stress on the wave of the second, gives dignity to the diatonic 
 melody : on the wave of the semitone, it adds to its plaintive- 
 ness : on the downward fifth and octave, it adds to the degree of 
 its wonder or positiveness : on the rising fifth and octave, it 
 * 22
 
 330 THE MEDIAN STRESS. 
 
 sharpens the spirit of interrogation : and on the -wider -waves, it 
 gives dignity and force to their several expressions. Such is 
 like-wise the effect of the radical stress, and with an energy 
 sometimes amounting even to violence. But the median stress 
 now under consideration, sets forth intensity of voice, with 
 greater dignity than all the other forms of force. The radical 
 stress having an abrupt opening, and the vanishing, as will be 
 shown presently, having a sudden termination, there is a sharp 
 earnestness in their manner, not conveyed by the median : the 
 aim and power of which 'in the very torrent of expression,' is 
 to 'beget a temperance which may give it smoothness.' 
 
 Here pardon me, reader, when I pass from instruction to 
 eulogy. 
 
 If she could now be heard, I would point in illustration to 
 Britain's great Mistress of the voice. Since that cannot be, 
 let those who have not forgotten the stately dignity of Mrs. 
 Siddons, bear witness to the effect of the graceful vanish of her 
 concrete, and of that swelling energy, by which she richly 
 enforced the expression of joy, and surprise, and indignation. 
 But why should I be so sparing in praise, as to select her emi- 
 nent exemplification of the single subject before us ; when it 
 seems to my recollection, 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, enlightened by cultivation, it is the 
 best, to measure the merit of Actors, by their ability to give 
 with audible conformity, that same expression of the poet, which 
 the soul of the hearer is whispering to itself. Such is the rule, 
 that in my early days of ignorance, but not of insensibility, set 
 up this great Woman's voice, as a mirror for every trait of 
 thought and feeling, in which one might recognize his deep, 
 unuttcred sympathy, and love the flattering picture as his own. 
 All that is smooth, and flexible, and various in intonation ; all 
 that is impressive in force, and in long-drawn time ; all that is 
 apt upon the countenance, and consonant in gesture, gave their 
 united energy, and gracefulness and grandeur, to this one great 
 model of Ideal Elocution. Her's was that hight of excellence,
 
 THE MEDIAN STRESS. 331 
 
 which, defying mimickry, can be made imaginable only by being 
 equalled. 
 
 Such was my enthusiastic opinion, before a scrutiny into 
 speech had developed a boundless scheme of criticism and in- 
 struction ; which, in admitting that nature may hold within her 
 laws, the unrevealed power of producing occasional instances of 
 rare accomplishment of voice ; yet assures us, that nothing but the 
 influence of some system of principles, founded on a knowledge of 
 those laws, can ever produce multiplied examples of excellence, 
 or give to any one the perfection of art. There is a pervading 
 energy in science which searches, discovers, amplifies, and com- 
 pletes ; and which all the untrained strength of spontaneous 
 eflfort can never reach. I do not wish to be asked, how this 
 'most noble mother' of her Art, — with only those unwritten 
 rules of genius, that still allowed her to incur the dangers of the 
 scanty doctrines of her School, — would be accounted by the side 
 of another Siddons, making her selections of sentiment and 
 taste, from the familiar rudiments and measurable functions of 
 the voice ; and able by the authority of an unindulgent discipline 
 to be a rational critic over herself. With a full reliance on the 
 surpassing efficacy of scientific instruction, still in the content- 
 ment of recollection, I would not wish to answer this question. 
 
 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.* 
 
 • In the title ' most noble mother,' I refer to the salutation of Coriolanus to 
 Volumnia : for it is in this character Mrs. Siddons always comes like a speak- 
 ing picture, upon my memory ; embodying the pathos, the matron dignity, and 
 the indignation, together with the other moral solemnities of the scene of 
 intercession in the Volcian camp.
 
 332 THE VANISHING STRESS. 
 
 SECTION XXXVII. 
 Of the Vanishing Stress. 
 
 Our description of the concrete of speecli, represented it as 
 formed by an initial fulness, and a gradual decrease. Now, the 
 construction indicated by the term Vanishing Stress, violates 
 this usual law of the concrete. But I thought, the term, even 
 with its verbal contrariety, would be more immediately intelligi- 
 ble, if not more exactly significative of the function, than any 
 other more logical nomenclature. The vanishing stress does 
 indeed exhibit a reversed progression of force, by its gradual 
 increase from the radical, to the extreme of the vanish, both in 
 its rising and falling direction. This must necessarily give 
 something like an abrupt termination, with a fulness of sound, 
 at the extremity of the concrete. 
 
 The peculiar vocal effect of the vanishing stress may be illus- 
 trated by the natural function of Hiccough. Indeed, this hie, 
 or ' AeYc/i'-cough has received a conventional name, that by its 
 etymology, describes its very nature ; and from its being instinc- 
 tively practicable, may be the subject of experiment. The 
 hiccough, then, is jiroduced by the gradual increase of the 
 guttural sound, until it is suddenly obstructed by an occluded 
 catch, somewhat resembling the element h, or g : and if it be 
 compared with a single effort of the common cough, it will 
 in abruptness, exemplify the reverse difference between the van- 
 ishing and the radical stress. The hiccough however, does 
 not, in all points, resemble the proper vanishing stress of 
 speech, except the syllable which bears the stress, terminates 
 with an abrupt element. The hiccough may be made on all 
 intervals of the scale. In ordinary cases, it assumes that of 
 the second or third: but when attended witli great distress, as 
 sometimes happens in disease, it is heard through the interval of 
 the semitone.
 
 THE VANISHING STRESS. 333 
 
 The effect of the vanishing stress may be perceived in the 
 speech of the natives of Ireland; many of whom apply it to 
 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 jerk of syllabic sound, heard in the earnest pronuncia- 
 tion of the ignorant ranks of that people. 
 
 The vanishing stress is practicable on all the rising and fall- 
 ing intervals of the scale. On the wave, it is applied to the last 
 constituent. 
 
 This stress being one of the forms of force, it gives to the 
 several intervals, a more attractive power over the ear, than 
 belongs to their natural concretes. Thus to the plain inexpres- 
 sive second, it only adds that Irish jerk which deforms without 
 enforcing speech. On the rising third, fifth, and octave, it gives 
 intensity to the spirit of interrogation. On the downward course 
 of these intervals, it enhances the degree of surprise and posi- 
 tiveness ; and on the wave, adds force to the expression of its 
 various forms. 
 
 The effect of the vanishing stress on a semitone, may be heard 
 in the act of Sobbing. This is made on a concrete guttural 
 sound, gradually increasing in force and terminated in some 
 cases by the occluded catch. Now the vanishing stress on the 
 semitone in discourse, is, as it were, a sobbing upon words, and 
 serves to mark intensively, the plaintive character of the simple 
 concrete. 
 
 The nature of discourse occasionally requires so quick a time, 
 that only the simple rise or fall can be employed : and yet, it 
 may be necessary to designate clearly, the terminative points of 
 the interval. This is accomplished by the vanishing stress. For 
 a hasty utterance of complaint or interrogation, which has time 
 for flight only in one direction, will, for the purpose of marking 
 emphatically the extent of the interval, apply this terminative 
 force to the simple rise or fall of the semitone, third, fifth, or 
 octave. 
 
 It was stated, — the radical stress is effective, principally in 
 distinguishing immutable syllables. On these the vanishing 
 stress is not cognizable. It requires a longer time ; and its
 
 334 THE COMPOUND STRESS. 
 
 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 elegant manner of forcible 
 expression. 
 
 
 SECTION XXXVIII. 
 Of the Compound Stress. 
 
 Besides the obvious effect of stress, when laid exclusively on 
 the beginning, or middle, or end of the concrete, the cultivated 
 and attentive ear, recognizes the abrupt opening of the radical, 
 and the full termination of the vanishing stress, when used in 
 succession on the same syllable, both in a rising and falling 
 direction. The best reference, for illustrating this Compound 
 stress, is to what vocalists call a Shake : for I shall endeavor to 
 show hereafter, that the characteristic of this Grace of Song, 
 consists in a rapid iteration of the concrete of speech, when im- 
 pressed with both the radical and vanishing stresses. 
 
 The compound stress, though scarcely applicable to the nar- 
 row intervals of the scale, is distinguishable, on the wider spaces 
 of the fifth, and octave. It may likewise be executed on the 
 various forms of the wave ; the final stress being then laid on 
 the last constituent. 
 
 After what has been said of the radical and the vanishing 
 stress, this under consideration being but a compound of them, 
 it is scarcely necessary to remark, that it affords means for 
 adding energy to the sentiments indicated by each simple con- 
 stituent. And although the effect of a rapid alternation of the 
 radical and vanishing stress, is beautifully exemplified in the 
 shake of song, and may be deliberately shown in the speaking 
 voice ; yet this compound function cannot, on a short quantity.
 
 THE THOROUGH STRESS. 335 
 
 be distinguished from the simple radical abruptness : nor indeed 
 is there, in this case, time for its existence. 
 
 Let us suppose, a syllable of long quantity embracing 
 the sentiment of angry or authoritative inquiry ; and that 
 the fifth, 'with protracted intonation, is the interval chosen for 
 this interrogative. The force required here as the sign of 
 anger or authority, would be represented by the radical stress, 
 while the full-marked extent of the interval under the increased 
 force of the vanish, would give a corresponding energy and im- 
 pressiveness to the interrogation. The compound stress is 
 however, by no means an agreeable form of stress. There is a 
 snappishness in its character, that should always be avoided by 
 a good reader, except on those rare occasions, which especially 
 call for the peculiarity of its expression. 
 
 SECTION XXXIX. 
 
 Of the Thorough Stress. 
 
 By this form of force on the concrete, we are to understand, 
 a continuation of the same full body of voice throughout its 
 whole course. It may be applied to all the rising and falling 
 intervals, and in continuation to the several constituents of the 
 wave. 
 
 The effect of this stress may be perceived, by rising an octave, 
 with the same volume of voice through its whole ascent, and 
 comparing it with the proper radical and vanishing octave, 
 as represented by the first and last symbols, in the foregoing 
 diagram. The peculiar character of this continued volume, will 
 not only be apparent, but the interrogative effect of the octave 
 will be greatly obscured by it : for the tFue interrogative inter-
 
 33G THE THOROUGH STRESS. 
 
 val is, through habit, known to the ear, by its attenuated vanish, 
 as well as by its extent. 
 
 The thorough stress may perhaps be occasionally used for 
 some particular purpose of forcible emphasis, especially when 
 applied to short quantities. Its general, and more remarkable 
 character on a long quantity, is that of uncouth and rustic 
 coarseness : and if I may so speak, its blunt impression on the 
 ear, seems related to the delicate eifect of the equable concrete, 
 as a hard ehaucJiing on the canvas, to the tinted color, and 
 blended lights and shadows of the finished picture. With an 
 exception of the case stated above, it is to be employed only for 
 the vocal personation of those, with whom, as a coarse deformity 
 of speech, it is natural. From time almost immemorial, every 
 man, and every class of men has tried in vain, to satisfy the 
 anxious inquirer, as to the exact, and comprehensible character 
 of the true Christian, the honest Patriot, and the real Gentle- 
 man. In the last case. Aristocracy and Democracy, those 
 eternal combatants, have always been the most remote from 
 agreement. The latter however, particularly in our country of 
 Equal Rights, Tyrannical Corporations, and Despotic Majorities, 
 having come to a unanimity, has at last with a popular logic, 
 given the acceptable definition ; and thus terminated all invi- 
 dious distinctions, by making every man a Gentleman, and 
 every Woman a Lady. Leaving others to review the Census of 
 this vast and novel Genus, on those points that may have fallen 
 under their discriminating observation ; it is only our part, to 
 perceive among all the generic similarities, some specific differ- 
 ences of Intonation. For if that affable address, that refined 
 reply, that vocal invitation to a Avell-bred sociability, that deli- 
 cate vanish which gently passes from the ear to the heart ; if in 
 short, the kindly meaning of that equable concrete, is different 
 from that clownish answer, which, figuratively, repels us with a 
 vocal frown ; that coldness of thought, and death of every sen- 
 timent, which are all embraced within the thorough stress : 
 Then is he who has the graciousness of speech, that seems to 
 change the stranger at once into the friend, a world-wide differ- 
 ent from that laconic Dog in office, with his surly no, that
 
 THE THOROUGH STRESS. 337 
 
 fool-wealthy Ignoramus, with his bluff command ; and in soul 
 as well as in voice, from the coarse and vicious vulgarity of that 
 hitherto unknown species, in progressive creation, the American 
 Rowdy.* 
 
 I do not say, the man who has no vanish in his voice, is fit 
 for ' stratagems and spoils :' But I do believe, that if Shakspeare 
 
 * With this Rowdy, — who practically personifies a compliment to our aston- 
 ishing advancement in Morality, Refinement, Legislative Energy, Law, and in 
 Statesman-Supervision, — the rudeness of the stressful concrete, is a natural gift. 
 Gipsies and thieves of the Old World, have a conventional slang, for misleading 
 the fearless search of justice. But the surpassing Rowdy of the New, knowing 
 himself to be above the law, boldly writes his threatning titles on our walls, 
 and openly proclaims the watch-word of his conspiring Crew. Among these 
 words, so called from some conceit or other, are Boy, and Sir. Now both of 
 these allow a delicate execution of the vanish. This however is not suited to 
 the Rowdy's character : and nature, true to her signs of the good and the bad, 
 directs him, by another instinct, to give these words, the coarse intonation of 
 the thorough stress. This coming to the mouths of the populace, they have 
 made an awkward imitation of the thorough, by taking up the words with some- 
 thing like the compound stress. And this, leading to a division of the words 
 into two syllables, has given us the vulgar slang of the streets, as we every 
 where hear it, in Bo-hoi and Sir-ee. 
 
 The full, and the hair-stroke lines of the graceful old copper-plate letter, and 
 some of the deformities of modern type, afford symbols for these different states 
 of the concrete. A love of variety among conventual Scribes once perverted 
 and distorted the Roman alphabet almost beyond recognition. The same effort 
 to overwhelm taste with novelty, is now in progress by the Sign-painter, and 
 the Printer of placards. Among a thousand awkward oddities of the Type- 
 founder, we can find something just to our purpose. The well-finished form of 
 Roman capitals, and punctuation, with their full, and their vanishing lines, 
 contrast remarkably, as in the following diagram, with their rowdy-looking 
 counterparts ; designed under that Widely-Destructive Principle, in Popular 
 Taste, of — ' Something New.' Perhaps it may be a fancy ; but the Roman c 
 
 reminds me of the equable concrete ; and its rowdy modern improvement, of 
 the thorough stress. In short, the contrast suggests to us, the difference 
 between that graceful and celebrated Line by Apellcs, and the rudeness of 
 a crooked billet.
 
 338 THE LOUD CONCRETE. 
 
 had chosen to look as far into speech, as he did into thought, 
 sentiment, and language ; he would have seen that nature has, 
 in the human voice, her especial sign of the Boorish and Unruly, 
 as well as of the Unmusical soul ; and would, in some of his own 
 fine analytic metaphors, if not by explanatory science, long ago 
 have described it. 
 
 In closing this section, we may once more contrast the intona- 
 tion of his rude temper, who asks for nothing, but who with 
 violence would seize on every thing, by comparing it with the crav- 
 ing voice of the Hypocrite and the Sycophant, insinuating their 
 several ways to authority and favor. The Rowdy more true to 
 his own nature, uses the heavy stress, to alarm the unwary, and 
 is then ready to break through all opposition. While the 
 subtilty of the others, without a warning rattle to the uncon- 
 scious dupe, abuses the kind and honorable purpose of the social 
 vanish, by its servile excess, and its puling application to every 
 variety of sense and feeling. 
 
 SECTION XL. 
 
 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 comparative structure of the radical and 
 vanish. It is, in short, what was called the natural concrete, 
 magnified, if we may so speak, by emphatic stress. It is not dis- 
 tinguishable on a very short quantity ; the radical stress being, 
 there, the proper form of force. 
 
 As far as I perceive, it has no peculiar character of expres- 
 sion. But as a function of the voice, it will be referred to, in a 
 future section, on accent.
 
 THE TIME OF THE CONCRETE. 339 
 
 All the forms of sti-ess, thus enumerated, may be applied to 
 the tremor of the simple intervals, and of the wave : thereby 
 iriving a more marked expression to the gaiety of laughter, the 
 plaintiveness of crying and speech ; to tremulous emphasis, and 
 to interrogation. 
 
 SECTION XLI. 
 Of the Time of the Concrete, 
 
 The radical and vanishing movement was represented as 
 having an equable continuation of time throughout its progress ; 
 and thereby distinguished from the radical and prolonged vanish, 
 in 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 an application of the diiferent forms of stress : 
 for it is difficult to give stress without running into quickness 
 of time ; and as difficult to give quickness to time Avithout mark- 
 ing the rapid part of the concrete with stress. The 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 these cases, an endeavor, however fruitless, 
 to effect, on an unbroken concrete, the explosive nature of the 
 radical. These fitful gusts of breath through the radical, 
 median, and vanishing places, may be employed, like the stress 
 itself which respectively accompanies them, on all the intervals 
 of the scale, and at those points of the wave wh ere the stress is
 
 340 THE ASPIRATION. , 
 
 applied. There may also be a compound quick time of the 
 concrete, attendant on the compound stress, in the prolonged 
 movements of speech. But perhaps this is only a refinement 
 in observation. 
 
 On the "whole, regarding the time of the concrete separately 
 from stress, it is not of any practical importance, in expression. 
 It was my purpose to give a history of speech. This quickness 
 was perceived ; and it is therefore transiently noticed. 
 
 SECTION XLII. 
 Of the Aspiration. 
 We have thus far learned, how the five modes of vocal sound 
 
 Quality, Time, Pitch, Abruptness, and Force, together with the 
 absence of all impression in the Pause, do by their separate and 
 their mingled influences produce the varied effects of speech 
 already described. 
 
 The works of nature are infinite patterns of permutation ; 
 and the function now to be considered, will show additional 
 means for diversifying the effect of those signs of expression, 
 heretofore described. 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 alphabetic elements, and has pecu- 
 liar properties, it has here a separate notice. I shall therefore 
 endeavor to show that the element denoted by the letter h, or, 
 as it is called, the Aspiration, has eminent powers of force and 
 expression. 
 
 By calling h a mere breathing, some authors imagine they 
 insure the right to reject this element from the alphabet. Let 
 it be said in truth, that aspiration, as a separate and unemphatic 
 element, is feeble, and has not the tunable and flexile vocality
 
 THE ASPIRATION. 341 
 
 of tlie tonics. But while harrow and arrow shall owe the 
 difference in their meanings respectively to the presence and 
 absence of the element, that mere breathing will fulfill the pur- 
 pose of articulation, though it may not conform to the exact 
 definition of it. Notwithstanding, the defects of the aspiration 
 cannot be denied, under the cold measurement of orthoepy, it 
 is still pre-eminently entitled to notice, as a powerful agent in 
 oratorical expression. 
 
 The element h is slightly susceptible of pitch and abrupt- 
 ness ; while it freely admits of prolonged quantity. In this 
 form, it furnishes the expressive interjection of Sighing. It 
 admits, to a certain degree, the variations of force ; and under the 
 calls of emphasis, is remarkably displayed on the median stress. 
 In uncompounded words it is generally found at their beginning ; 
 where its force may be more effectually exerted ; especially in 
 words having universally an energetic meaning, as havoc, horror 
 and huzza. It is combined with most of the interjections, in 
 all languages. 
 
 Besides the above mentioned instances of its expression, where 
 common orthography has given it a literal place, it is in certain 
 cases of emphasis, engrafted on the several tonics and subtonics. 
 For though aspiration, as we have seen, does with its literal 
 symbol, serve the purpose of a distinct constituent of words ; 
 yet it may even without the symbol, be severally united with 
 elements having a vocality, without destroying their individual 
 characters. The pure quality of the tonic is indeed impaired 
 by the union ; for the perfection of a tonic element was nega- 
 tively defined, by declaring its freedom from aspiration : but 
 compensation for the loss of purity is made by other advantages 
 of the combination. 
 
 There is some unknown mechanism of speech, by which the 
 strenuous pronunciation of a tonic element becomes semi- 
 aspirated. If the word liorrihle be deprived of its aspirate, it 
 will be impossible to give the fragment orrible, in prolonged and 
 energetic exclamation, without restoring in a great degree, the 
 abstracted element. The question, how far this unavoidable 
 combination operated to introduce the aspirated element, for the
 
 342 THE ASPIRATION. 
 
 forcible expression of animal feeling, at the date of -what is 
 called the origin of language, we leave to the everlasting dis- 
 putes of those who look for truth in fancy, and who teaze 
 themselves in the pursuit of undiscoverable things. 
 
 Vociferations on syllables which do not contain the symbol of 
 aspiration, nevertheless assume it, and corrupt thereby the pure j 
 character of the tonics. Nay, in the excessive force of such ex- 
 ertion of the organs, the voice is sometimes lost, from the atonic 
 aspiration overruling the tonic vocality. The nature of these 
 united functions, thus exhibited in the vehement force of the 
 voice, may be illustrated by the subtonics 3/-e, and w-o, respec- 
 tively a compound of aspiration with the monothongs ee-l, and 
 oo-ze. The other three monothongs e-rr, e-nd, i-n, when united 
 with the aspiration, become obscurely the basis of the several 
 other subtonics. And although the subtonics are thus formed 
 by the mingling of vocalities with aspiration, they may yet 
 receive further aspiration, for the purpose of energetic ex- 
 pression. 
 
 The dipthongal tonics do not receive the aspiration with the 
 same effect as the monothongs : since there is something in their 
 nature, that prevents as great a change upon them as takes 
 place on the monothongs, by a union with aspiration. 
 
 It was shown formerly that whispering, which is only the articu- 
 lated form of aspiration, has its pitch, upon a succession of 
 different alphabetic elements. Now whatever may be the diffi- 
 culties of its intonation, when articulated, it does when joined 
 with the tonics, move concretely through all the intervals of the 
 scale, and unite itself with every form of stress. 
 
 In order to show how far this function assists in the expres- 
 sion of speech, let us keep in mind what was said above, on the 
 instinctive union of a vehement exertion of the voice, with its 
 aspiration; and consider further, two forms under which the 
 simple aspiration is employed. 
 
 One is a sort of facetious comment of surprise and incredulity, 
 in common use, consisting of an effort of aspiration modified by 
 the tongue and lips, into what I formerly called the sufflated 
 whisper. The movement of this sufflated interjection is that of
 
 THE ASPIRATION. 343 
 
 an unequal direct wave : the first constituent being a tone or 
 wider interval,* according to the spirit of the expression ; and 
 the second a descent to the lowest audible pitch. 
 
 The other effort of aspiration, is made by the larynx alone, 
 and constitutes the function of Sighing. It consists of a simple 
 inspiration, followed by an expiration, more or less prolonged 
 through a falling second or wider interval, according to the 
 intensity of feeling. A sigh is the well known vocal sign of 
 distress, grief, and anxiety ; and of fatigue and exhaustion, both 
 of body and mind. Since these different cases include the gene- 
 ral powers of expression, in the simple and natural aspiration, 
 we can infer what will be the effect when this aspiration is 
 joined with the vocality of speech. 
 
 It may seem, but can only seem, to be an exception to the 
 consistencies of nature, that a quality of voice, which, under a 
 quiet whisper, serves the purpose of concealment, should be found 
 united with vocality in the most forcible exertion of speech. 
 Such, however, is the fact ; for aspiration conjoined with the 
 vehement forms of stress, becomes a sign of great vocal energy. 
 Its union therefore with a rising or falling interval of the 
 scale, in the natural voice, increases the expressive power of 
 that interval ; and perhaps, adds the sentiment of eagerness, or 
 sneer to intonations, that, in their purely vocal form, severally 
 convey surprise, interrogation, irony, and command. 
 
 Should this union of aspiration with vocality be given with an 
 abatement of voice, thereby approximating towards a whisper or 
 a sigh, it will produce a difference of expression, according to 
 the extent of its pitch. When a second or wider interval is em- 
 ployed, it becomes the sign of earnestness or of apprehension. 
 Thus if the following lines be pronounced with a pure vocality 
 of the elements, they will not express the earnest sentiment 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. When the utterance
 
 344 THE EMPHATIC VOCULE. 
 
 is reduced in force, and at the same time aspirated, the earnest- 
 ness of the appealing interrogation, becomeS immediately 
 obvious. 
 
 Should an abated voice be aspirated on the tremulous move- 
 ment of a second or wider interval, it may convey the sentiment 
 of fear. When this abatement is aspirated on a simple rise, or 
 a wave of the semitone, it is, as it were, an approximation to 
 the sigh ; and thus adds intensity to the plaintiveness or distress 
 of the semitone on a pure vocality. When a tremulous intona- 
 tion is superadded to the aspirated semitone, the voice exerts 
 its ultimate means, for marking the deepest sadness, without 
 the assistance of crying and tears. 
 
 Aspiration, when combined with different forms of stress, and 
 with guttural vibration, to be described presently, especially ex- 
 presses contempt, and the like sentiments : hence the ability to 
 embue nearly every interval of intonation with that expression. 
 Even the simple rising and falling movements, indicating 
 inquiry, surprise, and emphatic affirmation, may, by this means, 
 be made contemptuous : but the sentiment is more strongly 
 marked when aspiration is applied to the wave ; the bearing of 
 scorn being most conspicuous on its unequal form. 
 
 i 
 
 SECTION XLIII. 
 
 Of the Emphatic Vocule. 
 
 In that section where the elements are enumerated, we learned, 
 that when the articulative occlusion, of an abrupt element is 
 removed, there is a slight momentary issue of voice which 
 completes the formation of its sound. This was called the 
 Vocule. It is a diminutive form of Abruptness. Like all
 
 THE EMPHATIC VOCULE. 345 
 
 other voices, it is susceptible of force. Its higher degrees of 
 stress constitute the function named at the head of this section. 
 The emphatic vocule denotes great energy of sentiment ; and 
 naturally follows a word, terminated by one of the abrupt ele- 
 ments. 
 
 The vocules of 5, d, and g, are vocal. Those of Jc, p, and t, 
 are aspirated ; but under a forcible emphasis, are sometimes 
 changed to vocality. Only the most vehement feeling will 
 justify the use of this redundant explosion, at the end of an 
 emphatic word ; and cautious management is necessary to pre- 
 vent its forcible utterance from passing into rant or aifectation. 
 
 When an abrupt element precedes a tonic, the vocule is lost 
 in the sound of the tonic, which in this case issues, as it were, 
 directly from the abrupt element. Thus in the word light, the 
 vocule is distinctly heard at its termination : but if t imme- 
 diately precedes the tonic i as in tile, the vocule is lost, and t 
 seems to be only an abrupt commencement of the sound of {. 
 This is the natural and proper coalescence, except the abrupt 
 element terminates a word. For in this case a junction of the 
 vocule with the tonic of a following word, may confuse pronun- 
 ciation by destroying that clear limit which should give a 
 separated individuality to every word of a sentence. This fault 
 is sometimes even designedly assumed, in order to remedy a 
 want of physical energy in pronunciation. Persons who design 
 to give the utmost sharpness to their accents, and who cannot 
 suddenly explode the voice on a tonic, avail themselves of the 
 facility of bursting-out from the final abrupt element of a word 
 into a succeeding tonic. 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 abrupt element : and besides, the com- 
 mon exertion of force does not require the coalescence. These 
 circumstances will prevent the effect of the junction becoming 
 familiar to the ear, and thus passing for a proper and constant 
 character of the word. A forcible pronunciation according to 
 23
 
 346 THE GUTTURAL VIBRATION. 
 
 this method, will therefore in some cases create mistakes, with 
 regard to the sound of words ; and lead in most instances, to 
 that momentary hesitation on the part of an audience, which is 
 incompatible with a ready and exact perception of oral discourse. 
 Let the phrase, music siveet art, be pronounced in this manner, 
 and the combination will present an image both ludicrous and 
 contradictory. 
 
 If what has been said, on the means for effecting distinct 
 articulation, by a full and clearly formed radical stress, is 
 strictly applied, the designed purpose of this junction of tonic 
 with abrupt elements may be accomplished without interfering 
 with the perception of a clear outline in the boundary of words. 
 Since this demarcation is necessary for effecting distinct and 
 dignified utterance, in the thoughtful purpose of an exalted 
 elocution. 
 
 In the rapid energy of colloquial speech, and in the passion- 
 ate haste of emphatic discourse, this coalescence of the elements 
 is more liable to occur : nor in these instances can it always be 
 avoided. 
 
 SECTION XLIV. 
 
 Of the Guttural Vibration. 
 
 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 what seems to be a contact of the 
 sides of the vocal canal above the glottis, and thus gives rise to 
 a harsh vibration, from the gush of air through the straitened 
 passage. This peculiar sound may be made on the tonic and 
 subtonic elements ; nor is their articulation much affected, by 
 
 I
 
 OF ACCENT. 347 
 
 union with this Grating noise. I have called this function the 
 Guttural Vibration, on acccount of its apparent formal cause. 
 
 This guttural function is practicable on all the intervals 
 of the scale : and it adds to their respective characteristics, 
 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 intona- 
 tions of the wave. 
 
 When the guttural vibration is given with an exploded radical 
 stress, it makes the speaker himself feel, in its disruption from 
 his organs, that the effect must spread widely around him ; and 
 while it assaults the air with its percussion, that it must, with 
 the fullest power of expression, break through the ear, into the 
 understanding and heart of an audience. 
 
 Having thus described the peculiar forms and degrees of 
 Pitch, Force, and Abruptness, and having marked out some of 
 the occasions for their application in speech, we are now pre- 
 pared to consider their special purposes, comprehended under 
 the terms Accent and Emphasis. This detail will form the 
 subjects of the two following sections. 
 
 SECTION XLY. 
 
 Of Accent. 
 
 Accent is defined in philology, to be — the distinguishing 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 appear on inquiry, that the accen- 
 tual characteristic consists in a syllable being brought under the
 
 348 OF ACCENT. 
 
 special notice of the ear. This may be done by force ; but it will 
 be shown presently, that it may be likewise eflfected through 
 other audible means. 
 
 No word when uttered singly, except as an ellipsis, conveys any 
 intelligible relationship or meaning. Accent, as we use the 
 term, is an attribute only of individual words, and cannot 
 therefore embrace what is properly called expression. "When 
 the attractive character of a syllable, whether through force or 
 other means, carries with it a remarkable meaning, or sentiment, 
 it constitutes what is called Emphasis. 
 
 If we have thus, accurately described the difference between 
 accent and emphasis, Accent may be defined in general terms, 
 to be the fixed and inexpressive distinction between the syllables 
 of a word. This simple audible prominence may be effected by 
 the radical stress, the loud concrete, and a longer quantity on 
 the noted syllable. 
 
 And First. The radical stress constitutes the accent on im- 
 mutable syllables. The word iterated has four short syllables, 
 with the accent on the first. But the brevity of this syllable 
 not admitting the distinction of a prolonged quantity, or even 
 of the loud concrete, the accent must be made by a sudden 
 burst of the Radical, into a momentary stress. The accent may 
 be readily transferred to each of the other syllables, by giving 
 the necessary degree of radical abruptness respectively to them. 
 
 Second. Syllables of sufficient length to render the radical 
 and vanishing movement cognizable, admit of accentual distinc- 
 tion by the Loud concrete. In the word Padington, the three 
 syllables axe of moderate length, and about equal. As the first 
 has quantity sufficient to prevent the necessity of adopting the 
 explosive radical stress, its high accentual relief can be brought 
 out, and readily transferred to each of the other syllables, by 
 the loud concrete alone. Syllables adapted to the loud concrete 
 may receive at the same time, an addition of the radical stress. 
 But the former being adequate to the inexpressive purpose of 
 accent, a radical abruptness is unnecessary. 
 
 It has been shown, that the Thorough stress may sometimes 
 ixe used on short syllables. It might therefore, have been here
 
 OF ACCENT. 349 
 
 assigned, as one of the means for accentual distinction : but it is 
 scarcely to be distinguished from the radical stress, and the loud 
 concrete on these short quantities ; and therefore does not 
 deserve a separate consideration. 
 
 Third. When the time or quantity of one syllable exceeds the 
 rest, that syllable readily receives the accent, and even when 
 unassisted by loudness or abruptness, sometimes necessarily 
 assumes it. The word victory, pronounced with the usual 
 degree of radical stress on the first syllable, and with the 
 second subsequently prolonged, as if written v\c-toe-vj, has the 
 distinguishing impression of the accent, which in this case may 
 be called the Temporal accent, postponed to that second sylla- 
 ble ; even though it should be uttered with comparative feebleness, 
 and w^th all possible omission of abruptness. Words which con- 
 sist of syllables of equal time, such as needful, ^empire, farewell 
 sincere, and amen, easily undergo a change of accent, by a 
 slight addition to the length of either syllable. When the word 
 heaven is pronounced as if written heav-n, the longer quantity 
 of the first syllable -assumes the accent ; but when divided into 
 two equal syllables as in Tieav-ven, the place of the accent is 
 doubtful ; or the word may be said to have two equal accents. 
 
 These are the three causes of accentual distinction : accent 
 being the prominent and fixed feature that identifies a word, 
 without enlivening its utterance by any peculiar sense or expres- 
 sion. Now as these means are sufficient to give an importance 
 to syllables, without conveying at the same time an especial 
 meaning, which is the design of emphasis, we may see the line 
 of separation between these functions. It is true, emphasis, 
 cannot exist without accent : for the emphatic is always the 
 accented syllable : and the expressive power of pitch, time, and 
 stress must give the emphatic syllable that attractive influence 
 which constitutes the essential agency of accent. 
 
 I have pointed out only the radical stress, the thorough on 
 short quantities, and the loud concrete, as the causes of accent, 
 derived from force ; since the median, the vanishing, and the 
 compound, are more commonly used as the means of expression : 
 and in the plain pronunciation of a single word, surely no one
 
 350 OF ACCENT. 
 
 docs employ these last named forms of stress. Yet notwithstand- 
 ing the various accents have been represented as independent of 
 pitch, still they do not exclude the use of some of its inexpres- 
 sive forms. Thus the radical stress and the loud concrete do 
 move rapidly through a tone; and the temporal accent, when 
 not unduly prolonged, may take the form of the direct and 
 inverted wave of the same interval. For this gives dignity to 
 utterance by means of its deliberate movement ; yet has no 
 peculiar expression incompatible with the simple purpose of 
 accent. 
 
 Since the use of the three kinds of accent, is in a considerable 
 degree governed by the time of syllables, it is desirable to know 
 the circumstances which render them severally applicable ; make 
 them easily changeable ; and give them a predominant and con- 
 trolling influence. 
 
 Syllables, with regard to their time, were arranged under 
 three classes, The Immutable, Mutable, and Indefinite. Radi- 
 cal stress is the means for distinguishing immutable syllables. 
 The loud concrete may be given to the mutable : since thoy have 
 suflScient length for the display of force, without the necessity 
 of an abrupt explosion. Indefinite syllables, admit of the 
 attractive distinction of the temporal accent : and yet they are 
 sometimes pronounced equally short with the immutable. Thus 
 lo in loquacity, and lo, used as an emphatic interjection, exem- 
 plify the extremes of duration. Hence it follows, that the 
 radical stress may sometimes be used on an indefinite syllable, 
 in its shortest time : as it is in the accent of the words illative, 
 and orderly. 
 
 In words, consisting of a long and a short syllable, the 
 accents of stress and quantity readily give way to each other. 
 Thus in the noun perfume, the length of the last syllable yields 
 to the stress on the first. But in the verb perfCime, the stress 
 as easily gives way to the temporal accent on fume. 
 
 Of all the means 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 common is that of the temporal impres- 
 sion. In the English language the accented syllable is generally
 
 OF ACCENT. 351 
 
 the longest : and the excess of length alone, without obA'ious 
 radical abruptness, or an increase of force on the whole con- 
 crete, above the neighboring syllables, is sufficient to answer 
 the purposes of accentual distinction. The majority of writers, 
 without sufficient examination, have resolved all accents into 
 excess of force. • 
 
 Inasmuch as the radical is the principal form of stress for 
 short syllables ; and as the loud concrete may be applied on all 
 but immutable ones, it may be inquired, whether stress, or quan- 
 tity has the greater influence in pronunciation, by its controlling 
 or excluding power. In most words, this predominant influence 
 is readily changeable ; as in the words commemoration, j^erZ/ew, 
 Oordova, Ontario ; the accent, of whatever kind, being in these 
 instances as easily practicable on one syllable as on another. 
 But in words having the arrangement of beguile, indeed, delay, 
 and revenge, the temporal accent cannot be deprived of its 
 supremacy, by a radical stress on the first syllable, except 
 through an effort in exploding the first, and abbreviating the 
 last. For it is sometimes necessary to reduce the quantity of 
 one syllable, that the radical stress may take the lead on 
 another. The accent of the word Emanuel, lies in the quan- 
 tity of the second syllable. Scarcely any degree of abruptness 
 can transfer the accent to e, while man retains its length. 
 When this is shortened, the first syllable e, may, through a 
 strong radical stress, be made the leading accent ; but the word 
 will scarcely be recognized in the change. 
 
 In regarding the subject of accent, it ought to be borne in 
 mind that the difference in kind, of the elementary sounds, may 
 in some cases, be mistaken for a difference in force ; since to 
 many an ear, ee-\ and a-le might seem to be surpassed by ou-v 
 and a-we. 
 
 There are diff"erent degrees of susceptibility among the ele- 
 ments, in receiving the accent. The tonics more easily and 
 conspicuously take on each of its three forms. The abrupt ele- 
 ments are heard in the vanishing stress, and assist the explosive 
 effbrt on the tonics ; but are utterly incapable of the loud concrete, 
 and the temporal accent. The subtonics have little or no power,
 
 352 OF ACCENT. 
 
 under the radical stress ; but fulfill all the purposes of quantity : 
 while the atonies, though heard in the emphatic vocule, never, 
 in proper and unaffected speech, receive accentual distinction. 
 
 The impressive agency of accent on the ear, is fixed in the 
 pronunciation of the English language, on one or two syllables 
 of all Avords, with more than one. It is an abundant source of 
 variety in speech ; forms the measure of our versification ; and 
 when skillfully disposed, by the adjustment of a delicate ear, 
 produces, with the assistance of quantity and pause, the varied 
 rythmic measure of 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 consonant, the syllable is short : and long 
 when on a vowel. At school, I could not understand this great 
 prosodial principle : now, I perceive it has no foundation. For 
 if accent is variously produced by radical stress, the loud con- 
 crete, and by quantity, a distinction of literal place cannot 
 make the supposed difference. The abrupt stress will always be 
 made on a tonic, (or vowel,) notwithstanding the syllable may be 
 opened on a preceding subtonic or abrupt element. The loud 
 concrete must be applied on all the elements without distinction: 
 while an accentual impression by quantity must consist of the 
 united time of tonics and subtonics, when the syllable is con- 
 structed with these different elements. But all this is only a 
 denial of the truth of the rule, on the ground of our own history 
 of accent. Let us hear how the rule agrees with the fact 
 of pronunciation. In the word ac-tion, the abrupt stress is on 
 the vowel (tonic) a, — for c, in this case, having no body of sound, 
 is but the occluded termination of a, — yet the syllable is short : 
 and in re-venge, the accent or the greatest impression on the 
 ear, is from the quantity of the subtonics (consonants) n, and g/i, 
 and yet the syllable is long. Language is full of like examples; 
 and from the illustration they furnish, we may learn that the 
 time of syllables bears no certain relation to. stress, nor to other 
 means of accentual agency. The prevalent error on this subject 
 must be ascribed to the general cause of all errors, a want of 
 observation at first, and the assumption of notions to prevent 
 observation ever after.
 
 OF EMPHASIS. 353 
 
 Mr. Walker has given a theory of accent ; making it depend- 
 ent on the rising and falling inflection, as indefinitely described 
 by him. If the preceding history of intonation is true, and if 
 it has been clearly comprehended, the reader must at once con- 
 clude that accent can have no fixed relationship to a rise of the 
 voice, or to its fall : for it is made with every essential charac- 
 teristic, under either of these opposite movements ; their 
 junction into the wave ; and under all the changeable phrases 
 of melody. 
 
 Much has been said by authors on the subject of the conven- 
 tional application of accent. But with the sole means of the 
 Tongue and the Ear, yet with scholastic authority all around 
 me, I began this history of the voice, with a resolution to speak 
 from Nature ; and not after men, too blind or too proud to con- 
 sult. Her ever-open, and Revealing Book of Speech. 
 
 SECTION XLVI. 
 Of Emphasis. 
 
 Emphasis, is defined to be a stress of voice on one or more 
 words of a sentence, distinguishing them by intensity, or pecu- 
 liarity of meaning. Most writers, without seeming to consider 
 the subject of much importance, indefinitely attribute to em- 
 phasis, a characteristic 'tone;* and Mr. Walker imagined he 
 specified this idea, throughout all its conditions, in his general, 
 and vague account of the upward and downward inflection. 
 
 But authority aside ; let us try to do something to the purpose 
 by observing and recording. 
 
 It was stated, that Accent is the fixed but inexpressive distinc- 
 tion of syllables, by quantity and stress : alike both in place and
 
 354 THE EMPHASIS OF QUALITY. 
 
 nature, whether the words are pronounced singly from the 
 columns of a vocabulary, or connectedly in the series of discourse. 
 
 Emphasis is the expressive, but occasional distinction of a 
 syllable, and thereby the whole word, or of several successive 
 words, by one or more of the various forms and degrees of Time, 
 Quality, Force, Abruptness, and Pitch. 
 
 This notable function belongs essentially to the current of 
 discourse ; but it may be employed on solitary interjections, and 
 on single words, when they form elliptical sentences. It will 
 appear hereafter, that emphasis is no more than a generic term, 
 including specifications of the use of every mode of the voice, 
 for the purpose of enforcing sentiment and thought. 
 
 The stated means of quantity and stress which constitute 
 accent, being included among the enumerated causes of emphatic 
 distinction, it might be inferred, that in these particulars, accent 
 and emphasis cannot differ from each other. Quantity, radical 
 stress, and the loud concrete, are indeed by their nature, the 
 same in both cases ; but their purpose and power in the latter, 
 invest them with the attractive influence of expression. 
 
 For a detailed account of the particular occasions for apply- 
 ing emphasis, the reader is referred to libraries. They contain 
 rhetorical works, setting forth this part of the subject, with 
 comprehensiveness, perspicuity and taste. It is our aim, to 
 point out and to measure the vocal material of emphasis. 
 
 Emphasis produces its effect upon the ear, by means of the 
 quality, force, time, and abruptness of sounds and the varied 
 intervals of intonation. The particular enumeration of these 
 means will be given under the following heads. 
 
 Of the EmpTiasis of Quality. 
 
 The different forms of the mode of Quality, were enumerated 
 in the ninth section. They are variously expressive, and some 
 of them strongly affect the ear. Besides their use in the gene- 
 ral current of speech, they may be occasionally applied as
 
 I 
 
 THE EMPHASIS OF FORCE. 355 
 
 emphasis on single words. I do not say, vfo are to include under 
 this head, cases in which sound is said to be ' an echo to the 
 sense.' The reader may, on this point, consult Mr. Sheridan, 
 and other writers ; and judge for himself, how far any individual 
 sound of the alphabetic elements, may be considered as Quality, 
 and applied as emphasis. The following line from Milton's 
 Lycidas, is said to be an example of this kind of expression. 
 
 Their lean and flashy songs 
 Grate on their scrannel pipes of wretched straw. 
 
 If the r, here repeated, be roughened by vibration of the 
 tongue, it may be thought to represent vocally the harshness of 
 the Shepherd's pipe : but to me the expression, if expression, 
 would be lost in its affectation. 
 
 The guttural vibration as a quality, is expressive of scorn 
 and execration. The falsetto may be emphatic, in the scream 
 of terror. 
 
 Of the JEmpJiasis of Force. 
 
 Under the Time-honored, we cannot call it the Natural — 
 System of Elocution, Force or Stress seems to have been re- 
 garded, — if we except the vague pretensions of ancient accent, 
 and of modern inflection, — as the principal, if not only means 
 of emphatic distinction. Our system, gives it an influential but 
 not an overbearing agency among the Modes of the voice ; In 
 the first section I classed Abruptness, as a peculiar function, 
 and although apparently a form of Force, gave it a place as a 
 separate Mode. The scope however, of its character and occa- 
 sion is limited; for it has no varied forms, and but slight 
 difference in degree. It might indeed be arranged under the . 
 term Abrupt-radical stress ; since it is at the opening alone 
 of the concrete, that its effect as a peculiar function, and 
 an independent Mode of speech is recognized. But as the 
 Radical stress has a congenial relationship to the use of force 
 on other parts of the concrete, I have thought, with this pre-
 
 356 THE RADICAL EMPHASIS. 
 
 fatory remark, the term abrupt stress, even with its claims 
 to separate arrangement, might here be merged in the subject 
 of Radical Emphasis, and thus included under its name. 
 
 Of the Radical Emphasis. 
 
 "When an immutable syllable bears the accent of a word, 
 remarkable by sense, sentiment, or antithesis, the audible dis- 
 tinction can be made only in three "ways : by quality of voice ; 
 a wide radical change in the phrase of melody : and an abrupt 
 enforcement of the radical stress. The two former will be 
 noticed in their proper places. The last is here illustrated. 
 
 And with perpetual inroads to alarm, I 
 
 Though inacessible, his fatal throne ; 
 Which, if not rectory, is yet revenge. 
 
 If the strongly contrasted meaning of the word victory, is 
 not represented by guttural vibration ; by aspiration, or some 
 other available quality ; or by a change of radical pitch upward 
 or downward through the skip of a third, fifth or octave, the 
 syllable vie must be raised into importance by means of the 
 abrupt radical stress : at least no other form can be effective 
 while the syllabic is limited to its natural quantity. 
 
 It is true, even an immutable syllable, may be carried rapidly 
 through any interval of the scale ; still this rapid movement 
 when not joined with the radical change, is of no emphatic im- 
 portance. 
 
 Although the radical distinction is here applied to immutable 
 syllables, it is plain from its nature, that it may be also laid 
 on those of indefinite time. But since these admit of more 
 agreeable forms, derived from quantity and intonation, they less 
 frequently require the strong explosion of the radical. 
 
 This emphasis is the sign of anger, positive affirmation, com- 
 mand, and of energetic sentiments of all kinds. It is also the 
 common means of enforcement, whatever is the time of the 
 syllable, when the spirit of discourse directs a rapid utterance.
 
 THE MEDIAN EMPHASIS. 357 
 
 Of the 3Iedian 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 indefinite time. It has an importance 
 equal to that of the radical stress, under a form of greater 
 smoothness, dignity and grace. In the following sentence, the 
 word sole contains a sentiment of warm and serious admiration, 
 finely expressed by means of this emphasis. 
 
 Wonder not sov'reign Mistress, if perhaps 
 Tliou canst, who art sole ■wonder ! 
 
 Though the median stress might be executed on the simple 
 rise and fall of intervals, Avhen considerably protracted, yet it is 
 most frequently made on the wave. In the present case the 
 emphatic intonation of the word sole is through the equal wave 
 of the second or third ; the swell being at the junction of its 
 two constituents. 
 
 The reader must bear in mind, that in assigning the form of 
 stress in this, and the preceding examples, I have been governed 
 by the principles of speech, laid down in this volume ; and that 
 I shall continue to apply them, in illustrating the other forms of 
 emphasis, included under this section : for if these examples be 
 read in any of those various ways, resulting from instinctive 
 attempts in elocution, I shall in all probability be misunderstood. 
 On this ground, I would allot to the lines above quoted, the 
 plain but deeply respectful character, effected by prolonged 
 ({uantity, in the diatonic melody ; giving to the emphatic sylla- 
 lable the importance of greater time either in the wave of the 
 second, or third, or even fifth ; and smoothly enhancing it by 
 the swell of the median stress. It is not within our present 
 purpose, but it might be added, that thou should have the Avave 
 of the second or third to connect it both by time and intona- 
 tion, under the emphatic tie, with sole ; and that canst should 
 be set at a ditone above tlwu^ to assist the emphatic tie, in 
 carrying on the voice, and with it the sense of the line.
 
 358 THE VANISHING EMPHASIS. 
 
 Of the Vanishing Emphasis. 
 
 This form of stress is characterized by a degree of force, 
 nearly equal to that of the radical emphasis. Why then are they 
 distinguished from each other by name ? The radical is appro- 
 priate to immutable syllables ; the vanishing cannot be recognized 
 on them ; for some extent of quantity is required for its display : 
 and though the sentiment of hasty energy, that prompts it, 
 generally assigns it to a simple concrete, with just sufficient 
 time for its application, still it is sometimes effectively made on 
 the utmost extension of the single movement, and the wave. 
 
 In the following examples, this inversion of the natural or 
 simple form of the concrete, may be employed for the expres- 
 sion of angry impatience in the one case, and of threatening 
 vengeance in the other. 
 
 Oh ye Gods .' ye Gods I must I endure all this ? 
 
 Oh! that I had him, 
 With six Aufidiuses, or more, his tribe, 
 To use my lawful sword. 
 
 The words here marked in italics, when pronounced with the 
 vanishing stress, have that Irish provincialism, which charac- 
 terizes in a degree, this species of force ; the final abrupt element 
 in these cases, contributing to the effect, by its occlusion. 
 
 This form of stress is often used for an energetic question : 
 since in this way, the extent of the interrogative interval, with 
 its emphatic boundary, is more forcibly impressed on the car. 
 
 A cause of the peculiar expression of the vanishing emphasis, 
 may be this : From the ordinary habit of the voice in the simple 
 concrete, it is difficult to produce a final fulness and force, with- 
 out giving rapidity of time to its execution : and this adapts it 
 to the active sentiment, represented by the vanishing stress.
 
 THE COMPOUND EMPHASIS 359 
 
 Of the Comfound Emphasis. 
 
 A DEGREE of emphatic distinction by stress, stronger than 
 that of the preceding forms, may be applied to syllables of 
 indefinite time ; for these, under the direction of vehement 
 feeling, may receive their force from both the radical and vanish- 
 ing stress : as in the following urgent call. 
 
 Arm warriors arm for fight, the foe at hand, 
 Whom fled we thought, will save us long pursuit 
 This day. 
 
 The imperative words here marked in italics, require the use 
 of this double form of stress, either on a wide downward interval, 
 or an unequal-direct wave, with a wide downward constituent. 
 It is however more particularly appropriate to the forcible 
 expression of interrogative sentiments. The reason of this is 
 given in the thirty-eighth section ; and I here cite an example, 
 from the scene of Hamlet's violence towards Lsertes, at the 
 grave of Ophelia. 
 
 Dost thou come here to whine ? 
 
 To outface me by leaping in her grave? 
 
 The intense spirit of these questions call for the Thorough 
 interrogative intonation ; and the emphatic importance of the 
 word whine, requires the rising octave with the compound stress 
 upon it. Thus the radical abruptness on i, sets forth the 
 threatening rage of the prince ; while the vanishing stress on n, 
 conspicuously denotes the inquiry, by marking the extent of the 
 interrogative interval. 
 
 This is not the place to speak of the aspiration, to be joined 
 with the compound stress, for the expression of the contempt or 
 scorn, the question may contain. 
 
 On the whole, I confess, the discrimination of this species of 
 emphasis, in the current of pronunciation, is not so easy, as that 
 of the preceding. Still it does exist in the nature of the voice. 
 Its effect is peculiar to itself: and by deliberate analysis it is 
 clearly resolvable into the above named constituents.
 
 360 THOROUGH EMPHASIS AND LOUD CONCRETE. 
 
 Of the Emphasis of the Thorough Stress, and 
 the Loud Concrete. 
 
 In detailing the assignable forms and degrees of force, those 
 of the Thorough stress, and the Loud concrete, were described 
 as different from the rest, and from each other. 
 
 But I am not disposed to insist upon the importance of these 
 distinctions, for the practical purposes of elocution. They exist 
 however, as forms of stress ; and as emphasis, perhaps exert 
 their influence upon the feeling, and understanding. Yet they 
 are not, either in nature or degree, when employed on short 
 quantities, so distinguishable from the radical, and the compound 
 stress, and from each other, as to require special exemplification. 
 Peculiarity of character in these forms of stress, is relative to 
 the time of syllables : for when this is not so short as to require 
 an emphasis of the radical stress, nor of sufficient length to 
 admit of a protracted application of force, the required distinc- 
 tion may be effected by the loud concrete, or the thorough stress, 
 as in the marked syllables of the following lines ; where the first 
 may receive the former, and the second, the latter form of stress. 
 
 This knows my Punisher : therefore as far 
 From ffrandng he, as I from beffgmg peace. 
 
 On this subject, let it be kept in mind, that although the 
 thorough stress may be used, under the limitation of emphasis, 
 on short, and perhaps occasionally on longer quantities ; yet when 
 unusually prolonged, and applied to a current melody, it has that 
 rustic coarseness, ascribed to it, in the thirty-ninth section. 
 
 Of the Aspirated Emphasis. 
 
 The earnestness and other expressive effects of aspiration, 
 may be spread over a whole sentence. The same expression is 
 sometimes restricted to a single word ; thus constituting the 
 aspirated emphasis. Many words claim this emphasis from the 
 essential energy of their meaning ; and these, in some cases
 
 THE EMPHATIC VOCULE. 3(51 
 
 have the literal symbol of aspiration, as havoc, horror, huzza. 
 A similar remark may be made with regard to some of the 
 interjections. I need not quote instances of aspirated utterance 
 in the exclamations of passion, and in the pure breathing of a 
 sigh : the pages of the drama are full of examples. 
 
 In the following dialogue from Julius Coesar, the effect of 
 aspiration, in marking an earnest sentiment, is suflScientlv 
 obvious, on the words ay, and fear, set in italics. 
 
 Brutus. What means this shouting? I do fear the people 
 
 Choose Caesar for their king. 
 Cassius. ^ Ai/, do you fear it ? 
 
 Then must I think you would not have it so. 
 
 And again, in the Tent scene, the earnest repugnance of 
 Cassius is manifested by an aspiration on the word chastise- 
 ment. 
 
 Brutus. The name of Cassius honors this corruption, 
 
 And chastisement does therefore hide his head. 
 Cassius. Chastisement ! 
 
 When aspiration is combined with the vanishing stress on a 
 simple concrete, or on the various forms of the wave, it conveys 
 an expression of sneer, or contempt, or scorn. 
 
 Aspiration may be applied to syllables of every variety of 
 time ; to all forms of force ; and all intervals of intonation. 
 
 Of the Emphatic Vocule. 
 
 When an emphatic word terminates with an abrupt element, 
 and is followed by a pause, that slight issue of sound, called the 
 Vocule, generally receives a continuation of force from the 
 emphatic word : and this, by its explosive effort, becomes the 
 sign of passionate excitement. 
 
 There are occasions on which tliis vocule may be used, with a 
 view to press into a syllable all the power of emphasis. But it 
 comes so close to affectation, that I hesitated about its classifica- 
 tion, as a fault, or as an assistant enforcement of speech. 
 24
 
 362 THE GUTTURAL EMPHASIS. 
 
 I will not say absolutely, it slioukl be heard in the following 
 line, from the close of the third scene, in the third act of 
 Othello. But when the word hate^ is pronounced with the force 
 required by the sentiments of the Moor, the emphatic vocule 
 almost necessarily bursts from the organic opening of the atonic 
 abrupt element. 
 
 Yield up, love, thy crown, and hearted throne 
 To tyrannous hate ! swell, bosom, with thy frauglit. 
 
 Of the Guttural Umphasis. 
 
 The sentiments of disgust, aversion, execration, and horror, 
 give their expression to an emphatic word, by joining the guttural 
 vibration to other means of vocal distinction. It is heard on 
 the daily occasions for revolting interjectives ; but is sometimes 
 found engrafted on the common current of syllabic utterance. 
 It might be properly used on the word defestable^ in the follow- 
 ing lines, from that dreadful malediction upon Athens, at the 
 opening of the fourth act of Shakspeare's Timon : taking care 
 to accent the second syllable, which does not bear a stress, in 
 the measure of the line. 
 
 Nothing I'll bear from thee 
 But nakedness, thou detestable town I 
 
 When this guttural vibration is combined with the highest 
 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 has only an anti- 
 thetic, or discriminative meaning, without conveying sentiment 
 or passion ; or when the distinction has the sole purpose of an
 
 THE TEMPORAL EMPHASIS. 363 
 
 emphatic tie, the impression may be made by the influence of 
 time alone, as on co, in the follo^ving address : 
 
 Hfiil holy Light, oifspring 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, deyoj/ring fire. 
 Then, who created thee lamenting learn, 
 When who can w/icreate thee thou shalt knotc. 
 
 In this example, the impressive long quantity of the accented 
 syllable of thunder^ and of devouring, is given as an instance of 
 the emphatic tie ; in which the connection of two subjects sepa- 
 rated by a clause, is shown in its true vocal syntax ; and by 
 which any ludicrous image, from too ready an association 
 between head and devouring fire, may be obviated. Perhaps 
 it will be said, — these words, together with the others marked 
 in italics as emphatic by quantity alone, might receive the 
 additional distinction of a forceful, or an intonated emphasis. 
 But it may be learned from the speech, at large, that Abdiel 
 is no longer the ' fervent angel' contending with the apostate. 
 He is now the herald of the decrees of the Almighty. The 
 earnest spirit, with the alternate hopes and fears of argument, 
 has given place to grave admonitions, and to solemn declara- 
 tions of an ordained judgment ; and the unimpassioncd but 
 conspicuous distinction by temporal emphasis, appears well 
 accommodated to the utterance of the ' unmoved, unshaken, 
 unseduccd, unterrified,' and prophetic Seraph. 
 
 The reader must have observed the close connection between 
 the various vocal constituents : and that with every attempt, it 
 is impossible to represent each separately, in the necessary 
 illustrations. We here speak of the simple extension of quan- 
 tity as the means of emphasis, when in reality that quantity is 
 in part effective, through the influence of some form of intona- 
 tion. When time is extended on interrogative syllables ; on 
 those of positivencss or command ; or on a feeble cadence, the
 
 364 THE EMPHASIS OF PITCH. 
 
 intonation is made respectively, through the simple course of tlie 
 upward or downward third, fifth, or octave. But in the plain 
 temporal emphasis, of the above examples, and when employed 
 in the simple but dignified diatonic melody, an extension of the 
 indefinite syllables, is always through the direct or inverted 
 wave of tlie 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 are used as the means of 
 emphasis. We should now proceed to the illustration of this 
 subject : but as the rising third, fifth, and octave, are signs of 
 interrogation, and as they have this signification even when 
 applied to but one word of a sentence, we may inquire, how the 
 interrogative characteristic in discourse, is to be distinguished 
 from the emphatic. There must be even to the common ear, 
 something like an unwritten rule, to which reference is uncon- 
 sciously made ; for notwithstanding, the frequent employment 
 of these signs in their different meanings, these meanings are 
 rarely confounded. But our discriminations of this matter have, 
 in time past, been four-footed instincts ; let us try to ennoble 
 them, by giving them the support and the exalted step of know- 
 ledge and principles. 
 
 The various interrogative sentences were named in the seven- 
 teenth section: and on that division, the discriminations are 
 here made. 
 
 In the first case. As the emphatic use of pitch is on a sin- 
 gle word, or at most on two or three, there is no liability to 
 mistake emphasis, for declarative (questions with the thorough 
 intonation. In the second. It was shown, that the partial 
 expression is generally applied to common, pronominal, and 
 adverbial questions. These therefore, even with a solitary 
 third, or fifth, or octave, cannot possibly be confounded with 
 cases of emphasis on these same intervals, in sentences without
 
 THE EMPHASIS OF PITCH. 3g5 
 
 the grammatical construction. Whether it might be proper to 
 consider a partial interrogation, when made with a single inter- 
 rogative interval, as conjoining the conditions of interrogation 
 and of emphasis, thereby justifying the term interrogative em- 
 phasis, may be left for future inquiry and arrangement. In the 
 third. Many phrases having 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 a negative question ; or one of 
 belief, the positive temper of the sentiment generally calls for 
 an intonation in the downward concrete, as shown in the thirty- 
 second section. With these questions then, emphasis by a rising 
 interval, cannot be confounded. The following examples are by 
 editorial punctuation, marked as questions : but the above 
 named conditions seem to apply so clearly to them, that I would 
 exclude the interrogative intervals, and designate these virtual 
 affirmations by a positive downward intonation. 
 
 What should he in that Caesar? 
 AVhy should that name be sounded more l.han yours? 
 
 Casca. What night is this ? 
 
 Cassias. A very pleasing night to honest men. 
 Casca. AVho ever knew the heavens menace so ? 
 
 Shylock. Ay, his breast : 
 
 So says the bond! Doth it not nolle judge? 
 Nearest his heart, those are the very words. 
 
 In the first of these instances, Cassius does positively mean, 
 — there is nothing in C?esar, nor in his name. In the second, 
 Casca would say, — it is a dreadful night; the heavens were 
 never known to menace so. And in the last, Shylock, by his 
 negative question, does triumphantly declare, — you know it, 
 noble judge. If therefore instead of the positive, the interro- 
 gatory intonation should be applied either thoroughly or in part.
 
 366 THE EMPHASIS OF THE RISING OCTAVE. 
 
 to these phrases, their meaning would be obscured, or lost. 
 Consequently, no case of rising emphasis can be mistaken for 
 such interrogative constructions. When figurative questions, 
 and when real exclamatory sentences, carry their expression on 
 one or two downward intervals, it may be made a subject for 
 future inquiry, whether this case might be called the exclamatory 
 emphasis. 
 
 We go on to enumerate the intervals of pitch, employed in 
 emphasis. 
 
 Of the UmpJiasis of the Rising Octave. 
 
 The concrete rise of the Octave, on a single syllable in a 
 current diatonic melody, does, by its expression, remarkably 
 distinguish that syllable, from others, bearing the interval of a 
 tone ; and its eifect has the true character of emphasis, even 
 without the excessive stress, heretofore considered almost the 
 sino-le essential in the definition of that term. 
 
 The reader has been told more than once, — the intervals of 
 the scale are appreciable, even in the momentary flight of an 
 immutable syllable : and that on these syllables the expression 
 of the octave, is generally eifected by a skip of radical pitch, 
 from the level of current speech to the bight of that interval 
 above it. The emphasis of the octave appears then under the 
 form both of slow concrete, and of radical change ; and let 
 it be understood here, that these two different forms of pitch 
 are implied, when we speak of the emphasis of other wider 
 intervals of the scale. j 
 
 The octave is employed emphaticall}', for the expression of ■ 
 astonishment and admiration, embracing a sentiment of inquiry 
 or doubt; and for the special enforcing of one word above 
 others, in an interrogative sentence : but this indeed rarely ; for 
 there is a kind of mew in its long-drawn concrete, that excludes it 
 from those elevated purposes of speech which it is the design of 
 science to investigate, and of taste to approve. . 
 
 The octave carries the spirit of a quick, a taunting, or a
 
 THE EMPHASIS OF THE RISING OCTAVE. 357 
 
 mirthful interrogative ; and is perhaps never used in a calm, 
 serious, and dignified question. It would perhaps 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, convey the senti- 
 ment of revengeful triumph, as well as an immediate antithesis 
 to their former contemptuous application to the speaker, by being 
 run lip to the piercing treble of the octave. Perhaps some 
 readers might be disposed to set a more dignified form of into- 
 nation on these questions, by considering them as Appealing ; 
 and by employing a general current of downward thirds, with a 
 downward octave on the words dog and cur. I only say, they 
 will bear what is here given, without making preference the 
 subject of discussion. The readings proposed throughout this 
 essay are for illustration, and their design is fulfilled, whether 
 or not, they exactly accord with common opinion. There is a 
 best in the works of every art : but the latitude of variation, 
 within the pale of principles, has an ample and liberal scope, that 
 sometimes admits even cases of unsuccessful search after excel- 
 lence. Over such failures the intelligent critic will be neither 
 quarrelsome nor severe. 
 
 The emphasis of the octave, by a change of radical pitch is 
 exemplified in the following lines : 
 
 'Zounds, show me •what thou'It do: 
 
 Woo't weep? ViQo'i fight? yroo't fast? woo't tear thyself? 
 
 The exasperated energy of Hamlet, in his encounter with 
 Laertes, calls for the highest pitch of interrogation on the Avords 
 here marked ; but these words do not admit of the slow concrete. 
 To fulfill the purposes of expression, they are to be immediately 
 transferred by radical change to an octave above the word woo't. 
 which in its several places, is at the common level of the voice.
 
 368 THE EMPAHSIS OF THE RISING FIFTH. 
 
 The emphatic syllable, ulien thus raised, is still further endowed 
 with the character of an interrogative interval, by a rapid flight 
 through the concrete octave, agreeably to the description in a 
 former section. In short, the first seven words of the second 
 line do really skip, alternately ascending and descending, 
 between the extremes of an octave. 
 
 "While these lines are before us, wc may notice the contrast 
 between the two movements of pitch in the octave : for the word 
 tear^ having an indefinite quantity, admits freely of the slow 
 concrete : and the voice, after being restrained to the discrete 
 skip, on the preceding immutable syllables, more freely and 
 gracefully assumes on this word, the intonation of a continuous 
 rise. 
 
 Of the Emphasis of the Rising Fifth. 
 
 The relation of the concrete fifth to the octave, was shown 
 formerly, as regards its interrogative character. As a sign of 
 emphatic sense, or of passion, the fifth is less impressive than 
 the octave : for it has not the piercing influence of the latter 
 interval. There is however, more dignity in the importance it 
 gives to a syllable. In the following lines, from Satan's address 
 to the sun, the emphasis on tliee, may be made by the concrete 
 rising fifth ; as suitable to its exulting sentiment. 
 
 Evil be thou my good : by thee at least 
 Divided empire ■with Heaven's king I hold. 
 
 It is said here, and we allow the same cautious latitude for 
 other cases, that a certain form of emphatic expression onay be 
 employed : since on many occasions, the emphasis may be varied. 
 Thus in the present example, the syllable thee, might be in the 
 Avave of the fifth, or third, or even the second ; but in the last case, 
 a want of the peculiar expression of the fifth, must be supplied 
 by a long quantity, and by the use of , the radical, or median, or 
 vanishing stress, on the wave of the second so employed. But 
 wc will go further with the liberal construction allowed by every
 
 THE EMPHASIS OF THE RISING THIRD. 369 
 
 broad and self confiding system ; and under the principles of 
 this work, are ready to accord with the free-will of any enlight- 
 ened taste, that in the above example, might prefer even the 
 positive emphasis of a downward interval. And this, not incon- 
 sistently ; for in a well ordered system, such variations are 
 always made by the good sense that allows them. 
 
 In the following lines, the emphasis of the fifth on the word 
 beauty; is perhaps not absolutely unchangeable : but it certainly 
 produces a brightness of picture, well adapted to the sentiment, 
 and which cannot perhaps be so well eifected in any other way. 
 
 Tears like the rain-drops may fall •without measure, 
 But rapture and beauty they cannot recall. 
 
 The eff"ect in this case will be more finished, if after the con- 
 crete rise of the syllable beau, through the fifth, ty be discretely 
 brought down to the pitch of the current melody. It may be 
 added, that a like intonation may be set on j-apture. 
 
 The emphasis of the fifth, by a skip of radical pitch, is well 
 exemplified in the line formerly quoted to show the radical 
 stress. 
 
 Which, if not victory, is yet revenge. 
 
 Here the abrupt stress on the syllable vie, requires assistance 
 from intonation : and this is given, by setting the short syllable 
 vie at a discrete fifth above the place of not. 
 
 Of the Emphasis of the Rising Third. 
 
 The striking intonation of the octave and the fifth, is suited 
 to the earnest spirit of colloquial utterance, and to the forcible 
 sentiments of the drama. The rise of the third, though still 
 denoting both interrogation and emphasis, produces a less 
 intense, but a more dignified impression. 
 
 The rise of the third may be set on the word he, in the fol- 
 lowing lines. 
 
 Who first seduced them to that foul revolt? 
 The infernal Serpent; he it was, whose guile. 
 Stirred up with envy and revenge —
 
 370 THE EMPHASIS OF THE RISING SEMITONE. 
 
 Til ere are some phrases simply interrogative ; and unaccom- 
 panied by those other sentiments, formerly ascribed to the octave 
 and the fifth. Tlie emphatic distinction in these cases, is made 
 with the moderately attractive influence of the third. 
 
 Dost thou think Alexander looked o' this fashion, 
 i' the earth? 
 
 If, in this example Alexatider, this fashion, and earth, be 
 taken as emphatic, the distinction will be appropriately made 
 by the third. Should the intonation on these words be in the 
 wider interval of the fifth or octave, it would imply an eagerness 
 of inquiry, and a light familiarity of address, not suggested by 
 the sense of the question, nor consistent with the temper of 
 Hamlet's moralizing reflections. 
 
 It is scarcely necessary to illustrate the radical skip of the 
 third, in relation to emphasis. The word victory, in a preced- 
 ing example, may be executed on this discrete interval, if the 
 reader should think the fifth, -there employed, too. high: for it 
 will exemplify either case, according to the degree of energy 
 ascribed to it. 
 
 The third, as shown in the sixteenth section, is employed on 
 the emphatic words of conditional, concessive, and hypothetical 
 phrases. 
 
 The minor third, together with the rest of the minor scale, is 
 the essential means of plaintive expression in song : but it is not 
 to be used in the system of speaking-intonation, set forth in this 
 work. This system regards it as a fault in speech, when heard, 
 as it not unfrequcntly is. We cannot then give it a place, in 
 the history of emphasis. 
 
 Of the Emphasis of the Rising Semitone. 
 
 I OMIT here, a notice of the tone or second. The reader 
 must now, be so well acquainted with the nature of the dia- 
 tonic melody, as to admit, that the simple rise of a tone, having 
 no attractive or peculiar expression, cannot, as far as regards
 
 THE EMPHASIS OF THE RISING SEMITONE. 371 
 
 pitch, be emphatic. Indeed, the other intervals are emphatic 
 only by their contrast with this general current of the simple 
 second. It is true, a syllable is made emphatic by quantity ; 
 and that quantity in plain and dignified utterance, is commonly 
 a prolongation through 'the doubling of the second into the form 
 of a wave. But the impressivcness is here an effect of time, 
 not of intonation. 
 
 As the semitone has a peculiar expression, it can fulfill the 
 condition of emphasis, when laid upon a single word in the 
 course of a diatonic melody. It rarely happens however, that 
 this expression is found thus insulated : for if a plaintive senti- 
 ment issues from one word, it generally spreads its effect over 
 the whole of the phrase or sentence ; thus constituting the 
 chromatic melody, and thereby destroying the solitary import- 
 ance, or proper emphasis of the semitone. 
 
 But it may then be asked, how emphasis, when required, can 
 be efiected in a chromatic melody. It may be done by stress in 
 its various forms, and by time ; for the semitone is set on sylla- 
 bles of all quantities. It may likewise be effected by intonation, 
 in the following manner. 
 
 When a syllable calls for the emphasis of pitch in a chro- 
 matic melody, that emphasis cannot be a simple concrete 
 rise through the second, third, fifth, or eighth ; for these 
 movements, by over-sliding the semitone, would destroy the 
 plaintiveness, which by the conditions of the case should be 
 heard. But should a syllable of the chromatic melody be ele- 
 vated by a discrete radical change, from the level of the current, 
 to a third, fifth, or octave above it ; and when thus raised, be there 
 uttered, however rapidly, through the interval of a semitone, it 
 is evident, the plaintive or chromatic character must be pre- 
 served : and since the syllable, by a transfer of the radical 
 pitch, is advanced to a higher point of the scale, its semitone is, 
 by the additional means of this acuteness in position, con- 
 spicuously impressed on the ear, and thus fully answers to the 
 definition of emphasis.
 
 372 EMPHASIS OF THE DOWNWARD CONCRETE. 
 
 Of the Emphasis of the Dowmvard Concrete. 
 
 The downward movement of the voice, expresses positiveness 
 and surprise, and on a single long syllable, forms- the feeble 
 cadence. But we are now to consider tlie manner of employing 
 this concrete, for the purpose of emphasis, on one or more words, 
 in a current melody. 
 
 The wider downward concrete, is a very common form of em- 
 phatic distinction : and exerts a powerful attraction over the ear. 
 It cannot however, for a plain reason, be used in sentences of 
 thorough interrogative intonation : nor is it, in its simple forms 
 employed in the chromatic melody. When necessary in this 
 latter case, for denoting surprise or positiveness, it may be 
 introduced as a constituent of an unequal wave : for the rise of 
 a semitone as the first constituent, will preserve the plaintive- 
 ness ; and a subsequent continuation downwards through the 
 eighth, or fifth, or third, will join to this plaintiveness, the 
 required emphasis of the falling concrete. 
 
 AYhen I had occasion, in its proper place, to speak of the 
 descent of the voice, both by concrete and by radical pitch, that 
 descent was not otherwise represented, than taking place from 
 the line of the current melody. It is now necessary to point 
 out another form of its movement. In the twenty-second sec- 
 tion, a notation is given of the following line : 
 
 Seems, madam, nay, it is! I know not seems. 
 
 In that notation, one of its emphatic syllables is marked with a 
 downward fifth : the concrete appearing on the staff, with its 
 radical the whole extent of that interval above the current 
 melody. I then merely pointed out this peculiarity : not wish- 
 ing, in that descriptive view of the downward concrete, to 
 anticipate the history of its application to this especial subject 
 of emphasis. 
 
 Now, should is, in the above line be uttered as a feeble 
 cadence ; that is, should the descent of a third from the line of 
 the current melody, be made on this word, as if it were the close
 
 EMPHASIS OF THE DOWNWARD CONCRETE. 373 
 
 of a sentence, it will not have the emphatic force, required by 
 the sense. It cannot be then, a simple descent of the voice 
 from the line of a current melody, which gives an impressive 
 character to this form of emphasis. 
 
 The full effect of the downward concrete, in this case, is pro- 
 duced by commencing its' radical, on a line of pitch above the 
 current melody, and descending to that line or below it, accord- 
 ing to the degree of expression. The hight at which the outset 
 or radical of the descending concrete is to be taken, (Jepends on 
 the degree of positiveness or surprise, contemplated in the em- 
 phasis. That the expressive effects of the downward concrete 
 proceed from its affinity to the nature of a cadence, I will not 
 assert. It would seem however, — something like an ultimate 
 affirmation, is implied in a very positive emphasis ; it being as 
 much as to say, this affirmation is beyond doubt, then let the 
 subject here be closed. 
 
 It may perhaps be asked, why the downward vanish, em- 
 phatically used in the current melody, does not produce the 
 effect of a cadence, and thus interfere with the sense of dis- 
 course. Let it be recollected, the feeblest form of the cadence 
 consists in the concrete descent through the third ; consequently 
 the downward emphasis can at most, amount but to this feeble 
 form. Again, the proper cadence is continued downward from 
 the line of the current melody : whereas the emphatic downward 
 concrete, begins at a point of pitch much above the line of 
 melody, and does not always descend below it. 
 
 And further : speech has two means of communicating thoughts 
 and feelings. One, by a conventional language, which to the 
 eye, as well as the ear, can describe them all. The other, by 
 the various Modes of the voice, that instinctively express many 
 of them, apart from the use of words. Now a spoken cadence 
 is denoted, both by the vocal and the conventional means. Thus 
 the intonation of the cadence, together with the sense and struc- 
 ture of the phrase, and with the pause, always marks the close. 
 Consequently, an emphatic downward vanish in the course of 
 the melody, can never be confounded with its termination.
 
 374 EMPHASIS OF THE DOWNWARD OCTAVE. 
 
 Of the Umjjhasis of the Downivard Octave. 
 
 After ^Yllat has been said generally of the downward em- 
 phasis, it is scarcely necessary to state that the octave, on a 
 long syllable, gives the highest degree of this species of empha- 
 sis. The word hell in the following lines requires the octave. 
 
 So frown'd the mighty combatants, that Uell 
 
 Grew darker at their frown. 
 
 9 
 
 This is taken from that fine picture of threatful hostility 
 between Satan and Death, in the second book of Paradif^e Lost. 
 And whoever would give this part with a forcible and somewhat 
 dramatic effect, Avill find it difficult to bring out the full sense of 
 the poet, except by the above directed intonation. The mean- 
 ing of the author, if we may interpret it, is not to represent 
 simply, without marking its degree, 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. 
 
 The above forcible intonation has the effect of the concrete 
 pitch of the downward octave : and as we have seen, the down- 
 Avard concrete emphasis always commences at a higher pitch than 
 that of the current melody, so when the downward emphasis is on 
 immutable syllables, the change of radical pitch is likewise from 
 an assumed point above the current melody. The following pas- 
 sage from the second book of Milton, may serve for illustration. 
 
 Far less abhor'd than these 
 Vex'd Scj'lla, bathing in the sea that parts 
 Calabria from the hoarse Trinacrian shore. 
 
 Others may please themselves, with their own vocal expression 
 of this first line, I can satisfy my ear, only by a concrete rising 
 octave denoting surprise, or admiration on far ; then a descent 
 by the radical pitch of an octave, to less, for the emphatic dis- 
 tinction of that syllable ; thus returning to the level of the
 
 EMPHASIS OF THE DOWNWARD FIFTH. 375 
 
 radical of far^ in the line of the current melody. It is not the 
 place, but I may say here, that ah is to be raised an octave by 
 radical pitch, and liorrd returned by a downward concrete of 
 that same interval ; thus completing the expression of this forci- 
 ble sentiment, by a falling and a rising discrete skip, between a 
 rising and a falling concrete. 
 
 A similar intonation is appropriate to the line that follows in 
 the text of the poem. 
 
 Nor uglier follow the night-hag. 
 
 Here, nor rises by a concrete octave ; ng descends discretely 
 by that same interval ; while li^ from the sentiment not being 
 so strong as in the preceding case, rises by the discrete third, or 
 fifth, and then descends by the concrete, to the level of wor, in 
 the current melody. 
 
 In these examples, nothing is said of the stress, or aspiration, 
 necessary for the full vocal display of these passages. We here 
 only regard the downward movement. 
 
 If it be asked, why this descent by radical piteh has not the 
 effect of a cadencial close ; it may be answered, — it has indeed 
 the nature and somewhat the effect of a cadence : but it is still 
 an imperfect one, and not suflScient for a full termination of dis- 
 course. For the descent is from a point assumed above the 
 current line, and its downward reach is to about the level of that 
 line : whereas the true and final cadence is made by a descent 
 of two radicals below the current melody. Add to this, the 
 reason given above, why the downward concrete emphasis is 
 not liable to be confounded with the cadence ; for here too, the 
 discrete emphasis is readily distinguishable from the cadence, as 
 denoted by the words, and sense, and pause, of the proper close. 
 
 Of the Emphasis of the Downward Fifth. 
 
 The similarity of this interval to the octave, the difference 
 consisting in degree only, renders it unnecessary to do more.
 
 376 EMPHASIS OF THE. DOWNWARD THIRD. 
 
 than quote a phrase in which the less energetic emphasis of the 
 do-vrnward fifth may be employed. The word courageous, in 
 the following extract from the dramatic contention between 
 Gabriel and Satan, at the close of the fourth book of Paradise 
 Lost, bears this downward fifth on its accented syllable. 
 
 Cour-fl'geous chief! 
 The first in flight from pjiin I 
 
 The radical change of the downward fifth may be made on 
 the word subject, in the following lines, from the first act of 
 Julius Ocesar. In the second scene, after Cassius has excited 
 Brutus to 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. 
 
 If this is allowed to be the emphatic word, the sentiment here 
 conveyed, that this honor is positively, the ver^ matter he de- 
 sires to speak of, should be expressed by a downward intonation 
 on the word subject. But the accented syllable of this word is 
 too short to bear the concrete. The expression is therefore to 
 be accomplished through a discrete descent, by assuming the 
 first syllable sub, at a fifth above the current melody, and 
 returning to the line of that melody, on ject, by the radical 
 skip of a fifth. Some other form of emphasis on this word 
 may, in a manner, show the sense here ascribed to the declara- 
 tion. But to an ear of judgment and taste, perhaps none will 
 give so bright a picture of the sense as the intonation, here 
 proposed. 
 
 Of the Emphasis of the Downward Third. 
 
 The downward Third expresses a more moderate degree of 
 the sense and sentiment, conveyed by the preceding intervals, 
 the octave, and fifth. Thus in tlie following reply of Hamlet,
 
 EMPHASIS OF THE DOWNWARD THIRD. 377 
 
 the word Queen does not seem to require a stronger emphatic 
 distinction, than that of a falling third. 
 
 Queen. Have you forgot me? 
 
 Ham. No, by the rood, not so : 
 
 You are the Queen, your husband's'brother's wife. 
 
 And here we may again notice the difference above referred 
 to, in the effect of the downward third, Avhen employed as em- 
 phasis, and as a feeble cadence : and it is a striking illustration 
 of this difference. For if the word Queen merely descends 
 concretely, from the line of the current melody to a third below 
 it, the sentence might pass for a complete one, terminated at 
 that point by the feeble cadence. When the radical of this 
 syllable is raised to a third above the current melody, and then 
 brought concretely down to it, in the manner of emphasis, even 
 a subsequent pause does not produce the like effect of a close, 
 but rather suo;2;ests the idea of a continuation of the sense. 
 
 The emphasis of the downward third by change of radical 
 skip, may be made by a transition from that to too^ in the follow- 
 ing phrase. 
 
 Cassius. They shouted thrice ; what was the last cry for ? 
 Casca. Why, for that too. 
 
 Here the word that is to be taken a third above tl>e line of 
 the current melody ; and too, at the level of its line. 
 
 It was said formerly, — the Prepared cadence is produced by 
 the downward radical change of a third, with either a rising or 
 a falling concrete, preceding the triad. Now, although in this^ 
 case the preparatory fall in radical pitch, is to a third below the 
 line of the current melody, still this descent alone does not pro- 
 duce a close. For the syllable, after falling through this discrete 
 third, does not necessarily end with the feeble downward tone 
 required at a close ; and it will be recollected that this downward 
 skip through a third, at the end of a sentence, was called a false 
 cadence, from its not having the characteristic of a full and per- 
 fect close. Consider further, that the structure and sense of the 
 phraseology have a share of influence, in denoting the close. 
 This downward radical skip of the prepared cadence, has in a 
 25
 
 
 378 EMPHASIS OF THE WAVE. 
 
 degree, the effect of emphasis, by forcibly impressing on the ear 
 the most complete termination of the sentence.* 
 
 The downward Second, whether concrete or discrete, being a 
 constituent of the diatonic melody, has no emphatic power. It 
 serves to give variety to the current, by occasionally taking the 
 place of the rising interval. The downward concrete second on 
 the last constituent of a falling tritone, makes the triad of 
 the cadence. 
 
 The downward Semitone has peculiarity sufficient to mark a 
 strong emphatic distinction : but I am not aware of its being 
 ever introduced alonie, into the diatonic melody : and in the 
 chromatic, it merely serves the purpose of variety similar to that 
 of the downward second in the diatonic current. 
 
 Of the EmpTiasis of the Wave. 
 
 The junction of opposite concretes, by its positive effect upon 
 the ear, gives emphatic distinction to syllables and words. 
 
 If a history of the voice, were to be written, from the prac- 
 tice of the mass of readers, and not from cultivated and rare 
 examples of excellence, it would be necessary to add a Melody 
 of the Wave, to that of the diatonic and chromatic ; since many, 
 yes, and some of the world's great readers, and actors too, apply 
 the intonation of wider waves, to every long and emphatic sylla- 
 ble. This, to say the least of it as a fault, does, by giving the 
 impressive effect of the wave to a whole sentence, prevent its 
 employment as the means of emphasis on a single Avord. 
 
 The wave, according to its forms, expresses admiration, sur- 
 prise, interrogation, mirthful -wonder, sneer and scorn; and is 
 emphatically used on long quantities, embracing these senti- 
 ments. 
 
 The dignified diatonic melody is made by the wave of the 
 second : and this is only a method of adding the gravity of its 
 
 • Let not the reader, on this hint, unnecessarily multiply terms, and call this 
 the Emphatic cadence, or the Cadcncial emphasis.
 
 EMPHASIS OF THE EQUAL WAVE. 379 
 
 last constituent, the downward second, to the lighter effect of 
 the previous ascent of that interval ; and of producing at the 
 same time the length of syllable, so essential to solemn utter- 
 ance, without the risk of falling into the protracted note of 
 song. But the wave of the second never performs the part of 
 emphasis, by its intonation alone. "Waves of wider intervals in 
 giving time and dignity to utterance, by doubling the concrete 
 of which they are respectively composed, have besides, a 
 striking peculiarity when occasionally heard as an emphatic 
 distinction, in the diatonic melody. 
 
 When the sentiment of scorn occurs in dignified discourse, it 
 is denoted by the vanishing stress, or by aspiration, joined with 
 either the simple rise or fall of a wider concrete, or with the 
 direct or inverted form of its single wave. For there is a 
 degree of levity and familiarity in the double wave, unsuitable 
 to dignified discourse. 
 
 In considering the emphasis of the wave, it is not my inten- 
 tion to illustrate all its forms. If the reader calls to mind our 
 history of this expressive sign, he may be able to do it for him- 
 self: and there are too many varieties of the wave to justify 
 an entire enumeration of them. I shall name a few of its 
 forms. 
 
 Of the Emphasis of the Equal-single-direct Wave 
 of the Octave. 
 
 The Equal-single wave of the octave actively expresses admi- 
 ration and surprise ; and when hightencd by aspiration, the 
 vanishing stress, or guttural vibration, has the additional mean- 
 ing of sneer and scorn. There is a difference in the effect of 
 this sign on a low, and on a high pitch. In the latter case, it 
 has more of the character of raillery, or mirthful comment than 
 of wonder, positiveness, or admiration. 
 
 It was said, the wave of the octave, restricted to the lower 
 range of pitch, might be used in grave discourse. Under this 
 view, the first syllable of the following well-known line, from
 
 380 EMPHASIS OF THE EQUAL WAVE. 
 
 Hamlet, might receive the emphasis of this expressive into- 
 nation : 
 
 Angels and ministers of grace defend us ! 
 
 This exclamation embraces the feeling of astonishment, and 
 the purpose of invocation. Now the positiveness of invocation 
 requires the downward movement ; while astonishment, which 
 in this case, implies something of inquiry or doubt, assumes the 
 upward. But the invocation appears to be the engrossing inte- 
 rest : and thus, for their respective expression, the syllable An 
 should have the intonation of the direct wave ; for this, by its 
 rising interval gives the doubtful astonishment, and by its sub- 
 sequent fall, the final and more powerful impression of the 
 invocation. 
 
 In the following notation of this exclamatory sentence, I have 
 set the direct wave of the octave, on the first syllable An, which 
 on an indefinite quantity, beautifully receives it. On grace, 
 an emphatic radical skip is made to a fifth above the current 
 melody, with a subsequent rapid concrete of the downward 
 fifth ; for the time of this word will not bear the slow concrete of 
 that interval. The other syllables have the concrete and the 
 radical pitch of a tone, and the Triad of the cadence, with a 
 downward concrete to each constituent; the whole after the 
 first syllable, being expressive of the positiveness of the invo- 
 cation.* 
 
 I 
 
 
 —gels 
 
 and 
 
 min — is — ters 
 
 of grace 
 
 de--fend 
 
 us! 
 
 
 
 7 
 
 
 1 
 
 ^ ^ ^ \ ^ 
 
 -J 
 
 1 
 
 \ ^ 
 
 T 
 
 T f T 
 
 t 
 
 T ^ 
 
 m. 
 
 ' ^ 
 
 * I may here refer to the gesture, accommodated to this exclamatory wave. 
 In fancying the Enacting of this exclamation, I see the arms each in horror 
 tossed up alike ' on end,* with palm and finger broadly extended, in protec- 
 tive repulsion. But the practice of the Stage, after more than two hundred 
 years close study of the Part, does not accord with this view of it. What 
 intonation is given to An, by great popular Actors, I have never, though 
 closely listening, been able to trace. This syllable, together with the whole
 
 EMPHASIS OF THE EQUAL WAVE. 381 
 
 When the single-equal wave of the octave is inverted, the 
 emphasis has the character of interrogation, from the ascent of 
 the last constituent. 
 
 Of the Emphasis of the Equal-single-direct Wave 
 of the Fifth. 
 
 This form of the wave carries a degree of admiration with 
 its affirmative sentiment, but less than that of the octave : as 
 in the following example from the contest between Satan and 
 Death. 
 
 And breath'st defiance here and scorn, 
 
 Where I reign king? and to enrage thee more, 
 
 Thy king and lord! 
 
 Whoever will read the whole scene from which these lines are 
 taken, with the dramatic spirit of its composition, will find he 
 may set the wave, now under consideration, on the syllable thy, 
 as a full expression of the positiveness, vaunting authority, and 
 self-admiration, on the part of Death. 
 
 In order to show the difference in character between this 
 direct wave, and its inverted form, let the latter be substituted 
 in the above reading. The interrogative effect produced by the 
 
 line, is, on the appearance of the Ghost, so suddenly shot-out, that the 
 report is not unlike any other explosive noise. Astonishment and Invo- 
 cation, on instinctive vocal interjections, are generally if not always, made 
 on long quantity : and we see how admirably the word angels is used by the 
 Poet, to give ' smoothness to its torrent' of those sentiments, on its emphatic 
 syllable. But the Actor's violence and hurry seem to be directed by anger and 
 impatience, enforced in the vehement trick of striking off his bonnet. If the 
 bonnet is to drop through the agitation of horror, let the true personating of 
 horror throw it off; not a dextrous maneuver, when the hands should be fixed, 
 or only trembling aghast. I would not here wish to insinuate, that the bonnet 
 is cast off, to turn aside, or confuse a scrutiny of the faults of intonation and 
 gesture ; since with that genius and accomplishment, which the Great Actor 
 is supposed to admire and affect, consciousness of error, is immediately followed 
 by an attempt to correct it : but certainly, nine-tenths, if not more, of what 
 ought at that moment, to be a feeling and a listening Audience, are by forcible 
 distraction, made to be only 'Spectators of a Cap-trap on the floor.
 
 382 EMPHASIS OF THE UNEQUAL WAVE. 
 
 ascent of its last constituent, will not only obscure the soul of 
 the poet, but absolutely cross out his sense ; for it will seem to 
 make Death insinuate a question, when he intends to be unan- 
 swerably affirmative. 
 
 We need not give an example of the wave of the Third in 
 its equal-single form. If we suppose in it, a reduced degree of 
 expression, all that was said of the character of the wave of the 
 fifth, whether direct or inverted, may be ascribed to the wave of 
 the third. It is more commonly employed than the fifth. 
 
 Of the Empliasis of the Unequal-single Wave. 
 
 It was said formerly, the unequal wave is used for the expres- 
 sion of admiration, surprise, or interrogation, according as its 
 course is direct or inverted. With a wide variation of the rela- 
 tive extent of its constituents, and its union with aspiration, or 
 vanishing stress, or guttural vibration, it becomes a forcible 
 sign of scorn. The last word of the following contemptuous 
 retort of Coriolanus, on the Volcian general who had called him 
 a 'boy of tears,' might perhaps be given as an instance of the 
 ascent of a fifth, and the subsequent continuous descent of an 
 octave. 
 
 False hound I 
 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 1 
 
 It is not here the place, to notice the strong aspiration neces- 
 sary 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 vexed pride 
 of the Roman, and to his vehement retort of a charge of incon- 
 stancy, which he must have half acknowledged to himself. 
 
 In the following lines, from the contention between Brutus
 
 EMPHASIS OF THE TREMOR. 383 
 
 and Cassius, the word yea may bear a direct-unequal wave, con- 
 sisting of tlie rise of a tone or third, connected with the fall of 
 a third or fifth. 
 
 For, from this day forth, 
 I'll use you for my mirth, yea, for my laughter, 
 When you are waspish. 
 
 If this word be given without aspiration, or vanishing stress, 
 or guttural vibration, the expression will not perhaps, differ 
 much from that of the equal wave. The sneer must therefore 
 depend on a union of some one of these several functions, with 
 the simple utterance. 
 
 The intonation of the word ivrong, at its second place, in the 
 following lino, may be taken as an example of the emphasis of 
 an unequal wave, with its first constituent, a semitone, and its 
 second, a downward third, or fifth, according to the force re- 
 quired by the sentiment : 
 
 You wrong me every way, you ivrong me, Brutus. 
 
 I do not give an illustration of the double wave of the higher 
 intervals. Serious and elevated discourse can have all its pur- 
 poses 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 
 neighbors, by the curling mockery of this vulgar intonation. 
 How far the double wave of the second may be employed, for 
 temporal emphasis, I leave othei'S to determine. 
 
 There is little to be said about the Time of the concrete as a 
 means of emphasis. Its variations are really perceptible by 
 strict attention: but they are so closely united with the forms 
 of stress, that a separate consideration of them is unnecessary. 
 
 Of the Emphasis of the Tremor. 
 
 The tremor may be applied to a limited succession of sylla- 
 bles, and thus, in a manner, constitute small portions of a
 
 384 EMPHASIS OF THE TREMOR. 
 
 tremulous melody. We have here to consider its occasional 
 application to one or two words, in the current of speech. 
 
 When the tremor is made on a single tonic element, in any 
 interval except the semitone, it is the sign of laughter ; and 
 consequently, in syllabic utterance, it joins to the emphatic 
 sense of the words, the expression of joy and admiration. 
 
 Thou art the ruins of the noblest man, 
 That ever lived in the tide of times. 
 
 There is a sentiment of exultation, and a superlativeness of 
 compliment in this eulogy, that cannot be properly expressed 
 by the simple 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 a vocal 
 consummation to the feeling of this exceeding measure of praise. 
 
 When the tremor is made on a single tonic element, in the 
 semitone, or its waves, it constitutes the function of crying. In 
 the chromatic melody, it sets a more marked distinction on em- 
 phatic words of tenderness, grief, supplication, and other related 
 states of feeling. 
 
 The following passage is taken from a dramatic part of Para- 
 due 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, Heayen, 
 
 AVhat love sincere and reverence in my heart 
 
 I bear thee, and imweeting have offended, 
 
 Unhappily deceived! Thy suppliant 
 
 I beg, and clasp thy knees ; bereave me not, 
 
 "VN'hereon 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. 
 
 As join'd in injuries, one enmity 
 
 Against a foe by doom express assign'd us. 
 
 That cruel serpent. Oji me exercise not 
 
 Thy hatred for this misery befallen ;
 
 RECAPITULATING VIEW OF EMPHASIS. 385 
 
 On me already lost, me than thyself 
 More miserable ! Both have sinn'd ; 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 remov'd, may light 
 On me, sole cause to thee of all this wo ; 
 Me, me only, just object of his ire ! 
 
 By the lines that follow in the poem, Eve is said to have ' ended 
 weeping,' and her supplication, to have been accompanied ' with 
 tears that ceased not flowing.' Now speech attended with tears 
 always exhibits more or less tremor. Should the semitonic tre- 
 mor however, be applied throughout the whole of this passage, 
 the efiect would be monotonous, and the characteristic concrete of 
 speech would be lost in the agitated voice of crying. The min- 
 gled efficacy of these functions may be appropriately shown, by 
 using the tremor, only on 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 some of the sylla- 
 bles, embracing the deepest feeling of contrition, have not suffi- 
 cient quantity to allow the eminent intonation of the tremor. 
 The word heg, and the accented syllable of uttermost are of this 
 nature ; for though they admit of the tremulous function to a 
 slight degree, still their limited time does not fully satisfy the 
 demands of sentiment, for a free extension of the voice. The 
 words bereave, on\j, forlorn, thee and more, through their inde- 
 finite quantity, give ample measure to intonation. On these then, 
 and others, of similar time, in the passage, the tremor may be 
 effectually set, while the rest of the melody, not so marked, must 
 have the smooth concrete of the semitone. 
 
 A Recapitulating View of Emphasis, 
 
 On a close consideration of the foregoing subject, it will be 
 found difficult to draw a definite line of separation between em- 
 phatic words and the rest of the current melody : inasmuch as 
 some of the fainter cases of emphasis, may scarcely differ from 
 the simply accentual and temporal distinction of syllables.
 
 386 RECAPITULATING VIEW OE EMPHASIS. 
 
 To -what case then, is the term emphasis to be applied ? Not to 
 that of one syllable, which differs in any measure of time or stress 
 from another. For by this rule we may regard half the words 
 of language as emphatic : since they are perpetually inter-varying 
 by slight differences in force, and quantity ; and since some 
 important forms of pitch, as the second, and its waves, when not 
 assisted by time and stress, are occasionally applied to syllables, 
 without producing thereby any remarkable distinction. There 
 are however, certain impressive characteristics of utterance that 
 forcibly attract the attention of an auditory. Marked effects of 
 stress, extreme length in quantity, Avide intervals of pitch, and 
 a peculiar quality of voice, when set on certain words, may be 
 considered as the constituents of emphasis. But at what point 
 in the respective gradation of these powers, the emphatic char- 
 acter rises above the common accent of the melody, cannot be 
 assigned, and perhaps need not be knoAvn. 
 
 Emphasis has, in the preceding parts of this section, been re- 
 garded as expressive of certain sentiments and thoughts, through 
 the agency of the five modes of the voice. 
 
 Emphasis may likewise be considered in reference to its gene- 
 ral Purposes. These are : First, to raise one or more words 
 above the level of the rest of the sentence, without regard to 
 their special relationships or antitheses. Second, to contrast cer- 
 tain words with each other, or to contradistinguish them. Third, 
 to supply an ellipsis, and thereby complete to the ear the gram- 
 matical construction. Fourth, to mark the syntax, on occasions 
 when it might be doubtful without the assistance of emphasis. 
 
 Another view of this subject might be taken, under the divi- 
 sions of the Parts of Speech. Thus ; when emphasis is laid on 
 the article, it contradistinguishes a subject as definite or indefi- 
 nite, as singular or plural. On a noun, it may either point out 
 the relation of attribute, or of genus, species, and individual ; or 
 it may raise one substantive-thought above the rest of the sen- 
 tence, without the immediate suggestions of any special antithesis. 
 On an adjective, the relations of quality and degree. On pro- 
 nouns, its distmctions are relative to gender, number, case, and 
 person ; or it may indicate, as on the article, the definite na-
 
 RECAPITULATING VIEW OF EMPHASIS. 387 
 
 ture of a subject. On the verb, it may show the relationship of 
 states of being, acting, and suffering, of time, and number ; or, 
 distinguish without palpable antithesis. On the adverb, the con- 
 tradistinction of time, place, negation, affirmation, and inference. 
 On the preposition, the antithesis of motion, position, and cause. 
 On conjunctions, the contrast of conjunctive and disjunctive re- 
 lations, and of condition. On the interjection, emphasis serves 
 only for unrelated distinction, without embracing an antithesis. 
 
 On the whole, whatever is the meaning of any part of speech, 
 emphasis may not only raise it into importance, and contradis- 
 tinguish it from some other meaning, but may likewise supply an 
 ellipsis, and point out the syntax. 
 
 It has been said, — every case of emphasis includes contrast. 
 This does not seem to be true of emphatic interjections ; at least 
 the antithesis is not obvious. And with regard to the cases in- 
 cluded under the detail of other Parts of speech, the contrast, in 
 many instances, is not, at the moment, a subject of attention, 
 even should an antithesis be embraced within the thought. Nor 
 does it appear to be true of the Ellipsis, and the Emphatic tie. 
 
 It is not within the range of my design, to illustrate all the 
 cases of emphasis, set forth in the above survey of species, sug- 
 gested by the philosophy of the parts of speech. I here exem- 
 plify the four general heads, of the Purposes of emphasis. 
 
 First. The distinction of one Avord 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. 
 
 The first phrase contains an interjective emphasis ; but I can- 
 not conceive with what see, is in contrast. Surely Satan, in 
 drawing the attention of the eyes of Beelzebub, did not mean 
 to signify, that he should not otherwise perceive the recall of 
 the pursuit : And to suppose see to be in antithesis to his not 
 having looked before : or to his having here a contrasted inter- 
 est with some previous purpose, is a mere refinement. The case 
 is the same with most interjections, whether they arc properly
 
 388 RECAPITULATING VIEW OF EMPHASIS. 
 
 the simple tonic elements, or with greater latitude, any of the 
 several parts of speech. 
 
 Second. The marked antithesis is exemplified in the follow- 
 ing lines : 
 
 I yielded ; and from that time see 
 How beauty is excell'd by man\j grace, 
 And wisdom, which alone is truly fair. 
 
 This is the most frequent form of emphasis. 
 
 Third. The use of strong emphasis, in an elliptical sentence, 
 is remarkable in the following instance, from the first book of 
 Milton : 
 
 Into lohat pit thou seest ! 
 From ^chat hight fall'n ! so much the stronger prov'd 
 He with his thuLder. 
 
 Taking these lines as a complete construction, they are un- 
 grammatical, and unintelligible. To one acquainted with the 
 context, 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 hight we have been hurled, and 
 learn thereby the degree of his superior strength. Or thus, — 
 as far as the horrors and the depth of this pit are removed from 
 the bliss and hight of heaven, so far has the thunder of the 
 Almighty surpassed the strength of our arms. Now, this full 
 meaning can be clearly brought out from the elliptical phrase- 
 ology of the Poet, only by skillful emphatic intonation. If the 
 word what, in its two places, limited as it is in quantity, be given 
 with an emphasis of the downward octave, for it will not bear 
 its direct wave, forcibly aspirated, and with a loud concrete ; 
 and if the succeeding words Avithin the notes of admiration, be 
 also intonated with downward vanishes, but with smaller inter- 
 vals, it will vocally denote an astonishment at the precipitation 
 and at the doom, not fully conveyed by the words alone. And 
 further, if a cadence and a pause be made at falVn, and if so 
 much be strongly emphatic, in any form that seems preferable ; 
 the comparison of the degree of strength in the thunder, to 
 the measure of the hight, will be obvious ; and the whole sense
 
 RECAPITULATING VIEW OF EMPHASIS. 389 
 
 and sentiment will come upon the ear, with that laconic elo- 
 quence, in which the admirers of the Poet will be ready to 
 believe, it was thought and condensed in his perfecting imagi- 
 nation. 
 
 Fourth. When the structure of a sentence is so much 
 involved, as to produce a momentary hesitation in an audience, 
 about its concord or government, the syntax may be rendered 
 perspicuous by means of emphasis, as in this example : 
 
 He stood, and call'd 
 His legions, Angel forms, who lay entranc'd 
 Thick a,s Autumnal leaves that strow the brooks 
 In Vallombrosa, -where the Etrurian shades, 
 High over-arch'd, imbower; or scattered sedge 
 Afloat, when with fierce winds Orion arm'd 
 Hath vexed the Red-sea coast. 
 
 If this passage stood thus, Thick as autumnal leaves, in 
 Vallombrosa^ or scattered sedge afloat, there could be no hesi- 
 tation about the construction. But the chain of parenthetic 
 specifications between leaves, and or, together with the pic- 
 turesque associations, and the beauty of the phraseology, makes 
 us for a moment lose sight of that intended transition to another 
 subject of illustration, which should be immediate and perspicu- 
 ous. For the substitutive sense of the conjunction or, is not so 
 apparent, that the phrase scattered sedge, might not, at the 
 moment, be prospectively taken as a nominative in some new 
 course of the description. But if the clause thick as autumnal 
 leaves, be emphatically raised into memorable notice ; and the 
 succeeding words, extending to the semicolon, be hurried, yet 
 becomingly, and with a somewhat monotonous course of melody, 
 a subsequent emphasis on scattered sedge afloat, will at once 
 refer the ear back to the last similar distinction of the voice, on 
 autumnal leaves, and thus indicate, that the Angel forms lay 
 likewise as thick as the scattered sedge afloat. 
 
 This means for denoting the syntax and the sense, 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 ; since in a more natural and per-
 
 390 EECAPITULATING VIEW OF EMPHASIS. 
 
 spicuous arrangement, there would be no call for the emphatic 
 distinction. 
 
 Having thus enumerated the various modes of time, quality, 
 force, abruptness, and intonation, by which certain words or 
 syllables are brought conspicuously before the ear, the reader is 
 prepared to receive the term emphasis, with a wider definition 
 than is usually given of it. 
 
 Emphasis is a generic term for the extraordinary impressive- 
 ness of the sense or sentiment of words ; the species of impression 
 being derived from the varied modes of the voice. 
 
 From this view it appears, that Emphasis, and what we have 
 called Expression, may be considered in most cases, as con- 
 vertible generic terms ; since emphatic words differ from such as 
 are unemphatic, through the use of those impressive vocal 
 agencies that 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 
 accuracy of delineation. Words may be considered under three 
 aspects : as representative of simple thought ; as indicative of 
 an enforcing of thought ; 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 radicals. But the portions of dis- 
 course representing simple thought, are limited : thoughts are to 
 be enforced, and passions to be expressed. The tenor of the 
 simple diatonic melody is therefore often interrupted, by an 
 occurrence of wider intervals of the scale, both in the concrete 
 and discrete forms. It was shown, at the close of the sixteenth 
 section, that besides the seven forms of radical pitch, called the 
 phrases of melody, other successions of wider intervals were, by 
 the requisitions of speech, introduced into the Current : and 
 thus, on the same principle which directed the construction of 
 those phrases, we have the phrases of the third, fifth, and octave, 
 both in the rising, the falling, the concrete, and the discrete
 
 RECAPITULATING VIEW OF EMPHASIS. 391 
 
 forms. Having learned how these •wider phrases are employed, 
 in the important purpose of emphasis, we may distinguish them 
 by an appropriate term. And since we called those formed on 
 the radical successions of the second, the phrases of melody or 
 the Diatonic Phrases, let us call those formed on the radical 
 transitions of wider intervals, the Emphatic Phrases, or the 
 Phrases of Emphasis. 
 
 If the foregoing history of the speaking voice has been suffi- 
 ciently clear, the reader may now be able to take a discriminative 
 survey of that system of melody and expression, which has beeh 
 so long bearing its part in the ways of human thought and 
 passion, without a single ear to measure the niceties of its 
 instrumentality, or to recognize the perfection of its purpose : 
 and if his mind is large and liberal enough to let in other 
 thoughts than those of profit and fame, he may herein possess 
 and enjoy, at least the picture of a wise and beautiful system 
 of nature, if he cannot, ambitiously offer it either for gain or 
 applause. 
 
 The exercise of an attentive ear, together with a resolute 
 practice, will be necessary for the precise recognition, and 
 skillful employment of the forms of vocal expression. But a full 
 understanding of the history and system of speech, Avithout 
 this practical facility, will enable us to overlook the exercises of 
 others, with the decisive commendation or censure of an intelli- 
 gent criticism : to carry the steady arm of principles, against 
 the self-conflicting councils, and changeful orders of conventional 
 authority : to hold out against error with the strong defences of 
 a cultivated taste ; and to associate the delightful but passing 
 perceptions of the ear, with the continued and busy pleasures of 
 mental discrimination. 
 
 When the reader reviews the preceding history, he is requested 
 to bear in mind that its purpose was to record the phenomena of 
 speech, without a limitation of that purpose, to points, readily 
 cognizable in ordinary utterance, or practically important in 
 oratorical instruction. As these phenomena were observed, so 
 in strictest accordance, were they set down : for there is in this 
 work, no Contribution to knowledge, Avhich has not been drawn
 
 392 RECAPITULATING VIEW OF EMPHASIS. 
 
 from nature, by patient observation and experiment, conducted 
 within the limits of that little space, between the Tongue and the 
 Ear. Many parts of the detail will at once be recognized by the 
 competent critic ; others will be afterwards received into the 
 growing familiarity of his inquiry ; while some of the descrip- 
 tions, even if admitted, will still be considered as refinements, 
 beyond the reach of perception and of rule. As a physiologist, 
 I have done no more than my duty in this abundant record, 
 however apparently useless some of its minuti^ may be. Much 
 of the accumulated wealth of science is not at interest ; but the 
 borrowers may one day come. It is readily granted, that some 
 distinctions in this history, may be at present practically disre- 
 garded. Thus the several forms of stress are described as 
 palpably differing functions ; and they are so, in speech : yet I 
 have not ventured to insist on the importance of the difference 
 in all cases. So in describing the nature and uses of the inter- 
 vals of the scale, it was not designed to exclude the fourth, sixth 
 and seventh, or intervals even beyond the octave, from the 
 speaking voice. Nor is it to be understood that some of the 
 intervals of intonation, may not on occasions, be used as substi- 
 tutes of each other, without affecting the force or precision of 
 speech. I was also far from ascribing particular expressions to 
 all the possible forms of the wave. 
 
 In thus opening the way for the change of elocution, from an 
 imitative Mannerism, with its inherent defects, to a directive 
 Science, or rather, an Art Founded on Nature, with all its con- 
 stituent usefulness and beauty, it was necessary to set forth 
 every function of the voice : 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 its higher accomplishments, through the abundant encom- 
 passing of principles, and the condensing economy of systematic 
 means. That the investigation of this subject has produced 
 much that will be imperceptible to the first scrutinies of the 
 general ear, must be inferred from the past history of human 
 improvement. The mysterious subject of the Speaking Voice, 
 has been at all times so despairingly abandoned, as beyond the
 
 DRIFT OF THE VOICE. 393 
 
 reach of analytic perception, that the supposed impossibility 
 alone, will perhaps raise a stronger opposition to the claims of 
 this Demonstrative Essay, than all the Author might despond- 
 ingly have imagined against his prospects of success, in under- 
 taking this 'forlorn hope' of philosophic inquiry. Many -who 
 in fine organization of ear, and a capability of delicate analysis, 
 possess the means for successful investigation, will, too probably, 
 shrink from the labor of experiment; and seek to justify 
 infirmity of resolution, by defensively assuming the hopeless- 
 ness of trial. 
 
 SECTION XLVII. 
 
 Of the Drift of the Voice. 
 
 He who has the rare gratification, to hear a good reader, may 
 perceive that his voice is not only adapted to the varying senti- 
 ments of individual words, but that there is a character in its 
 movement, continued through parts, or the whole of his dis- 
 course ; accommodated to its reigning spirit ; identical during 
 the prevalence of that spirit, and changing with its variations. 
 Every one recognizes this difierence in manner, between a 
 facetious 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 may be its sense or expression, that I apply the 
 term Drift of. the voice. 
 
 The characteristic of drift is derived from the various modes 
 of Quality, Force, Time, Abruptness, and Pitch. My purpose 
 here, is to enumerate its forms ; and to show how far they may 
 be continuously employed in speech. 
 
 This subject is not unnecessarily specified by a name ; nor 
 26
 
 w 
 
 394 DRIFT OF VHE VOICE. 
 
 uselessly offered to the studious attention of the reader : for if 
 a particular drift is required on a portion of discourse, or on 
 the whole of it, any interruption of its assumed and appropriate 
 character, will do equal violence to sentiment, and taste. Thus 
 the introduction of a tone or second, into the plaintive drift of 
 the chromatic melody, would no less offend against propriety of 
 speech, than the errors of time in music, would shock the 
 sensibility of an accurate ear. 
 
 The importance of the subject of drift being admitted ; let 
 us consider, Upon what it is founded ; and How many different 
 forms it may employ. 
 
 Drift is founded on the various species of the five generic 
 modes of speech. These species have been described, as regards 
 their individual character ; their expressive meaning ; and their 
 occasional purpose of emphasis. In the present section, we 
 consider the manner of applying them ; and their peculiar effect, 
 when continued through a part or the whole of the current 
 melody. 
 
 The question, — How many different styles the drift may 
 assume, is to be answered, by ascertaining which of the syllabic 
 uses of quality, force, time, and pitch, will bear continued 
 repetition ; for some cannot be so repeated, without producing 
 a disagreeable monotony. In general, it may be said, that most 
 of the forms of time, stress, and intonation, are as occasion 
 requires, applicable in continuation, without violating propriety 
 or taste. Again, some can be employed only on a few, or on 
 solitary syllables, and therefore are not allowable as a drift in 
 discourse. 
 
 Although the character of a drift may pervade the whole 
 sentence, yet the peculiar form of voice which produces it, is 
 in some cases applied only to certain syllables. Thus, unac- 
 cented syllables cannot bear the prolonged time, required for 
 the drift of dignity ; still the dignity is spread over the whole 
 sentence, by its long quantities alone. We here enumerate 
 the various styles of drift. 
 
 The Drift of the second, or the Diatonic Drift. The dia- 
 tonic melody is used for simple narrative and description ; and
 
 1 
 
 DRIFT OF THE VOICE. 395 
 
 having no remarkable expression, may be so continued as to 
 form one of the most common styles of drift. The employment 
 of expressive intervals, when not required, in the plain diatonic 
 melody, violates one of the leading laws of speech. Let a 
 gazette advertisement be read with the solemn drift of a long 
 quantity, or in the plaintive style of the semitone ; and all, at 
 least of our New school of Criticism, will acknowledge the im- 
 proper application of time and intonation. 
 
 In the usual course of the diatonic melody, perhaps the 
 upward concretes predominate : the downward vanish of the 
 second, being occasionally introduced for variety ; but when 
 required by the gravity of the subject, this downward second 
 may without monotony, constitute a drift. 
 
 The Drift of the Semitone. Enough was said formerly 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 is practicable on every kind of quan- 
 tity. The semitone therefore, in its drift, is heard on every 
 syllable, however short ; and even though unaccented. 
 
 The Drift of the Dowmvard Vanish. It was said, the 
 falling second is sometimes used as a drift. The downward 
 third and even the fifth is occasionally heard in continuation. 
 Their currents express positiveness ; and an earnestness of 
 conviction, with resentment, when enforced by stress. The fol- 
 lowing indignant argument from the pleading of Volumnia, in 
 Coriolanus, bears the downward fifth on all its emphatic 
 syllables. 
 
 Come let us go : 
 This fellow had a Volcian to his mother; 
 His wife is in Corioli, and this child 
 Like him by chance. 
 
 A continued use of the downward intervals, is as we have 
 seen, a style of drift in exclamatory sentences. 
 
 The Drift of the Wave of the Second. This is used in con- 
 tinuation on long quantities, for occasions of solemn, deliberate, 
 and dignified speech. I do not say, — this wave may not be
 
 396 DRIFT OF THE VOICE. 
 
 applied tO' syllables of moderately protracted time, and even 
 rapidly executed on those we called mutable: but it is on 
 long-drawn or indefinite quantities that the effects ascribed to 
 it as a drift, become conspicuous. 
 
 The Drift of the Wave of the Semitone. This is the most 
 common form of the semitonic drift ; since the sentiments asso- 
 ciated with the chromatic melody, generally call for slow time 
 and long quantities. Upon the subject of this, and the preced- 
 ing head, we must bear in mind that both the direct and inverted 
 form of these waves are used interchangeably, in their respective 
 melodies. The rise and fall of the simple second, having no 
 peculiar expression, the difference, if any, in the effect of the 
 respective terminating interval of its direct and inverted wave, 
 is to be disregarded. Whereas, the strong expression of the 
 wider simple intervals, gives a remarkable difference to the 
 respective termination of their direct and inverted waves. 
 
 The Drift of Quantity. Attractive styles of speech are 
 formed on Time. In discourse, containing the sentiments of 
 gaiety, mirth, anger, and other similar emotions, the utterance 
 is quick ; and this is generally combined with the simple con- 
 crete of the second, together with a radical or vanishing stress. 
 The drift of long quantity, on the wave, is employed in all 
 solemn, plaintive, and dignified speech. 
 
 We might make a threefold division of the temporal Drift, 
 into that of quick, slow, and median time. 
 
 The Drift of Force. Loudness and Softness, or with pre- 
 ferable co-relative terms, the Forte and the Piano, when 
 respectively heard in continuation, do so impress the ear with 
 their distinct peculiarities, as to constitute styles of utterance ; 
 and the failure to fulfill the demands of sentiment on either of 
 these points, must be included among the faults of speech. Who 
 will deny, — there are occasions, when the drift of comparative 
 piano would be ridiculous : and others again, when that of forte 
 would be disgusting bombast. 
 
 The Drift of the Loud Concrete. This is only reading or 
 speaking with more than usual force. It may therefore con- 
 stitute a drift : and may be referred to the preceding head.
 
 DRIFT OF THE VOICE. 397- 
 
 The Drift of tJie Median Stress. This is necessarily asso- 
 ciated -witJi long quantity ; and generally with that of the wave 
 of the second, and the semitone : for their protracted time is 
 always the sign of that dignity, which for its most graceful 
 display, requires the median swell. 
 
 These nine styles of drift do, by their continuation, impress 
 a peculiar characteristic on extended portions of discourse. 
 
 Of the other expressive uses of the voice, none are allowable in 
 that continuation which, according to our previous account of 
 drift, would constitute a current style. And yet the application 
 of some of them, extends so much beyond the limit of emphasis, 
 that they deserve a place next in order to the full, or Thorough 
 drifts. If the reader is disposed to give them a name, founded 
 on their nature, they might be called Partial drifts : thus we 
 have. 
 
 The Partial Drift of the Tremor. The tremulous move- 
 ment is proper only on short and occasional passages, passages 
 of wjiat might be called syllabic crying. But the tremulous 
 expression, whether in the plaintiveness of the semitone, or 
 in the gaiety and exultation of the second and wider intervals, is 
 too remarkable to be kept up through a long line of discourse. 
 For though drift is by its nature, a kind of monotony, it is only 
 disagreeable when improperly applied, or unduly continued. 
 
 The Partial Drift of Aspiration. Sentiments requiring 
 aspiration, 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. 
 
 The Partial Drift of the Criittural Vibration. The scorn- 
 ful feeling of this form of expression is sometimes continued 
 for more than the time and the solitary occasions of emphasis : 
 and thus produces a partial drift. 
 
 The Partial Drift of Interrogation. The rising third, fifth, 
 and octave are the interrogative intervals. Their partial use in 
 interrogation, exceeds in so slight a degree, the extent of their 
 application as emphasis, that in this case, they are scarcely 
 entitled to the name of drift. But in declarative questions, 
 and in other questions requiring the thorough intonation, the
 
 398 DRIFT OF THE VOICE. 
 
 predominance of these impressive intervals, gives that pecu- 
 liar character which the common ear at once percpives and 
 comprehends. Still, as questions are hut portions of discourse, 
 and as these wider intervals are never used in continuation for 
 any other purpose, this form of drift must be coiisidered as 
 partial. 
 
 The Partial Drift of the Phrases of Melody. The Mono- 
 tone, and the Alternate phrase are sometimes severally used in 
 contirnuation, to an extent, that might constitute a partial drift. 
 In the twenty-ninth section, a peculiar character is respectively 
 ascribed to these two phrases, when continuously employed. 
 
 It may be a question, — how far Quality of voice, on a part 
 or the whole of discourse, might constitute a drift. The fulness 
 of the orotund may impart to utterance a character of dignity, 
 at once distinguishable from the meager huskiness and forceless 
 efforts of uncultivated speech. 
 
 These are the several drifts, that may be respectively con- 
 tinued throughout discourse ; or restricted to the partial limits 
 of a sentence or a clause. 
 
 Some of the constituents of vocal expression, will not bear 
 repetition ; and are thus not admissible among the styles of drift. 
 
 It was said, 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 wider 
 intervals are never, in correct speech, used in continuation. 
 The minor third, though a plaintive interval in crying and song, 
 is not admissible as a drift ; nature, for some wise purpose, 
 Iiaving excluded this sign from what she intended to be agreeable 
 and effective speech. Its peculiarity will be shown when we 
 treat of the faults of speakers. 
 
 As a current style, of these wider intervals, is forbidden in 
 melody, so their combination into the wider waves, cannot be 
 extended beyond the limited place 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 
 undue repetition of these florid constituents of speech.
 
 DRIFT OF THE VOICE. 399 
 
 Of the stresses, none except the Median and the Loud concrete 
 are employed as a drift. The Radical might indeed be made 
 the drift, in a language, of only immutable emphatic sylla- 
 bles ; and some bad speakers do use this stress, as if their 
 own had been so constructed : but it is too forcible to bear 
 continued repetition, without offending the ear. The Vanishing 
 and the Compound, are too peculiar, as well as too violent, to 
 form a drift. It need scarcely be said, that the Emphatic vocule 
 cannot form one. As to the Thorough Stress, whenever it shall 
 be introduced generally, as a drift into speech, music, sense, 
 soul, every oratorical grace, and the common social and way- 
 side decencies of the tongue, will long before have left it. 
 
 There is a prominent feature in the art of reading, nearly 
 related to the subject of this section. I mean that notable 
 change of voice, required in the transition, from one paragraph 
 or division of discourse to another. It may be supposed, this 
 point is already included in the foregoing history of drift. 
 Should any strong or peculiar sentiment be contained in the new 
 paragraph, it will indeed be distinguished, by its proper expres- 
 sion. But without seeing the page, we sometimes know that a 
 reader is passing to a new subject, even when there is no 
 striking alteration of expression : and when the plain diatonic 
 melody continues, after the transition. 
 
 The recognition in this case, is produced by several means. 
 First. By the period preceding the change, being made with 
 that most complete close, the prepared cadence. This indicates 
 the termination of the preceding subject, and thereby implies 
 the introduction of a new one. Second. By a pause, longer 
 than that between sentences nearly related to each other. 
 Third. By the succeeding sentence or paragraph beginning at a 
 pitch above or below the line of the previous current. Fourth 
 By a striking effect from the phrases of melody, applied to the 
 outset of a new topic. 
 
 These vocal indications make the change of subject obvious, 
 when a peculiar construction of the sentence immediately follow- 
 ing the period, dcfei'S the development of its sense, and renders 
 it impossible* to ascertain, by the few first words, whether the
 
 n 
 
 400 DRIFT OF THE VOICE. 
 
 proximate sentences are immediately or remotely related to 
 each other. 
 
 From a review of this subject, it appears, that many of the 
 forms of expression may be in continual use as a drift, without 
 producing monotony ; that some admit of repetition, only to a 
 certain extent ; while others do not bear application beyond the 
 solitary place of emphasis. It appears, too, by the beautiful 
 fitness, and consistency of nature, that those, inadmissible as a 
 drift, have a very striking character, and are reserved for the 
 occasional purposes of emphatic distinction. Thus the down- 
 ward eighth, with its impressive intonation, is never used in drift. 
 The case is similar with the wider forms of the wave ; and the 
 rising third, fifth, and octave, when not employed for interro- 
 gation. 
 
 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 vanish- 
 ing 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 the piano or the forte. 
 In short, the reader can ascertain which of them may be 
 associated, by knowing the compatible characteristics of the 
 several means of expression ; for they are united in the practice 
 of the voice, in every possible way. 
 
 It is not necessary to give extracts from authors, to illustrate 
 the various kinds of drift. After all that has been said of the 
 modes of the voice, and their forms, together with the foregoing 
 history of their application in a continued style of speech, fur- 
 ther explanation would be superfluous. For I am not less 
 solicitous to limit the pages of this essay, than to extend the 
 measure of its instruction.
 
 VOCAL SIGNS OF THE PASSIONS. 401 
 
 SECTION XLVIII. 
 
 Of the Vocal Signs of the Passions. 
 
 I HAVE already given a physiological description of the func- 
 tion of the voice, and have pointed out their expressive powers, 
 as far as they denote simple thought, sentiment, feeling, emo- 
 tions, or any other named condition of the mind. This should 
 satisfy the reader ; since it describes, in its own general way, all 
 that to me, at least, is audible and capable of measurement. 
 But former systems of elocution having embraced an inquiry, 
 however fruitless, on the representation of the passions in Speech ; 
 such a view, though superfluous after what has been said, may 
 perhaps be demanded here. 
 
 There is a hypocritical compliment, always paid to originality; 
 the contradictory spirit of which is, that mankind are eager to 
 receive what is new, provided it is told in the old way. I can 
 imagine, a few of my readers, even after all that has been here 
 written on the forms of expression, and the sentiments repre- 
 sented by them, may, — through the unthinking influence of habit, 
 and by never looking at things, as they are, — still ask for a sepa- 
 rate chapter on this subject. Having therefore fulfilled a 
 purpose of this essay, by describing, under their respective 
 sections, both the nature, and the peculiar eff'ect of the vocal 
 signs of the passions ; I am now going to satisfy an expectation, 
 and at the same time give a varied view of expression, by a 
 formal detail under the word. 
 
 I had occasion, in the introduction, to notice the limited de- 
 gree of our knowledge, in some of the scholastic departments 
 of Elocution : and having, from the first, resigned myself wholly 
 to the authority of observation, have endeavored to adhere to an 
 early resolution, — to avoid both controversy, and quotation: 
 since even within the limited pretensions of these departments, 
 there is much that is unintelligible, and more that is erroneous. 
 We are now about to leave, for a moment, the definite and
 
 402 VOCAL SIGNS OF THE PASSIONS. 
 
 luminous prototype of nature, to contrast her lights, with the 
 mysterious shacks of the opinions of men. 
 
 No author, as it appears, has paid more attention to the sub- 
 ject of Inflection, or the rise and fall of the voice, particularly 
 in its practical use, 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 account of the purposes of Inflection, if 
 not in the knowledge of its nature, he fairly Hreads upon that 
 Greek and Roman glory,' which national vanity first proclaimed, 
 and the subsequent credulity of European scholarship was simple 
 enough to magnify and repeat. 
 
 But let us hear what Mr. Walker says of the vocal representa- 
 tion of the passions. 
 
 'It now remains,' observes this author,* 'to say something of 
 the passions and emotions of the speaker. These are entirely, 
 independent on the modulation of the voice, though often con- 
 founded with it : for modulation relates only to speaking loudly 
 or softly, 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 emotion 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 quantity any local direction.' 
 
 And again in another work.f 
 
 ' As to the tones of the passions which are so many and so 
 vai'ious, these in the opinion of one of the best judges in the 
 kingdom, are qualities of sound occasioned by certain vibrations 
 of the organs of speech, independent on hiyh, low, loud, soft, 
 quick, slo IV, forcible or feeble.' 
 
 * Elements of Elocution, page 308, Am. Ed. 
 
 ■j- Observations on Greek and Latin quantity, appended to Walker's Key to 
 the pronunciation of ancient proper names.
 
 VOCAL SIGNS OF THE PASSIONS. 403 
 
 It often happens with modern aspirants after some of the sci- 
 ences in the schools, — as it did with those who anciently under- 
 went the mummery of admission to the mysteries of Eleusis, — 
 to hear themselves addressed in an incomprehensible language. 
 What instruction, for instance, can be gathered from this defi- 
 nition, if indeed it deserves the name ? ' The tones of the 
 passions mean only that quality of sound that indicates the 
 feelings.' Here instead of an explanatory description of a 
 thing, we are presented with a truism in a periphrase. For, as 
 the terms ' passions' and ' feelings' must here be 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 which indicate the passions :' 
 or with less waste, thus ; ' the tones of the passions are the tones 
 of the passions.' 
 
 The second extract however, seems to contain a real distinc- 
 tion between the subject and the predicate : because by ' quality' 
 the author may mean that mode of the voice, specified in this 
 essay, by the terms full, harsh, slender, natural, falsetto, whisper 
 and orotund ; for these are the only existing qualities of sound, 
 besides those which Mr. Walker has excluded from his definition. 
 But if pitch, which is here meant by 'local direction,' be denied 
 a place among the signs of passion, what shall we say of the 
 comprehensive class, including the pitch of the semitone ; the 
 rising intervals of interrogation ; the downward vanish that 
 conspicuously marks the various degrees of surprise ? And in 
 short, what is to be said of the efi'ect of the different measures 
 of time, and the various degrees of stress, if speaking ' loudly 
 or softly,' and ' increasing or diminishing the quantity' of sound 
 have nothing to do with the vocal expression of passion ? 
 
 But the real motive of Mr. Walker, in excluding intonation, 
 and stress, and time, from among the signs of the passions, and 
 of his attempts to assign the expression of speech to a certain 
 unexplained cause called ' quality,' is clearly manifested in the 
 last quotation ; for here, this opinion, on the physical agency of 
 his term quality, for it is no more than a word, is ascribed to 
 ' one of the best judges in the kingdom.' After all then, this
 
 404 VOCAL SIGNS OF THE PASSIONS. 
 
 confused notion concerning the passions was adopted upon 
 authority, by Mr. Walker : and this confession of his faith in 
 others, certainly did not accord with his repeated claims to 
 originality 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, since he, 
 himself, never designs to stand security against the folly or 
 mischief of his promulgations. 
 
 What has been recorded in our previous history, may induce 
 the reader to smile at the above quotations : and enable him to 
 perceive, that the vocal signs of the passions are no more than 
 the every-day audible sounds of the manifest Modes and Forms 
 of Quality, Time, Force^ Abruptness, and Pitch ; and that the 
 greater part of these signs are derived from those very causes, 
 which are declared by Mr. Walker, to be unoperative in impas- 
 sioned utterance. With regard to the ' specific quality' here 
 assumed as the vocal material of expression, it is not allowable 
 to suppose, the mode of voice called in this essay. Quality, 
 or Kind, is meant by Mr. Walker's term ; since his account of 
 quality is complicated with an attempt to derive its proximate 
 cause, from some unintelligible system of ' vibrations.' 
 
 Let the whole pass as an instance of that unnatural paternity 
 in instruction, which when asked for bread, dispenses nothing 
 but a stone. And at the same time let it justify any apparently 
 unbecoming expressions that may have slipped from my pen, 
 when unavoidably brought into contact with those grosser errors 
 of indolence or authority, which are almost unpardonable. 
 
 In reconsidering the subject of expression, under another view, 
 it is not my intention to go into a dissertation on the nature of 
 the passions, or to contend with authors about the scheme of 
 their arrangement. I shall describe them with reference only 
 to the purpose of the present section, without designing to re- 
 gard their other relationships. 
 
 The human mind is the place of representation of all the 
 existences and actions of nature, within the scope of the senses. 
 These representatives are called ideas. These ideas are the simple 
 passive pictures of things ; or they exist with an activity, capa-
 
 VOCAL SIGNS OF THE PASSIONS. 405 
 
 ble of so affecting the physical organs, as to induce us to seek 
 the object that produces them : or to avoid it. This active or 
 vivid class of ideas, comprehends the passions. The states of 
 mind here described, exist then in different 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 classification, for separating the 
 mental conditions of thought and passion : since simple thoughts 
 without changing their nature, do from interest or other incite- 
 ment often assume the degree and color of a passion. 
 
 This being one of the many views to be taken of ideas, we 
 pass to the consideration of the effects produced on the physical 
 organs by those thoughts or feelings, constituting their sensible 
 signs or expression. The signs are various, but we are at 
 present concerned only with those in the voice. 
 
 Some of the states of mind, called passions, are possessed 
 by man, in common with inferior animals. These have their 
 instinctive expressions conspicuously marked in the voice, and 
 in various muscular actions. 
 
 Again, other states of mind are the product of human intelli- 
 gence, and the social relations. These have no such signs, as 
 those ordained by nature in her own original creations. Thus, 
 there are natural expressions, both in the vocal organs, and in 
 other parts of the body, for pain, surprise, and anger ; but none 
 of any definite character for hope, contentment, and gratitude. 
 
 Here then are two essentially different means for expressing 
 the various states of mind : since some of these thoughts, emo- 
 tions, passions, call them what we will, are denoted by certain 
 forms of stress, time, quality, and pitch, — nature's instinctive 
 signs, — joined to syllabic utterance; while others can be de- 
 scribed only by a verbal or conventional language, which does not 
 carry the natural vocal-signs of expression. Thus we signify 
 command by the downward fifth, or octave ; and complaint by 
 the semitone ; and the meaning of these intervals is the same 
 in all nations. But it is not in our power, to express the senti- 
 ments of gratitude, and irresolution, except we describe these
 
 406 VOCAL SIGNS OF THE PASSIONS. 
 
 sentiments, by appointed and arbitrary words, that may vary in 
 every different language. 
 
 Let us then, by terms, clearly distinguish these two classes of 
 signs. Thus, when we communicate our thoughts and sentiments 
 by Quality, Time, Force, or Intonation, and without the use of 
 the conventional meaning of words ; we will call it, the In- 
 stinctive, or Natural, or Vocal sign of expression. When we 
 describe or indicate our thoughts, and sentiments by a sentence, 
 a phrase, or a word, without the use of vocal signs, co-expressive 
 with the words ; we will call it, the Conventional, or Artificial, 
 or Verbal sign of expression. 
 
 Although it thus appears that we have not an instinctive 
 vocal sign for every state of mind ; yet every state of mind may 
 be expressed by the conventional sign ; for one can verbally 
 inform another, that he is astonished, in the plain diatonic 
 melody, and thus convey a knowledge of the existence of that 
 sentiment, as certainly as he can by the most striking use of the 
 downward octave, which is its natural sign. When astonishment 
 is to be represented on a word or phrase, which does not describe 
 it, it is necessary to employ the natural sign of this sentiment. 
 We have seen in the seventeenth section, that a question may 
 be asked by a grammatical construction alone, without the aid 
 of intonation. But further, an interrogatory can be distinctly 
 conveyed, merely by the verbal statement, that a question is 
 asked. 
 
 One of the consequences of there being Instinctive signs in 
 the voice, for the expression of sentiment, and Artificial signs in 
 language, to describe it, is, that one instinctive sign can with the 
 assistance of the artificial sign, represent two or more sentiments, 
 or their degrees ; for though the kind of intonation is the same, 
 and therefore in itself cannot signify different species, or shades 
 of meaning, yet a specification, by the descriptive terms, signi- 
 fies the difference, under an identical vocal form. Suppose for 
 instance, one should use the imperative phrase, he gone, with a 
 forcible downward vanish of the octave : and again, with the 
 same intonation, should say I am astonished ; the difference 
 between these two emotions of command and astonishment,
 
 VOCAL SIGNS OF THE PASSIONS. 407 
 
 would be distinctly represented under this identical intonation, 
 by the words in which they are severally declared. Thus too, 
 the same semitone is used for the ej^prcssion of pain, discontent, 
 pity, grief, and contrition : and yet in all these different cases, 
 the sentiments are marked by the conventional language on 
 which the semitone is employed.* 
 
 * The Verbal and the Vocal means of expression, are each so essential, to the 
 purposes of speech, that it is diiBcult to determine "which is most significant of 
 sentiment and passion. The power of giving a diflferent meaning to the same 
 Tvord, by a varied quality, stress, time, or intonation, would imply that the vocal 
 or instinctive signs, are more effective than the verbal or conventional. But 
 ther circumstances warrant a conclusion, that we are as much indebted to the 
 descriptive agency of words, as to any expressive efficacy of the voice. 
 
 It will hereafter be shown in the analysis of Song, that every function which 
 we have ascribed to speech, is employed in its Elaborate style of execution : and 
 though it is true, the semitone has a plaintive expression, even if sung without 
 words : still the rising and falling concretes of the third, fifth, and octave, when 
 not set to words which describe the sentiments of these intervals, are constantly 
 heard in what are called songs of Agility, without producing the audible charac- 
 teristics of interrogation, positiveness, or surprise. The various forms of stress 
 too, that have their proper expression in syllabic utterance, seem to be almost 
 without meaning in the inarticulate movements of song. 
 
 But a still more striking view of the power of language, as the means of 
 expression, when contrasted with the power of intonation, is displayed in the 
 voice of brute animals, particularly that of birds. 
 
 When a familiarity with our history will have given a facility in discrimina- 
 tion, it will be perceived that birds employ all the vocal signs of speech, without 
 suggesting the sentiments of surprise, interrogation, positiveness, and scorn, 
 together with the repose of the cadence, which would be eminently conveyed by 
 those signs, joined with words that describe these several sentiments. The 
 expi'ession of plaintiveness by the semitone, in the voice of the dove, and of 
 pleasure by the tremulous scale, in the horse when snuffing his food, is indeed 
 made without a verbal sign, and yet is identical with the display of these feel- 
 ings in the human voice. But it must be recollected that laughter and crying, 
 the analogies to these animal expressions, are in speech, generally inarticulate, 
 and are thus to be considered as merely animal signs, in the human voice. 
 
 It is then the union of an arbitrary Verbal designation of a sentiment with 
 its natural or Vocal sign, that constitutes the true and essential means of expres- 
 sion in speech. 
 
 I must here beg the reader to excuse a momentary digression from our sub- 
 ject. In the course of this essay many analogies might have been shown between 
 the human voice, and that of inferior animals : but I designed to avoid mingling 
 these two subjects of natural history.
 
 408 VOCAL SIGNS OF THE PASSIONS. 
 
 We have learned that the means of expression are always 
 applied in combination. There must be at least two conjoined, 
 
 Speech is but an aggregate of the vocal and articulative functions, dispersedly 
 exercised, by all animals : for there is scarcely a form of quality, time, intona- 
 tion, force, abruptness, and even of articulation, which is not common to man, 
 and in severalty to the brute. Man employs more of these signs than any one 
 species of animal, but perhaps less than all : the principal difference consisting 
 in his power over the structure and chain of the literal, and syllabic function. 
 
 Upon the ground of this identity, and with the assistance of an exact mea- 
 surement, and definite nomenclature of the human voice, afforded by this essay, 
 — Mliat is there to jjrevcnt the voices of animals being taken into vieio, in the sys- 
 tematic arrangement 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 without the least attention to vocal Quality in the cases, find a resem- 
 blance in the whistle of the American partridge, to the words 'bob white;' and 
 think they pronounce the short song of the 'whip-poor-will;' in its name, the 
 similarity lies in the stress and the time of utterance : for the whistle and the 
 song, as well as many mechanical noises, resemble, at the whim of the listener, 
 any phrase with an equal number of syllable-like impulses, and the same condi- 
 tion of quantity and accent. 
 
 Birds in the endowment of voice, have a single Chirp ; a Phrase of two 
 or more notes ; and a continued song, which may be distinctively called their 
 Melody. Some birds have only the chirp ; others, the chirp and phrase ; and a 
 few, the chirp, phrase, and melody. Now there is scarcely a person of culti- 
 vated ear, with the light of classification and description contained in this 
 essay, who would have much difficulty in discovering, whether the chirp of a 
 bird is in the concrete or the radical pitch of a semitone, second, or other inter- 
 val ; of how many movements the phrase consists ; what are their places of 
 pitch ; and what, the kind and order of phrases, in the successions of melody. 
 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 language had never 
 furnished discriminative names for color and form, even these characteristics, 
 like those of the voice, would never have been known in the descriptions of 
 ornithology. 
 
 Without extending our observation to the whole range of animals, within 
 which we might severally find all the varieties of the human voice, even to the 
 protracted note of song in the frog ; I here give an outline of the vocal func- 
 tions of the Mocking-bird, as illustrative of the powers which generally belong 
 to its class. 
 
 The Mocking-bird has every variety and degree in Quality, from the delicate 
 chirp of the sparrow, and harsh scream of the jay, to the guttural bass of the 
 clucking of the hen. He uses every form of Time, from a mere point of sound, 
 to the quantity of our most passionate interjections. He has a perfect command
 
 VOCAL SIGNS OF THE TASSIONS. 499 
 
 and there may be more. Thus the different forms of stress are 
 necessarily applied to some interval of pitch : it is the same 
 
 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 unequal, its direct and inverted forms, through all intervals ; but I 
 cannot say, he uses its double movement. He exhibits all the forms of Stress on 
 the concrete. Its compound species, constituting the proper vocal shake, he 
 has in great perfection. It is the diatonic shake, the semitonic not beino- found 
 in his song, nor, as far as I knovr, in that of any other bird. He makes great 
 use of the tremor, both on a continued line of pitch, and in every diverse move- 
 ment through the scale. His tremor has not the chromatic character, as far as 
 I recollect it ; for my observation has been transient, and not with a view to the 
 present record. Some other birds have a tremor of a plaintive expression. 
 All this comprehensive exercise of his throat, has variously the form of Chirp, 
 rhrase, and Melody. His melody however, is very short : the apparent con- 
 tinuity of its powerful and rapid evolutions consisting of an endless permutation 
 of chirps and short phrases ; for I have not perceived any formal order in their 
 successions. 
 
 We thus learn, that the vocal constituents of the song of the Mocking-bird, 
 like the vocal signs of expression in speech, are few in number ; but in each case, 
 our ignorance of the individual signs, leaving us to regard only their numerous 
 combinations, has created a belief that they are infinite. Thus a certain quality 
 or interval, may be 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 animals, as regards those sounds which are purely vocal and sepa- 
 rate from Avords. Thus the repeated chirp, which seems to be the idle and unmean- 
 ing voice of birds, is generally a short quantity, on a single rising or falling con- 
 crete second, or third, and rarely, as far as I have observed, on the wider 
 intervals. A prolongation of the chirp is usually expressive of their passions 
 and appetites. Pain, love, and fear, are always exhibited in the movement of 
 the semitone. 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. But it lies out of my way. 
 There are in all sciences large volumes of compilation ; let us have from some 
 naturalist with a good ear, a little book of original truth, on the matter here 
 proposed. Let it be done by pure and personal observation. 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, enthusiastic, and unostentatious study, independent 
 observation and thought, and a disinterested love of truth, with their sure and 
 great results in science, ai'e always solitary in an age, and cannot therefore be 
 
 27
 
 410 VOCAL SIGNS OF THE TASSIONS. ^ 
 
 with guttural vibration and aspiration. The interval of pitch 
 must be united with time, whether the quantity is long or short. 
 Not one form of expression can exist separately ; and Ave may 
 have under a single syllabic impulse, a long quantity, a wide 
 interval, aspiration, and stress, all simultaneous in effecting a 
 a particular purpose of expression. 
 
 The following is a summary of the instinctive or vocal signs, . 
 severally denoting the states of mind, variously called senti- 
 ments, emotions, feelings, and passions. And first ; of the 
 
 Piano of the Voice. Some thoughts and sentiments, together 
 with certain conditions of the body, that may be associated with 
 them, are properly expressed by a piano, or moderated voice. 
 These thoughts, sentiments, and conditions are those of humility, 
 modesty, shame, doubt, irresolution, apathy, caution, repose, 
 fatigue, and prostration from disease. They generally em- 
 ploy the simple diatonic melody : but some emotions, with a 
 piano or a feeble utterance, use the semitone, and the wave of 
 the second. Of this kind are pity, grief and awe. 
 
 Forte of the Voice. This sign, as the reverse of the la^t, is 
 appropriate to states of mind associated with muscular energy, 
 and vivid degrees of passion. Many sentiments are signified by a 
 high degree of force ; for in addition to those which employ it 
 as a leading characteristic, such as rage, wrath, fear, and horror, 
 some that depend, for their expression, chiefly on intonation or 
 accentual stress, do at the same time assume the character of 
 forte or loudness. Of this class are astonishment, exultation, 
 and laughter. 
 
 Quickness of Voice, Inasmuch as quickness of the current 
 melody generally goes with Short Quantity, in individual sylla- 
 bles, we do not make separate heads for these two subjects. 
 Some states of mind, under this division, are likewise expressed 
 by other signs, particularly by Loudness ; as anger, rage, mirth, 
 raillery and impatience. Many sentiments having their princi- 
 pal signs in forms of intonation and stress, are associated also 
 with quickness of voice. 
 
 forestalled; and on this point, as in promises of quite another kind to man, it 
 will be with those who seek the unaltered, and unalterable truths of nature, that 
 the last in Time, — the very last — shall be First.
 
 VOCAL SIGNS OF THE PASSIONS. 411 
 
 Slowness of Voice. Speakers who have no command over 
 quantity, affect to be deliberate, by momentary rest between their 
 words. But slow time in discourse, if not made by extended 
 syllabic quantity would, from its frequent pauses, be monoto- 
 nous and formal. Slow time and long quantity are generally 
 joined with the wave ; since the continuous return of an interval 
 into itself, is one of the means for producing an extension of 
 time without destroying the equable concrete of speech. They 
 are an essential cause of dignified utterance, and are there- 
 fore always united with intonations of this character. Slowness 
 of time, with its constituent long quantity, is employed for many 
 emotions ; as sorrow, grief, respect, veneration, dignity, apathy, 
 contrition, and all other sentiments embracing the idea of refine- 
 ment and moderation. 
 
 Quality of Voice. It is unnecessary to repeat here all the 
 terms denoting the forms of quality or kind of voice. The 
 following are some of them, with the passions annexed. Harsh- 
 ness is affected by anger and imperative authority : gentleness 
 by grief, modesty and commiseration : the whisper, which is a 
 kind or quality of voice, by secrecy. The falsette is heard in 
 the whine of peevishness, in the high tremulous pitch of mirth, 
 and in the piercing scream of terror. The full body of the 
 orotund, in a cultivated speaker, gives satisfactory expression to 
 sentiments associated with solemnity and grandeur. 
 
 The Semitone. The simple rise of the semitone is rather an 
 unfrequent form of expression ; since most sentiments with a 
 plaintive intonation, and there are many of this kind, require 
 a long quantity, and are therefore properly represented by the 
 wave of this interval. Still, complaint, grief, and other emo- 
 tions of like import, may sometimes be made with an earnestness, 
 requiring a short syllabic time. In this case the voice cannot 
 bear the delay of the wave, and effects all the purposes of the 
 semitonic intonation, by the simple rise or fall through the 
 concrete, with the addition, when necessary, of the radical or 
 vanishing stress. 
 
 The Second or Tone. Those states of mind, called thoughts 
 in contradistinction to passions ; those narratives or descriptions,
 
 412 VOCAL SIGNS OF THE PASSIONS. 
 
 which represent things as they are in themselves, "without 
 reference to our relation to them, on the point of pleasure or 
 pain, desire or aversion, interest or injury, are all represented 
 by the plain unobtrusive interval of the second. The various 
 uses of the voice, properly called Expression, have something so 
 striking in their character, that the attentive observer may easily 
 recognize them. When, therefore, there is an absence of this 
 expression, he may conclude, the current of speech is in the 
 diatonic melody. 
 
 The Rising Tliird, Fifth and Octave. These intervals are 
 here thrown into the same class, because they are generally used 
 to express different degrees of the same sentiments. According 
 to the extent of the interval employed, they represent interro- 
 gation, under the different features of dignity, and earnestness. 
 They mark admiration, and hence are frequently used as means 
 for emphatic distinction. 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, on emphatic words. The octave has the power of raillery, 
 of quaintness, and of mockery. When the guttural vibration is 
 united with these intervals, particularly the wider, it adds scorn 
 to a question; and joins to their character in emphasis, the 
 sentiment of haughtiness, disdain, reproach, indignation, and con- 
 tempt. The deliberate execution of these intervals requires long 
 quantity : but in their simple rise, they have not the extended 
 time, and consequently want the solemn and dignified character 
 they assume when doubled into the form of the wave. 
 
 The Dowmvard Third, Fifth, and Octave. In general descrip- 
 tion, these intervals severally express different degrees of the 
 same sentiments. They are emphatically the signs of surprise, 
 astonishment, wonder and amazement ; and though these four 
 terms are by no means synonymous, still their sentiments are 
 each and all, according to their degrees, represented by the 
 above named intervals : the specific difference, being marked by 
 the conventional meaning of the terms, and not by intonation ; 
 for this was assumed as identical. These downward intervals 
 denote a positiveness, and a settled conviction on the part of the
 
 VOCAL SIGNS OF THE PASSIONS. 413 
 
 speaker : hence they are given to phrases of authority, command, 
 confidence, and satisfaction. A downward movement, as we 
 have learned, also produces the close of a cadence ; and con- 
 sequently, when unaccompanied with force, is w'ell suited to 
 express sentiments according with a state of repose ; such as 
 resignation, despair, and the condition of mind that attends 
 fatigue. 
 
 The Wave of the Semitone. The expression of the simple rise 
 and the fall of the semitone was spoken of above : but its return or 
 contrary flexure into the wave, is the most common form of this 
 expressive interval. Indeed, there is scarcely a vocal sign which 
 represents so many and such various emotions : the specific 
 ■i^tinction of the cases, being made by the descriptive phrase 
 r conventional term. The wave of the semitone diiFers from 
 the simple interval, in the dignity of the expression, derived 
 from its extended quantity: and in its enhanced degree, from 
 the repetition of the interval in a contrary direction. Sorrow, 
 irrief, vexation, chagrin, repining, contrition, impatience, peevish- 
 oss, compassion, commiseration, condolence, pity, love, fondness, 
 supplication, fatigue, and pain, with whatever varieties may 
 exist among them, are still, through the diiFerencing of the con- 
 ventional sign, all expressed by the wave of the semitone. 
 
 Tlie Wave of the Second. The interval of the second, 
 whether in a rising or a falling direction, being the voice of 
 plain unimpassioncd narrative, we cannot properly call it a form 
 of expression. But as the downward return of this interval 
 into the form of the wave, produces a long quantity, it neces- 
 rsarily adds to the second, the peculiar eifect of that qi^antity. 
 This wave, when duly extended, gives to plain diatonic discourse 
 its full character of dignity, and grandeur; to the exclusion of the 
 inappropriate, and therefore unnatural, intrusive, and vicious 
 use of force, quality, abruptness, and the wider intervals of 
 intonation. 
 
 The Waves of the Tliird, Fifth, and Octave. The forms of 
 the wave are so various, that it would far exceed the purpose 
 of this work to enumerate them, and to assort them with the 
 passions. The principles that govern their expression, were
 
 414 VOCAL SIGNS. OF THE PASSIONS. 
 
 unfolded, in a former section. The character of the constituent 
 intervals of these waves, has a large influence in determining 
 their respective expressions. The upward vanish of the last 
 constituent of the inverted form has the effect of interrogation ; 
 and the downward course of the last constituent of the direct, 
 carries the expression of surprise. If then these two contrary 
 forms of the wave have, respectively, through their final con- 
 stituent, the same character as the separate and simple rise and 
 fall of the interval, there might seem to be no necessity for their 
 use. But even supposing the effects to be identical, which how- 
 ever for some sentiments, may not be the case ; the wave affords, 
 besides, the important means for extending the quantity of 
 syllables, and consequently for expressing the designed emotions 
 with dignity. In the double form, the wave denotes sneer, 
 mockery, petulance, contempt, and scorn : but these last two 
 are more conspicuously exhibited by conjoining aspiration with 
 the single wave. 
 
 Tlie Radical Stress. From what was formerly said of this 
 stress, we know it to be the means for adding increased degrees 
 of impressiveness to all the other vocal signs of the passions, 
 capable of receiving it. Though it is more particularly employed 
 on immutabl^yllables, yet when we read rapidly, it is used even 
 on those of indefinite quantity : but rapid reading necessarily 
 weakens its force. Mirth, impatience, anger, and rage, are gene- 
 rally uttered with haste, and therefore take on this stress, in 
 emphatic places. It is employed on imperative words ; for it 
 has a degree of positiveness, similar to that expressed by the 
 downward intervals of intonation. 
 
 The Median Stress. The radical stress is the means for 
 enforcing sentiments on short syllables. The median stress 
 enliances the expression of those requiring a long quantity, 
 together with a deliberate and graceful utterance. I say together 
 with deliberatioh ; since long quantities do sometimes, for par- 
 ticular purposes, take on the abrupt opening of the radical, or 
 the final jerk, of the vanishing stress. The states of mind, 
 calling for median force, are those represented by waves of the 
 various intervals ; particularly the dignity of the wave of the 

 
 VOCAL SIGNS OF THE PASSIONS. 415 
 
 second, and the plaintiveness of tlie wave of the semitone. Of 
 these kinds are awe, respect, deliberation, solemnity, supplication, 
 and reverential submission. This median stress may be executed 
 on a simple rise or fall, when unusually prolonged ; thus the wide 
 downward vanish of surprise, and wide upward vanish of inter- 
 rogation, may sometimes be invested with this graceful form of 
 force. 
 
 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 far inferior, 
 in point of dignity, to the median ; but it is sometimes highly 
 expressive of sentiments, represented by the semitone and wider 
 intervals, such as grief, surprise and interrogation ; for by im- 
 pressing the extremes of these intervals on the ear, it points out 
 their several ranges more distinctly than they are marked by the 
 natural vanish. It may seem to be a nice distinction, but it is 
 nevertheless, true and practical, that care must be taken, not to 
 let this stress run into the thorough stress ; since this last, as 
 before remarked, rather obscures the interrogative expression. 
 
 Compound Stress. So much was said, on this subject, in the 
 thirthy-eighth section, that the reader is referred to it. The 
 compound, like the median, vanishing, and thorough stress, and 
 the loud concrete, cannot be made on short syllables. On pro- 
 longed quantity, it is the sign of energy or violence, in the 
 passion represented by it. 
 
 The Thorough Stress. We refer to the thirty-ninth section, 
 for an account of this sign of rudeness, and vulgarity, when 
 applied to long syllabic quantity, or to continuous speech. By 
 destroying the natural structure of the vanishing concrete, it 
 banishes this refined spirit, and all-pervading grace and delicacy 
 of the human voice. 
 
 On the subject of the Loud Concrete, as a sign of expression, 
 I have nothing to add worthy of record, beyond what has been 
 previously said. 
 
 The Tremor of the Second and of Wider Intervals. The 
 tremulous movement of these intervals designates a number of 
 sentiments considerably different from each other. And here
 
 41G VOCAL SIGNS OF THE PASSIONS. 5| 
 
 again we have an instance of a principle widely influential in 
 the expression of the passions : for these sentiments, though set 
 within the same general-frame of intonation, have their specific 
 divisions marked by the conventional terms which describe them. 
 The tremor of the second and of wider intervals, is shown in 
 the expression of exultation, mirth, pride, haughtiness, sneer, 
 derision, and contempt ; and in effecting these expressions, the 
 tremor may move through the simple rise or fall, or through the 
 wave. 
 
 ^he Tremor of the Semitone. The tremulous movement 
 through the semitone, on a tonic element, is a form of the crying- 
 voice. When therefore it is used in syllabic intonation, it implies 
 a deeper distress in the sentiments associated with the simple 
 semitone. All these sentiments embrace in a greater or less 
 degree, the condition of suffering, grief, tenderness, and suppli- 
 cation ; and though they may widely differ from each other, yet 
 when carried to excess, they naturally and alike fall into the 
 tremulous intonation. 
 
 The Aspiration. The pure quality of the tonics and subtonics 
 when partly obscured by its union with aspiration, denotes many 
 and widely different states of mind ; yet with the aid of the 
 conventional signs, it can clearly express them all. It always 
 accompanies the force of vociferations; is the faint sign of 
 secrecy : and is joined with the loud utterance of all energetic 
 sentiments, when they arc not strained into the falsetto. It also 
 indicates the emotion of earnestness, curiosity, surprise, and 
 horror. On a former occasion, the expression of contempt, 
 sneer, and scorn, was assigned to the wave, particularly in its 
 unequal form. But even this does not carry the full measure of 
 these feelings, if an aspiration is not mingled with the intonation : 
 and further, the union of aspiration even with simple upward or 
 downward wider intervals, may indue them with the power of 
 representing these same sentiments. 
 
 Tlie Guttural Vibration. This is a harsh and grating vocal 
 sign ; and therefore belongs to all those states of mind, to be 
 classed under ill-humor; including dissatisfaction, peevishness, 
 and discontent. But it likewise appears in the strained ferocity
 
 VOCAL SIGNS OF THE PASSIONS. 417 
 
 of rage and revenge, and is the common sign of shaming 
 rebuke. It also has an import of sneer, contempt, and scorn. 
 
 Of the Emphatic Vocule. This is exclusively an indication 
 of force, and in the final abrupt elements of particular words is 
 the sign of anger and rage, and of vehemence in any passion. It is 
 however of rare occurence ; and being almost needless in culti- 
 vated elocution, ought perhaps to be even more rare than it is. 
 
 The Broken Melody. The Current melody has been repre- 
 sented as a succession of diatonic intonations, occasionally 
 employing, for the purposes of expression, 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 
 delineation may require. But sometimes particular states of 
 mind overrule the occasions, and grammatical proprieties of 
 pausing, thereby producing notable rests after very short phrases, 
 and even after every word of a sentence, without reference to 
 the connections of syntax. I use the term Broken Melody, to 
 signify the interruptions, sometimes produced by the excess of 
 certain passions. 
 
 The nature and effect of this function will be understood, by 
 the physiological explanation of it. 
 
 In the section on the mechanism of the voice, two kinds of 
 expiration, were described ; one resembling the act of sighing, 
 whereby all the breath is sent forth, in a single impulse of short 
 duration; and within which, scarcely more than one or two 
 words can be uttered with ease. The other is used in common 
 speech. Within it, we are able to utter whole sentences, by a 
 fruo-al use of the breath, in giving out small portions at a time, 
 to successive syllables. Since the former manner of expression, 
 seems to draw off all the contents of the lungs, it may be called 
 the Exhausting breath : and the latter, from its being held back, to 
 be dealt out in such portions as syllables require, may be called, 
 for want of a better name, the Holding breath. 
 
 It was said formerly, — an infant begins to speak in the 
 exhausting expiration. It occurs likewise when w^e arc ' out of 
 breath,' from exercise; and in the extreme debility of disease. 
 Hence in these cases, there is often not more than one syllable
 
 418 VOCAL SIGNS OF THE PASSIONS. 
 
 lieard in a single act of expiration. The breath of the tremulous 
 movement of laughter and crjing, is of this kind. The tremor 
 does indeed create a slight difference here : but if the reader will 
 for a moment make the experiment, he will feel that he quickly 
 laughs and cries himself, so to speak, to the bottom of his breath ; 
 and that he cannot, without an inhaling pause, continue the 
 tremulous function, for that prolonged period, of expiration, 
 through which he is able to carry common speech. Young 
 children, in violent crying, sometimes so exhaust the lungs, that 
 there is a considerable pause between the ebb and flow of respi- 
 ration, much to the alarm of inexperienced mothers. 
 
 The state of the respiratory organs in the exhausting breath, 
 is produced by a high degree of certain feelings. Thus deep 
 distress involuntarily creates this kind of expiration, in the form 
 of a sigh. Now when we are under the strong excitement of 
 bodily pain, or mental suffering, we speak in the exhausting 
 breath; with but one, or at most, two or three words within a 
 single act of expiration : and thus by the intersections of repeated 
 pauses, the Broken melody is produced. The case will be the 
 same, should an excess of feeling blend the tremor of laughter 
 or of crying with discourse ; for by the nature of these functions, 
 the melody must be interrupted, through the frequent necessity 
 of inspiration. It may be asked, why the breath may not be 
 rapidly recovered, as in the momentary rests of discourse, which 
 are sometimes scarcely perceptible. The reason is this : In 
 the holding expiration of common speech, all the breath is not 
 discharged from the lungs ; such a quantity only is gradually 
 spent upon the words, as may be imperceptibly restored by a 
 momentary act of inspiration. But in speaking with the exhaust- 
 ing expiration, there is an expulsion of nearly all the breath by 
 an extreme contraction of the chest, and the subsequent act of 
 filling the lungs requires a degree of expansion and a depth of 
 draught, that cannot be imperceptibly performed; and that 
 occupy the time of the remarkable pauses of the Broken melody. 
 
 It is not necessary to speak of the phrases of intonation, 
 employed in the melody here considered. They may be of every 
 species; though, from the many interruptions of the current,
 
 VOCAL SIGNS OF THE PASSIONS. 419 
 
 the relationships of the phrases are not so perceptible nor so 
 important in practical eflcct, as in the more connected sequences 
 of a common melody. 
 
 I have thus endeavored to open the Avay for a future descrip- 
 tion of the various forms of passionate utterance, and for a sys- 
 tematic arrangement of them. They have been regarded as 
 individuals, although not one is ever heard alone ; and in some 
 instances many are united in a single act of expression. Indeed, 
 they are employed in every manner of compatible combination. 
 Thus a feeble and a forcible sound cannot exist in the same 
 impulse of utterance ; but either of these conditions may be con- 
 joined severally with all the forms of pitch, or quality, or time. 
 No one interval of pitch can, during the same syllabic impulse, 
 be another interval ; but any interval of pitch, may as occasions 
 require, be simultaneous in execution with any form of quality, 
 time, or force. So in the wave, the intervals of pitch may be 
 consecutive in all possible ways: and these ways, whether in 
 interval or arrangement, may be conjoined with every use of the 
 voice, not at variance with their definition. 
 
 By the use then of the comparatively few signs of expression, 
 here enumerated, the apparently infinite effects of speech are 
 produced. The preceding specification of the vocal functions, 
 and the numerical limitation of the terms of their nomenclature, 
 at once afford an observer the means to survey the whole extent 
 of this supposed infinity; and thereby, to change a vulgar 
 wonder at immensity, into an intelligent admiration of the 
 obvious combinations and endless inter-mutable variety of a few 
 distinguishable vocal constituents. 
 
 The reader may now see why I have limited this work to the 
 consideration of the forms of expression, in their separate state ; 
 or have only regarded a few of their combinations. To give an 
 extended detail of their possible groups, would be beyond my 
 design in setting forth the broad Philosophy of speech. Nor 
 indeed is it necessary under a practical view ; for having resolved 
 the apparent complexity of speech into its assignable constitu- 
 ents, we cannot be at a loss to combine them, when necessary, 
 for the full expression of sentiment and thought.
 
 420 VOCAL SIGNS OF THE PASSIONS. 
 
 From a review of our history of the vocal signs of the pas- 
 sions, and a reference to the limited amount of their individual 
 forms, compared with the vast variety of mental conditions to be 
 expressed by them, we are struck with the disproportion between 
 their respective numbers: while we learn, at the same time, how 
 the deficiencies in the natural vocal-signs are supplied. For in the 
 
 First place. The same vocal sign is used for more than one 
 sentiment: as in the large class, respectively denoted by the 
 semitone, and by the downward intervals. 
 
 Second. Some of those sentiments, generically represented 
 by the same vocal sign, have yet their specific difference marked 
 by the verbal sign, or the conventional language that describes 
 them. Thus the downward octave expresses equally — command, 
 and astonishment ; the difference in the sentiment, under the 
 same intonation, being signified by the imperative "word, and by 
 the phrase that declares the astonishment. 
 
 Third. A great number of sentiments have no natural vocal 
 sign, but depend, for their expression, altogether on descriptive 
 language, or their conventional terms. Thus there are no vocal 
 signs by which a speaker can inform us, even if he would, of his 
 avarice, his vanity, or his remorse. They must be shown in 
 action, or be confessed through his words and syntax. There 
 are indeed resources enough, in the possible combinations of all 
 the vocal signs, to furnish an expression for every thought and 
 feeling ; but this full ordination has never been made. 

 
 MODE OF INSTRUCTION IN ELOCUTION. 421 
 
 SECTION XLIX. 
 
 Of the Mode of Instruction in Elocution. 
 
 I HAVE thus far endeavored to set before the reader, a copy of 
 the all-perfect Design of nature, in the construction of Speech. 
 It is necessary, if we may still carry on the figure, to furnish at 
 the same time, a ' Working plan,' to him who may wish to build 
 up for himself, a delightful Home of philosophy and taste, or a 
 popular Temple of Fame, in Elocution. 
 
 If the reader is one of those, who from disappointment in 
 higher hopes, have at last resolved to receive their station in 
 life, through the suffrages of ignorance ; and who in their accom- 
 plishments are careless of rising above the discernment of their 
 unthinking constituents, let him pass by this section. A little 
 will serve his purposes ; and the instinct of his ambition, without 
 the wise designs of human assiduity, will enable nim to be easily 
 the file-leader of his herd. But if he believes in that fine induc- 
 tion of the Greeks, that 'good things are difficult;' if he sees 
 the successful pretender, still restless and dissatisfied, in having 
 made captives only of the ignorant ; if he desires to work for 
 high and hard masters, 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 accomplishment of 
 his resolution to acquire the art of Reading-Well. 
 
 Can Elocution be taught ? This question has hertofore been 
 asked through ignorance. It shall in another age, or I mistake 
 the prevailing power of science, be asked only through folly. 
 
 The sceptics on the subject of the practicability of teaching 
 elocution, appear under three classes. To the First belong those, 
 who, knowing the ways of the voice have never been traced, 
 believe they never can be reduced to assignable rules. This 
 opinion is grounded on the idea that the expressive eficcts of 
 speech proceed from some ' occult quality;' which however, is 
 neither high nor low, loud nor soft ; nor in short, any of the
 
 
 422 MODE OF INSTRUCTION IN ELOCUTION; 
 
 known and appreciable modes of vocal sound. They who thus 
 overlook the due revelation which nature never withholds from 
 the close and fervent observer, seem to have just such an idea of 
 vocal expression, as poetical school-girls have of the smiles, and 
 'side-long glances' of their interesting young admirers, — that 
 they are not a palpable effect of the physical form of the fiice, 
 in its state of rest, and in its various motions ; but a kind of 
 immaterialism, which darts from the eye and breathes from the 
 lips ; a ' soul,' as it were in the countenance, which is yet, in 
 the words of song, 'neither shape nor feature.' 
 
 The scepticism of the Second class promulgates the idea, that 
 accomplishments in elocution are the result of certain indescribable 
 powers of genius, and that the happy possessor of them is the 
 production of one of ' nature's moments of enthusiasm.' Such 
 sleio-ht of tongue, to hide the plain agency of natural causes, is 
 not disdained by many who possess powers, sufficient to set them 
 far above all stale-grown tricks for reputation. He who has 
 the truth and modesty of a master in his art, knows that he is 
 distinguished from the thousands who surround him, not more by 
 a superiorjty over their vulgar notions on the subject of ambi- 
 tion, and the chances of success, than by his singleness in purpose 
 and zeal, and the accumulative power of a self-gathering docility : 
 nor does he withhold instruction, in the fear of rivalship ; since 
 with the justified confidence of a well tried knowledge, he per- 
 suades himself, that if any useful purpose should make it 
 necessary, he can afterwards, always keep pace with a competi- 
 tor, and then surpass himself. 
 
 Those who constitute the Third class are too intelligent to 
 believe in this mystical doctrine of the Inspiration of genius ; 
 yet they hold, that the art of reading-well can be taught only 
 by imitation. Elocution may indeed, too often, have satisfied its 
 faith Avith the creed of Imitation: and thereupon, set up its 
 different Idols, for public worship. But when has the world, on 
 a single subject of incpiiry, ever found, in that faith or fiction 
 which sees evidence in what is not seen alike by all, any other 
 result than that of sophistical labor, without product, and 
 illiberal quarrels, without end. Hence the vain conceit of
 
 MODE OF [NSTRUCTION IN ELOCUTION. 423 
 
 forming a school or doctrine of Imitative Elocution : since the 
 several partisans of different favorites, will never agree to 
 raise any one individual, to examplarj superiority. An example 
 to be useful and permanent in art, must be set up with the con- 
 sent of all : and that consent can be drawn only from a common 
 source, of instruction and knowledge, not . from individual or 
 party admiration. It was therefore, under an ignorance of the 
 possibility of a common source of knowledge, on this subject, 
 that such a multifarious substitute as Imitation, for the steady 
 unity of Principles, was at first proposed. It is the design of 
 this essay, to furnish from nature, and not from variable exam- 
 ples of authority, those describable truths of the art, on which 
 all may begin their agreement, and by extending this consent, 
 may at last raise a natural and universal school of Elocution. 
 
 These are some of the objections, made against an attempt to 
 teach tlie uses of the voice, by systematic and communicable 
 principles. We will not confer importance on them by refutation. 
 In so doing, we should only record some vain opinions of this 
 age, that a future one need not knot\r. At the present time, let 
 us not be concerned if the history of the voice contained in this 
 essay, and the scheme of instruction founded upon it, should be 
 ' either stumbling-block or foolishness,' to the groping school of 
 mystagogues and imitators. 
 
 The preceding history furnishes materials, for raising elocu- 
 tion to the condition of Regular Art, if not of a Science : and 
 we must look to the comparisons, and conclusions of taste, for 
 precepts to direct the use of these materials. Our history will 
 not only afford the means for reducing the arbitrary fashion of 
 the voice, to something like that method and rule, to which the 
 other fine arts have been already brought, among their educated 
 and reflecting votaries ; but it opens a new field on the subject 
 of instruction. All arts when reduced to their elements, have 
 been recomposed into systematic schemes for teaching by those 
 elements : and it now becomes us to try what may be the advan- 
 tages, as to economy of time, and precision of means, in follow- 
 ing an elementary plan, for communicating a knowledge of the 
 nature and uses of the voice.
 
 424 UOI>E OF INSTRUCTION IN ELOCUTION. 
 
 Language was long ago resolved into its alphabetic elements, 
 and its Parts of speech. Wherever that analysis is known, the 
 art of grammar is with the best success, conducted upon the 
 rudimental method. Now, if the expressive uses of the voice 
 should be taught by a similar analysis, the advantage would be 
 no less, than that resulting from the alphabetic and grammatical 
 resolution. In this way we teach a child the elements and their 
 combinations in speech: surely then, there is no reason why a 
 clear perception of the varieties of stress, of time, and of into- 
 nation, and the power of consciously employing them in current 
 utterance, should not be acquired in a similar elementary manner. 
 
 The art of reading consists in having all the constituents of 
 speech, whether alphabetic, or expressive, under complete com- 
 mand, that they may be properly applied, for the vivid and 
 elegant delineation of the sense and sentiment of discourse. I 
 shall not in this section, consider the modes of the voice as 
 expressive of feeling or thought : but shall describe the means 
 for providing the material of speech^ whenever thought or feel- 
 ing may require its use. ♦ 
 
 If I were a teacher of elocution, I would frame a didactic 
 system, of elementary exercises, similar to that which taught 
 me, whatever the well-read critic may find to be new, in this 
 work ; and would assign to my pupil a task under the following 
 heads : 
 
 Of Practice on the Alphabetic Elements. Notwithstanding 
 we are all taught the alphabet, we are not taught the true ele- 
 ments of speech : I would therefore require the pupil, to exercise 
 his voice on the elements, as they are sounded in a strict analysis 
 of words. In the present school-system of the alphabet, many 
 vowels have no peculiar symbol, and nearly all the consonants 
 when separately pronounced, are heard as syllables, not as ele- 
 ments. If b and k and Z, (and what is here said will apply to 
 all the consonants,) be sounded as respectively heard in J-ay, 
 and A;-ing, and Z-ove, that is, if we pause after these several 
 initial sounds have escaped the organs, we shall have the real 
 elemental constituents of the syllables, instead of the compounds 
 he, kay, and ell^ as they are universally taught. 
 
 f
 
 MODE OF INSTRUCTION IN ELOCUTION. 405 
 
 Let tlic first lesson then consist of a separate, an exact, and 
 a repeated pronunciation of eacli of the thirty-five elements, in 
 order 10 insure a true and easy execution of their unmixed 
 sounds. But the pupil must be careful to pronounce, not the 
 alphabetic syllable of the schools, but the pure and indivisible 
 vocal clement ; however unusual, and uncouth, that sound may, 
 in some cases, be to his ear. It may be asked, whether a care- 
 ful pronunciation of words, in which these elements, though 
 combined Avith others, must still be heard, would not give the 
 required exactness and facility ? I believe it would not. When 
 the elements are pronounced singly, they may receive an undi- 
 vided energy of the organic efibrt, and therewith a clearness of 
 sound, and a definite outline, that make a fine preparative for 
 distinct and forcible pronunciation in the compounds of speech. 
 And perhaps, no one who has neglected this elementary practice, 
 is able to give the guttural murmur of 5, d, and g, with the 
 Torce, fulness, and duration, required on occasions, for the 
 liigher powers and graces of elocution. The eflicacy of this 
 separate practice, in giving a command ovqt the alphabetic 
 sounds, is most remarkable in the r. 
 
 The element r is a modification of the vocality of the sub- 
 tonics ; and denotes two different articulations. One is made 
 by a quiet application of the tongue to the roof of the mouth ; 
 the other by its quick percussion against that part. The r pro- 
 duced by the first organic position, differs very little from the 
 short tonic e-vr, and may be called the Quiet r. That formed 
 by percussion, the Percussive r. The latter has a distinct- 
 ness of character and body of sound, not possessed by the other : 
 and if the metaphor can be appreciated, the parts concerned 
 in its formation, seem to have a firmer grasp of the breath. 
 Bat this Percussive 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 
 should it be a continued vibration, the effect will be offen- 
 sively harsh, if not expressly designed for a rough or energetic 
 utterance ; but even this should be avoided. The perfect r, for 
 the purposes of distinct and impressive speech should consist of 
 28
 
 w 
 
 426 MODE OF INSTRUCTION IN ELOCUTION. 
 
 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 strength and accuracy in 
 this separate pronunciation, certain combinations of the r, "with 
 other elements, can be effected in an agreeable manner, only 
 after long practice. A subtonic or atonic, that employs the 
 tongue in a certain position, will not readily unite with an ele- 
 ment, requiring a quick remove of the tongue to another part of 
 the mouth ; even, as in this case of the quiet r, when the element 
 is produced by a simple pressure of the tongue. But the diffi- 
 culty of transition is much increased, by the velocity necessary 
 for the percussive r. Let us, for instance, 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, should r be taken quietly," the confluence of these 
 elements may be easily made, by retracting the tongue to the 
 contiguous place for forming the r. But should we roughen 
 the word by the percussive ?', the tongue is brought down from 
 the teeth, towards its bed, in a kind of drawing-off, for the 
 purpose of making a sudden impulse against the roof of the 
 mouth: and it requires both effort and skill, to accomplish 
 these successive movements with that quickness, which syllabic 
 coalescence requires. 
 
 There is also considerable difficulty in uniting the purcussive 
 r with some of the tonics ; and the cause is analogous to that 
 above described. 
 
 When the percussive r is set before the tonics, the coalescence 
 is easy, as in rude, reed; but it is not so when it folloivs cer- 
 tain of these elements. If the tonics are of long quantity, 
 there is only in some cases, the slightest difficulty ; as in glare, 
 war, far, peer, mire, our, your. But if the natural short- 
 tonics e-rr, «-nd and i-n, and most of the other tonics, when 
 pronounced short, precede the percussive r, there is not only 
 a considerable hiatus, but that peculiar union of tonic and 
 aspiration occurs, which forms one of the characteristics of speech 
 in the natives of Ireland. This will be perceived, upon pro- 
 nouncing the following words with the percussive r: interpreter,
 
 MODE OF INSTRUCTION IN ELOCUTION. 427 
 
 world, irritate, intercourse. The cause of the hiatus, and of 
 the Irishism, appears in the following explanation. 
 
 The tonic sounds, though in greater part laryngeal, are, in 
 some cases, modified bv the agency of the tongue and lips. The 
 tongue is employed in varying positions, from the deepest de- 
 pression in its bed, till nearly in contact with the roof of the 
 mouth. Its place in the utterance of a-we, is the lowest : and 
 the highest in ee-\, e-nd and t'-n. Now if these short tonics 
 precede the percussive r, there is a hiatus in the utterance, and 
 the tonic is corrupted into a semi-aspiration. This arises from 
 the position of the tongue, creating difficulty in making the 
 percussion. But when a-we precedes the r, the tongue being 
 in its bed, is in the proper position for making the impulse, and 
 thus the combination of this a-we with the r, is easily effected, 
 and is free from aspiration : as in aurelia and reward. 
 
 In the case then, of the short tonics preceding the percussive 
 r, it is necessary to bring down the tongue from its short-tonic 
 position, at the roof of the mouth, to its bed, in order to give 
 it starting-way, so to speak, for gaining its percussive velocity. 
 The aim to effect this, in the quickest time, produces the hiatus 
 or strained efifort of pronunciation. But with every endeavor, 
 there is still a perceptible interval between the change in the 
 position of the tongue, from its short-tonic place down to its 
 bed, and subsequently up to the roof of the mouth, the place of 
 the percussive r. And as there is no cessation of vocality 
 during the time of the change, the depression of the tongue, or 
 some other cause, converts that vocality into its peculiar aspi- 
 rated character. This mingling of aspiratioii with the short tonic, 
 and the r, produces the disagreeable effect perceived in the 
 utterance of these conjoined elements. 
 
 The difficulty of executing the r, under the circumstances 
 above-mentioned, will, I fear, be insurmountable to those who 
 are not persuaded, that the perfection of all their accomplish- 
 ments must at last be due to their industry, their knowledge, and 
 themselves. Those who know that a fruitful desire of know- 
 ledge and its power, is the growth of wise docility of mind, and 
 heartfelt resolution, have only to learn that it is within the
 
 428 >IOI>E OF INSTRUCTION IN ELOCUTION. 
 
 capabilities of time and exertion. How long it may take to 
 overcome the difiBculties 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 according to the rule 
 
 '^ of the day, is a matter of importance, not merely as to formality 
 
 ^ of fashion. It has a claim of greater dignity. 
 
 When ideas are to be communicated with precision and strength, 
 it should be by well-known words, not peculiar or striking by 
 length, nor by difficult utterance. There should be no remark- 
 able contrast between them ; no attractive similarity in their 
 sound ; nor indeed anything in the language, to allure attention 
 from the idea conveyed by it. A writer not strictly didactic, 
 who frequently employs uncommon words, never has vividness 
 or strength of style. For the accomplishment of these points, 
 sounds should slip, but effectively, into the mind, almost without 
 the notice of the ear. Noav what is here said on the distractions 
 
 ^ produced by the novelty of words, applies equally to the pronun- 
 y elation of alphabetic elements; for the least deviation from the 
 assumed standard, converts the listener into a critic : and it is 
 perhaps speaking within bounds to say, that for every miscalled 
 element in discourse, ten succeeding words are lost to the greater 
 part of an audience. I have therefore recommended a long-con- 
 tinued practice on the separate elements, with a view to acquii'e 
 that command over them, which not only contributes to the 
 elegance of speech, but at the same time, may help to remove 
 all obscurity from the vocal picture of thought and passion. 
 
 Of Practice on the Time of Elements. Enough has been 
 said in former pages, on the necessity of a full command over 
 the time of utterance, in order to effect the high purpose of 
 elocution. 
 
 When a true pronunciation of the elements is acquired, the 
 pupil should not, according to the usage of the primer, pass at 
 once to their combinations. They are employed in speech under 
 different degrees of duration : and an exercise of the voice, 
 through these degrees, on individual elements, creates a habit
 
 MODE OF INSTRUCTION IN ELOCUTION. 429 
 
 of skillful management, not so well cy so easily acquired by 
 practice on the common current of discourse. Let the pupil 
 then consider the alphabetic elements as a kind of Time-table, 
 on which he is to learn all their yarieties of quantity. The 
 power of giving well measured length to syllables is so rare 
 among speakers, that I have been induced to draw especial 
 attention to this elementary method of instruction. 
 
 The prolongation of the atonies is of little consequence. But 
 let the pupil reiterate his practice on the tonics and subtonies, 
 until he finds himself possessed of such a command over them, 
 that he may at will, give any quantity required in their syllabic 
 combinations. 
 
 The elements h, d, and g, admit of a slight degree of quantity, 
 through the prolongation of their guttural murmur: but a 
 strenuous practice on the individual elements, is necessary to 
 render it applicable to the purposes of oratorical time. 
 
 When r is to be prolonged, and the rapid iteration would be 
 inappropriate, the quiet, or smoother form of the element should 
 be employed ; since the percussive r, made by a single stroke 
 and rebound of the tongue, is necessarily short. 
 
 The element s, Avhen alone and prolonged, is a sign of con- 
 tempt. In syllabic combination it is offensive if much extended 
 in quantity. Under its shortest time, it does its part in speech, 
 and loses much of the character of the hiss. Let the pupil 
 therefore practice the shortest quantity on this element, by 
 abruptly terminating the 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 considera- 
 tion of this subject should perhaps, have been united with the 
 last. For an attempt to prolong the elements Avithout reference 
 to the equable concrete of speech, is very apt to produce the 
 note of song. The difference between these two forms of into- 
 nation, even on a single tonic, will be perceptible to an attentive 
 ear, by keeping in mind the well known and peculiar effect of 
 speech and of song, while trying the difference. If the effort 
 produce an equable concrete, it will not seem to be the beginning 
 of a song. The pupil then, without confusing his ear by other
 
 430 MODE OF INSTRUCTION IN ELOCUTION. 
 
 particulars, should exercise his voice in the natural radical and 
 vanish, on all extendible elements. An unerring power of exe- 
 cution in this function, however long the quantity may be, will 
 always insure to speech, an entire exemption from the charac- 
 teristic of song. 
 
 In this elementary intonation of the equable concrete, attention 
 should be paid to the structure of the vanish. The pupil must 
 therefore endeavor to give it that delicate expiration which may 
 render its limit almost imperceptible : for this is its proper form, 
 except some purpose of expression should require a more obvious 
 demarkation. "We often lean the ear in delight, over this smooth 
 breathing of sound into silence, by singers : and the master in 
 elocution shall hereafter know, that one of those graces which he 
 could never name, and even thought ' beyond the reach of art,' 
 but which Art conjoined with Science, is now ready to teach 
 him, consists in this attenuation and close of the syllabic impulse, 
 here recommended as a lesson for a school boy. 
 
 Of Practice on Force. It is scarcely necessary to say how 
 loudness of voice, or the forte, is to be acquired. It is not essential 
 to our discipline, that the elements should be uttered separately 
 with regard to" force : since after the other constituents of expres- 
 sive speech are brought under command, exercise on force may 
 be eflTcctcd durin": the current of discourse. Still the ends of 
 instruction would be somewhat easier attained by the elementary 
 process in this particular. Few persons are aware of the influ- 
 ence that loud speaking or vociferation has on the quality of the 
 voice. We have already learned, that it is one of the means for 
 acquiring the orotund. It takes the voice apparently, from its 
 meager mincing about the lips, and transfers it, at least in sem- 
 blance, to the back of the mouth, or to the throat. It imparts 
 a grave fulness to its quality ; and by creating a strength of 
 organ, gives confidence to the speaker in his more forcible efforts, 
 and an unhesitating facility in all the moderate exertions of 
 speech. 
 
 Of Practice on Stress. Although the elementary exercise on 
 force, in a general sense, may not be required, I must urge its 
 importance, in the case of particular syllabic stress. There is a 
 
 i
 
 MODE OF INSTRUCTION IN ELOCUTION. 431 
 
 nicety in this matter, that -will be definitely recognized, and 
 consequently can become familiar, only through the deliberate 
 practice and unembarrassed observation, afforded by trials on 
 the separate elements. 
 
 It was said formerly, that the radical stress is made -with 
 emphatic strength only on the tonics ; still, an attempt to apply 
 it to the subtonics is not to be entirely neglected. The full 
 power of radical abruptness in the tonics is acquired, by 
 opening the elements into utterance, with a sort of coughing 
 explosion. The pupil cannot be too strongly urged to a long 
 and careful practice, in exploding the radical stress. 
 
 For the median stress or swell, no particular direction is 
 required under this head. It is generally employed on the 
 wave, and its practice may therefore be connected with exercise 
 on pitch. 
 
 The vanishing stress may be practiced, by assuming in speech 
 something like the effort of hiccough, for the wider intervals 
 of the scale ; and something like sobbing, for the minor third 
 and semitone. If we at all recommend practice on the minor 
 third, it is not with reference to an allowable use of it in speech ; 
 but to render it so familiar to the ear, that it may be avoided as 
 a fault. Elementary exercise on Compound stress, and the Loud 
 Concrete, will give facility when required on these forms of 
 Force. Practice on the Thorough stress, and a strict compari- 
 son of its effect, with the effect of the equable concrete, is here 
 recommended, that the pupil may by his own knowledge, sense 
 of propriety and taste, rather than by any authority of mine, 
 be guarded against this gross deformity of speech. 
 
 Of Practice on Pitch. The several scales used in this essay, 
 were described in the first section. The order of proximate 
 intervals in the diatonic, and the skip of its wider transitions, 
 must be learned from an instrument, or the voice. With a few 
 days attention to the effect of the various rising and falling 
 movements, on the keys of a piano-forte, or in the voice of a 
 master, a pupil Avho has the least musical ear, will be able to 
 execute the same successions in his voice, and thus to recognize 
 the concrete pitch and change of the radical, on elemental or 
 syllabic utterance.
 
 432 MODE OF INSTRUCTION IN ELOCUTION. 
 
 After this first lesson, let every interval of pitch, both by 
 concrete movement, and by radical change, be practiced on every 
 tonic and subtonic element. The semitone is easily practicable 
 by affecting a plaintive utterance : and when exercised on all 
 the elements, will readily become obedient to the sentiments 
 requiring its expression. 
 
 I must negatively describe the effect of the simple and un- 
 colored interval of the second, by saying, — it is not the semitone, 
 with its plaintive character; nor the rising third, or fifth, or 
 octave, also well known as the sign of interrogation ; nor the 
 downward movements of positive declaration and command ; nor 
 the wave, with its admiration, sm'prise, mockery and sneer. If 
 then, in syllabic utterance, we produce none of these effects, we 
 may conclude, we have passed through the simple second of the 
 diatonic melody. Let the pupil practice this interval on all the 
 tonics and subtonics, and he will acquire a command over the 
 constituent of this jAa^in intonation ; nor will he be in danger of 
 destroying its appropriate character by the whine of the semi- 
 tone, the sharp inquisitiveness of the fifth or octave, or with the 
 more offensive affectation of the wider forms of the wave. 
 
 The pupil will be able to recognize a downward interval, by 
 familiarizinsr his ear to the effect of the last constituent of the 
 triad of the cadence. This will teach him the character of the 
 falling second : and by studiously repeating the tonic and sub- 
 tonic elements with reference to this movement, he will have 
 nearly as clear a perception of the peculiarity of the interval, 
 as of the sounds of the elements themselves. When prepared 
 with this downward vanish, he may contrast it with the rising 
 second, and thus become familiar with the audible character of 
 each. Upon knowing the second, the wider falling intervals may 
 be easily recognized, by continuing the downward progress, till 
 the intonation assumes the expression of command : the extent 
 of the downward movement through a third, or fifth, or octave, 
 being proportional to the less or greater degree of that sentiment. 
 Let these intervals, be compared with the wider intervals in a 
 rising direction, and the difference between the intonation of a 
 question and of a command, will thus be manifest.
 
 MODE OF KSTRUCTION IN ELOCUTION. 433 
 
 TThen the pupil, has gone through the elements, on the simple 
 rising and falling intervals, let him turn to their combination in 
 the wave. His practice here must be governed by his percep- 
 tion of the simple intervals which variously compose its differ- 
 ent kinds. The wave of the second is of great importance, 
 in the grave and dignified character of the diatonic melody. I 
 cannot by any graphic sign, or by direct description, bring this 
 function before the reader's attention : but in giving prolonged 
 quantity to indefinite syllables, if the effect of the upward 
 or downward wider intervals is not recognized ; nor the peculiar 
 note of song ; nor the marked impression of the wider waves, 
 nor that of the plaintive semitone ; it may be concluded, the 
 voice is moving in the wave of the second. 
 
 Of Practice on Melody. One difficult point regarding into- 
 nation, is the perception of the radical changes of the second, 
 in the progression 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 formerly mentioned. Should he 
 not have a nice perception of sound, nor ingenuity in experiment, 
 he must learn the diatonic progression from the voice of a 
 master. 
 
 Melody is a continuous function ; practice under this head, 
 must therefore be made on successive syllables. The best method 
 ' is to select a portion of discourse, to keep in mind, the diatonic 
 manner in which it should be read, and at the same time, to utter 
 only the tonic element of each syllable ; and thus, by a sort of 
 vocal short-hand, or instant hackings of a short cough, to go 
 through this dotted outline, as it were, of the melody. 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 : and readers being therein liable 
 to frequent and striking faults, the subject requires discrimina- 
 tive attention. Here particularly the elementary practice is to
 
 434 MODE OF INSTRUCTION IN ELOCUTION. 
 
 be employed ; the pupil bearing in mind the different forms of 
 intonation for terminating a sentence, and exercising his voice 
 separately on one, two, or three elements or syllables, considered 
 as a close. 
 
 By elementary practice on the various species of the cadence, 
 with attention to their construction and effect, the command over 
 intonation in this particular, will be exercised, with a propriety 
 and precision, never yet within even the dreaming purpose of 
 any ancient or modern system of Imitative discipline. After 
 the proper time, devoted to the plan here recommended, the 
 pupil will find himself provided with an ample fund for every 
 variety in his periods ; nor will he then find himself at the end 
 of his sentence, with a syllable that seems to have got out of 
 joint with its intonation. 
 
 Of Practice on the Tremor. The tremulous movement should 
 be practiced on individual elements. With a knowledge of its 
 nature, the pupil may correct himself in his task, and finally 
 acquire the accuracy, so essential to this expressive species of 
 intonation. 
 
 It is true, the habit of laughing and crying does here furnish 
 a wide field of practice ; but it is to be recollected that we laugh 
 or cry in a natural way, upon our own delight or suffering. But 
 when the tremulous expression is employed to affect an audience, 
 governed in its taste, as it may come to pass hereafter, by the 
 knowledge and principles we are here unfolding, it should be 
 done, not only according to the sentimental dictates of nature, 
 and Avithin the pale of her truth, but also with that refinement 
 of feeling, and finish of execution, which nature herself may 
 never find purpose enough in her common instincts, to accom- 
 plish ; though she may be ready to acknowledge their entire 
 consistency with the spirit of her laws. 
 
 Of Practice on Quality of Voice. Quality is capable of im- 
 provement ; and the practice in this case may be either on the 
 elements, or on the current of discourse. But as quality is most 
 perceptible on the tonic sound of a syllable, perhaps the ele- 
 mentary lesson is the best for instruction. In whatever way the 
 improving exercise is conducted, by it, harshness of quality
 
 MODE OF INSTRUCTION IN ELOCUTION. 435 
 
 may be somewhat softened : a husky voice may be brought 
 nearer to pure vocality ; the piercing treble may be reduced in 
 pitch, and the thin and meager voice indued with greater 
 fulness and strength. 
 
 There is, however, a cause of deception on this subject, which 
 deserves notice here. 
 
 The characteristic Qualities, or, as confounded with Pitch, and 
 vaguely called, the distinguishing ' tones,' of the voice, are said 
 to be unlimited, and like the face, peculiar to each individual. 
 We do not indeed often forget or confound the known voices of 
 individuals, however numerous they may be ; a proof, by the way, 
 that we all have an instinctive and discriminative ear, for the 
 things of Speech, without having names for them. But the 
 distinct recognition is here made upon combinations of the spe- 
 cific degrees, and forms of force, pitch, and time, rather than 
 on the single mode of quality. Thus one speaker is characterized 
 by a constant use of the vanishing stress ; another by that of 
 the radical ; one employs the interval of a third in the current 
 melody, instead of a second ; while some employ a long, and 
 others a short quantity on every emphatic word. By a varied 
 permutation of these features, a countless number of different, 
 yet distinguishable faces, is given to the body of speech. And 
 here, as a comment on a prevalent idea, that speech, with its 
 ' occult qualities,' is too subtle, or ethereal, or immaterial, if 
 you please, to be made a subject of science or art, — let us re- 
 mark, that all these faces, features, aye, and delicate expressions 
 too, are perfectly cognizable by the common ear. 
 
 There are as many varieties of Quality, as of any one mode 
 of the voice, and more than of some ; the amount, however, 
 falls far short of the almost endless combinations of the various 
 forms of the Modes with each other. 
 
 We may learn that the Quality of a voice is not always its 
 distinguishable mark, by attending to the prolonged note of 
 song ; for it gives quality alone. In forming a judgment from 
 this simple prolonged note, exclusive of any peculiarity of stress, 
 time, or intonation, it is not easy to distinguish voices, Avhich 
 would widely differ when heard through only a single sentence.
 
 436 MODE OF INSTRUCTION IN ELOCUTION. 
 
 Of the speaking voices of a thousand persons, nearly every one 
 would be distinguishable, by the varied combination of the re- 
 spective species of pitch, time, and stress. But if the same 
 voices were severally to be indicated by a single prolonged note 
 of song, the differences might be reduced to a few classes. 
 There would be forte and piano voices heard among them, shrill 
 and hoarse, clear, aspirated, harsh, full, meager, dull, and ring- 
 ing : and to these a few others might be added. Yet even these 
 would, in some cases, be distinguishable only by a cultivated ear ; 
 so that of the whole thousand, above supposed, perhaps not 
 more than twenty classes of vocal sound, as subjects of recog- 
 nition could be found, to constitute twenty kinds of quality. 
 
 Of the orotund as a kind of voice, we spoke in a former sec- 
 tion ; and described there, the means by which the fulness, 
 power, and grave quality of this voice may be attained. It may, 
 perhaps, assist the reader in using the proper means for acquiring 
 the orotund, to state, that the voice in this case, is apt to change 
 into what we formerly called the basso-falsette ; thus producing 
 that ' double-lung' kind of speech, of mingled bass and treble. 
 
 Of Practice in Raindity of SjjeecTi. Extreme rapidity of 
 speech may be employed as a means for obtaining a command 
 over the voice. The difficulty, in this case, of making transi- 
 tions from one position of the organs of articulation to another, 
 requires an exertion which tends to increase their strength and 
 activity ; and consequently enables them to perform all moderate 
 progressions, without hesitation. I would recommend the utmost 
 possible precipitancy of utterance ; taking care not to outrun 
 the complete articulation of every element : and this makes it 
 advisable to set the lesson on some discourse, long fixed in the 
 memory, that no embarrasment may arise from the distracting 
 effort of recollection. 
 
 There is not much advantage to be derived from elementary 
 practice on Aspiration, the Emphatic vocule. and Guttural 
 vibration. The exact and forcible execution of these functions, 
 does not require the exclusive attention, directed by the rudi- 
 mental system of practice ; nor is anything to be effected thereby, 
 that may not perhaps, for all practical and tasteful purposes, be 
 accomplished in the current of discourse.
 
 MODE OF INSTRUCTION IN ELOCUTION. 437 
 
 Wc have thus enumerated both the articulatiA-e, and the 
 I xpressive constituents of the whole assemblage of speech. The 
 only question before us, on this subject, is, -whether we should 
 aim to acquire a full power over these constituents, by exercising 
 the voice on their combination, in current discourse, or by sepa- 
 rate and repeated practice on their individual forms. 
 
 It is needless to propose arguments in favor of the analytic 
 and elementary system 'to those, who, from experience in acquir- 
 ing the sciences, have formed for themselves economical and 
 effective plans of study. Let all others be told, that one, and 
 perhaps the only reason why elocutionists have never employed 
 this system, is, that they have overlooked the analytic means of 
 vocal expression ; and have therefore wanted both the knowledge 
 and nomenclature for an elementary method of instruction. 
 There are too many proofs in science and art, of the necessity, 
 aid the success of this rudimental method to allow us to suppose, 
 lie same means would not have been adopted in elocution, if they 
 ;.ad been known to the master. 
 
 Not to cite instances from those graver studies which pro- 
 eed by the synthetic steps of elementary principles; and with 
 no intention to shame the ' genius' of an elocutionist and his gram- 
 .;ar of imitation, let us go to the Ring, and see the Science of 
 i iuscular attack and defence, an over-match for the best efforts of 
 ^■rength and passion, Avhen undirected by gymnastic skill. The 
 ' fancy' have really made no slang-like or degrading application 
 >i the word. Science, as we usefully regard it, does no more 
 than lay down, for art, those efficacious rules that sagacity has 
 drawn from observation and trial : and though it may not always 
 V nnoble the subject it touches, it does take from it, that charac- 
 : eristic of brutality, — the instinctive execution of what, in its 
 causes and effects, is not understood by the agent. Yes, even 
 the Pugilistic Art, low in purpose, yet skillful as it is, has, thus 
 far, outstript the philosophic efforts of Elocution ; and claimed 
 for its directive principles, the justifiable name of science. And 
 believe me, reader, — the elementary training in its positions and 
 motions, carries not more superiority over the untaught arm 
 than the definite rules of elocution, founded on a knowledge of
 
 438 MODE OF INSTRUCTION IN ELOCUTION. 
 
 the nature of tlie voice, Avill have over the best spontaneous 
 achievements of passion. 
 
 Let me not be misunderstood on this point. I do not saj, the 
 method of instruction here proposed, can create the essential 
 powers of a speaker : but futurity Avill probably show that some 
 such system alone can direct, enlarge, and perfect them. ' Pas- 
 sion,' says a writer, 'knows more than art.' It may, indeed, in 
 its own way, know more than art. But art, in its own way, like 
 prudence in human affairs, sometimes knows better than passion. 
 A display of the passions in speech, is not always addressed to 
 persons under the sympathetic influence of those passions. When 
 it is, or when, at moments, the speaker can raise that sympathy, 
 all is right that passion does. When, however, passion is no 
 longer the slave either of words or will, and we are able to con- 
 template its free and better nature, without its waywardness and 
 excesses, such comparisons arise between what we feel ourselves, 
 on the different occasions of excitement, and what we observe in 
 others, that we are obliged to call upon reason and taste for some 
 educational rule, of Tilings as they Should be, to settle an un- 
 certainty of opinion. Passion, as we know it, is only the Enact- 
 ing of a certain character of Ideas ; and with none, except fools 
 and madmen, is an Outlaw of the Mind, but is still amenable 
 to its directive though excited authority. We need not go far, 
 for the true history of what is called the Natural Manner in 
 speech, thus prompted by spontaneous passion. The everyday 
 vulgar triumphs of popular eloquence, — in which the demagogue, 
 and the sectary, lead away an audience, eager to pursue the same 
 selfish schemes of profit or of fanatical delusion, — are proof of 
 what this oratorical sympathy is ; and what passion alone can 
 sometimes do, without the aid of truth, or reason, or honesty or 
 taste. 
 
 We look for no more, from a well devised practical system of 
 elocution, than Ave are every day receiving from established arts. 
 All men speak and reason, for these acts are as natural as pas- 
 sion ; but the arts of grammar, rhetoric and logic, teach us to 
 do these things in the best manner. In short, doing them in the 
 best manner is signified by the name of these arts.
 
 MODE OP INSTRUCTION IN ELOCUTION. 439 
 
 The subject of elementary instruction, may be otherwise re- 
 garded. The human muscles are, at the common call of exercise, 
 obedient to the will. Now there is scarcely a boy of physical 
 activity or enterprise, who, on seeing a Posture-master, does not 
 set himself, in some way, to imitate him ; to catch -and keep the 
 centre of gravity through the varieties of balance and motion. 
 Yet this will not prevent failure in his first attempts, however 
 natural the tie between his will and his muscles may be. For 
 without experience, he kno'\>s not what is to be done; or if he 
 knows, he is unable, without long practice, to effect it. And 
 thus, there are many persons, not destitute of feeling or passion, 
 who have a free command of the voice, on the common occa- 
 sions of life, but who utterly fail, when they attempt to imitate 
 the varied power of the habitual speaker. When the voice is 
 prepared by elementary practice, thoughts and sentiments find 
 the confirmed and pliant means of expression, ready to effect a 
 satisfactory and elegant accomplishment of their designs. 
 
 The organs of speech are capable of a certain range of exer- 
 tion : and to fulfill all the demands of a finished elocution, they 
 should be carried to the extent of that capability. Actors who 
 possess both strong and delicate feelings, and earnestly express 
 them in speech, are always approximating toward this power in 
 the voice ; and with no other assistance than of that habitual 
 exercise which enlarges their instinct, do in time, acquire a 
 command over the forms, and degrees of pitch, and stress, and 
 time ; without the Actor himself, being at all aAvare of the nature 
 of his attainments, or having one intelligent idea, of the ways, 
 means, and effects of their application. The elementary method 
 of instruction here proposed, being founded on the nature of 
 speech, at once points out to the Actor, what is to be desired 
 and attained ; and thus directs him to the thoughtful fulfillment 
 of every purpose of sense and passion. 
 
 It was not until long after the invention of the Bow for the 
 gliding touch of stringed instruments, that its use was subjected 
 to accurate observation. A few belonging to that class of man- 
 kind who find out, for themselves, the best way to effect their 
 object, may have exhibited rare instances of skill in its manage-
 
 440 . ^iODE OF INSTRUCTION IN ELOCUTION. 
 
 V 
 
 I 
 
 ment. But as soon as inquiry had made something like an 
 analysis of their dexterity, the master was aljle to point out to 
 the pupil the muscular sleight of wrist and arm which its hand- 
 ling requires ; their combined and successive motions ; together 
 with that full feeling of the will, as it were, present in the muScle, 
 which insures undeviating steadiness in every sweep, and gives 
 the power of a sort of conscious spasm for the purpose of a 
 momentary touch. When these points were ascertained, instruc- 
 tion began to adopt the economy of elementary rules; and 
 confidence, rapidity, precision, smoothness, an'd variety of exe- 
 cution, became common accomplishments in the arj; of Bowing. 
 
 When an attempt is made to teach an art, withoT#commencing 
 with its simple elements, combinations of elements pass with the 
 pupil for the elements themselves, and holding them to be almost 
 infinite, he abandons his hopeless task. An education by the 
 method we are here recommending, reverses this disheartening 
 duty. It reduces the seeming infinity to computable numbers ; 
 and I have supposed, — one of the first comments on the forego- 
 ing history, may refer to the unexpected simplicity of means, 
 employed by nature, to produce the unbounded permutations of 
 speech. Kay, this essay itself will fare better than other simi- 
 lar efibrts in science, if some of the perishing criticism of the 
 day should not find good reason with itself, for overlooking the 
 difficulty, of penetrating and tracing the mysterious thicket of 
 speech to its palpable roots, by being told how few and how 
 accessible they are. 
 
 In our proposed method of instruction, we have in view the 
 strictest propriety, and the highest finish of the voice. An 
 ordinary, and even vicious use of Speech, as we all know, may 
 serve for Buying and Selling, either in the common course of 
 Trade, or in Election-frauds, and Legislative Bribery. But 
 where the powers and beauties of the voice are the subject of 
 reflection and taste, it is necessary to employ the most compre- 
 hensive and precise means for its cultivation. It would be 
 possible, even without regard to the alphabet, to teach a savage, 
 to read by directing him, word by Avord, to follow a master. 
 And thus it has been proposed to teach elocution, by a similar
 
 MODE OF INSTRUCTION IN ELOCUTION. 441 
 
 process of imitative instruction. But tlie attentive reader must 
 now know, with me, and others may know hereafter, that the 
 analysis of words into their alphabetic elements, and the rudi- 
 mental method of teaching instituted thereupon, do not give 
 more facility, in the discriminations of the eye on a written 
 •page, than the means 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 his pupil, or his whole school, meet at 
 first, without their little hooks ; the master having the great 
 Book of Nature in reserve, but all got well by heart. Let the 
 master then exemplify the graceful gliding of the vanish, vrith 
 the effect of the second and other intervals of pitch. Let him 
 make the pupil sensible of the difference of these intervals by 
 separate and by compared utterance. Let him show the peculiari- 
 ties of a rising and of a falling movement ; of the waves ; of 
 the diatonic, and the chromatic melodies ; of the cadences ; of 
 the stresses ; in short, let the lessons consist of his illustrations 
 of every constituent function of speech. Let the pupil practice 
 all this when he retires ; and on returning to his master, let it 
 not be to hear him read, and vainly try to imitate him, but to 
 repeat his elementary task, through all the available modes, forms, 
 and varieties of the voice. When he is completely familiar with 
 these rudiments, then, and not before, let him begin to read. 
 
 If high accomplishment in elocution be an object of ambition, 
 the system of instruction offered in this section, will, until a 
 better method is proposed, furnish the easiest and shortest 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 ele- 
 gant genius of the Augustan age, who drew his maxim from the 
 Greek Tragedy, and illustrated it by his own life and fame, that 
 ' nothing is given to mortals without indefatigable labor :' meaning 
 thereby, that works which, from their rare and surpassing merit.s, 
 are supposed to proceed from a peculiar endowment by Heaven, 
 are in reality, but the product of hard and unremitting industry. 
 29
 
 442 MODE OF INSTRUCTION IN ELOCUTION. 
 
 It is pitiable to ^Aitness the hopes and conceits of ambition, 
 without a resolute spirit in its required exertions. The art 
 of reading-well is one of those accomplishments, all "wish to pos- 
 sess, many think they have already, and some set-about to 
 acquire. These, after a few lessons with an Elocutionist, and 
 no toil of their own, are disappointed at not becoming themselves 
 at once masters of the art ; and abandon the study, for some 
 new subject of trial and failure. Such cases of infirmity are in 
 part the result of an inconstancy in the whole Tribe of human 
 nature ; but they chiefly arise from defects in the usual course 
 of instruction. Go to some, may w'e 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, — with no want of 
 youthful diffidence or feeling, and not without a craving desire 
 to learn, — sent upon a Stage, pale and choking with apprehen- 
 sion ; being forced into an attempt to do that, without instruction, 
 which he came purposely to learn ; and furnishing amusement 
 to his class-mates, by a pardonable awkwardness, that should be 
 punished, in the person of his pretending but neglectful preceptor, 
 with little less than scourging. Then visit a Conservatorio of 
 music ; observe there, the elementary out-set, the orderly task, 
 the masterly discipline, the unwearied superintendence, and the 
 incessant toil to reach the utmost accomplishment in the Singing- 
 Voice ; and afterwards do not be surprised that the pulpit, the 
 senate, the bar, and the chair of medical professorship, are filled 
 with such abominable 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 triumph along the high places of 
 the worhl ; who are bidden to the halls of fashion and wealth ; 
 who sometimes quell the pride of rank, by a momentary sensa- 
 tion of envy : and who draw forth the intelligent curiosity, and 
 produce the crowning delight and approbation of the Prince and 
 the Sage.* 
 
 * It is remarkable of the Science of the Voice, that the successful cultivation 
 of the department of Song, through the profound and beautiful analysis of 
 
 t 
 
 i
 
 RYTHMUS OF SPEECH. 44? 
 
 SECTION L. 
 
 Of the Rytlimus of Speech., 
 
 In the section on Time, some allusion was made to the subject 
 of Rythmus. I there endeavored to show the circumstances 
 under which stress and time, or as they are otherwise called, 
 accent and quantity, produce by their alternations the agreeable 
 impressions of verse. I now offer a more formal account of this 
 matter, with the design to speak of the Rythmus of prose ; and 
 to notice in as few words as possible, the ingenious system of 
 Mr. Steele, on the subject of accentuation and pause : this being 
 among the first results, in modern times, of an inquiry into the 
 philosophy of spoken language. 
 
 Speech would not be convenient for the interchange of thoughts 
 
 melody, and harmony, should never have extended its searching influence into 
 the more important, and equally aesthetic department of speech. 
 
 Having, after a long and active search, collected quite a library of good, bad, 
 and indifferent works on elocution ; and, with the exception of Mr. Steele, Mr. 
 Odel, and Mr. Walker, finding them all, both ancient and modern, to be com- 
 posed of the same common materials of the art, arranged, and detailed with a 
 varied ability : I had some curiosity to know the practical method of eminent 
 Vocal Institutions. During my residence in Paris, through the winter of eighteen 
 hundred and forty-five— six, I sought by every due effort, to obtain from direct, 
 and personal observation, a knowledge of the instructive Course of Declamation, 
 employed in the Conservatorio. I found however, through a friend of some 
 influence in this matter, that under a general rule, admission could not be ob- 
 tained. 
 
 Upon information derived from a Vocalist, at that time under tuition, for hi.s 
 appearance in the Opera,— who described to me, the directive, and examplary 
 means of the master, the imitative practice of the pupil, and the detailed rou- 
 tine of the task,— I was led to conclude, they had nothing out of the common 
 way, on the nature and intonative meaning, either of Declamation or Recitative ; 
 nor the least idea of a Philosophy of Speech, to throw the necessary light of 
 explanation upon them : and that while the exclusion of visitors, might be no 
 deprivation to the studious observer, the duties of the Institution, might by this 
 precaution, be saveil from the vexatious intrusion of the tens of thousands idle, 
 restless, and ennui'd Sojourners in the great Metropolis.
 
 444 RYTHMUS OF SPEECH. 
 
 and feelings, if every syllable of every word were successively 
 accented. For by this uniform accentuation, it would want that 
 vocal light and shade, and that pronounced relief, required for a 
 distinct picture of thought ; words, and consequently thoughts, 
 would not be easily distinguished from each other ; and speech 
 would be inconveniently slow. Whether this slowness would 
 result from the hiatus, in passing from one syllable to another, 
 each with a full radical upon it, we need not here inquire. It is 
 enough to know, that if the following, or any other sentence be 
 read with every syllable accented, the delay will be unavoidable. 
 
 The Right of suf-frage in a Re-pub-lic, will, through the suc-ces-sive Oli- 
 gar-chy of weak and am-bi-tious Knaves, al-ways end in the Wrongs of the 
 Peo-ple. 
 
 Now, although this political axiom, should be deliberately read 
 as well as closely laid to heart ; still, with an impressive accent 
 on every syllabic, the pronunciation of this eternal truth, would 
 far exceed in time, even what its solemn utterance deserves.* 
 Thus, to the alternation of strong and weak accent, with the 
 variations of long and short quantity, is ascribable much of the 
 power and beauty of speech. 
 
 This being the nature of the accentual function, Mr. Steele, 
 by an original view of the relations between accent, quantity, 
 and pause, made a division of the line of speech, analagous to 
 that of the Bars of musical notation. These may be called 
 Accentual Sections. We will attempt to explain part of the 
 system of Mr. Steele, by the following sentence ; using italics 
 in place of his symbol for the accented syllable ; and numbering 
 the sections, merely for reference. 
 
 12 3 4 5 6 
 
 "I In the I sec ond | cent u-ry | "j of the ] chrisi ian ( e ra | 
 
 7 8 9 ]0 n 12 
 
 "] the I em pire of | liome | "] com-pre | hend ed the | fair est | 
 
 13 14 15 10 17 18 
 
 part of the | earth 1 | "J and the | most "] | civ i-lized | par tion j 
 
 19 20 
 
 T of man | kind \ 
 
 * Let us take another example, to be read with an emphasis on CTcry syllable. 
 The dif-fer-ence be-tween the two great An-tag-o-nists, a-mong na-tioos, is
 
 RYTHMUS OF SPEECH. 445 
 
 Mr. Steele first assumes the time of the several bars to be 
 equal, like that of the bars in music : the term bar, meaning, 
 not the vertical lines, but the space between them. He next 
 subdivides a sentence into bars, each containing a full syllabic 
 quantity, or a syllabic quantity and a silent time, or pause. 
 Now, supposing a bar, or accentual section, to contain one 
 accented syllable, or heavy Poize, as he calls it ; and one or 
 more unaccented, which he calls the light Poize ; the beginning 
 of the bar is always occupied by the heavy accent, and the end 
 by the light, or in their absence, by respectively equivalent pauses. 
 In the first bar of the above example, there is no heavy accent, 
 for the sentence begins with two light syllables, but its time is 
 indicated by the symbol of a pause. The word second, in the 
 next bar, has a heavy syllable followed by a light one, and thus 
 makes a full and regular time. In the third bar, the word 
 century has a heavy, followed by two light syllables. The 
 fourth has the same time, in syllable and in pause as the first. 
 The fifth and sixth are of the same construction as the second. 
 The seventh has one light accent, and a pause in place of the 
 heavy. The eighth is like the third. The ninth and twentieth, 
 have each one heavy accent ; for each syllable being a pro- 
 longable quantity, the time may be extended to an equality with 
 that of the other bars. The fourteenth and sixteenth have, like 
 the last-named, a heavy ; but wanting the light, its time is sup- 
 plied by a pause : since the short quantity of these words, does 
 not allow their prolongation to the full time of a bar. The 
 other bars are only repetitions of those already described. If 
 the number of syllables, included within the bars, is so many 
 as to require an improper precipitancy of utterance, in order to 
 make the time of the sections equal, it becomes necessary to set 
 a line before the light syllables of that precipitate group, and a 
 symbol of rest in the place of the heavy or accented syllable. 
 Thus in the example, we might put, ] century of the \ in one 
 section ; but when the sentence is read deliberately, this section 
 
 this : In a Des-po-tism, the go-vern-ment prej's up-on the peo-ple. In a Re- 
 pub-lic, the peo-ple prey up-on the go-vcrn-ment. The life-blood is drawn 
 a-like by each. In one case by the Ea-gle ; in the o-thcr by the Rats.
 
 446 RYTHMUS OF SPEECH. 
 
 is too long. It is better ordered in the example, by a subdivi- 
 sion, and by a pause in the place of an accented syllable. With 
 this general explanation, the reader is referred to Mr. Steele's 
 work, for a more particular account of the system. Perhaps I 
 have not properly marked the bars of this sentence. But my 
 purpose being only to illustrate, others may, with an ear of 
 taste, improve the reading for themselves. It seems to me how- 
 ever, and the remark strongly supports the system, — that 
 if this sentence is read without its linear divisions, the voice is 
 naturally disposed to make its pauses, in those very places, and 
 of that duration, which is visibly indicated by the system of 
 vertical lines, placed before the accented syllable, and of the 
 symbols of pauses, both in the light and heavy parts of the bar. 
 Thus showing the powers of analysis, and the originality of the 
 author. 
 
 It will perhaps be asked here, what is the meaning of these 
 divisions ? And what useful purpose do they serve in instruc- 
 tion ? 
 
 All the works on elocution before the time of Mr. Steele, 
 recommend the accurate accentuation of words, and a strict 
 attention to their separation, at the proper places for pausing. 
 Mr. Sheridan indeed has given a notation for rhetorical empha- 
 sis, and for pause. But he has proposed no broad rule, to direct 
 the pupil in the use of accent. The importance of tire subject 
 in our early schools, may be learned from the manner in which 
 children begin to read : for their hesitating utteraoce^ and their 
 close attention to the single M'ord, lead them to lay an equal 
 stress on every syllable, or at least on every word. This habit 
 continues a long time after the eye has acquired a facility in 
 following up discourse ; and in some cases infects pronunciation 
 throughout subsequent life. For it is not till the tongue goes 
 tripping, or rather halting, with its firm and its tender step 
 on words, that the ear becomes sensible of the use and beauty 
 of accent. Mr. Steele's notation having a symbol for the de- 
 grees of stress, — here marked by an italic syllable, — presents a 
 visible analogy to the light and heavy impression, and furnishes 
 the child with the picture of his lesson on accent, and with a
 
 RYTHMUS OF SPEECH. 447 
 
 monitor to liis ear. I do not say, this object would not be 
 attained, in a degree, by employing the common mark of stress 
 on all accented syllables. 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 include the indication of pause, together 
 with other points embraced by Mr. Steele's system. 
 
 One of the objects of a scientific institute is, to point out what 
 is necessary in an art, even though it should not be able to direct 
 the exact manner of executing it : and perhaps no one who has 
 looked into Mr. Steele's system of notation, will hesitate to 
 acknowledge, it has set the subjects of accentuation and pause in 
 an entirely new light before him. 
 
 This notation will not indeed inform us what sjdlables are to 
 be accented or emphatic ; and not always, 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 his scholar with a visi- 
 ble illustration of his task. If a boy is taught by this method, 
 he acquires a habit of attention to the subjects of accentuation 
 and pause, that may be readily applied in ordinary discourse. 
 
 I have gladly embraced an opportunity to notice the labors of 
 Mr. Steele, who was among the first to shriek-out at the incubus 
 of ancient prosody, that had crouched so close on the bosom of 
 his own, and of every modern language. His work is original, 
 but it is neither full nor systematic ; and his contradistinction of 
 what he calls Poize, from the functions of time and stress, is alto- 
 gether notional and cloudy. Notwithstanding his philosophic 
 turn for really hearing speech, he seems, on the subject of his 
 light and heavy Poize, to have fallen into an abstraction, almost 
 within the doctrine of ' Occult causes.' Still, I have taken this 
 short and perhaps unsatisfactory view of a part of his essay, 
 as prefatory to the few following remarks on the subject of 
 rythmus.* 
 
 The Eythmus of language is produced by a certain order of 
 
 * Mr. Steele first published bis views, under the title cited in the introduction 
 to this essay. A few years afterwards lie gave a second edition of his work, 
 with the title of ' Prosodia Rationalis.' This last has very little addition to the 
 former print.
 
 448 RYTHMUS OF SPEECH. 
 
 accent, quantity, and pause. Or in other words, a certain suc- 
 cession of syllables, having different degrees of stress, or of 
 quantity ; and this succession being divided into portions by 
 pauses, constitutes the agreeable impression of the current of 
 speech, called Rythmus. 
 
 There are two methods of appl3nng the alternate force and 
 remission of stress, in the construction of rythmus. One pro- 
 ceeds by a regular repetition of the same order of accents : as in 
 Versification. The other, as in Prose, has no formal arrange- 
 ment of its strong and weak, or long and short syllables. The 
 doctrine of the order of syllables in verse constitutes what is 
 called Prosody. This subject having been ably treated by 
 authors, and being beyond the design of this essay, we here pass 
 it by, with the remark, that if English prosodists would listen to 
 their own language, when they undertake to regulate it, and 
 forget what the old grammarians have said upon the subject 
 of Time, which, there are some reasons for believing, they 
 themselves did not fully understand, their science would be more 
 intelligible, and their rules of practice more useful to the 
 student. 
 
 Though the broad distinction between prose and verse con- 
 sists in the more irregular sequence of accent and 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 rythmus is that which admits occasional devia- 
 tions from the current of accentuation : but these deviations 
 do not continue long enough to destroy the general character 
 of regularity ; the order returning before the ear has forgotten 
 its previous impression. Prose, on the other hand, is constantly 
 showing the beginning of a regular rythmus : but before any 
 series of accent or quantity has time to impress the ear with its 
 method, the cross-purpose of a new succession destroys the order 
 of incipient versification. 
 
 The sources of variety, beauty, and force, in rythmus may be 
 learned from the following general view of its construction. 
 
 In ordinary pronunciation there may be several successive 
 monosyllabic-words marked by the abrupt accent. In this case
 
 RYTHMUS OF SPEECH. 449 
 
 there is necessarily a momentary pause between them : or there 
 may be 'an accented syllable folio-wed by one or more, but not 
 exceeding six unaccented ; the average proportion being about 
 one accented syllable to three unaccented. Hence it appears that 
 the divisions, included between the vertical lines of Mr. Steele's 
 notation, called here, accentual sections, may consist of from 
 one to five syllables, and with considerable care and skill in 
 the effort, sometimes of six. Consequently, if a rythmus were 
 formed on the function of accent alone, a series of .these dif- 
 ferently constituted sections, would furnish the ground-work for 
 considerable variety. Thus in the above example, the sections 
 consist of from one to five syllables, for the third and fourth 
 may be thrown together by omitting the bar and the pause, 
 without at all obscuring the sense ; and these sections being 
 arranged in varied succession, is one of the causes of the agree- 
 able rythmus of that sentence. 
 
 Perhaps the reader will now admit that the ear is as strongly 
 attracted by quantity as by stress. When, therefore, these two 
 functions are combined, the means of variety are multiplied. 
 In the following sentence, slightly altered from Gibbon, I have 
 marked in italics those syllables which make an impression 
 by their quantity, and thus add dignity to the varied accentual 
 rythmus. 
 
 The masters of the fairest and most wealthy climates of the globe, turn'd 
 •ffith contempt from gloomy hills, assaiVd by the wintery tempest, from lakes 
 couceaVd in mist, and from cold and lonelij heaths, over which the deer of the 
 forest were chased by a troop of naked barbarians. 
 
 Besides the variety and impressiveness thus arising from 
 stress and quantity, the rythmic effect may be further diver- 
 sified by including one or more accentual sections Avithin the 
 boundary of pauses. If the useful economy of the term, may 
 be allowed, let us call the portions of discourse so formed, 
 Pausal sections. They may consist of a single word : but the 
 structure of style, and ease of utterance, rarely admit of their 
 containing more than twenty syllables. In the following exam- 
 ple the pausal sections are included between the upright lines,
 
 450 RYTHMUS OF SPEECH. 
 
 tliat the order and variety of the succession may be surveyed 
 by the eye. The lines designate only the place of the' pause, 
 in clear and impressive reading, without denoting its several 
 durations. 
 
 It is gone | that sensibility of principle | that chastity of honor | ■which 
 felt a stain | like a wound | which inspired courage | whilst it mitigated 
 ferocity | which ennobled whatever it touched | and under which | vice 
 itself I lost I half its evil | by losing all its grossness. | * 
 
 The agreeable effect of variety in the pausal sections, will 
 perhaps be more conspicuous by contrasting it with the mo- 
 notony of the antithetic style. The following sentence exhibits, 
 not the art, but the artifice of rhetorical construction. 
 
 "When ]>took the first survey of my undertaking | I found our speech [ 
 copious I without order | and energetic | without rules | wherever I 
 turned my view | there was perplexity | to be disentangled | and con- 
 fusion to be regulated | 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 suffrages of any writers of classical 
 reputation | or acknowledged authority. | 
 
 Such a measuring process, if used occasionally, may give 
 variety to discourse. When made the characteristic of com- 
 position, it indicates formality of car, makes mere arithmetic 
 of speech, and obscures the strong lines of verbal delineation. 
 There seems too, to be a want of dignity in this kind of ryth- 
 mus; and those who affect it, scarcely perceive how nearly 
 they approach to the principle of the ludicrous: for when its 
 features are slightly surcharged by caricature, it really becomes 
 so. The principle is that of a resemblance in sound, with a 
 difference in sense. The similarity in the number of words, 
 together with the like places of their accents, and the equal 
 
 * The manner in which lost, here forms by itself, a pausal section, is 
 exemplified in Mr. Steele's method of notation : [ Vice it | self "| | lost "[ \ 
 half its I e vil. | A good reader would pronounce this clause, with emphasis 
 on lost, and a pause before and after it: thus according with Mr. Steele's 
 principles of Accentual division.
 
 RYTHMUS OF SPEECH. 45I 
 
 count of syllables, under which it has sometimes been the 
 fashion, to set forth the strongest antithesis in ideas or sen- 
 timents, has not exactly the contrasted imagery of a pun, but 
 it 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 to remark, 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, with 
 the faults of its rythmus. 
 
 And is the son of Semo fallen ? | mournful are Tura's walls. | Sorrow dwells 
 at Dunscai. | Thy spouse is left alone in her youth. | The son of thy love is 
 iiloue ! I 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? 
 I he will say. | The soul of his mother is sad. | Who is that, ] 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 nearly all of equal length, and this 
 cause, together with the frequent occurrence of the cadence, 
 produces the wearisome character of the rythmus. Doctor 
 Johnson once said, there were many men, and women, and chil- 
 dren in Britain, who could write such poems as those ascribed to 
 Ossian. I have too many agreeable and grateful recollections 
 of Scotland, to quarrel with her partiality, if she has any, on 
 this point ; but surely, there is not a Roscius who can read them. 
 We have indeed a vast fund for variety, in the constituents of 
 speech ; but we may doubt their sufficiency to meet the demands 
 of this composition, without transgressing the rules of a just 
 and expressive intonation. 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 first few lines 
 of Burke's episode on the Queen of France : which in elegance,
 
 452 RYTHMUS OF SPEECH. 
 
 variety, and impressiveness of mere rythmus, and exclusive of 
 some hyperbole and rhetorical ostentation, is not surpassed in 
 the English language. 
 
 That both the accentual and the pausal sections may be gra- 
 phically made, they are here presented under Mr. Steele's 
 notation, as scored by Dr. Barber in his ' Exercises in Reading 
 and Recitation :' omitting the symbols for the light and heavy 
 accent. 
 
 7 It is I now, I sixteen or ] seventeen | years ] 7 since I | saw the queen 
 of I France, 7 | then the | Dauphiness, | 7 at Ver | sailles : | 7 7 | 7 and 
 
 I surely | never | lighted on this | orb, | 7 which she | hardly | seemed 
 to I touch, 7 j 7 a I more de | lightful | vision. | 7 7 | 7 7 | 7 I | saw 
 her I just a | bove the ho | rizon, | 7 7 | decorating and | cheering | 
 7 the I elevated | sphere | 7 she | just be | gan to | move in: | 7 7 | 
 glittering | 7 like the | morning | star ; | 7 7 | full of | life, 7 | 7 and 
 
 I splendor, | 7 and | joy. | 
 
 Oh ! j what a | revo | lution ! 1 7 7 | 7 and | what a | heart 7 | 
 must I I have, | 7 to con | template | 7 with | out e | motion, | that 
 7 I 7 ele I vation | 7 .and | that 7 | fall. | 
 
 The agreeable effect of this rythmus 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 delightful, cheering and sphere, they do not press upon each 
 other. 
 
 Second. The words have from one to four syllables ; and 
 these are finely alternated with each other. The accentual sec- 
 tions vary from one to five syllables in extent. 
 
 Third- The Pausal sections consist of from two syllables 
 to ten; and their different lengths are intermingled in suces- 
 sion. 
 
 Fourth. 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 phraseology is hightened, by the 
 occurrence of these long syllabic quantities, at the several pauses : 
 as in the words — years, Yersailles, orh, horizon, sphere, move, 
 star, joy, and fall.
 
 RHYTHMUS OF SPEECH. 453 
 
 Fifth. The order of the rythmus has just enough regularity 
 to produce the smooth effect of verse, without allowing the reader 
 to anticipate any subsequent measure. 
 
 The only exception to be made to the commendation of this 
 extract, is produced by the consecutive accents at its termina- 
 tion. A spondaic cadence, where the accents or quantities are 
 equal and full, if not designed for some extraordinary case of 
 expression, or for variety in a series of short sentences, is always, 
 to me at least, both awkward and unmanageable. 
 
 The instances of rythmus given above, are from prose-com- 
 position of elevated sentiment, and style. But the plainest 
 phraseology may be brought under the influence of the same 
 rules of accent, quantity, and pause. From the pen of a 
 person of fine rythmic perception, even a letter of business, 
 with its enumeration of particulars, may flow with graceful 
 variety, and terminate with impressive satisfaction to th6 ear. 
 
 It is unnecessary to go into a further detail on the subject of 
 rythmus. Much might be said in illustration of its powers and 
 beauties, both as existing in the current of discourse and in the 
 conspicuous place of the pause. But we leave this to the Rheto- 
 ricians.
 
 454 FAULTS OF READERS. 
 
 SECTION LI. 
 
 Of the Faults of Headers. 
 
 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, must insure to it, this required natural propriety. 
 
 This idea has arisen from ignorance of the functions which con- 
 stitute the beauties and deformities of speech. Without a know- 
 ledge of causes and effects, on these points, teachers have been 
 obliged to refer to the spontaneous efforts of the voice, as the 
 only assistant means of instruction. Setting aside here, the 
 question, whether we dare to say, what the right or natural man- 
 ner is, before we know the principles that make it so; we will 
 admit that the natural manner, from our being accustomed to it, 
 and having perhaps a sort of fellow feeling with its faults, is 
 less exceptionable than the first attempts of the pupil in reading ; 
 still the faults of ordinary conversation are similar to those of 
 reading, though they are less apparent. Perhaps the common 
 opinion is grounded on a belief, that a just execution must 
 necessarily follow a full understanding of the sense, and a true 
 feeling of the sentiment of discourse ; for these are supposed to 
 accompany colloquial 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. 
 
 There must be knowledge, derived from peeping behind the 
 curtain of actual vocal deformitj' still hanging before the just and 
 beautiful laws of speech : and there must be an organic faculty, 
 well prepared in the school of those laws, for the expression 
 of thouglit and feeling. Were it certain that this pretended 
 natural manner truly represents the design of nature, in her 
 system of vocal expression, we would no more require an art of
 
 FAULTS OF READERS. 455 
 
 elocution, than an Art of Breathing : and the whole world, in 
 Reading and Speaking, as in the act of respiration, would have 
 accomplished its purposes, with a like instinctive perfection. 
 But far from such uniformity, there are wide and almost infinite 
 differences, in what now pass for the proprieties, as well as in the 
 acknowledged faults, of speech. The elocutionist's natural man- 
 ner is not, therefore, the original ordination of nature. It would 
 seem, that in the early and unknown history of progressive man, 
 he must, from the perversity attendant on his ignorance, have 
 learned to Act and to Govern viciously, before he had learned to 
 act and to govern wisely and well. Man's whole executive pur- 
 poses are directed by his thoughts and feelings ; the same agents 
 that direct his speech : and as far as history inforins us, the just 
 designs of nature, in his moral, his political, and his vocal con- 
 dition, were found to be already crossed or perverted, when he 
 first began to look into her laws, and to turn an eye of philo- 
 sophic inquiry upon himself. 
 
 The self-prompted efforts of speech do indeed, exhibit in some 
 instances, proprieties of emphasis and intonation ; but these pro- 
 prieties, like every purposed act without its rule, being but the 
 occasional result of a narrow design, cannot have a generality 
 necessary for a directive system of elocution ; and will be very 
 far from satisfactory to the ear of a refined and educated taste. 
 
 There may likewise be a wide difference, between the capa- 
 bility of a voice in its colloquial use, and of the same voice when 
 exerted in a formal attempt to read. Mr. Rice, in his " Intro- 
 duction to the Art of Reading," refers to persons, who had been 
 known to speak with great energy and propriety, those very 
 words, which, being taken down and shown to them in writing 
 or print, they were unable, without great difiiculty, and after 
 repeated trials, to pronounce in the precise tone and manner in 
 which they had previously uttered them. Supposing they did 
 Bfeak with propriety, which the art has never yet furnished the 
 means of knowing : there seems, in such cases, to be no want of 
 energy of mind or feeling, nor of flexibility in the voice. But 
 when discourse, embracing sense and sentiment, is read, even by 
 its author, the occupation of the eye distracts attention from the
 
 456 FAULTS OF READERS. 
 
 meaning, or permits it to be fully recognized, only wlien shown 
 upon a single point. If that meaning is to be gathered from 
 several words, the necessary forerunning and retrospection of 
 the eye, render the proper management of the voice impractica- 
 ble to those who have not, by long exercise in the art of read- 
 ing, acquired a facility in catching the sense of discourse, 
 together with an almost involuntary habit of associating the 
 proper form of vocal expression, with its corresponding thought 
 and feeling. 
 
 But whatever may be the cause of the difficulty of reading 
 well, faults of all degrees and kinds do prevail in the art. 
 Having therefore prepared the way for a history of these 
 faults, by describing what appear to be the precise and elegant 
 uses of the constituents of speech, I shall endeavor to point 
 out the most common deviations from the principles, on which 
 I have presumed to found our system of Propriety and Taste. 
 
 He who undertakes to note the defects of an art, must carry 
 with his censure, a knowledge of its perfections. Faults are, 
 every where, but relative to merits : and in elocution, they are 
 the misplacing only of those forms of expression which con- 
 stitute its beauties: for some of the finest colors of the art 
 are dipped from the very sources of its faults. He who de- 
 clares his perception of blemishes in an art, and yet cannot at 
 the same time define and enumerate its beauties, speaks with- 
 out candor, or as the dupe of authority. Let us then try to 
 perform these inseparable duties, by giving the ^outline of a 
 just and elegant elocution, with a particular enumeration of 
 its faults. 
 
 While investigating the phenomena, and regarding the uses 
 of speech, I have always endeavored to keep in view the purest 
 and most elevated designs of taste. It will be little more than 
 recapitulation therefore to say, the faultless reader should 
 possess, for various 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 dis- 
 tinctively that pronunciation of single elements and their aggre- 
 gates, both as to quantity and accent, which accords with the
 
 FAULTS OF READERS. 457 
 
 habitual perceptions of his audience. His plain melody should 
 be diatonic, and varied in radical pitch, beyond discoverable 
 monotony. His simple concrete should be equable in the rise, 
 and in the diminution of its vanish. His tremor should be 
 under full command for occasions of grief and exultation. Ob- 
 servation and judgment must have settled for him, the places 
 and degrees of emphasis ; and a knowledge of its many forms, 
 must have suggested the choice of them, for variety and ex- 
 pression. He should be able to prolong his voice through 
 every extent of quantity, in the wave, and in every concrete 
 interval of the rising and the falling scale. He must have 
 learned to put off from the dignified occasions of reading, 
 everything like that canting or affected intonation which the 
 artful courtesies and sacrificing servilities of life too often con- 
 firm into habit; and to avoid in his interrogations the keenness 
 and excesses of the vulgar tongue. He should have too for 
 this, as for every other Fine Art, a delicate sense of the 
 Sublime, the Graceful, and the Ridiculous. A quick percep- 
 tion of the last is absolutely necessary, to guard the exalted 
 works of taste, asrainst an accidental occurrence of its 
 causes. 
 
 It may perhaps be considered presumptuous, thus to propose 
 rules of criticism in the Art of speaking. Before the analytic 
 development of the nature of speech, this could not have been 
 done: and the attempt would have been one of folly as well 
 as presumption. We have now ascertained the constituents 
 of vocal expression, sufiiciently at least, to advance some steps 
 towards a system : and it seems no undue anticipation of what 
 must hereafter form the great purpose in the schools of elocu- 
 tion, to suggest such a use of these constituents, as may satisfy 
 the cultivated ear. 
 
 If, however, any supposed presumption should require apo- 
 logy, or justification, let me here say a word on the system 
 I have offered; and on the manner and means of its pro- 
 duction. 
 
 In embracing the opportunity of investigating the nature of 
 the human voice, which others equally, and perhaps better quali- 
 30
 
 458 FAULTS OF READERS. 
 
 fied had suffered to pass by, I brought to the inquiry, some 
 natural facility of ear, and some acquired knowledge of the 
 science and practice of music. On taking-up the general idea 
 of the concrete movement, -where the Ancients had left it, and 
 thereupon, tracing an identity between certain constituent func- 
 tions of speech, and of music ; the train of investigation soon 
 led to a discovery, that the individual vocal constituents of 
 speech, like those of music, are comparatively few. This at 
 once unfolded the whole mystery; for the delusions of that 
 mystery were the result, of a belief either in the occult and 
 inscrutable nature of the constituents of intonation, or in the 
 infinite complication of their aggregates ; and this unquestioned 
 belief had deafened all perception of their individuality. By 
 resolving these aggregates into distinguishable individuals, it 
 brought their assignable number and nature, within the discrimi- 
 native power of observation. The greatest diflficulty was now 
 overcome ; for by an unobscured perception of the individual, it 
 was easy to make out the relationship between a sentiment and 
 its vocal sign. AVith this knowledge, obtained through my own 
 experimental illustration, I turned to the uncorrupted instincts 
 of nature, in children and in inferior animals, for instances of 
 passionate expression ; and to common life, as well as to tlie 
 eminent elocution of the stage, for the various usages of speech. 
 The power of tracing the individual functions in these instances, 
 and of recognizing their single and combined effects, brought me 
 to the belief, that the system here proposed, has its Origin and 
 its Confirmation in Nature ; and is therefore well adapted, by 
 its analysis, to gratify the lover of truth, and by the practical 
 uses founded upon it, to contribute to the pleasures of an en- 
 lightened taste. 
 
 While developing the system of physical causation, I was 
 led to perceive a wise conformity of the vocal means, to the 
 expressive ends of speech : and to remark therein, at least the 
 reasonableness of the system, if I did not dare to draw from 
 the idea of such final causation, any confirmative evidence of 
 its truth. In our preceding history, a broad and important dis- 
 tinction is made, between the vocal functions, representing simple
 
 FAULTS OF READERS. 459 
 
 narrative and thought, and those expressive of sentiment and 
 passion. To one division, we allotted the second and its plain 
 diatonic melody. To the other, the semitone, -with the wider 
 intervals, and waves : manifest differences in the vocal means, 
 being thus definitely accommodated to manifest differences be- 
 tween thought and sentiment. On the ground of this reasonable 
 appropriation of different means to a different end, it is conclu- 
 sive, that the rule of rules, — nowhere, and never forgotten by 
 Nature, — this Rule of Fitness, being unknown in the uses of 
 hitonation, must be constantly violated by speakers: that a 
 iirrent melody of thirds, or fifths, or wider waves, must coun- 
 teract the Final Cause of Nature, in allotting a different vocal 
 expression respectively to sentiment and to thought; confound 
 her intended contradistinctions ; prevent the repose of the car 
 on the unimpassioned diatonic ; and wear out its excitability to 
 the emphatic power of wider intervals, when required for occa- 
 sional purposes of vivid expression. 
 
 There is another consideration, to justify the establishment of a 
 system of some kind, if it should not plead for the one Avhich has 
 ])een offered. When the constituents of expression are described 
 and known, the precision of their use must become an object of 
 attention and criticism with an audience. If there be an ad- 
 mitted rule for their employment, the representation of thought 
 and sentiment, will be more uniform, and therefore more clear 
 and impressive. When we vary and confound the appropriate 
 meaning of the vocal signs, we may come in time, to destroy, — 
 and even with the aid of the verbal sign, must always weaken — 
 the force of expression. If we constantly whine in the chro- 
 matic 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 Rule of excellence in the art of elocution, 
 we are always referred, as in the other fine arts, to Nature. But 
 nature, when shut out from the clear light of analytic demon- 
 stration, is a deceptive pattern ; and seems here, as in so many 
 other cases, to be no more than the omniform parent of secta-
 
 460 FAULTS OF READERS. 
 
 rian opinions ; for, like Liberty vihh. a patriot, Experience with 
 a physician, Right with a moralist, and Orthodoxy with a bigot, 
 she shows as many faces as there are self-deceiving tongues that 
 take her name in vain. If nature, the deformed instinct of 
 human nature, I mean, is to be the canon, it must be, by the 
 single instances she produces : for if her excellencies are scat- 
 tered throughout the species, it is Art that must collect them. 
 But where is the instance in this nature, worthy of imitation ? 
 Is it to be found in the drawl of the spiritless ? In the snappish 
 stress of the petulcnt ? The short quantity and precipitate 
 time of the frivolous ? In the continued diatonic of the satur- 
 nine V Or the eternal whine of the unhappy ? Is it in the 
 canting drift of the passion-masking hypocrite ; or in the efibrts 
 of those morbid sensibilities, Avhich live upon exaggeration ? 
 Shall we look for it in the daiiy-changing and mincing aflfccta- 
 tions of the Fashionable Foolish ; or in the thousand contrarieties 
 of National accent, quantity, and intonation, yet each in pride 
 and ignorance, self-aright '( Shall we find this nature's paragon, 
 in the chatterings of the great market of life, that hurries 
 through its melody, denies itself the repose of the cadence, and 
 in uproar after rank and poAver, and bidding for its bargains of 
 office or notoriety, strains itself to its hoarsest note? 
 
 These are the individual instances of vocal deformity pre- 
 sented by Nature, with sacrilege so called, and daily sufiered 
 to pass without remark, because we are engaged at the moment 
 with other thoughts and designs : and which we perceive only 
 when the voice itself, as a subject of taste, is the exclusive 
 object of reflective and discriminating attention. 
 
 But though nature, still holding her regards over the wayward 
 errors of the human voice, may not, under its corruptions, deign 
 to show us a single instance of the fitness and beauty of her laws, 
 she has, as an indication of her means for j)erfecting the vocal 
 powers of the individual, diffused throughout the species, all the 
 constituents of that perfection. A description of the true cha- 
 racter and purpose of these constituents, and the gathering-in 
 of their scattered proprieties and beauties, furnish the full and 
 choicest pattern of Imitable-Nature ; which, reduced to an
 
 FAULTS OF READERS. 4.QI 
 
 orderly system of precept and example, constitutes the — Art 
 of Elocution. 
 
 The Canon, so called, of statuary in Greece, which represented 
 no singly-existing form, but which was said to contain within the 
 Rule of its Design, all the master-principles of the Art, was the 
 deliberate work of Genius, Time, and careful Experiment on the 
 Eye, in the very method of reflective and discriminating Selec- 
 tion, we here claim for Elocution ; and was finished at last, by 
 Polycletus, only after previous ages of successive improvement. 
 If individual nature might be taken as a model in the arts, we 
 should 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; and in reverse of the tedious 
 growth of centuries, would like the garden of Eden, have been 
 ripe at their planting. 
 
 The masters in Elocution, not perceiving that the Art of 
 ■peaking- well is One, in the Fellowship of the Fine Arts, and 
 not drawing from their common fund of abstract principles, the 
 precepts that might be applicable to their own, have sometimes 
 varied their old and imperfect rule of teaching by Imitation, to 
 something like the system of nature, as they think, by requiring 
 their pupil, not to imitate another, but figuratively as it were, to 
 imitate himself. Imagine yourself, says the master, to be de- 
 livering the sentiments of an author as if they were your own. 
 
 Now such a direction, in assuming to be a rule for attaining a 
 proper and approved elocution, only requires a pupil to speak as 
 ho pleases; that is, as his own particular sentiments prompt 
 him ; for by the direction, he is to make the sentiments of the 
 author his own. At best then, the rule would lead a class of a 
 thousand pupils, in seeking a general precept for these adopted 
 sentiments, to discover, that there must be a thousand diftcrcnt 
 precepts ; since each must speak by his own. In short, it is an 
 unnecessary direction by an unthinking master. For no one 
 can read well, except he docs spontaneously read as if the senti- 
 ments were his own ; thus showing the superfluity at least of 
 directing him to make the sentiments his own, in order to read
 
 462 FAULTS OF READERS. 
 
 Tvell. And again, the pupil who cannot understand the plain 
 verbal signs of another's sentiments, would he very likely to 
 mistake the vocal signs of those he might try to make his own. 
 Let us however, suppose, — this rule of Self-Imitation might 
 serve for common-place thoughts, on everyday occasions. 
 
 On the other hand, suppose the art of reading to he exerted 
 in representing the utmost force and delicacy of dramatic cha- 
 racter, and of imaginative creation hy a poet. How will the 
 rule of substitution meet this case ? I have more than once 
 seen, on the Stage, the pitiable result of what was designed to 
 be an imitation of nature : an imitation of nature, without a 
 knowledge of her constitution and laws; a constitution, co-eval 
 with the period of human progress into speech. 
 
 All the Fine Arts are essentially Arts, each the oflfspring of 
 a noble alliance between Knowledo-e and Grenius : the hiffh 
 accomplishment of the work by the Artist, and the reflective 
 enjoj^ment of its truth and beauty by the Votary, being purely 
 the result of close observation, extensive compjirison, enlight- 
 ened choice, and harmonized combination of the scattered 
 constituents of propriety, unity, expression, grandeur and grace. 
 
 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 some cotemporary master. But inasmuch as 
 there is always one, who by chance or by merit is the Leading 
 Spirit of the 'lustrum,' — for where there are no rules of choice, 
 even five years is a long life for fashionable fame, — it generally 
 happens that his faults may be recognized throughout a crowd 
 of pupils and imitators. From the Want of some definite cor- 
 rective, the bad reading of a Pulpit sometimes infects a whole 
 class of students ; who circumscribe 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 principles, all 
 readers must be of one school ; and this will be equivalent to 
 imitation. There would be one school ; a school of acknowledged 
 and permanent precept, with a similarity in its excellence, not 
 in its defects. Many actors who differ from each other in their
 
 FAULTS OF READERS. 453 
 
 faults, yet give occasional short sentences -with identical pro- 
 priety, without exciting a remark on that identity. It is only 
 upon some imitated outrage of utterance, that wc hear in a 
 moment the whispered name of a prototype, from twenty parts 
 of a theatre. Serious imitations of distinguished Actors and 
 Speakers, like gay mimickries of them, are generally made on 
 peculiar pronunciation, monotony, unpleasant quality of voice, 
 peculiar forms of melody, whining, false cadence, or no cadence 
 at all, and precipitate and unaccountable transitions.* 
 
 But, enough of argument on this subject. The art of Elocu- 
 tion has never yet, by system or rule, reached that consum- 
 mation, which in analogy with the abstract delineation of Form, 
 may be called, the Ideal Beauty of Speech. The mere instinct 
 of individuals, has been for each and all, the universal guide ; 
 and the best management of the voice has, under so poor a 
 master, far-fallen short of effective means for the highest oral 
 excellence : while the common herd of pretenders afford both 
 shocking and endless examples of deformity and error. 
 
 It is not the intention here, to speak of the constitutional 
 defects of the voice. It is difficult, however, to draw a distinc- 
 
 * Strange, indeed ! that such faults should be found among distinguished 
 Actors and Speakers. But I write from observation ; having heard them all . 
 
 The celebrated , who had a grating and uutuneful quality of voice, 
 
 and whose elocution as I recollect it, was affected and monotonous, in a formal 
 melody of wider intervals and waves, with an occasional minor third in em- 
 phatic places, used, after some of the Older Poets, to pronounce, Avhen nobody 
 else did, the plural of ache, as two syllables, to the unseasonable merriment of 
 all who heard him. The use of the minor third however, was not peculiar to 
 him, but seems to have been a vocal tradition, still kept up among the English. 
 The Quakers, particularly their women, in public preaching, employ it to an 
 extravagant degree ; and, from the incorrigible character of all sectarianism, 
 probably had it in the time of Fox ; whose followers may have derived it through 
 the earlier Protestants, from some awkward imitation of chanting, in the 
 Catholic-service. It is not uncommon, in private life, even with women of the 
 higher classes, in England; and very common on the stage. We often hear it in 
 Actors as well as Actresses who come over to us. We had some years ago, one 
 of the latter, whose intonation was almost a melody of minor thirds. As long 
 as she lasted, it was thought very fine ; and was imitated by many American 
 theatric Misses. Its character was so remarkable, that it was a subject of 
 mimickry for every shop-girl with a good car, who heard it.
 
 464 FAULTS OF READERS. 
 
 tion on this subject. Too many of the willful vices of life, 
 through self-delusion, pass for misfortunes : and it can scarcely 
 be made a question, whether the impudent display of even 
 natural failings should not shut out the subject from indulgent 
 commiseration. 
 
 There are three points, of the first importance to a speaker : 
 and if deficiencies therein are not to 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 variety of thought 
 and feeling. If therefore the mind of a scholar be not raised to 
 that generality of condition, which can assume all the charac- 
 ters 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 character which compli- 
 ments its own dulness by calling energy violence, and drawls 
 out in reprobation at the vivid language of truth: if all its 
 busy goings are but around the little circle of its 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 possessor may perhaps by his assiduity, satisfy 
 his own uncircumspect judgment and taste, but he can never 
 reach the highest accomplishments in elocution. 
 
 In speaking of the mental requisites for good reading, we 
 must not overlook our frequent neglect to discriminate between 
 Strong feelings, and Delicate ones. The latter make the full 
 and finished Actor ; and it is unfortunate for his art, that en- 
 dowments, which under proper cultivation insure success, are 
 generally united with a modesty that retires from the places and 
 occasions for displaying its merits : while the former in reaching 
 but the coarse energy of the passions, are able to figure on the 
 stage, only as the outrageous Herod, the brazen Beatrice, and 
 the Buffoon. 
 
 The mind, with its comprehensive and refined discriminations, 
 must furnish the design of elocution : the ear must watch over 
 the lines and coloring of its expression.
 
 FAULTS OF READERS. 455 
 
 An ability to measure nicely the time, force, and pitch of 
 sounds, is indispensable to the higher excellencies of speech. 
 It is impossible to say how much of the musical ear, properly 
 so called, is the result of cultivation. There is ho^yever a -wide 
 difference even in the earliest aptitudes of this organ ; and 
 though the means of improvement derived from analysis will 
 hereafter increase the proportional number of good readers, and 
 produce something like an equality among them, still the pos- 
 session of a musical ear must, with other requisites, always give 
 a superiority. 
 
 I have more than once in this essay, urged the importance of 
 Industry, the third general means for success. Neglect on this 
 point may be considered ^s an egregious fault in a speaker : and 
 it certainly is the most culpable. It is here placed on high 
 ground, along with mental susceptibility and delicacy of ear, 
 those essentials which have been designated by the indefinite 
 term ' genius.' In vain will the mind furnish its finest discrimi- 
 nations, or the ear be ready with its measurements, if the tongue 
 should not contribute its persevering industry. By a figure of 
 speech that took a part for the whole of the senses, a happy 
 penalty upon mankind, as it was early written, doomed the 
 taste to be gratified by the sweat of the brow. The ear too, 
 can receive its full measure of delight, only through the long 
 labor of the voice. 
 
 The faults of speakers are of endless variety : but if I have told 
 the luliole truths they embrace no mode or form of voice, here 
 unnamed. It seems as if nature had assumed, in her adjusted 
 system of the voice, all its available signs. The worldly tongue, 
 with his corrupting habit, in deforming this all-perfect gift, makes 
 no addition to its constituents, but performs his part in human 
 error, by misplacing them. In the present history of the faults 
 of speech, we may therefore pursue something like the order, 
 more than once, given to our subject. 
 
 Four of the general heads, under which we considered the 
 Modes of the voice, are Quality, Time, Force and Pitch. 
 
 Of Faults in Quality. This subject is so well known, both in 
 the art and in common criticisim, that it is unnecessary to be
 
 466 FAULTS OF READERS. 
 
 particular upon it. Harshness or roughness is one of the dis- 
 agreeable qualities of the voice. The nasal is still more offen- 
 sive. Shrillness may rather be called a quality than a state of 
 ?itch. 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. 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 clearness of its vocality. 
 
 The falsetto occasionally exists as a current quality of the 
 voice. We sometimes hear persons on the stage, in the senate, 
 and in the pulpit, who offend with the falsette only occasionally, 
 by the melody breaking from the natural voice, on a single 
 syllable. Every speaker has a falsette ; and the skillful can 
 always guard against its improper use. As a fault, it results 
 either from the narrow compass of the natural voice, or from a 
 defect of ear in the speaker : for not having an accurate percep- 
 tion of his approach to it, 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 plaintive character :' and the melody at this high pitch is 
 apt to be monotonous. 
 
 Of Faults in Time. It is not meant to treat here, of what is 
 called reading too fast or too slow. There is nothing new to be 
 said on this point. But we who speak English are said, by the 
 report of the compilers of Greek and of Latin grammars, to 
 know nothing of quantity, and to have none in our language. 
 That bad readers, and persons who will not learn their own 
 tongue, may know nothing of its quantity, is readily granted ; 
 but, that it is an essential part of every language, and the 
 neglect of it a source of many faults in ours, must be admitted 
 by those who know the nature of syllabic time, and the proper 
 use of the voice. 
 
 There are two faults in quantity. It may be too long or too 
 short. When sentiments requiring short time, such as gaiety 
 and anger, are expressed by long quantity, it produces the vice 
 of Drawling. This drawling may go through its excessive quan- 
 
 I
 
 FAULTS OF READERS. ^q'j 
 
 tity, either as a wave of the second, or an equal or unequal Avave 
 of wider intervals, or as the note of Song. 
 
 When deliberate or solemn discourse is hurried over in short 
 syllabic quantity, the fault is no less apparent and offensive. 
 This defect in reading, is by far the most common ; and it has 
 been said, more than once, in this essay, because it is well to 
 rouse the English ear to this subject, that the command over 
 time in the pure and equable concrete of speech, is found only 
 in speakers of fervent feeling and long experience. Such per- 
 sons instinctively acquire the use of extended quantity ; as it 
 is through long syllables, most of their earnest expression is 
 effected. It is from ignorance of this fact, that some speakers, 
 neglecting the variety and smoothness of the temporal emphasis, 
 give prominence to important syllables only by the hammering 
 of stress. 
 
 Of Faults in Force. The misapplication of the degrees of 
 the piano and forte, to the general current of discourse is suffi- 
 ciently obvious. But in the various forms of syllabic stress, the 
 faults of speech have been less observed, and consequently less 
 avoided. 
 
 Many speakers, from a difficulty in commanding the variations 
 in quantity, execute most of their emphasis in the form of force ; 
 yet even in this apparently simple effort, they are not free from 
 faults. Some persons, after the manner of the Irish, employ 
 the vanishing stress on all emphatic syllables. This has its 
 meaning in expression, but it is misplaced, except on the occa- 
 sions formerly pointed out. A want of the sharp and abrupt 
 character of the radical is not an uncommon fault. It occurs 
 generally in the dull and indolent : for nothing shows 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 em- 
 phasis, in the common acceptation of the term. They all resolve 
 into a want of true apprehension on the part of the reader. 
 Through ignorance of other constituents of an enlarged and 
 definite elocution, which our present inquiry has taught us to 
 appreciate and to apply, this well known subject of stress-laying
 
 468 FAULTS OF READERS. 
 
 emphasis, has always been of the first importance, in the art 
 of reading ; and within the school of imitation, has restrictively 
 assumed the very name of the art itself. ' How admirably she 
 reach,'' said a thoughtless critic, of an actress, who, with perhaps 
 a proper emphasis of Force, was nevertheless, deforming her 
 part, by every fault of Time and Intonation. The critic was 
 one of those who having neither knowledge nor docility, de- 
 served neither argument nor correction. Emphasis of stress 
 being almost the only branch of the art in which there is an 
 approach towards a rule of instruction, this single function, by 
 a figure of speech grounded on its solitary importance, is taken, 
 in the limited nomenclature of criticism, for the whole book of 
 the art. Even Mr. Kemble, whose eulogy should have been 
 founded on whatever other merits he may have possessed, made 
 the first stir of his fame, if we have not been misinformed, by a 
 new 'readiog,' that is, by a new application of stress, to some 
 words in Hamlet. 
 
 We have awarded to the emphasis of stress its due, but not 
 its undue degree of consequence : and perhaps it may be here- 
 after admitted, that much of the contention about certain unim- 
 portant points of this stress-laying emphasis, and of pause, has 
 arisen from critics finding very little else of the vast compass of 
 speech, on which they were able to form for themselves a dis- 
 criminative opinion. When, under a scientific institute of 
 elocution, we shall have more important matters to study, and 
 delight in, we may perhaps find much of this trifling lore of 
 italic notation, now serving to keep up contention in a daily 
 gazette, will be quite overlooked, in the high court of philosophic 
 criticism.* 
 
 * Some one, of those who like to make business in an art, rather than to do 
 it, has raised a question whether the following lines from Macbeth, should be 
 read with a pause at banners or at walls : 
 
 Mac. Hang out our banners on the outward walls 
 The cry is still, They come. 
 
 To those whoso elocution consists in such riddles, we propose the following 
 from Goldsmith : 
 
 A man he was, to all the country dear. 
 And passing rich with forty pounds a year.
 
 FAULTS OF KEADERS. 469 
 
 We may pass by the faults of pronunciation, depending on 
 misplaced accents. Propriety in this matter is set forth in the 
 dictionary, and the errors of speech may be measured by its 
 rules. 
 
 It is not within the purpose of this work to notice the faults 
 of speakers, in the pronunciation of the alphabetic elements. 
 Criticism should be modest on this point, till it has the sense 
 or independence to give to the literal symbols of those elements, 
 and to their uses in orthography, more of the appearance of a 
 work of wisdom, than they have ever received in any written 
 language : till the pardonable variety of pronunciation, and the 
 true and natural spelling by the vulgar, have satirized into 
 reformation, that scholastic pen-craft which keeps up the difiS- 
 culties of orthography for no other pm-pose, as it would seem, 
 than to pride itself, in the use on a troublesome and awkward 
 system, as a criterion of education. 
 
 Of Faults in Pitch Speech has been, especially, one of 
 those subjects, in which we often pronounce upon the right and 
 the wrong, without being able to say why they are so. If we 
 have resolved the obscurity in respect to the proprieties of into- 
 nation ; it will not be difficult on similar principles, to give some 
 explanation of its faults. 
 
 Of Faults in the Concrete 3IoveDnent. I have more than once 
 spoken of that peculiar characteristic of speech, the full open- 
 ing, the gradual decrease, and the delicate termination of the 
 concrete. Now, as this structure is destroyed by the use both 
 of the vanishing and the thorough stress, it follows that their 
 misplaced application must be regarded as a fault. The vanish- 
 ing stress, exemplified in the upward jerk of Irish pronunciation, 
 produces a peculiar monotony, when continued throughout dis- 
 course: while the thorough stress, if not used for especial 
 emphasis, or designed incivility, is a striking and a vulgar fault. 
 Every one must be familiar with what is called a coarse and 
 
 Now let them guess variously, or sharply dispute, upon the question of apply- 
 ing an emphasis on passing, or on rich ; thereby to determine cither that the 
 good Village Parson yi&s passing or superlatively rich, with his forty pounds ; or 
 that he passed among his parishioners, as only very well-oflf in the world.
 
 470 FAULTS OF READERS. 
 
 unmannerly tone. This, as regards the structure of the con- 
 crete, was formerly shown, to be the effect of the thorough stress. 
 Some readers seem incapable of carrying on a long quantity 
 through the equable concrete ; substituting in place of it, the 
 note of song. The most remarkable instance of this speech- 
 singing, is that of the public preaching of the Friends, to be 
 particularly described among the faults in melody. 
 
 Of Faults in the Semitone. Who has not heard of whining ? 
 It is the misplaced use of the semitone. The semitone is the 
 language of tenderness, petition, complaint, and doubtful sup- 
 plication : but never of manly confidence, and the authoritative 
 self-reliance of truth. It is this which betrays the sycophant, 
 and even the crafty hypocrite himself. They assume a plaintive 
 persuasion, or a tuneful cant, not merely to imply, — they are 
 prompted by a kind and affectionate spirit, but sometimes because 
 they unconsciously distrust or despise themselves, and are there- 
 fore governed by the feeling of weakness or servility : Suspicion 
 should therefore be awake, when the show of truth or benevolence 
 is proffered under this cringing intonation : and in general, 
 whenever the semitone is used for sentiments that do not call 
 for it. 
 
 The chromatic melody is more common among women. Ac- 
 tresses are prone to this fault; and it is one of the causes which 
 frequently prevent their assuming the matron-?-oZe of tragedy, 
 and the dignified severity of epic reading. They sometimes 
 intercede, threaten, complain, smile, and call the footman, all 
 in the minor third or the semitone. They can vow, and love, and 
 burst into agony in Belvidera ; but cannot with masculine per- 
 sonation and diatonic energy, ' chastise with the valor of their 
 tongue,' and gravely order the scheme of murder in Lady Mac- 
 beth. 
 
 The sentiments signified by the semitone, have been enumerated. 
 Whenever it supplants the proper diatonic melody, it becomes a 
 fault, and begins to be monotonous ; for when appropriate it 
 never is so. I once heard the part of Dr. Cantwell, in the 
 Hypocrite, played in the chromatic melody throughout. Per- 
 haps it suited the pretensions of the pious villain, but it certainly 
 
 l
 
 FAULTS OF READERS. 4^1 
 
 was a palling monotony to the ear ; and the want of transition, 
 when he threw oflF the mask, in addressing his patron's wife, 
 was remarkable. He was the righteous knave and the passionate 
 lover, all in the same intonation. On the whole, the effect would 
 have been more agreeable, if an abated, slow, and monotonous 
 drift of the second had prevailed, Avith the use of the chromatic 
 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 current and elegant 
 speech, like the verdure of the earth, is wisely designed, to 
 relieve sensation from the fatiguing stimulus of more vivid im- 
 pressions. Though the diatonic melody, is the predominating 
 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 intervals ; it does, when continued into the 
 place of this wider intonation, assume a positive character, under 
 the form of a fault. 
 
 The most striking instance of a misapplication of the second, 
 is its employment for the sentiments which properly require the 
 semitone. There are persons of such a frigid temperament, or 
 with such inflexible organs, even when the feeling does not appear 
 to be wanting, that they seem incapable, under ordinary motives, 
 of executing the chromatic melody. Pain, or the excitement of 
 their selfish instincts may naturally force them to it. But in them 
 it seems to be so slightly associated with tenderness of feeling, or 
 so much beyond the limit of the will, that the most pathetic pas- 
 sages are given in the comparatively phlegmatic intonation of 
 the diatonic melody. We sometimes see an Actor of such a 
 temperament, on the emergencies of a night, cast to the part of 
 a lover: and may occasionally hear from the pulpit, fervent 
 appeals of the Litany, and humble petitions of extemporary 
 prayer, uttered with an intonation, more appropriate to the task 
 of repeating the multiplication table. 
 
 Some persons are so bound to the monotony of the second, for 
 when even this interval is over-used and thus misplaced, it has 
 the effect of monotony, that we are sometimes more indebted to 
 grammatical construction, than to the voice, for a perception of
 
 472 FAULTS OF READERS. 
 
 their interrogations. It is the same too with their emphasis, in 
 those conditional and positive sentences which, for impressive 
 and varied effect, respectively require the rising, and the falling 
 interval of the third, or fifth, or octave. 
 
 One of the most impoi'tant functions of the second, is its 
 agency in the formation of melody. It was shown in the eighth 
 section, that the best effect of the diatonic arrangement is pro- 
 duced by a varied composition of the seven phrases. We have 
 now to learn how far the common practice of readers, deviates 
 from the described, but perhaps as yet only described, perfection 
 of a pure diatonic melody. 
 
 Of Faults in the Melody of Speech. If the rule laid down 
 in this essay, for constructing an agreeable succession of diatonic 
 phrases, is strictly directed by propriety, and taste, I must by 
 that rule declare, I have never yet heard a speaker with a well 
 arranged, and satisfactory melody. Players spend their time 
 before mirrors, till grace of person is studied into mannerism, 
 and expression of feature distorted into grimace. Emphasis of 
 stress too, is teased in experiment, through every word of a 
 sentence, and tested in authority, by all the traditions of the 
 Green-Room : but who has ever thought of any assignable rules 
 for the successions of syllabic pitch, in a cuiTcnt . melody, or 
 imagined therein, the existence of faults ! 
 
 The First fault to be noticed, is the continued use of the 
 monotone, on the same line of radical pitch ; the vanish of the 
 second or of wider intervals, being properly performed. I do 
 not here mean the drawl of the parish clerk, nor the monotony 
 of the reading-clerk of most public assemblies ; for these are some- 
 times the note of song, and will be spoken-of presently. The 
 unvaried line of radical pitch, now under consideration, is not 
 so glaring as this old conventicle tune, nor has it at all the 
 character of song. If the reader were near me, I would illus- 
 trate the nature of this fault. But I can only describe it, as 
 preventing the agreeable effect, arising from the contrast of 
 pitch in the falling ditonc; the transition in this case being 
 from a feeble vanish to a full radical, only one tone below, while 
 in the varied ditonc-succession, the distance is two tones below 
 the summit of that vanish.
 
 FAULTS OF READERS. 4^3 
 
 One of the causes of this fault m public speakers, deserves to 
 be noticed here. I spoke of vociferation as a means fur impart- 
 ing vigor and fulness to the voice. But this exercise being 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 requi- 
 site reach of voice, generally attempt to remedy the defect, bv 
 rising to the utmost limit of the natural compass ; and thus hold 
 th6ir current just below the falsette. For fear of breaking into 
 this, they dare not vary the melody by taking their pitch alter- 
 nately higher : and a desire to preserve the diffusive effect of 
 shrillness, prevents their descending by radical change. They 
 consequently continue on one monotonous line near the falsette j 
 and thus vitiate their taste by the partial pleas of their own 
 example ; restrain their melodial flexibility ; and blunt their 
 perception of the variety of movement in a more reduced current 
 of pitch.* 
 
 Second. 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 in the first attempts at reading by 
 children and rustics. 
 
 TJdrd. By a mingling of the phrases of melody, but with a 
 formal return of the same successions. In this case, the whole 
 discourse is subdivided into sections, resembhng each other in 
 the order of pitch. These sections consist of entire sentences, 
 or of their members. And it may here be remarked, that this 
 peculiar habit of the voice and car, in dividing the melody into 
 sections, as well as in forming accentual and pausal divisions, has 
 a very close connection with the rhetorical character of style. 
 It certainly cannot have escaped observation, that there is a 
 tendency in some persons to give equahty to the length of their 
 
 • This cause operates on the enthusiasts of the Tulpit ; on many of the 
 speakers, and always on the clerk of the Lower House of the American Con- 
 gress ; where the demands of the space to be filled, and of the echoing uproar 
 to be overcome, exceed the common powers of the voice : but it is most con- 
 spicuous in the mouth of the Demagogue, whose own political purposes lead, 
 him to address great crowds in the open air. 
 
 31
 
 T 
 
 r 
 
 474 FAULTS OF READERS. 
 
 sentences ; and this is in many instances dependent on their 
 elocution. But the niceties of this subject will receive due con- 
 sideration, at some future time ; when we who speak English 
 shall, through observation and independence, take upon us to 
 deny, that the best method for studying our own language, is 
 through the Syntax and Prosody of the Latin and the Greek. 
 
 There is no uniform fault in melody among speakers ; each 
 one falls into a habit of his own : though it is plain, from the 
 very method of the diatonic construction, there can be no great 
 variety. All Actors, except that very limited first class, and 
 they are not as finished on this point as they may be hereafter, 
 all Actors I say, are prone to this bird-like kind of intonation. 
 They have a short run of melody, which if not forcibly inter- 
 rupted by some peculiar expression, is constantly recurring. 
 The return forms a kind of melodial measure : and I now call 
 to mind an Actress of great repute, whose intonation was filled 
 with emphasis of thirds, fifths, octaves, and waves ; and whose 
 sections of melody could be anticipated, with something like the 
 forerunning of the mind over the rythmus of a common stanza 
 of alternate versification. Those who commit this fault, will 
 have no difficulty in recognizing and correcting it, if desirable, 
 when the mirror of full and exact description is held before 
 them. 
 
 The monotonous effect of a repetition of these similar melodial 
 sections, constitutes one of the signs by which the smart appren- 
 tices of the pit, and some of their better-dressed peers in the 
 boxes, distinguish the voices of famous Actors, and think they 
 represent their real points of excellence, when they mimick only 
 what is strongly offensive and worthless. In this fault, the 
 recurring structure of the melody might in itself, consist of a 
 proper succession of phrases : but you hear it too often and re- 
 member it too well. The whole current in this case, figuratively 
 resembles the old Roman Festoon, which however well composed 
 for insulated tablets, was in abasement of Greek architectural 
 taste, joined in monotonous repetition around the frieze ; instead 
 of representing, as a just melody might, the idea of that successive 
 variety in severe simplicity and expressive design, which adorned 
 the metopes of the Parthenon.
 
 FAULTS OF READERS. 475 
 
 Fourth. I have known more than one speaker with this fault. 
 Sentences are begun aloud on a high pitch, and ended with a 
 low and almost inaudible voice : and so continued successively 
 throughout a whole discourse : thus producing a monotony, simi- 
 lar to that last described. It would be difficult to find out the 
 meaning of this fault, or to discover such a shadow of apology 
 Jfor it, as many worse offences in life might claim for themselves. 
 One of the persons, addicted to this monstrous piece of affecta- 
 tion, for no natural or conventional motive could ever have 
 suggested it, was, first by himself, we presume, and then by the 
 associates of his long since departed day of popularity, called 
 'a fine reader.' Such instances of fame may serve to convince 
 us, that with all our blind conceits, — and who among us is with- 
 out them? — there is no art in which self-imposition is more 
 conspicuous than in that of Elocution. Where there is no 
 acknowledged rule of excellence, every individual, whether 
 cultivated or not, makes his own judgment and taste the stan- 
 dard. Having learned that it is the part of a good reader to 
 represent the sense and sentiment of discourse, and as each in 
 his attempt, does fulfill his own conception of an author, he is 
 self-persuaded, he possesses the full power of the art. Hence, 
 one reason why we find bo much delusion on this subject. For, 
 reputed ' good readers,' are often not merely negatively deficient ; 
 they are often positively bad : and perverse as it may seem, to 
 the overbearing applauses of a majority, I have frequently gone to 
 learn the/aM/f« of speakers, when called to hear some 'star' of 
 elocution, even though that star was himself a Teacher of the 
 Art. Loud whoops, and yells, seem to have always been the 
 vocal delight of savages ; so an exaggerated and consequently 
 striking character of the constituents of speech, is always most 
 agreeable to the uninstructed ear. 
 
 Fijth. We have learned the manner of changing the pitch 
 from one degree to another, above or below it, in the diatonic 
 melody. Some persons find it difficult to change the radical in 
 this manner. This not only takes from the variety of utterance, 
 but embarrasses a reader in passing from a very high or very low 
 pitch, when he has improperly set out in either. Speakers
 
 476 FAULTS OF READERS. 
 
 sometimes descend so far, as to leave no voice below tlic line of 
 current melody, to allow an audible execution of the last con- 
 stituent of the cadence. In this case, they are conscious of tbe 
 feeble and unsatisfactory effect of their intonation without per- 
 ceiving the cause of it, and being able to apply the remedy. A 
 knowledge of the proper mclodial progression, and of the degrees 
 through which the cadence descends, will enable the reader ta 
 avoid the fault here pointed out. 
 
 We noticed formerly the circumstance of a reader, with a 
 good ear, having a sort of procursive perception of the falsette, 
 sufficient to enable him to turn from it, when his melody is 
 moving near the summit of his natural voice. The same kind 
 of anticipation of the lowest note, enables such a reader to keep 
 his cadence within the limit of distinct articulation. 
 
 Sixth. The use of the protracted radical and vanish, instead 
 of the equable concrete, is one of the widest deviations from the 
 characteristic of speech. For a proper diatonic melody, consists 
 of an equable movement through the interval of a second, with 
 an agreeably varied radical change through the same space : the 
 current being occasionally broken by wider equable intervals, 
 and by different forms of stress, as the sentiments may require 
 these additions upon individual words. 
 
 Inasmuch as this fault is an error of long quantity, it is not 
 often heard in the hasty pronunciation of common life. I have, 
 however, met with a slight degree of it in a phlegmatic drawler. 
 Public speakers overwrought by excitement, and straining their 
 throats to be heard, I say, straining their throats, instead of 
 energizing their voices, are most liable to this error of intonation. 
 Some cases of this fault are connected with a monotonous cur- 
 rent melody, and a very defective management of the cadence. 
 I heard it under the form of the protracted radical, along with 
 other heinous offences against good elocution, in one of the 
 public's ' great Actors.' It was most conspicuous in his endeavor 
 to give long quantity to immutable syllables ; as in the following 
 words of Macbeth. 
 
 Canst thou not m — inister to a m — ind diseased ; 
 PI — uck from the m — emory. 
 
 (
 
 FAULTS OF READERS. 477 
 
 I have here set a dash after the letters on which he continued 
 the protracted radical, until it suddenly vanished in the termina- 
 tion of the syllable. The Actor's fault was the lapse from a 
 just instinct. He felt obscurely the need of vocal quantity for 
 the purpose of expression ; but being one of those who having 
 some animal spirits, with no education, little intellect, and an 
 inverse proportion of vanity, are always talking about them- 
 selves, he never once thought of such a thing, as deforming the 
 pronunciation of an immutable syllable, nor of the possibility of 
 leading a subtonic element through the equable concrete : matters 
 that would long ago have been prepared for his instruction, if 
 there had been in the Histrionic art more observation and reflec- 
 tion, with less reliance on the dream of 'Identity,' and the 
 fatal delusion of ' Inborn Genius.' 
 
 Seventh. The fault of melody we are now about to consider, 
 is somewhat related to the last described misuse of the protracted 
 notes. But it includes some other forms of intonation, proper 
 to song : the whole being confused in such a manner with the 
 equable concrete, as to destroy every design of speech, and to 
 furnish even far beyond Recitative, the ultra example of vocal 
 deformity. 
 
 In the history of man, there is nothing more indefinite than 
 descriptions of the voice: but there is reason for believing — 
 this deformed melody is the same as the puritanical whine, affected 
 so generally in religious worship, in England, above two hundred 
 years ago. It has been changed to other faults scarcely less 
 censurable, in 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, to look into the struc- 
 ture of this most remarkable intonation, by the light of our pre- 
 ceding analysis. 
 
 I shall first set down the notation of this melody, and after- 
 wards particularly explain it. 
 
 I heard a voice from heaven saying, write, 
 
 L^ ^/o ^ ^^ij-g «-^^ 1
 
 478 FAULTS OF READERS. 
 
 bless-ed are the dead who die in the Lord. 
 
 W-^a^ylfi^ W'^ ^jrf-^ 
 
 I have spoken of the Minor Third as belonging to the plain- 
 tive scale of song. A melody founded on a current of minor 
 thirds, has that peculiar character which forbids its use in speech. 
 Now the above notation is, with a few exceptions, a melody of 
 minor thirds in the note of song ; and its unpleasant and mono- 
 tonous whine is produced by the drift of that interval. 
 
 Upon this staff, let the third be minor. Then the first and 
 second syllables are protracted vanishes upon a concrete minor 
 third. A, and voice, are protracted radicals to a concrete 
 descent of the same interval. From, is a protracted radical to 
 the rising interval of a minor third. Heaven, is a minor third 
 of the same form with voice. The two syllables of saying, are 
 equable concretes, respectively, of an upward and downward 
 tone. The rest severally resemble those already described ; 
 except who, which begins with a protracted radical to a direct 
 wave of the minor third, and terminates in a protracted vanish, 
 on its downward constituent. 
 
 In the execution of this melody, there is not only the, general 
 effect of a disagreeable and monotonous song, but there are 
 peculiar and striking contrasts, arising from the various changes 
 among these different forms of intonation. The most extraordi- 
 nary liberties are taken with quantity. The long, however, as 
 necessary for the note of song, predominates. There is here 
 no distinction between immutable, and indefinite syllables : the 
 short are not only prolonged to any extent, as in ivrite, but 
 they are divided as in voice, which is apportioned to the two 
 parts of its symbol, as if it were voy iss. I have introduced the 
 equable concrete among the protracted notes, and have put the 
 cadence into the diatonic form, to exemplify those abrupt and 
 rousing changes of the whole character of intonation, sometimes 
 made at the pauses, and the close of this most fantastic melody. 
 I do not further describe its varieties, in the use of the above
 
 FAULTS OF READERS. 479 
 
 named constituents, together with the tremor, and the wider 
 intervals that may be combined with them. But I have shown 
 enough to furnish a phm for self-examination and amendment. 
 
 If those who are accustomed to this melody should ask, why 
 it may not be employed, if by habit agreeable, and reverenced 
 by association with the occasions of its use? I answer; that, 
 throwing aside taste, as arbitrary, and regarding usefulness 
 alone, it has no fitness in its intended purpose, and does not 
 accomplish the attainable ends of speech. By speech we com- 
 municate our thoughts; and in the duties of religion, there are 
 motives and zeal, to do it with the most forcible means of per- 
 suasion and argument. So far as the voice is concerned in these 
 duties, its means lie principally in the energy and expression of 
 intonated emphasis. But by the intonation in this remarkable 
 melody, the varying designs of speaking-emphasis, are counter- 
 acted by the almost continued impression of a plaintive song ; or 
 are crossed in purpose by the unmeaning obtrusion of unexpected 
 changes. How can the sentiments which direct a full-voiced into- 
 nation, for the encouraging descriptions of blessedness and glory, 
 be represented by the trembling voice of distress ? How can the 
 positive conclusions of truth, and wonder at an almighty power, 
 requiring the downward concrete, be enforced by the shrillness 
 ofa perpetual cry ? How can we particularize the strong feel- 
 ing of supplication, by the semitone, if we equally employ it in 
 the threats of vengeance ? And with what force can we repre- 
 sent interrogation, if the wider intervals instinctively allotted to 
 it, are so often unmeaningly wasted in the voice ? 
 
 Whoever regards the words of ordinary song, knows into what 
 confusion emphasis is there thrown. It is still less clear and 
 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 moderate degree, especially in 
 the voices of women ; consisting of a slight protraction of the 
 vanish, on all the long quantities of discourse. 
 
 This singing-melody, as delivered in the public Meeting-house, 
 by men as well as women, is generally of a high or piercing 
 pitch ; this being the means of audibility usually employed by 
 persons of uncultivated voice.
 
 480 FAULTS OF READERS. 
 
 Of Faults in the Cadence. Speech is particularly liable to 
 faults in the successions of the radical pitch of melody ; and of 
 the cadence. Even the best readers do not seem to have acci- 
 dentally reached an 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 closely observes the character of speech, in the com- 
 mon dialogue of life, must perceive that the earnest interests 
 which govern it, the sharp replications and interruptions of argu- 
 ment, and the piercing pitch of mirth and anger exclude, in a 
 great measure, the terminating repose of the cadence. This is 
 particularly the case with children and the ignorant, who having 
 no motive either of action or speech, except interested curiosity 
 and selfish passion, rarely employ any other than the wider and 
 more expressive intervals of intonation. When therefore a 
 person first undertakes to read, with the serious purpose of a 
 dignified elocution, the impassioned habit is too inveterate to be 
 at once laid aside ; and a disposition to keep up the colloquial 
 characteristic of speech, extending itself to the place of the 
 cadence, defers for a long time, the ability to give, with pro- 
 priety and taste, the more composed and the graver intonation 
 of the terminative phrase. 
 
 Faults in the execution of the cadence are various. The most 
 remarkable instance within my memory, is that of a clergyman, 
 vrho in an address of fifteen minutes duration, never once, to my 
 observation, made a cadence ; no, not even at his final period. 
 The audience were notified to sit down, by his terminative Amen, 
 not through the proper indication of the close by his voice. 
 
 But even those who have the ability to make a cadence are 
 infected by the next fault to be mentioned. 
 
 I described ten forms of the cadence. This was done to 
 point out distinctionsf critically made by an accurate ear, and in 
 reality executed by those who have flexibility of intonation. For 
 the purposes of instructive rule, we may particularize the 
 Feeble, the Duad, the Triad, and the Prepared cadences. These
 
 FAULTS OP READERS. 481 
 
 are quite suflScient for the ordinary purposes of reading ; and 
 vocal skill can ahvays 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 
 generally the full form of the triad. This fault is increased by 
 common punctuation, which often sets a period at places, where 
 the voice should be only suspended by the phrase of the down- 
 ward ditone. A want of nicety too, in varying the cadence 
 according to the indication of the close, is a very general fault : 
 for there is great clearness given to discourse, by the just dis- 
 cernment, that assigns the less reposing and the feeble cadence, 
 to loose sentences, or doubtful periods, and the full and pre- 
 pared, to the end of a paragraph or chapter. 
 
 I once heard an Actor of high character use, and not unfre- 
 quently, what we formerly called a false cadence : that is, a 
 descent 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 cadence in a low 
 and almost inaudible pitch. In this case a want of prospective 
 reach in the ear, prevents a reader from hitting the precise place 
 for his cadence. One who has not this skill, may indeed know, 
 the period-pause is at hand, and that the voice should desecend : 
 but being ignorant at what point he ought to begin, under the fear 
 of falling precipitately upon the close, he prepares for it too soon. 
 A downward ditone is first made, and some instinct preventing him 
 from adding the next tone below, by which the cadence would be 
 completed before its time, he adds a monotone, and again tries a 
 downward ditone. In this manner he desends, till Avith an en- 
 feebled voice, the cadence is made 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 sometimes happen : for the voice by this shelving 
 course, is at last brought down to a husky quality, and almost to 
 an inaudible pitch.
 
 482 FAULTS OF READERS. 
 
 Of Faults in the Intonation at Pauses. Under the preceding 
 head, we described the nature and effect of false intonation, 
 at the final close of a sentence. There are besides, certain sub- 
 pauses "within the limits of a sentence, variously dividing it 
 into members or portions, called in our account of rythmus, 
 pausal sections. To the eye, these are separated by the common 
 marks of punctuation, representing the duration of the pause. 
 But the temporal rest alone is not sufficient, in all cases, to 
 prevent misapprehension of the meaning in discourse. The 
 comma and the period denote respectively, the least and the 
 greatest degree of separation : and that is the whole function 
 of the temporal pause. Intonation however, performs an im- 
 portant part at these subdivisions. For the several pausal sec- 
 tions are variously related to each other : and these relations, in 
 the degrees of connection and separation, are shown by the 
 united means of the temporal rest, and the phrases of melody. 
 In the twelfth section, we learned what phrases are proper for 
 thus connecting and separating the subdivided meaning of a 
 sentence. Those who, with the light of our principles, hereafter 
 look into this subject, will perceive the fitness of the appropria- 
 tion there made ; and will moreover be struck by the violations 
 of sense and of the rule of variety, so commonly heard among 
 speakers : some of whom set a rising third or fifth at most of 
 the sub-pauses, and even at the period itself. These improprie- 
 ties, must necessarily be frequent, from the character of the 
 phrases of melody, and consequently of the manner of applying 
 them being unknown. The reader, I would fain believe, can now 
 foresee the several faults that might occur under this head ; for 
 certainly the sense will frequently be obscured, if a falling ditone 
 or tritone should be applied to that pause, where a continuative 
 sense calls for the very reverse of these downward phrases. 
 
 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. To those who recognize and feel the 
 grave dignity of the diatonic melody, there is a sharpness in 
 this current of the third, that prevents its being the Ground of
 
 FAULTS OF READERS. 433 
 
 speech, and while its improper use as a Drift makes it monoto- 
 nous, its impressive character weakens by comparison, the empha- 
 sis of wider intervals, when required in its course. Althoufh 
 sharper in pitch than the diatonic melody, it wants the force 
 derived from a contrast of higher intervals with the simple second. 
 I have heard persons with this fault try to read Milton, and 
 Shakspeare, and the declaratory parts of the Church-service, and 
 always, as appeared to me, without success. The current of 
 dignified utterance must always consist of the wave of the second, 
 on long quantities. No simple upward concrete can effect it: 
 though the rise of a wide interval may be occasionally employed 
 for emphasis, in the gravest drift of the diatonic wave. 
 
 It is a fault in the third, even when the whole current is not 
 made by that interval, to form all the emphases with it. This 
 likewise gives a sharpness and monotony to speech ; for one of 
 its proprieties as well as beauties, consists in a variation of em- 
 phasis : and we pointed out, in its proper place, the abundant 
 means for this variety. 
 
 The substitution of the third for the second, in melody, is 
 principally offensive by its monotony : for the wider intervals, 
 as we learned in the section on drift, will not bear continued 
 repetition. 
 
 Of Faults in the Fifth. The interval of the fifth is some- 
 times improperly 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. Its monotony has a still 
 greater sharpness than that of the third: the Avhole melody 
 having to a critical ear, the effect of an interrogative sentence. 
 
 It is a less remarkable fault when, not the current, but all the 
 emphases of a diatonic melody, are made by the fifth. This too 
 has its sharpness and monotony ; and I am sure the reader will 
 be sufficiently guarded against this fault, by keeping in mind the 
 ample resources of the voice, for a varied 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.
 
 484 FAULTS OF READERS. 
 
 I might point out a similar error of place in the Octave : but 
 it is of rare occurrence, and only heard in the piercing treble of 
 women. Some persons cannot ask a question in the subdued and 
 dignified form of the third or fifth, but do it always in the 
 sharp intonation of the octave. 
 
 Of Faults in the Dotvmvard Movement. Faults of the down- 
 ward concrete, consist in not giving the emphasis of falling 
 intervals with just extent ; in their misapplication to exclamatory 
 sentences ; and to certain questions that we have shown, require 
 a downward intonation. An improper use of the downward 
 intervals, is sometimes the characteristic of a morose and saturn- 
 ine temper, in persons who having no comfort within themselves, 
 have no .voice of complaisance for others. 
 
 Of Faults in the Discrete 3Iovement. Of defects in the 
 management of the radical change of the second, in 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 make those upward and 
 downward radical transitions, by which accomplished readers 
 produce the most striking effects of emphasis. 
 
 Of Faults in the Wave. 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 wider intervals. They have 
 their proper occasions as solitary emphasis; whereas the con- 
 tinued repetition of them becomes a disgusting fault. The wave, 
 commonly affected by a certain puling class of readers, is the 
 inverted-unequal ; the voice descending through the second, and 
 rising through the third, or fifth. This fault is most remarkable 
 in reading metrical composition ; arising perhaps, from our famil- 
 iarity with the union of song and verse, and from an association 
 of the ear, in reading, with the wide and vivid intprvals of its 
 tune. Persons who read in this way, give a set^melody to their 
 lines ; certain parts of each line, as far as the emphatic words 
 permit, having a prominent intonation of the wave. 
 
 There is much of every form of the wave in conversation : and 
 the general spirit of daily dialogue often makes it appropriate 
 there. But I have heard the colloquial twirl even exaggerated.
 
 FAULTS OF READER?. 485 
 
 by an Actress of great temporary reputation. Her style con- 
 sisted of a continual recurrence of identical sections of melody, 
 composed principally of the wider forms of tlie equal and unequal 
 "Wave ; showing indeed a vocal pertness, and a sort of vivid 
 familiarity, by some called spirit, but wanting the brilliant 
 dignity of execution, due from a performer of High Comedy to 
 the Author. 
 
 Some actors are prone to the use of the double wave. They 
 make it the emphasis of every feeling ; thereby denoting that 
 they themselves have none. It Is an impressive vocal agent, 
 and is therefore with an erroneous idea both of its purpose and 
 place, often introduced to give prominent effect, and variety to 
 melody. It has however, restrictively, its proper occasions: and 
 let it be remembered, there is a sneering petulance in its cha- 
 racter, totally inconsistent with dignity. 
 
 Nothing is better calculated to show the importance of the 
 plain ground of the diatonic melody, than this abuse of the wave. 
 It includes the effects of faults in the third, and fifth, and con- 
 sequently gives to discourse the most florid and impressive 
 character. But when such striking intonation is set on every 
 important syllable, how shall we mark emphatic words, except 
 by the utmost excesses in quality, time, or force?* 
 
 * The distinction, so often referred to in this essay, between the diatonic 
 ground-work of melody, and the occasional expression of wider intervals, judi- 
 ciously employed upon it, is a great essential of natural, effective, and elegant 
 speech. According to our system, this distinction was an ordination of the 
 voice, to meet the progressive development and demands of thought and feeling. 
 Without regard to it, no one can ever succeed in tragedy, or in any other dignified 
 subject of elocution. For the diatonic melody alone, has the character appro- 
 priate to awe, solemnity, reverence, and grave deliberation. And although the 
 Art of Speech, in its almost stone-deafness to the loud facts of intonation, baa 
 never yet been aware of this distinction ; still the purposes of truth and beauty 
 in the voice, have herein never been without a witness. For he who receives 
 the instruction designed in this work, may, by now finding occasional instances 
 of an unconscious use of the diatonic melody, believe, that under a like uncon- 
 scious use, it must have been heard in every age of cultivated speech. Its 
 rarity in the voices of women, is one cause why so few among them, arc able 
 to rise to the dignified intonation of the stage : though a pretty face, and other 
 pretty attractions, may serve them well enough, though not over-well, in Comedy 
 without it. They have so accustomed an undisccruing audience, and so habit-
 
 tr 
 
 486 FAULTS OF READERS. 
 
 Of Faults in Drift. The purposes both of truth and variety, 
 in the art of Reading- Well, are effected by a delicate regard to 
 the corespondence between sentiment and vocal expression, in 
 individual words ; and to the Drift, or continuation of a given 
 
 uated tliemselve'^, to a puling affectation, which consists in a current melody 
 of the wider intervals and waves, the semitone, and minor third ; and are so 
 ignorant or careless of their vocal duty, that they do not perceive, and therefore 
 will not be told, one of the real causes of their frequent failure. As far as the 
 obscurity of histrionic description and criticism allow the inference, it is not 
 improbable that Mrs. Siddons, in the early part of her career, may, to an im- 
 pressive degree, though all-unconscious of its nature, and its rules, have employed 
 the diatonic melody. An incident related by her biographer, Boaden, will per- 
 haps, if elucidated by our analysis, lead us to this conclusion. 
 
 On her first interview with Garrick, Mrs. Siddons, then Miss Kemble, 'repeated 
 some of the speeches of Jane Shore before him. Garrick seemed highly pleased 
 with her utterance, and her deportment;' and 'wondered how she had got rid 
 of the Old song, and the provincial Ti-tum-tV 
 
 All former criticism on intonation, being, as we may say, unintelligible, we 
 are left to discover, by the light of our analysis, what these terms, Old Song, 
 and Ti~tum-ti mean. Now, as the construction, and the plain yet peculiar 
 effect of the diatonic melody of speech, is far removed from the construction, 
 and the more vivid effect of song ; and as the wave, the wider concrete and dis- 
 crete intervals, the semitone and minor third, with their impressive intonations, 
 if not song itself, do more nearly resemble it, than the diatonic melody does : 
 and further, as the trisyllabic foot, Ti-tum-ti, seems to be a rythmical fancy 
 of the ear, suggested by a sort of regular return of emphatic, but misapplied 
 intervals, such as described in the text, under the present head of faults, of the 
 wave; I cannot avoid thinking that Mrs. Siddons did, at this early period, as 
 I personally remember she did in after life, either in part, or altogether, uncon- 
 sciously, execute the just diatonic melody: and that Garrick, with not more 
 verbal discrimination of the intonation of speech than his call boy, had no other 
 means, for describing his perception of its nature and excellence, besides that 
 of giving toa contrasted and strongly offensive style of utterance, the names of 
 Ti-tum-ti, and Song. I am willing, also to believe, that Garrick himself, with- 
 out being aware of its nature and principles, may, — though never in perfection, 
 within the pale of such igtiorance, — have emploj'ed a well marked expression 
 of wider intervals upon the simple ground of a diatonic intonation. 
 
 Looking then to the two eminent instances now before us, I would indeed be 
 loth to regard them under that condition, which Guido so satirically assigned 
 to singers, unenlightened by Science; but which, may with truth be assigned, 
 though not unkindly, to many a Roscius. even with all his so called, profound 
 and unwearied study and practice in his art, ' Nam qui facit quod non sapit, 
 definitur bestia.' 'For he who acts without a plan, — Resembles more the 
 brute than man.'
 
 FAULTS OF READEKS. 
 
 487 
 
 character through one or more sentences : whereas a nef^lect of 
 this adjustment, will, according to its degree, weaken the im- 
 pression of speech, or shock the ear and taste of an auditor. 
 Some readers continue one style of voice through every change 
 of thought and passion : others vary the character of the utter- 
 ance, without adapting it to the demands of sentiment. 
 
 We have learned to give the most complete close to a para- 
 graph or chapter, by the prepared cadence. Now certain 
 changes in the structure of melody, formerly described, may be 
 employed to prepare an audience for the beginning of a new 
 paragraph or subject. The deficiency of a speaker on this point 
 is a striking fault. 
 
 The object most worthy of remark in this place, is the sudden 
 transition from one style of utterance to another, without a cor- 
 responding change in the subject. I once heard an Actor set the 
 whole House in a hum of merriment, by making that answer of 
 Jaffier to the conspirators, 
 
 Nay — by Heaven I'll do this, 
 
 in the curling quaintness of the wave. The sentiments of JaflBer, 
 the solemnity of the juncture, and the purpose of his entrance 
 among the conspii-ators, are all at variance with the levity, con- 
 veyed by this sneering intonation. Severity of resolution is Jaf- 
 fier's sentiment ; and this calls for the energy of stress, together 
 with the positiveness of a downward emphasis. And it seems to 
 have been a sense of the ludicrous, from a contrast between the 
 seriousness of the sentiment, and the pertness of the player, that 
 caused the merriment in the House. Indeed the case, when con- 
 sidered, conveys an idea of the instinctive perception, and pro- 
 priety of the Audience, and of the absence of both in the player. 
 They laughed at what was laughable. He could not be serious at 
 what was grave ; and perhaps satisfied himself, that their laughter 
 at the ridiculous, was to him, a complacent tribute of applause. 
 I have tried in vain to find a term for the extraordinary trans- 
 itions, sometimes heard on the stage. They belong to the head 
 of the faults of Drift : but we must speak of them as vocal pranks, 
 without a name. I mean to designate, those abrupt changes from
 
 488 FAULTS OF READERS. 
 
 high to low ; from a roar to a whisper ; from quick to slow ; harsh 
 to gentle ; from the diatonic melody to the chromatic ; from the 
 gravity of long quantity, to the levity of sneer, to the quick stress 
 of anger and mirth, or to the rapid mutterings of a madman. 
 We had here, some years ago, a celebrated foreign player 
 from whom I draw this picture, scarcely caricatured. His imita- 
 tors, who have already disappeared, called themselves the school 
 
 of ; a blank now to be well filled up, as the school of 
 
 Outrage. 
 
 A system of elocution may be defended, on either of two dif- 
 ferent grounds. The one, that it is a copy from nature: the 
 other, that it docs artificially best answer the ends of speech. 
 No apology for such flagitious transitions can be derived 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 heard anything even dis- 
 tantly like the harlequin-transformations of voice, sometimes ap- 
 plauded on the Stage, except in a paroxysm of womanish hysteria. 
 On the other hand, supposing the practice to be founded on an 
 artificial system, we would make no objection, provided it could 
 accomplish, by conventional agreement, all the expressive pur- 
 poses of speech. But what reasonable plea can that system urge, 
 which perverts all the beauty and frugality of rule ; which de- 
 stroys, by its anomaly and abruptness, all the pleasures of anti- 
 cipation ; and takes from the fine arts, the delight in boundless 
 association, arising from the busy exercise of well-established 
 knowledge. 
 
 Where the fault does not arise from blundering ignorance, or 
 from slavish imitation, it is purposely assumed with the view to 
 produce what the small vocabulary of dramatic criticism, calls 
 ' Eifcct.' The Actor being deficient in the means of that truth 
 and variety of expression, which only a knowledge of the re- 
 sources of the voice, not the practice of the Stage, can afibrd, tries 
 to help-out his uninstructed Genius by breaking through the even 
 tenor of an appropriate Drift, with some ear-starting stimulus or 
 some unexpected collapse. 
 
 We should however do some Actors the justice to believe, that 
 with a proper estimate both of nature and art, they must secretly
 
 FAULTS OF READERS. 439 
 
 disapprove of such things. But how shall we absolve them from 
 the charge of submitting to what they know to be ill-judged ap- 
 plause ; and of being ' willing to deceive the people because they 
 will be deceived ;' the easy art and resource of Aveakness, with 
 cunning ; and the wretched apology of ambition and knavery. It 
 13 the part of elevated intellect to undeceive the world, even by 
 unwelcome truth ; to make all men at last bow down ; and to 
 be the master of demonstration instead of the slave of popular 
 conceit. 
 
 Faults in the Crrouping of Speech. The Intonation at Pauses 
 denotes the degrees of connection between the succeeding sec- 
 tions of discourse, and between related words, within the limit 
 of each. The Grouping of speech is intended to keep these 
 sections, in a measure, independent of each other ; to unite the 
 sense when broken by expletives, or by grammatical inversion ; 
 and to bring together, on the ear, separated words, even from 
 different sections. Thus the Temporal rest makes a distinct 
 group of a section by dividing it from others. The Phrases of 
 melody, by the monotone, the rising ditone, and tritone, connect 
 grammatical concords, when separated by intervening construc- 
 tions. The Abatement groups, as it were, within brackets of 
 the voice, and thus keeps together what is heard under a reduced, 
 or piano form of force. The Flight limits to itself, the sense of 
 what is embraced in a hurried or presto utterance. The Em- 
 phatic tie groups within the field of hearing, — by means of 
 impressive force, — words and phrases, separated in construction 
 from each other. 
 
 Faults in grouping arise from not applying these several forms 
 as their purposes require: and ignorance of their design and 
 appropriate use cannot fail to mar the perspicuity of oral dis- 
 course. He who has a full knowledge of the means and eflficacy 
 of grouping, will be able, on just principles, to criticise and 
 correct the faults of others. 
 
 Fault of Mimicry. In a previous page of this section, it was 
 remarked, that imitations of speech, Avhether made seriously, or 
 for mirth, are generally copies of its faults. I am here to speak
 
 490 FAULTS OF READERS. 
 
 of the effect of Mimicry in corrupting the principles and prac- 
 tice of vocal expression. 
 
 Under the prevalent views of the old elocution, this purpose 
 may need explanation. Its creed is, that all who speak with an 
 understanding and feeling of their subject, speak with propriety. 
 Now, nearly all persons speak differently : and we ought to allow 
 — they severally speak their own thoughts and feelings. This 
 belief then carries with it the conclusion, that there is no abstract 
 or universal system, and therefore no unity of design in the ex- 
 pression of speech ; but that its uses must be according to the 
 thoughts and feelings of each individual. 
 
 It would therefore follow, that mimicry, by amusing itself with 
 the peculiarities of all, so far from being injurious to the powers 
 of speech, must on the contrary, tend to support and improve 
 them. For, by this belief, all being supposed to speak their 
 respective sentiments correctly, the mimic, who can assume the 
 proprieties of each, must possess the faculty of acquiring the 
 excellencies of all. Now we know, — the effects of mimicry 
 depend on contrast ; and the contrast in this case, must be made, 
 with some standard in the human voice. But by the condition of 
 the creed, there is no standard but that of individuality : and 
 thus the standard is destroyed by its endless variations. Mimicry 
 then, though able to assume the vocal ability of all, cannot, from 
 the want of a standard, assign a comparative excellence, or 
 superiority : and though it may, by universal imitation, add to 
 its resources and flexibility, it cannot, from the want of this 
 measure of excellence, improve or exalt itself. And as it must 
 necessarily, from the vast amount of Avorldly falsehood and bad 
 taste, be more frequently employed on vulgarity and exaggera- 
 tion, than on truth and refinement, its constant tendency must 
 be to error and degradation. 
 
 Mimicry in spcccli, is the exact, or caricatured imitation of 
 its faults. It must therefore be founded on a perverted, or 
 extravagant use of the various forms of Quality, Time, Force, 
 Abruptness and Pitch. Mimicry is the result of the ignorance 
 and error of man, in the uses of his voice. With all his imitations, 
 he cannot turn into ridicule, — except it reminds him of his own
 
 FAULTS OF READERS. 491 
 
 defects of body or mind, — the imviolated law of nature, in the 
 voice of a single inferior animal. In the deformities of his own 
 voice, he is the fit subject of his own contempt. Had the true 
 and expressive system of that voice, been developed and culti- 
 vated, there would have been few faults except upon the vulgar 
 tongue ; and perhaps no mimicry, worthy of an intelligent smile, 
 in speech. The order of Nature, — with all things aright and 
 true but Man, — has by its fitness and accordance, banished 
 every cause of the Ridiculous from her works : and an elocution 
 that elegantly obeys her laws, cannot to a discerning and respect- 
 ful ear be mimicked. 
 
 Mimicry is not only founded on faults, but it contributes to 
 confirm and to multiply them. It multiplies faults, by confound- 
 ing those just perceptions, that might discern and prevent, or 
 correct them ; and it confirms them in the mimic, by giving to 
 a habit of distortion, the force of second nature in his voice. 
 Mimicry weakens or perverts the powers of expression, by con- 
 fusing its signs, in representing the same sentiment as diff"erently 
 expressed by different individuals : when in common consistency, 
 these sentiments should always have the same appropriate vocal 
 sign. One cause of our not readily perceiving the true system 
 of speech, is, that the ordained associations of sign and senti- 
 ment are with the greater part of mankind, confounded, by the 
 same sentiment being expressed in so many diff"erent ways. 
 How much then, must the mimic be at fault, and how much must 
 the whole purpose of his speech be corrupted, by the cn-dloss 
 variety and exaggerated degree of false expression, constantly 
 upon his ear ? Few mimics are able to rise to the character of 
 dignified utterance : and when they even seriously imitate accom- 
 plished speakers, it is always in their accidental defects. Some 
 of the better class of Actors possess the power of mimicry : but 
 as far as I have known them, they have wanted a high refine- 
 ment and finish, in the trutliful representation of thought nnd 
 passion. And so it ought to be : and so it will be regiirded 
 hereafter, if there is any conformity to nature, in our i)iei^ent 
 history. 
 
 And here let me not unmindfully say, that if nature had not,
 
 492 FAULTS OF READERS. 
 
 by accident, afforded me the light and the defences of her truth 
 and her principles, I would not have dared, nor even thought, to 
 touch the mantle of renown, that wraps the Histrionic character 
 of the Immortal Garrick. But when I see him, in that Em- 
 blematic Portrait of his fame, equally affected to the Comic, and 
 the Tragic Muse ; and hear, that he could, both by taste and 
 habit, mask the purer features of his vocal nature, by an exag- 
 gerated and distorted mimicry, I grieve to think that my 
 imagination must lose a single ray, from the bright and welcome 
 vision of his Ideal Perfection. 
 
 Such from its very nature, must, to a greater or less extent, 
 be the effect of mimicry, even on the finest mould of nature in 
 the imenlightened human voice. How far a full and accurate 
 knowledge and use of all the means, ordained for truth and 
 elegance of expression, with a perfect discrimination between 
 the right and the wrong in speech, may enable a speaker habit- 
 ually to practice the deformities, without infecting the graces 
 of utterance, must be determined by the opportunities of future 
 experience. At present, it is well to keep the tongue away from 
 the contaminating company of its own unconscious faults. For it 
 is with our voices, as with our moral sense ; the habit of doing 
 only right, most effectually preserves us from wrong : and it is 
 no less dangerous, to play with mischief in the one, than to 
 amuse ourselves with mockery in the other. 
 
 Of Monotony of 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 
 correct and elegant speech is, in part, effected by the varied 
 succession of the vocal constituents, it will afford no little sup- 
 port to this proposed system, to find, — the violation of its rules, 
 by an exclusive use of certain of these constituents, 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
 
 FAULTS OF READERS. 493 
 
 according to our system, these are properly the most frequent 
 movements in discourse. The employment of the second, in 
 place of another interval, may sometimes produce an error in 
 expression, but we do not call it monotony. The chromatic 
 melody, though a continuation of the impressive interval of the 
 semitone, is not monotonous, if the sentiment is suited to its 
 plaintiveness : but many other constituents, when spread over 
 discourse, offend by this fault. Thus a repeated succession of the. 
 same phrases in the current ; the same kind of cadence, particu- 
 larly if it frequently occurs ; 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, 
 of the vanishing, or the thorough stress, of the tremor, and of 
 the downward wider intervals ; too free a use of distant skips 
 in the radical change, both in the current, and the cadence ; the 
 wider and unequal waves ; with the protracted notes of. song, 
 may each become the cause of monotony. In short, it may be 
 here repeated, that all constituents, severally allotted to the rare 
 occasions of emphasis, seem to be protected against the fault of 
 undue repetition, not only by its violating the rules of sense and 
 expression, but by producing at the same time, an oifensive 
 monotony. 
 
 Of Ranting in Speech. This fault consists in the excess of 
 certain functions. These are loudness ; violence in the radical 
 and vanishing stresses ; and in general, an over-doing of the 
 natural and just expression of a sentiment, when united with 
 unnecessary force. 
 
 Of Affectation in Speech. This consists in an imbecile per- 
 version of the proper use of articulation and intonation, with a 
 mincing awkwardness, that always attends the actions of personal 
 conceit. 
 
 Of Mouthing in Speech. This belongs properly to" the head 
 of the faults of articulation, or deviations from standard pro- 
 nunciation ; of which it is not my intention to speak par- 
 ticularly. 
 
 Mouthing consists in the improper employment of the lips in 
 
 utterance.
 
 494 FAULTS OF READERS. 
 
 Some of the tonic elements, and one of the subtonics are 
 made by the assistance of the lips. They are o-we, oo-ze, ou-r, 
 and m. When these abound, it may, without precaution on the 
 part of the speaker, lead to mouthing. 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 pro- 
 trusion of the lips, gives something of this character even to a 
 lingual element. Mouthing may be called a form of affectation. 
 
 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 utter- 
 ance of intermediate periods. Our analysis will enable an observ- 
 ant reader to discover their characteristics. He will find the 
 voice of childhood to be high in pitch, monotonous in melody, and 
 defective 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 frequent pauses, feeble radical stress, 
 and tremor. 
 
 The faults thus enumerated, are more or less common among 
 those who pass for good, and often the best readers and actors. 
 When instruction shall be derived from the Natural Philosophy 
 of speech, and not from the egotistical conceit of untaught 
 genius, nor from the varying and contradictory examples it 
 pretends to set up for Imitation ; the defects and deformities of 
 utterance from these sources, now equally prevalent in the higher 
 and the humble class of readers, will, like the faults of grammar, 
 be confined to the uneducated and the careless. 
 
 I have described the faults of speakers under general heads, 
 and in their separate forms. They are combined by bad 
 speakers, into all possible degrees and forms: but the permuta- 
 tions would defy every attempt towards a useful arrangement. 
 The contemplation of the subject is therefore left as a task for 
 the reader. 
 
 Should the principles of this work ever prevail, and Speech 
 hereafter become a Liberal and Elegant Art, it may be imagined, 
 — the faults described in this section, as infecting the whole 
 world of elocution, may have so far passed away, that the pic-
 
 FAULTS OF READERS. 495 
 
 ture here exhibited, -will seem to have been overdrawn. But 
 ■when were the excellencies of Art, or "Wisdom, or Worth, ever 
 universal or even common? There will always remain in this 
 motly world, posterity enough, of those who now defeat the 
 designs of nature, and mar the mind-directed music and expres- 
 sion of speech, to show to another age, that I may not unfairly 
 have recorded, the almost universal prevalence of this deafness, 
 and deformity, throughout the great family of their vocal an- 
 cestry.* 
 In describing the faults of readers, and on other occasions in 
 
 • Having endeavored to show, that the history of speech, oiFered in this essay, 
 is founded in nature, and may thus be considered as furnishing a system for all 
 times, and for all cultivated nations : and having further, shown that faults, 
 being but the misapplication of the constituents of a just and elegant speech, 
 must of necessity, be universally identical, among those who disregard the 
 principles of that just and elegant speech; I have only to add here, as if it 
 might be required, some support to this conclusion. 
 
 During my residence at Rome, in the winter of eighteen hundred and forty- 
 six — seven, I was present at an annual exhibition of the scholars of the Propa- 
 ganda. From notes taken, at the time, on the margin of a programme of the 
 exercises, and recording my perception of the character of the elocution, I 
 make the following summary. 
 
 There were from fifty to sixty speakers, men and boys ; apparently from the 
 age of twelve, to five and twenty ; of all colors, visages, and languages ; and 
 from countries of all degrees of civilization, between the longitude of eastern 
 China, and that of the Allegheny mountains. Now each and all of these indi- 
 viduals must have had the respective forms of their intonation, and of the other 
 modes of the voice, determined, and so fixed by early habit, in their native coun- 
 try, that they could have undergone no material change in the Roman school. 
 Yet the proprieties of speech, if any, and all its faults, whether in form, degree, 
 or misapplied expression, were the same as those we have enumerated in 
 the English voice. No matter, to what syllabic sound, or structure of language 
 they had been born, there was collectively among them, the same vicious 
 variety in time, force, quality and intonation, as with ourselves ; and as with 
 us of the Saxon, Celtic, Gaulish, and Teutonic tongues, one vast predominance 
 of faults. Yet, while closely listening to the right, the wrong, and the pecu- 
 liar, I heard nothing in form, or even in quecrncss or exaggeration, that I had 
 not heard before. In short, the destined swarthy wanderer of the Tropaganda, 
 with his aimless and chaotic efforts in speech, and the accomplished Queens of 
 song from the Conservatorio, with their unconscious desecration, so to speak, 
 of expression in Recitative, are more nearly assimilated, in these vices of into- 
 nation, than their diflFerence in complexion and in glory would allow the pride 
 of the Opera to acknowledge.
 
 496 FAULTS OF READERS. 
 
 this essay, I have referred to eminent, as ■well as to exceptionahle 
 examples, in the vocal practice of the Stage. The Actor holds 
 the first and most observed position in the Art of Elocution, and 
 should long have been our best and all-sufiicient Master in its 
 School. The Senate, the Pulpit, and the Bar, with the verbal 
 means of argument or persuasion almost exclusively before them, 
 have so earnestly, or artfully pursued these leading interests, 
 that they have not observed, nor indeed Tvished to observe, how 
 far the cultivated powers of the voice might have assisted the 
 honest or the ambitious purpose of their oratory. But with the 
 Stage, speech is, in itself, the means and the end of Histrionic 
 distinction ; for however the Actor may be influenced by the 
 desire of applause, this is supposed to be attainable, only through 
 the expressive powers of his voice. It has therefore been 
 towards the Stage alone, that criticism has shown a disposition, 
 formally to direct its vague and limited rules of vocal propriety 
 and taste. But the Stage has not fulfilled the duties of its posi- 
 tion : for though holding the highest place of influential exam- 
 ple, and enjoying the immediate rewards of popularity, it has 
 done little more than keep-up the tradition of its business and 
 routine, and record the personal debut, engagements, retire- 
 ment, and every sort of anecdote of its renowned Performers ; 
 without turning a discriminating ear to their vocal excellence, 
 and thereby afibrding available instruction, on the means of 
 their success; while its distinguished Performers themselves, 
 through all generations, appear to us in the light of too many 
 others in exalted stations, who have not so much desired to 
 fulfill the trusts of their Stewardship, as to acquire wealth and 
 influence and distinction for themselves. 
 
 For this particular state of Histrionic Art, there must be a 
 cause ; and as our analysis has enabled us to explain the nature 
 of some fiiults that universally infect the voice, we may extend 
 our inquiry to the causes, why elocution has not been able to 
 assume an intelligent, systematic, and respected authority on the 
 Stage. Speech is the audible sign of the logical powers of the 
 mind, as well as of its individual ideas ; we shall therefore find 
 that the peculiar faults of the Stage arise from a somewhat secta-
 
 FAULTS OF READERS. 497 
 
 rian and mystic character of intellect in the Actor. I therefore 
 devote a few remaining pages to the subject, 
 
 Of the Faults of Stage-Personation. The most general and 
 influential cause from -which many of the faults of the Actor 
 seem to arise, and under which his art has never been progres- 
 sive, is the delusion, so fatal to a just and practical use of the 
 mind, that his purposes are effected by certain 'innate powers,' 
 or 'spiritual gifts,' far beyond all common influences in the 
 works of men ; that so far from following the plain and univer- 
 sal course of thought and action, the expression of his sense and 
 feeling, like the vulgar idea of the creations of the Poet, are the 
 result of a real 'phrensy' of thought, of countenance and of 
 the voice,- 
 
 This mysticism of the school of acting has, as far as I under- 
 stand it, divided its eminent disciples into two classes. The 
 First has a sort of dual mesmeric existence, consisting, at one 
 time, of its common animal attributes of motion, sensation and 
 thought ; at another, of the spiritual representation of the lan- 
 guage of the poet. In one of these lives, the actor prepares 
 for his part, according to his own conception of it, or to the 
 traditionary rules of the Green Room ; and for his scenic rela- 
 tionships to the rest of the Company, goes to Rehearsal, with his 
 everyday feeling, speech, and apparel. This is the personal 
 life of the actor. In the other life he is before the audience, 
 and has entered into a spiritual existence with the poet. Here, 
 all self-perception is lost ; he is sensible to nothing, and has only 
 an indescribable idea of the commingling of his own enacting soul, 
 with the sentimental and rhetorical soul of his author ; thus 
 entering with him into one co-efficient expression of gesture, 
 countenance and voice. The state of an actor, in thus losing 
 his consciousness in the ideality of the character, is called 
 Identity. And as well as I can understand this physical and 
 mental condition, the actor seems to think, move, and speak in a 
 peculiar kind of Trance. 
 
 The Second Class, though altogether different in its system 
 from that of Identity, is no less mystical in its account of itself. 
 But as I do not comprehend the nature of that unthinking and
 
 498 FAULTS OF READERS. 
 
 unfeeling machinery, by which an Actor affects an audience, I 
 shall, in noticing the subject, be obliged to quote the words of 
 the initiated, who pretend to describe it. 
 
 I find it has long been a question among Actors and histrionic 
 critics, whether he who excites most feeling in his audience, is 
 necessarily excited and directed by feeling within himself. This 
 Platonic, and therefore disputatious and interminable question, 
 seems so clearly, to have arisen from a belief in the ' Spirituality' 
 of Expression, supported by a determined ignorance of its de- 
 scribable forms in the speaking voice, and of its ordained 
 instrumentality in the purpose of thought and feeling, that I 
 need not show, by our present light of analysis, in what manner 
 it has contributed to prevent a progressive observation of the 
 exact and beautiful co-relation between the mind and the voice. 
 
 The maxim of Horace, ' if you wish me to weep, you must 
 
 yourself first feel your woes,' has so far either convinced, or 
 misled his readers, that I should not have here introduced the 
 subject of this confounding question, if I had not met with the 
 following confounding attempt to announce it. 
 
 ' The actor of an opposite school' says the Autobiography of 
 an Actress, chapter thirteen, ' if he be a thorough artist, is 
 more sure of producing startling efi"ects. lie stands unmoved 
 amidst the boisterous seas, the whirlwinds of passion swelling 
 around him. He exercises perfect command over the emotions 
 of the audience ; seems to hold their heart-strings in his hands, 
 to play upon their sympathies, as on an instrument ; to electrify 
 or subdue his hearers by an effort of volition ; but not a pulse 
 in his own frame, beats more rapidly than its wont. His per- 
 sonifications are cut out of marble; they are grand, sublime, 
 but no heart throbs within the life-like sculpture. Such was 
 the school of the great Talma. This absolute power over others, 
 combined with perfect self-command, is pronounced by a certain 
 class of critics, the perfection of dramatic Art.' And then, to 
 show the difference between the actor who draws from the depth 
 of his identical soul, and him who only appears to do so, we 
 have the following fact. 'I have acted Avith distinguished -trage- 
 dians, who after some significant bursts of pathos, which seemed
 
 FAULTS OF READERS. 499 
 
 wrung from the utmost depths of the soul, while the audience 
 were deafening themselves, and us, with their frantic applause, 
 quietly turned to their brethren, with a comical grimace, and a 
 few muttered words of satirical humor, that caused an irresistible 
 burst of laughter.' The reader, if he looks for meaning and 
 precision in language, must say for himself, what all this account 
 of Great Acting means, whether in the school of Identity or of 
 Talma. To me, it conveys not a single definite idea of the 
 kinds, degrees, purposes, and effects of thought and passion, nor 
 of the nature and management of the personal and vocal signs 
 that express them.* 
 
 • An Actor, or Personator on the Stage, •whatever his fictional school may 
 t^ach, can no more, intellectually and passionately, believe or feel himself to 
 be the character he represents, than he can feel the pain of his friend, or taste 
 the food that gratifies him. If he should in mind, — for he cannot in person, — 
 be, or appear to himself to be another, he must, in mind, cease to be himself: 
 and therefore cannot, in thought and passion, become another, except, if even 
 that is possible, in delirium or a dream. Nor is there the least necessity that 
 he should, in acting, appear to himself to be another, in order to act well. 
 Wicked and foolish as man is in most of his affairs, it -would be appalling to 
 think what he might be, if human nature had not been made, in all things 
 and everywhere alike. We are therefore identical with one another ; without 
 its being a peculiar effort of genius in a Player to feign himself so. Difference 
 from the rest of the world in observation and thought, which are the charm of 
 life, is rare; but in feeling and passion, which are almost the life itself of man, 
 it is impossible. If by internal motive, or external impression, we are excited 
 into passion, we must show or enact it, in like manner as it is done by 
 others. For though there may be some variation in degree and character, the 
 passion itself is in nature and effect similar in all. 
 
 It is not necessary then, to 'enter into' or feel the passion of another; we 
 are already in it, by a similar constitution : and have only to feel and express 
 it as our own, when it is excited within us by sound or sight ; whether of the 
 voice of the orator, or the written language of the historian and the poet. 
 
 For illustration, let us suppose an Actor to have the education, thought, 
 feeling, and physical means for expression, of the best of his class ; and to 
 enact the part of Hamlet, before the Ghost of his Father. lie has then in his 
 mind, the thoughts of doubt or disbelief, of inquiry, and of the supernatural 
 event before him. 1\\q feelings that affect and absorb, — not entrance him, — 
 are horror, astonishment, reverence, affection, and revenge. These, cither 
 from Nature or from habit, are so at command, ' that a man might play' them, 
 by ' forcing his soul to its own conceit,' not into Identity with the conceit or 
 conception of another: for as far as they have been experienced, and no 
 farther, can they be expressed. Np one has felt them, in the case before us,
 
 500 
 
 FAULTS OF READERS. 
 
 In seeking instruction from others, not only in philosophy, 
 but in the higher poetry, for even this has taught me much of 
 nature, and more of the human mind, I have so accustomed 
 myself to regard the plain foot-prints of traceable description, 
 that my comprehension is often at fault, in the trackless pursuit 
 of a metaphysical meaning ; whether in the mischievous visions 
 of Plato, with his 'arithmetic mediums,' and his 'procreations 
 of the soul;' in the equally incomprehensible ravings of his 
 
 with the vividness of life, but the supposed once-existing Hamlet : and there- 
 fore the Actor may raise within himself a certain form and degree of those 
 thoughts and feelings, but cannot become identical with Hamlet, even if good 
 acting should require it. He is then only identical, so to speak, with himself, 
 upon the common forms and degrees of his own feeling and thought. • 
 
 Comparing the term Identity with a plain description of thought and feeling, 
 it would seem to have been made from mistaken and visionary ideas, carelessly 
 formed out of this simple purpose and fact of Stage-Personation : — that th« 
 state of- mind ascribed to a character by the poet, is through the actor, — a 
 man of like passions with the character, — to be represented by his own 
 •thoughts and feelings ; either really excited to the exact condition of those of 
 the character, which seems impossible ; or simulated to an available degree by 
 his self-possessed eflFort, and not by his trying io forget himself, and in thought 
 and feeling, to become another. 
 
 How far, in the case before us, the Actor is to become identical with the 
 Poet, is another subject for consideration : and this leads to the inquiry, how 
 far Shakspeare designed to identify himself in thought and feeling with the 
 thinking and suffering of the once-existing Hamlet. The cases are similar: for 
 as the poet is to the person, so should the actor be to the poet. I have nothing 
 to say here, on what a poet might imfigine of himself: for he may have his 
 delusions of Genius, as well as the actor. But when an actor adopts the cos- 
 tume of his character, together with the language of his thoughts and feelings ; 
 and has to move and to speak like him, he might seem to himself to have 
 some slight reason for believing, against his senses, that he is the very charac- 
 ter : like Christopher Sly in the Play, who, with so many persuaders towards his 
 delusion, exclaims at last, ' Upon my life, I am a Lord indeed.' But how can the 
 poet find a point of approach to similarity, much less enter into Identity with 
 his character, whether original or adopted, when spreading his imagination, he 
 gradually and line by line, selects from its amplitude : and roaming, in his 
 associations, after everything, returns with a gathered choice of thoughts, 
 characters, manners, imagery, and language : and all this effected in time, and 
 succession, by a Shakspeare, identical with his own classifying power and its 
 taste. What has he, in drawing the character of Hamlet, to do with cofitracl- 
 ing himself into a fixed and momentary identity with such a passing personage 
 as a former Prince of Denmark ?
 
 FAULTS OF READERS. 5QI 
 
 later pupil Jacob Behmen ; or in the unassignable ideas of his- 
 trionic principles and criticism. But though we may be unable 
 to follow the mystic notions of the schools of acting, and to say 
 how far they go ; it is not so difficult, with a little patience on 
 the part of the reader, to inform, or remind him whence they 
 are derived. 
 
 The Greeks, unfortunately in some things our teachers, re- 
 ceived so much of their Philosophical Fiction from Egypt and 
 the East, that it is impossible to say, to what extent they invented, 
 or how far they only altered and dressed-up the fable : yet it 
 is certain, that having adopted the imposition, they afterwards 
 blindly went along with it. It was according to the infirm and 
 fruitless purposes of the Greek philosophers, that while they 
 desired to know, they could not find the way, or would not take 
 the pains to learn. Perceiving, what time and labor were neces- 
 sary for understanding the frame and laws of nature, by the 
 tedious use of the senses, they resolved to accomplish it more 
 easily by a mental process. Assuming then, from the human 
 method of Design and Construction, that the world was made 
 from an ideal design, or what they called a Pattern-Form of 
 that world, previously existing in the mind of the Creator; 
 and that the mind of man, being made in the image of the 
 Creative-Mind, Avas thus a humble finite offspring of its all- 
 glorious infinity : And further, observing, — ■ for they did add a 
 useless mite of experience to their fictions, — really observing, I 
 say, the human mind to be capable of unlimited improvement, 
 they thereupon fancied, that in abstracting itself from the con- 
 taminatin"- company of the senses, as well as from all other 
 disturbing influences of this mortal life, it might, by a long and 
 contemplative exercise of its own powers on its uncorrupted self, 
 — hopefully ascend toAvards the Creative Mind, and reach at 
 last, its Parent-state of intellectual perfection, and immortality : 
 that the mind thus purified, returning to its omnicient Father, 
 and being made partaker of his knowledge, might come at last, 
 to behold the pattern-forms of creation, and by access to the 
 constructive designs, be able to comprehend the plan, the pur- 
 pose and the workmanship of all things. This process of
 
 502 FAULTS OF READERS. 
 
 Contemplation, one of Plato's, so called, sublime ideas, was a 
 pi'oduct, and part of the essence of what the Greeks termed the 
 First Philosophy : now indeed to us, first and greatest in pre- 
 tension, but last and least, in usefulness and truth ; and which, 
 if not originally contrived to impose on ignorance, did subse- 
 quently pervert the mind to that state of theoretic credulity, by 
 which it still imposes on itself. 
 
 It was this, together with other distracting imaginations of 
 the First Philosophy, that so early and so fatally confused and 
 corrupted the now, abas ! irrestorable simplicity of the Christian 
 Religion ; a religion intended by its Author to be practically a 
 general moral blessing; and — in discarding the quarrelsome ver- 
 bosity of the Grecian School, — to embrace an uncontentious 
 Logic, with its decisive meaning of Yea or iVrt?/, for those who 
 have ' ears to hear' unworried truth : not a religion of Platonic 
 figments, and Aristotelian quibbles, for those who pluck out 
 their eyes, and deafen their ears to the unarguing brevity of 
 those two short verdict-words of Belief or Denial ; and who by 
 rejecting this unsophistic, this all-suflficient, this conclusive and 
 this peaceful Logic of the Original Christianity, have given 
 themselves up, universally and world-without-end to wrangle and 
 to hate. 
 
 It was this that withdrew the Platonic Pietist from the visible 
 world, to contemplate with inward but with filmy eyes, his own 
 fanatic selfishness ; thereby to raise himself to a communion 
 with angels and saints, at the right hand of his maker ; and to 
 proclaim, with audacious triumph, his accomplished Beatitude. 
 This, that led the Hermit and the Monk to Platonic war against 
 the senses ; to retreat to the savage wilderness, and the Cell, be- 
 fore the overpowering civilization of their truth ; and to seek a 
 refuge at last, by trying to thmk, and to mortify themselves into 
 Heaven. The Greeks began their philosophical but foolish pur- 
 pose, with only disregarding the Logic of the Senses. The 
 religious Anchorite, following up his Platonic creed, ended with 
 the Impious attempt to thwart the purpose of his God, in ordain- 
 ing its supremacy. 
 
 It is the idea of this irreligious sunderinj: of heaven from the
 
 FAULTS OF READERS. 5O3 
 
 universe of sensible things, that ' God has joined together,' which 
 still haunts the narrow-minded Bigot ; who under the venerable 
 authority of his Pagan philosophy, continues to separate the 
 senses from contemplation : but which, in the fulness of wisdom, 
 and of works, the beneficent Bacon, in mental saviourship, has 
 taught us to reunite. It is this contemplation, still uncontrolled 
 by sense, and thus falling into visions, that enables every new 
 Sectarian Leader, to imagine his o"\vn way to the will of his 
 maker, and to bring back from his own egotistical invention, 
 another, and still another message of grace ; and thus to over- 
 fill the world with discord and with dreams. 
 
 It is a modification of this system, that makes the Physician, 
 of Every School, pretend to see with his mind's eye, and that 
 a blind one, those fictions of invisible causation, in the human 
 body, which produce the infinite succession of quarrelsome 
 speculations, the ever-varied Nomenclature, and the never-satis- 
 fying Practice of his Dogmatic Art ; yet so inseparable from the 
 weakness and indecision, always co-existent in the mind with 
 fictional and fashionable changes in opinion. 
 
 It is to the universality of this vice of thinking and believing 
 without the Mastership of the senses, that, according to our igno- 
 rance, or our ill use of knowledge, we have the whole book of 
 Platonic Spiritualism still before us ; whether in the dates and 
 postponements of Millennial Prophets; in raising Phantoms of the 
 dead ; or in the Epicurean doctrine of atoms, revived in modern 
 chemistry, with no other prospect than that of giving way in 
 time, to some new supposition. 
 
 And finally, it is this Vice that must explain the idealism of 
 the Tragedian, in his attempt to describe his own conception of 
 his characters, and of himself. 
 
 If there is no reason for a work, — reason being here, only 
 the adaptation of means to an end,— there can be neither begin- 
 ning nor end to the work ; and if there are not good reasons, 
 there can be no excellence. Nature certainly has the best rea- 
 sons for her work, and although she never tells them, except 
 through her spontaneous actions, or through solicited and 
 experimental signs, she does not always prevent our findijig
 
 50-4 FAULTS OF READERS. 
 
 them out. An Actor may have very good reasons for all his 
 ends, and some efficacious system for self-instruction ; hut as he 
 never has satisfactorily told them, we must, as in the case of 
 nature, be contented, if he does not prevent our efforts to ascer- 
 tain them. Without therefore positively asserting, — he has no 
 means of instructing himself, or of being instructed, beyond his 
 common school of Imitation, we may, if unable to discover his 
 reasons or principles, particularly on the subject of the voice, 
 be allowed to state our view of the causes why, with an excep- 
 tion of some local routine, and the business of the stage, he has 
 none, above the instincts of gesture, countenance, and voice, 
 common to him and the rest of his company. One important 
 general cause of this mediocrity, is the too frequent absence, 
 from a public audience, of those watchful masters. Knowledge 
 and Taste ; masters who make greatness, wherever they rule, 
 because they will have nothing else ; and who in passing judg- 
 ment on the faults and merits of an actor, teach him at the 
 same time, to know himself. We will however endeavor to 
 show particularly, not only why he has not a deep and 
 thorough knowledge of very important requisites in his art, but 
 also, why the circumstances which affect him, render it almost 
 necessary that it should be so. 
 
 In the First place then, the vocation itself of an actor is apt to 
 over-occupy, and therefore to thwart his mind, with memorial 
 efforts upon words ; and with a perpetual and varied succession 
 of thoughts and sentiments, strongly excited for the moment, 
 but too fugitive to become consciously familiar, or directively 
 useful in the higher designs of expression : and therefore not 
 calculated to lead his purpose or inquiriy, beyond the common 
 topics of his art. 
 
 Second. The whole mind of an Actor, with all its sensibili- 
 ties, is involved in the disturbing interest of his success. His 
 success is measured by public applause, and public applause, in 
 any case, does not always help the mind, even on the subject of 
 its ambition ; but is apt to weaken its power, and prevent its 
 advancement in everything else. 
 
 Third. The actor, by that necessary law of a wholesome and
 
 FAULTS OF READERS. 
 
 )05 
 
 a happy life, Tvhicli directs us all to some physical or intellectual 
 industry, goes to the stage, in nearly every instance, as a means 
 of support ; allured in the unreflective period of youth, by a 
 dream of prospects and hope, rather than by a view of the 
 influential realities and important consequences of his choice ; 
 and beset by an early and restless ambition to be known, neces- 
 sarily most urgent with him who, while he is unknown to others, 
 will, very probably be unknown to himself; of a temperament, 
 not always sedate and steady, nor extended or permanent enough 
 in its purposes, to form the habit of looking into things as they 
 are, and of fairly estimating the difficulties of a task. ' Oh, I 
 never think so nicely as that,' said an actress, — whom the 
 populace of two Hemispheres had, for awhile, bewildered by 
 the whole nomenclature of eulogy, — to one, who remarked that 
 singing might be as articulate as speech. 
 
 Now, as it is much easier, gradually to change a vague per- 
 ception into positive error, than to work-up strict and compre- 
 hensive observation into truth, it is almost conclusive, that minds 
 born, or fashioned by circumstances, to the condition we have 
 just described, would turn from the labor of cultivating the 
 united powers of observation and thought, to the amusement of 
 indulging a fancy, and thus become a prey to the sophistry of 
 Platonic fiction, or as it is now called, ' Ideality' or Transcenden- 
 tal thought. And such appears to be the state of mind, as far as 
 they have explained it, of that class of actors, who surrounding 
 themselves with visions of enthusiastic feeling, perform their 
 part by the mystic means of Identity. 
 
 I can say nothing of the nature or origin of the other Class, 
 that electrifies its hearers, by ' volition,' whose ' grand and sub- 
 lime personations are cut out of marble:' and though without 
 a ' heart-throb of its own within its life-like sculpture,' yet stirs 
 up its audience, to ' deafening' themselves with their frantic 
 applause. Its power is indeed wonderful, but its ways, means, 
 nature and effect, are entirely beyond my understanding: for to 
 me, the preceding account of the two classes of actors, and of 
 their different styles, taken from their own dreams about them- 
 selves, contains not one assignable image in description, not one 
 33
 
 506 FAULTS OF READERS. 
 
 useful word of instruction, and nothing but words, in the purposes 
 of histrionic criticism. Supposing then, the difficulty or impos- 
 sibility of our comprehending the above description of the two 
 great classes of Acting, to be as strict a consequence of its 
 obscurity, as if it was designed to be unintelligible : how are 
 we to disenchant their Actors of the magical, not to say miracu- 
 lous power of being unconsciously incomprehensible, with which 
 the ' Genius of the Lamp' of innate and self-sufficient light has 
 seemed to endow them ? Simply by removing their halucina- 
 tions about ' Identity' and ' Inspiration ;' by inviting them 
 down from ' the realms of cloud-land, where they dwell with 
 the ideal creations of the poet;' and by teaching them so clearly 
 the signs of thought, and feeling, that whatever is truly de- 
 scribed from their own thoughts and feelings, if representable by 
 by countenance, gesture, and voice, will be distinctly conveyed 
 to others. 
 
 Since then the Obscrvative Philosophy, — the Real Author of 
 this M'ork, under my humble name, — has for the benefit of the 
 Actor, furnished the materials for a better condition of his art, 
 let the Actor listen for a moment, to the Observative Philosophy. 
 All that has been gropingly sought through the spirituality of 
 Plato, and the Actor-ism of the Stage, may be thus set down in 
 the clear Baconian Logic of the Senses. An actor, in his per- 
 sonifications, is not a 'disembodied being of cloud-land' 'kindled 
 by Promethean fire' and ' taking the audience by storm ;' with 
 'an upward gaze,' and in contempt of sensible things, 'treading 
 external circumstances beneath his feet.' He is, though he may 
 not admit our classification, like the rest of us, an earthly animal, 
 of flesh and blood ; with the means of moving, thinking, feeling, 
 and speaking ; whi :h he is visibly and audibl}'^ to use with intelli- 
 gence and taste. The thoughts he is to deliver, are set down in 
 his part, and are plainly communicable, by grammatical and 
 appropriate speech. The sentiments or passions he has to ex- 
 press, are declared or implied in the words of his author. These 
 sentiments, at least all that can, and ought to be represented, 
 are common to mankind, and are therefore readily excited in 
 an audience, by their well known sensible signs.
 
 FAULTS OF READERS. 597 
 
 The actor being thus kept down to the level of humanity, on 
 the points of thought and feeling; the Baconian method of 
 working out truth, by observation, proceeds to the manner of 
 expressing them. This is shown in the person, the countenance, 
 and the voice. 
 
 Spiritualism has never gone so far, as to assume the mystical 
 direction of personal Gesture. The exalted, the downcast, the 
 averted, the assenting and dissenting head: the hastv, the 
 dignified, and the starting step, the fixed, and the supplosive 
 foot : with the chironomy of the arm, in its unnumbered mean- 
 ings, are all, in their consonance of character and expression 
 with the countenance, and the voice, no more than obvious 
 muscular movements, taught by nature and experience, and 
 exercised with propriety and taste. 
 
 In the countenance, the Baconian eye of observation sees 
 nothing in character and expression, but physical form and 
 movement, together with the smooth and the wrinkled, the 
 white and the red ; all so plainly associated with their respective 
 thought and passion, that your dog, happily freed from Phitonic 
 fancies, in a moment understands them in your face. But here 
 the actor begins to raise his ' Perturbing Spirit ;' and not con- 
 tented with nature's own physical sufficiency for his sentimental 
 wants, and which, if left to itself, would accomplish all his face 
 is fit for, only forces it to the distortion of 'electrifying looks,' 
 by ' throwing his soul' into his eyes, and nose, and mouth, and 
 brow; and perhaps, in violence to the just expression of well- 
 closed lips, even into the grinning of his very teeth. 
 
 And what does the Baconian observer find in the Actor's 
 voice? He hears that some of his words are of longer quantity 
 than others ; some more forcibly pronounced ; some are harsh, 
 others smooth ; some acute, others grave : in short he hears, not 
 in his souVs ear, but physically hears, the Modes of quality, 
 force, time, abruptness and pitch, with their various forms, 
 degrees, and practical distinctions, detiiiled throughout this 
 work ; by one, who though perhaps estimated but as a pupil of 
 a lower Form, in the Baconian school, is yet happy in its picsent, 
 and looks with hopeful patience to its future tasks. But with
 
 508 FAULTS OF READERS. 
 
 all these phenomena within hearing, and only unrecognized be- 
 cause unnamed, the Platonic Thinker, seeking something above 
 vulgar sensation, has by imaginary 'movements of the spirit' 
 and figments of ' occult causes,' not only prevented his own 
 spontaneous perception of the vocal phenomena, but worse still, 
 has so far contributed to obtund, — as fictional habits generally 
 do — both sense and intellect, as not to let him listen, much less 
 attempt to understand, when told by others, — the Expression of 
 Speech is only one part of measurable and describable physical 
 nature. 
 
 Upon all that has been said, perhaps some of those who would 
 degrade the Fine Art of Acting, to a level with the visionary 
 psychology of our poetic Young Ladies, may ask if we have not 
 given a too prosaic, or * matter of fact,' account of the material 
 and formal causes of this art ? What is to become of the actor's 
 grandeur, pathos and grace, if they are to be deduced from 
 physical, and not from spiritual causes ? A\^e answer, that with 
 those sentiments within him, the proper use, whether from nature 
 or education, of the physical means for vocal and personal ex- 
 pression, will, under our observative system, display those 
 sentiments with more uniformity, and consequently with more 
 force : for the expression not depending on the individual caprice 
 of visionary personations, will have a more invariable character, 
 and therefore be more clearly and generally understood. To me 
 however, the reason is not apparent why the soul of poetry, 
 under the fancies of Identity, should be brought into Stage- 
 Personation, more than into any other art. Why should not 
 the Sculptor, Painter and Architect, when they studiously, and 
 choicely complete their designs, and then practically execute 
 them with propriety and taste, claim to have this mysterious 
 light of poetical inspiration ? We once heard of a Frenchman, 
 who never could have made a certain miniature shoe, but in 'a 
 moment of enthusiasm.' And it has long been a by-word of 
 the concentrative influence of a Shefiield work-shop, that a 
 button-maker, as a ' glaring instance' of Identity, does in time 
 become a very Button. And such notions are no less unintel- 
 ligible of an Actor than of him.
 
 FAULTS OP READERS. 509 
 
 The Fine Arts are reputed to be sisters ; and they are of one 
 family, so far as they draw their being from one source of know- 
 ledge and of principles, in the mind : but any attempt to wed 
 two of them into one, would be quite new and strange to nature, 
 and a very odd idea among themselves. Somebody once made 
 a doubtful metaphor, in calling Dancing, the 'poetry of motion.' 
 It wants just as much, the clear picturing of a true and con- 
 sistent trope, while it is altogether out of place, in serious 
 discourse, to speak of the Poetry of the Stage. It has had too, 
 the effect on unthinking Actors, and on Critic's who should 
 think, to turn their attention, from the assignable merits of the 
 art, by confusing that attention Avith the mysticism of its present 
 condition ; and to encourage the weak-minded, to gossip with 
 others, as well as to enter into their own reveries, about the 
 ' magical and dreamy influence of passion.' If poetry, flimsy, 
 spirit-woven poetry I mean, belongs to the Action of the Stage, 
 then with the reciprocity of a metaphor, we might say — the 
 Action of the stage belongs to poetical soaring, even in its 
 transcendental flights ; which is absurd. 
 
 Let me ask one question of the dramatic mystagogue, 
 whether critic or actor; for if not of one party, they would 
 soon go their way from each other. Whence does the poet, yes 
 emphatically for this case, the Poet, — who being a participant- 
 spirit in stage Identity, should in his own art be a bright exam- 
 ple, — whence does he draw the thoughts and sentiments, with 
 their grandeur, pathos, and grace, that the actor in his cloud of 
 idealism, has only at second hand, to express ? Ask the Homers, 
 the Virgils, the Shakspeare, the Milton, the Thomsons, the 
 Popes, and the Cowpers, in their various schools: and from 
 their unmystified delineation of nature and of life, their analo- 
 gies, all drawn at last, from that physical nature alone, not 
 poetically sung, but clearly spoken to the ear in vivid repre- 
 sentation of the objects of every other sense, and learn how 
 they have become to us, — through the recognized exactness of 
 their bright and exalted pictures, — the Baconian philosophers 
 of fiction, and the great ' Secretaries' of nature and art ; record- 
 ing with illuminated faithfulness, the history of existing, and of
 
 510 CONCLUSION. 
 
 possible, but not of pretending truths. They copied, each in 
 his own hand, what was, and what had been : and set down even 
 what might be, with the clearness of a waking and a written 
 thought. Let then the infatuated aspirant of Stage-Personifica- 
 tion, who thinks we have been too prosaic about his Genius, 
 learn through his poetic Masters, from whom he must draw the 
 whole — or it would only be the pantomimic — soul of his enact- 
 ing, how they performed their parts of grandeur, pathos, and 
 grace, through all the breadth and depth of passion : without 
 any real 'nightly visits of the muse ;' with no ' extacies' of the 
 Delphian Tripod ; no ' stirring the waters of the soul' to a state 
 of poetic Identity ; but on a humble seat perhaps, and without 
 enchantment, drawing their ' goodly thoughts' and natural senti- 
 ments, from life and books, and things unwritten ; with the 
 privilege of exalting the realities of nature to perfectional 
 degrees of the beautiful, and the sublime. 
 
 Here I finish the history of the speaking voice. I have 
 therein, as the reader may perceive, pretended to record no 
 anecdotal wonders : no magnifying traditions of how far Wliit- 
 field could be heard : no prodigies of earliest infant speech : no 
 ultra case of a stammerer, who could not be even heard at all : 
 no echo past counting ; nor ventriloquism past belief. I have 
 paid more respect to the reader, than to invite him on to serious 
 knowledge, by the detail of wonderful and ' startling' facts ; 
 but have endeavored to set before him, an instructive story from 
 nature ; whose wisdom being the highest of all generalities, is, 
 if it admits the term, a single wonder, uncompared. 
 
 It has been my design throughout this work to subject 
 nature to a studious examination ; and by the simple but sufli- 
 cient rule of the senses, to unfold her supposed mysteries with 
 philosophic precision. How far this has been accomplished, the 
 intelligent reader must determine : with that allowance for 
 minor errors, which the historian of nature has perhaps, in an 
 arduous task like this, a right to claim, and which the liberal 
 and reflective critic, who may have been told of the inscrutable 
 Intonations of speech, will not refuse. 
 
 I
 
 CONCLUSION. 
 
 511 
 
 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 for its practical rules, will still 
 admire the beautiful economy of nature, in the structure of 
 speech. Those who have spent a life of labor, by the little 
 light, as yet set up in the art, and who are too proud or dull to 
 take on a new mind, with the advancement of knowledge, will 
 at least learn from this essay, the deJBciencies of the old scheme 
 of instruction, even though they may not admit that these defi- 
 ciencies are here supplied. If the development now offered, 
 were a mere addition to the art, persons of this last class might 
 lie able to discover traces of their former opinions, and thereby 
 Iiave some reason for admitting it. But finding here, the history 
 uf what may seem to be a new creation, they may reject it alto- 
 gether, because they cannot recognize the definitions, divisions, 
 rules, and illustrations of their familiar school-books of elocution. 
 
 HoAvever Philosophy and Taste may admire the Wisdom and 
 T5eauty in the Natural system of the voice, which we have 
 endeavored to describe, it is to be regarded as a curiosity only, 
 if it does not lead to some Practical application. I have there- 
 fore endeavored, on the unalterable foundation of our physiological 
 liistory, to establish a system of directive principles, and of ele- 
 mentary instruction. 
 
 If we draw an inference from prevalent opinions, we must 
 believe, the varying styles of a good elocution are endless ; for 
 every one with self-satisfaction thinks he reads well, and yet all 
 read differently. There is however, under a varied application 
 of just principles, but one style of reading-well : and we now 
 have our warrant from a knowledge of the voice, to show, that 
 nature herself, and not the usage of the school, will furnish in 
 every case, the effective principles of that only style. 
 
 Without some acknowledged principles in Elocution, there can 
 be none of that fellowship in method which so powerfully assists 
 in the advancement of an art. Although nature may have 
 ordained certain sounds as signs of thought and feeling, yet 
 differences in practice tend to confound her purposes and weaken 
 her authority. If some uniform system of the voice be insti-
 
 512 CONCLUSION. 
 
 tuted, similarity of kno^yleclge ■will insure greater accuracy in 
 the use of its signs ; for intonations, like words, will have more 
 precision and force, when not varied from their fixed and appro- 
 priate meaning. 
 
 In collecting and framing the precepts of Elocution, I have 
 taken into view both the strength and beauty of expression. 
 The system represents a corrected and dignified method of the 
 voice, under that form of severe but efficacious simplicity, which 
 is not at first alluring to him who is unaccustomed to regard the 
 exalted purpose, and the enduring effect of the arts. The art 
 of reading, thus established, will be found to possess an excel- 
 lence, which must grow into sure and irreversible favor, when- 
 ever it receives the studious attention, that raises the pursuits of 
 the wise above those of the vulgar. I might, from another art, 
 relate the story of the great painter, who with his mind filled 
 with anticipative reflections on the merits of Raffaelle, was dis- 
 appointed at his first sight of the walls of the Vatican, and dis- 
 consolate after his last. 
 
 The florid style of elocution, consisting of a melody formed 
 upon other and more expressive intervals than those of the dia- 
 tonic, is a natural result of the sway of imagination and passion 
 that prevails with the child and the savage. The senseless excita- 
 bility of ignorance which delights in the florid manner of speech, 
 demands a perpetual change in it ; and capricious alteration 
 takes the place of enduring improvement. The system of plain 
 diatonic melody, with the occasional contrast of expressive inter- 
 vals, for which, as the Advocate of Nature, I Avould plead, has 
 in the charm of its simplicity, an impressive influence on the 
 educated mind, which the studious use of observation and reflec- 
 tion in an art, always produces. 
 
 If this scheme of Elocution should, on the grounds of pro- 
 priety or taste, be objectionable, let another be formed by him 
 who is better qualified for the task. Only, let a system be 
 formed. And while in other arts, we can turn to an ' Apollo,' 
 a 'Parthenon,' and a 'Transfiguration'; to the Rules of the 
 Oratorio, the Landscape of Whatcly, and of Price, the 'Institutes' 
 of Quinctilian, and the Precepts of Horace and of Pope, — lot
 
 CONCLUSION. 513 
 
 Elocution be able hereafter, not only to bring forward the name 
 of a Roscius, a Garrick, a Siddons, and a Booth, but let it at 
 the same time, lay-up in the Cabinet of the arts, a history of the 
 available ways and means of their vocal superiority. In short, 
 let the art of speaking-well be invested, through its descriptive 
 method, with that corporate capacity, by the preservative suc- 
 cession of which, the influence of its highest masters shall never 
 die. 
 
 The true spirit of fellowship among the votaries of the arts, 
 and the bad temper of disagreement, turns so entirely on their 
 harmony in opinion, that whoever has examined this subject 
 would, for social sympathy if not for taste, prefer a system 
 Avhich even deviates from the line of nature, — but is still a well- 
 ordered and consistent system, — as a substitute for the varying 
 and contradictory rules, constantly suggested by the ever-chang- 
 ing authority, in individual cases, of what may be called 
 untaught or natural speech. 
 
 The philologist, in the study and collation of languages, esti- 
 mates those which have received their systematic form from the 
 arbitrary institutions of grammar and prosody, above those 
 which spring naturally from the wants and passions of an uncul- 
 tivated people. 
 
 Where shall we find the natural prototype of that elegant and 
 precise science of Heraldry, which makes the enthusiast, over 
 his armorial ensigns, delight in the purely invented system of 
 the Escutcheon and its Charges, and read their artificial but 
 methodic disposition, by the brief and luminous rules of Bla- 
 zonry ? 
 
 What book of Botany can designate that leaf and stem, 
 which form the floral volute, the symmetric lotus, the acanthus 
 scroll, the varied cup, the indented leafing, and the delicate 
 tracery, that constitute the beautiful and endless combination 
 of ornament, in Greek and Roman Ideal Foliage. 
 
 These three subjects are all the conventional, but systematic 
 creations of art ; and it would seem that objects of intellectual 
 as well as of physical taste are often more satisfactory, when 
 enjoyed through acquired appetite and approbation : and we
 
 514 CONCLUSION. 
 
 know that what is called acquired appetite, is always governed 
 by the influence of some habitual principles, however arbitrary 
 these principles may be. 
 
 Without a system of rules, either natural or conventional, I 
 am at a loss to know on wliat criticism in Elocution is to be 
 founded. Its rules have too frequently been drawn from the 
 very instances which are the subject of investigation. Garrick 
 is to be tried ; and by the Common Law, for tJiere is no Statute 
 here, the former case of Garrick is the rule of judgment. Happy 
 for an art, when such authority can be cited ! But what is to 
 be said when presumption pushes itself into the front ranks of 
 elocution, and thoughtless friends undertake to support it? The 
 fraud must go on, till presumption quarrels, as often happens, 
 with its own friends or Avitli itself, and thus dissolves the spell of 
 its fictitious character and merits. 
 
 The preceding history developes many principles of instruction 
 and criticism, and makes some effort towards their application. 
 Pronunciation, pause, and emphasis are the only points of elo- 
 cution which have been reduced to the precision of particulars : 
 and on these only have critics been able to show anything like 
 definite censure or applause. By directing their inquiry to the 
 details of Intonation, they will learn how far emphasis depends 
 upon it : and when a perception of its universal influence in 
 speech is awakened by definite explanation, and nomenclature, 
 they will then first perceive how the comprehensive designs of 
 emphasis, in its fullest purpose of thought and sentiment, may 
 be marred by defects in the delicate schemes of melody, and 
 intonated expression. 
 
 Look at a formal review of dramatic performance ; you will 
 find in it, words enough, and very good grammar. You cannot 
 however, avoid observing a strong disposition on the part of the 
 writer, to say something, when he has nothing to say : hence 
 after exhausting a parrot-vocabulary of unmeaning terms, gene- 
 rally misapplied, and always mawkish to a delicate taste, such 
 as ' chasteness,' 'by-play,' 'undertone,' 'freshness,' 'harmony,' 
 'efl'cct,' and ^keeping.' I say, after hurrying over these indefi- 
 nites, the writer soon makes his way to surer ground, in noting
 
 CONCLUSION. 515 
 
 the number and dress of the audience, the comfort of the seats 
 in the orchestra, with thanks to the manager, for recent altera- 
 tions in the rules of the house, the habit of slamminor doors, 
 and the noise of iron-shod boots : the whole accompanied Avith 
 copious extracts from some of Shakspeare's best-known scenes, 
 and perhaps 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 intelligibly told 
 to other ages than those that hear them ; by which arrogance 
 and imposture in this art, may be wrested from their hold on the 
 better part of mankind, and their corrupting influence left 
 undisturbed over that great majority, that is always ready to 
 support the small, and too often the greater frauds of life, and 
 that, in its way, does receive a sort of pleasure from the chang- 
 ing pictures of its credulity. 
 
 The same acute and comprehensive observation which makes 
 an interpreter of nature, makes a prophet in the arts. He can 
 tell us, that in the future history of elocution, as it now is Avith 
 song, the masters of its Practice must always be masters of the 
 Science : that they will, with the confident aim of principles, 
 address themselves to the elect of intelligence and taste, by whom 
 their merits will be rated and their authority fixed. And if in 
 acquiring fame or fortune by their voice, they should receive 
 assistance from this essay, I shall be contented to think it may 
 be even a humble contribution to the means, by which the works 
 of iEsthetic Art have in all ages, delighted the intelligent and 
 educated portion of mankind. 
 
 Finally, I would recommend this analysis, and the practical 
 inference which may be drawn from it, to those who declare 
 with contradistinguishing ascription, that elocution cannot be 
 taught, but must be the work of genius alone. Such persons 
 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 it appears from its productions, is only an aptitude for 
 that intelligent, and exclusive attention which perceives and
 
 516 CONCLUSION. 
 
 accomplishes more than is done without it ; and therefore in its 
 purpose and uses 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 vulgar notion of genius, 
 turn themselves from mystics, who wrap up only to misrepresent 
 the simple agency of the mind, and who cannot define an 
 attribute which through their own veil they do not comprehend ; 
 let them look to the great Sachems of mankind, the far-seeing 
 Chiefs of Thought, and learn from the real 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 passionate but steady 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 
 engrossed with its own truths, to be disturbed by the 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 wary 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 on small and 
 selfish ones ; and passing a life of warfare in detecting the im- 
 postures and follies of its own age, that the next, like the 
 celebrated response by the Oracle of Delphi, may pronounce it 
 the chief in wisdom and in virtue.
 
 BRIEF ANALYSIS 
 
 OF 
 
 SONG AND RECITATIVE 
 
 
 When the phenomena of Speech, Song and Recitative, are 
 regarded independently of verbal distinctions, 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 conveniences of classification 
 have established ; and to exhibit, as far as available with finite 
 resources, that clear and comprehensive picture of nature, sur- 
 veyed at once and always, by the infinite discernment of her 
 own self-present, and self-percipient eye. 
 
 To the common ear, speech and song are totally different. 
 Let us examine their relationships by a comparison of their seve- 
 ral constituents. 
 
 In taking up this subject, I have no now vocal function to 
 describe. Song and Recitative arc only certain combinations of 
 the five modes of sound and their forms, enumerated in the pre- 
 ceding history of speech. It is my design to point out the man-
 
 518 A BRIEF ANALYSIS OF SONG. . 
 
 ner of these combinations ; in order to complete the surA'ey of 
 vocal science; and — if the natural and expressive use of the 
 voice does at all admit the Pretensions of Recitative, — to show 
 the relationship between its three leading divisions. 
 
 OF SONG. 
 
 The art of Vocal Music has long been studiously cultivated ; 
 and although it has never yet received a full elementary analysis, 
 either of its structure or its effects, its investigations haVe accu- 
 mulated a mass of observation, and framed a body of rules for 
 governing the great and brilliant results of its practical exe- 
 cution. 
 
 It is, at this time, beyond both my design and ability to offer 
 anything like a detailed consideration of the topic before us. 
 The opportunities for inquiry on the subject of Song, as well as 
 on that of all the Fine Arts, are too limited in this country, as 
 regards companionship in knowledge, the higher discussions of 
 taste, and eminent examples of executive skill, to furnish a 
 proposed record, in that order and with that clearness which 
 always characterize a direct transcript from nature. It becomes 
 the American, in knowing himself on these matters, to touch 
 those points only, which the physiology of his own organs may 
 furnish, and, in this day at least, to leave the full description of 
 the singing-voice, to the ample means of European experience 
 and education. I propose to give onl}'^ a general account of the 
 functions of song; leaving it to those whom it may profession- 
 ally concern, to make a practical application of the principles 
 here developed, or to regard them only as a pastime of know- 
 ledge, in natural history. 
 
 As song consists in certain combinations of the five modes of 
 the voice, employed as the ground of arrangement in speech, 
 the proposed analysis will be given under the same general 
 heads: and first, 
 
 Of the Fitch of Song. The movement of song has every 
 direction and extent, ascribed to speech; together with two 
 forms of intonation, which do not belong to the latter.
 
 A BRIEF ANALYSIS OF SONG. 519 
 
 In illustrating the nature of tlie equable concrete I described 
 the Protracted Vanish. As a single unimpassioned eftbrt, it 
 consists of a rapid concrete-rise through the interval of a tone, 
 and of a prolongation on one line of pitch at the summit of that 
 tone. Let us call the former of these constituent movements, 
 the Concrete, and the latter, the Note. Of this ascending 
 concrete with its conjoined note, there are two conditions. 
 First: when the Concrete ascends and terminates in the note, 
 at the summit of the interval; thus constituting the Protracted 
 Vanish. 
 
 In ascending by this combination of the concrete and note, 
 through the seven places of the musical scale, the movement is 
 made according to the following notation of time and pitch : 
 where I suppose the succession to be on the staff of the bass-cliff. 
 
 W^^ 
 
 Tz^- 
 
 w^~^ 
 
 ^^ 
 
 The Second condition is, when the Note begins the interval 
 with its prolongation, and the concrete then rises to the summit 
 of the interval ; thus constituting the Protracted Radical. In 
 ascending the scale, by this combination of note and concrete, 
 the progression is made according to the following notation. 
 
 
 Song variously employs both these movements: the protracted 
 radical less frequently perhaps tlian the protracted vani.sh : for 
 the voice in its instinctive intonation, appears to fall more readily 
 into the latter. Not having however sufficiently cxan.ined this 
 case, I leave it for future inquirers. Regarding the vocal
 
 620 A BRIEF ANALYSIS OF SONG. 
 
 effect or expression in these two forms of the protracted note, 
 there seems to be no difference between them : and should no 
 better reason be found for a singer's choice in taking one or the 
 other, it might perhaps, in some cases, be decided by the nature 
 of the elements on •which it is executed. Thus the radicals of 
 the dipthongs, a-we, a-h, and ou-t, have more volume and audible 
 character, than their respective vanishes e-rr and oo-ze. Thus 
 too, when a subtonic begins and ends a syllable, or when a sub- 
 tonic begins, and a tonic ends it, there may be reason for a 
 choice. Hence we may understand why a singer, having refer- 
 ence to the more agreeable sound, and more impressive effect of 
 a long-drawn note, would prefer using the protracted radical, 
 or protracted vanish, as the nature of the syllable might allow. 
 The time of the concrete rise in the foregoing scales, is here 
 represented by a semiquaver, and that of the note by a semi- 
 breve, two comparative terms in music, expressing the proportion 
 of one to sixteen. 
 
 There may be a Simple, and a more Complex structure of 
 song : formed respectively, by the discrete, and the concrete 
 movements of the voice. 
 
 As the successions of pitch in song, when formed according 
 to the preceding scales, are made by a transition either to proxi- 
 mate or remote degrees, without the continuous slide from one 
 degree into another, a vocal melody founded on these scales, 
 forms the plainest kind of song, resembling the discrete music 
 of a flute. 
 
 In this kind of melody, the length of the note, when com- 
 pared with the concrete, is different according to the time of 
 the musical composition. Its longest quantity may exceed the 
 proportion represented in the above scales. Its shortest, as in 
 quick-timed songs, changes the syllabic movement to an equable 
 concrete ; the voice becoming altogether concrete by the oblitera- 
 tion of the note : and were it not for an occasional long quantity 
 on the note of song, and the wide transitions of radical pitch, it 
 would pass for speech ; since as such we hear it in the rapid 
 parts of comic songs. This is the reason why it does not re- 
 quire much musical skill to sing them ; the greater part of their 
 intonation being in the equable concrete.
 
 A BRIEF ANALYSIS OF SONG. 
 
 521 
 
 The foregoing diagrams of the tone represent, — with the 
 exception of the semitone, not here noted, — the most simple 
 form of the concrete of song. But other scales of -vvidcr con- 
 cretes may be constructed. 
 
 The following diagram, represents the protracted vanish ; with 
 a concrete, varying from a second to an eighth : and a wider 
 range of the concrete might be exhibited, for song occasionally 
 uses it. Having given above, a full scale of the concrete of a 
 second, with its protracted vanish, it is unnecessary to form a 
 full scale for each of the other intervals. The reader can in his 
 mind or on paper, do this for himself. 
 
 Now, taking this diagram, with the page inverted, it will 
 exhibit the notation of a Protracted Radical with an issuing 
 concrete of the several intervals of the scale : observing, that 
 here we begin with the octave; a difference of no account in the 
 explanation. Thus, we have a representation of all the forms 
 of the protracted radical and protracted vanish, with their rising 
 concretes of every extent, used in song. But song likewise 
 employs the downward concrete in connection with the protracted 
 notes ; and of these movements there are two conditions. The 
 First descends by the concrete, and terminates in the protracted 
 note. The Second, on the contrary, begins with the protracted 
 note, and then descends by the concrete, as in the following 
 illustration : 
 
 First Condition. 
 
 Second Condition. 
 
 34
 
 522 A BRIEF ANALYSIS OF SONG. 
 
 There is another form of the junction of note and concrete 
 used in song, consisting of the above two conditions united : 
 that is, the first may have a note at the beginning of its con- 
 crete, and the second a note at its end ; the concrete in each 
 case being between two notes. 
 
 There are then in song, two conditions of the rising and two 
 of the falling movement : severally formed by a union of the 
 concrete of every interval respectively with its protracted note : 
 and what was remarked concerning the length of the note, in 
 the scale of the concrete second, may be said of the other scales, 
 with their diflferent intervals, — that the proportion between the 
 note and the concrete may vary till the former disappears alto- 
 gether, and the movement becomes like the equable concrete of 
 the rising and falling intervals of speech. 
 
 Let us suppose these last forms of the concrete, without the 
 appendage of the note, to be united into one continuous line of 
 contrary flexure. This produces, with or without an abrupt radi- 
 cal, the wave of song : and inasmuch as we have concretes of every 
 interval and of every direction, so they may be combined into 
 every form of the wave. But besides this simple form, like that 
 of speech, the wave may either begin with a protracted note, or 
 end with one ; or begin and end with one. 
 
 Song likewise employs the Tremulous scale, on the protracted 
 note, the concrete, and the wave. 
 
 As regards its pitch, song may be classed under two divisions, 
 
 Discrete-Song ; or the progression of a melody, formed of the 
 protracted radical, or of the protracted vanish, with a radical 
 pitch of any interval, and the concrete of a second or tone. And, 
 
 Concrete-Song; consisting of a continuous movement through 
 the wider intervals, both in an upward and downward direction ; 
 mingled with protracted notes ; with a wider radical pitch ; 
 with the various forms of the wave ; and with every variety and 
 degree of stress. 
 
 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 function. 
 
 It was shown, that one of the requisites for distinct pronun-
 
 A BRIEF ANALYSIS OF SONG. 523 
 
 ciation in speech, is a just apportionment of the concrete, to the 
 the literal elements. The audibility of the words in song depends 
 in part upon the same principle ; for the peculiar nature of the 
 protracted note of pitch does not alter the rule of syllabication. 
 The correct articulation of song, however, requires a further 
 attention to the accentuation of words, and to their sj^llabic 
 quantity. But the management of these matters lies with the 
 composer and the poet. I have only to remark, that where the 
 accent and quantity of syllables are adjusted to the accent and 
 time of musical composition, song may be made as articulate as 
 speech : and that with a full knowledge of the voice, together 
 with the required diligence, a qualified person may learn to sing, 
 in plain melody, or discrete song, with as distinct an articula- 
 tion as he speaks. I say in plain melody ; for the wonderful 
 Lofty vocal Tumbling of the florid and ambitious song, has often 
 as little to do with words, as it has with Expression : or with 
 anything else than Difl5culty and Applause. Writers on vocal 
 science have extensively treated this subject ; yet the same pre- 
 ceptive page which enjoins its importance, directs that the vowels 
 should principally compose the strain of utterance. The vowel 
 or tonic sounds have indeed, the purest and most agreeable 
 quality for song : but it is also certain, that a syllable in song 
 is distinctly recognized, by its proper accent, and by the proper 
 apportionment of quantity among its elements. Thus the pur- 
 poses in these writers seem to be at variance. It is the vocalist's 
 duty to reconcile them, by making distinct articulation agreeable. 
 The preceding, is a general account of the structure of pitch 
 in song. The manner of using it, in combination with other 
 constituents will be described hereafter.* 
 
 * Upon a review of our history of the intonation of speech and song, it seemed 
 to me, — the effect of the discrete scale of the latter with its issuing vanish, 
 might be produced on some musical instruments. 
 
 I had designed to connect a square organ-pipe with its finger-key, by means 
 of compound levers, so that the same touch whicli raises the wind-valve sliould, 
 at a succeeding moment, raise a hinged shutter on one side of the pipe at its 
 open end ; the object of this shutter being to cover an oblong aperture, or 
 ventage, reaching from the very end of the pipe, so far towards its sounding- 
 lip, as to raise the pitch a tone or second when the shutter should be opened.
 
 524 A BRIEF ANALYSIS OF SONG. 
 
 Of the Time of Song. ^Time is here considered, only in 
 relation to the individual functions, and not to the general con- 
 struction of melody and its rythmus. 
 
 Time is used with every degree of duration, on the note, on 
 the upward and downward concrete, and on the wave. When it 
 
 Now this shutter having its centre of motion towards the sounding-lip, was 
 to overlap the edges of the oblong ventage : but the under surface of this 
 shutter, was to have a block attached to it, for entering and closing the ventage, 
 the overlap of the shutter forming a rebate to the sides of the closing block. 
 This block to be of some thickness, and beveled with its sharp angle towards 
 the end of the pipe ; that when the shutter, together with the beveled block 
 in the ventage, as the under part of it, should be raised, th« ventage would 
 be gradually opened, and the intonation be thus made to ascend with a /con- 
 crete movement. When the shutter should be entirely opened, the long note 
 then produced, immediately following the concrete, might give the instrumental 
 execution of the protracted vanish. 
 
 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, 
 otherVfise the gradual descent of the shutter, would make a falling concrete, 
 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 mechanical cleverness may contrive, for 
 producing the concrete movement on a sounding-pipe either of metal or wood. 
 
 Perhaps this mechanism might 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, for adding 
 the wider ranges of the concrete, by a ventage of greater 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 be 
 beyond the dexterity of the player. 'What could be done on barrel-organs 
 machinists 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 were by its instrumental cause, formed into the equable 
 concrete ? 
 
 On the whole, I shall be sorry if any one should lose his labor by a vain 
 working at this problem. It is not the odd ends of time that ever did any 
 thing well: and if the schemer should be disposed to devote one useful day, 
 to the wasteful hazards of mechanical ingenuity, in such matters as here pro- 
 posed, let him take, at the same time, the hint of caution.
 
 A BRIEF ANALYSIS OF SONG. 525 
 
 is SO short as to exclude the note, as in quick-timed song, the 
 effect of the mere individual act of intonation, does not differ 
 from that of the equable concrete of speech. 
 
 Of Quality of Voice in Song. Quality of voice is the same, 
 in character and effect, in song and in speech. But since the 
 long quantities of the former consist of the protracted tonics, 
 it renders the quality more conspicuous, and subjects it to more 
 rigorous scrutiny. There are harsh, full, slender, and nasal 
 voices, and what is called in the language of the schools, Pure 
 Tone. This subject is however so well known to singers, as to 
 need no further consideration here. 
 
 A subject of physiological inquiry, connected equally with 
 song Tand speech, here deserves our notice. It is known that 
 with a few trials, all the tonic and most of the other elements 
 may be made individually by the act of Inspiration. The 
 quality is indeed strangely altered, but the characteristic sound 
 is complete. It would seem then, the vocal functions are practi- 
 cable both in the ebb and the flow of respiration : but the former 
 has been universally appointed to carry out the continued current 
 of speech. Now as the act of insjnration permits the utterance 
 of but a single word, or at most three or four, the effect of 
 inward speech resembles that of infants, upon their first attempts 
 in expired speech. We have not for the purpose of inward 
 speech, the Holding-breath, as we formerly called it, and there- 
 fore the act of inspiration immediately fills the lungs, reversely, 
 as the Exhausting breath with the infant, drains them, and thus 
 cuts off the course of utterance. 
 
 It may then be made a question, whether by a practice as 
 long and assiduous as that which gives command over the time 
 of expiration, the same holding-breath might not be attained in 
 inspiration ; and, should the quality of this inward voice, be 
 improvable, whether it might not be employed in the purposes 
 of singing, to aid in sustaining the voice indefinitely, and for 
 insuring a continuous intonation in the higher intricacies of 
 execution. It is certain, this power has been attained in 
 whistling, both as regards shrillness, and the accuracy of pitch : 
 and though in this case, the command over the holding-breath
 
 526 A BRIEF ANALYSIS OF SONG. 
 
 of expiration, far surpasses the command over that of inspiration, 
 still, the turning point for inhaling may be rendered almost 
 impferceptible, through the controlling power that does exist.* 
 
 Of Force of Voice in Song. Force has reference either to 
 the general drift of the voice, or to its individual movements. 
 We shall consider it only in the latter relation. 
 
 All the forms of stress we have ascribed to speech are found 
 in song. This is true not only as regards the equable concrete, 
 sometimes used in the short impulses of the singing voice ; but 
 the radical, the median, and the vanishing stress, are also sev- 
 erally applied to the protracted note ; and to every course and 
 extent of the wave. 
 
 The full and abrupt radical being always preceded by an 
 occlusion, it may have a place at the outset of all the forms of 
 the concrete, and of the protracted radical, or at the opening of 
 the note, represented in the second condition of the preceding 
 diagram. A note at the termination of a rising or of a falling 
 concrete cannot receive the radical stress. 
 
 The greater duration of time, allotted to the different forms 
 of the concrete and to the protracted notes, beyond what is 
 allowable in speech, gives rise to a modification of the median 
 stress or swell, not practicable on the syllabic concrete of dis- 
 course : for more than one of these swells may be set on the 
 same note ; that is, the force may diminish and increase alter- 
 nately. The median stress may also on a protracted quantity, 
 slightly resemble the radical and the vanish, by suddenly en- 
 larging in the course of the prolongation and gradually 
 diminishing ; and by the reverse. But this is a physiological 
 refinement ; and we are not yet ready for its practical use. 
 
 The vanishing stress is principally set on the equable con- 
 crete, when it makes the short syllabic intonation of comic song. 
 
 But the most remarkable use of force is made by the coni- 
 pound stress, in that vocal ornament called the Trill or Shake. 
 
 * The Opera, and the Concert Hall, in their Auctions of Fame, bid high for 
 the execution of vocal difficulties. Here then is the chance of an enormous 
 price, for success, in what has never been done before ; and what at first 
 thought, may seem to be impossible. 
 
 i 
 
 I
 
 A BRIEF ANALYSIS OF SONG. 527 
 
 The shake is described to be, a rapid alternation of a lower 
 with an upper *note, on proximate degrees of the diatonic scale. 
 In other words, it is a rapid alternation of two vocal or instru- 
 mental sounds, on the extremes of a tone or a semitone. Let us 
 call these two constituents of the shake its co-sounds. 
 
 We learned that every concrete impulse necessarily consists of a 
 radical and vanish. Consequently, when we make two succes- 
 sive impulses on different degrees of pitch, each must exhibit 
 these two essential portions of the concrete. But as the radical 
 with its vanish consumes more time than the radical alone ; and 
 as the radical is an abrupt opening, after an occlusion, there 
 would be, in this manner of making the shake, a delay in the 
 whole time of each concrete, as Avell as a momentary pause, 
 between the close of the vanish on the first, and the opening of 
 the radical, on the second. Now the shake being a rapid iteration 
 of two co-sounds, without apparent interruption, it cannot be 
 made by a series of concrete impulses each having its radical 
 and vanish. For should a singer try to execute a shake on the 
 dipthong a-le, he cannot give its characteristic rapidity, when 
 the first sound of a-le is the beginning of each of its successive 
 co-sounds. By assigning the co-sounds respectively to the radi- 
 cal and the vanish of this dipthong, or of any of the other 
 tonics, there will be no difiiculty in its execution. 
 
 The rapid execution of the shake, and the momentary nature 
 of its co-sounds, make it a difficult subject of investigation. The 
 resemblance however, of the intonation of a vocal, to that of an 
 instrumental shake, aifords a proof that the former like the 
 latter, consists of two sounds on diff'ercnt degrees of pitch. It 
 also appears, from the like illustration by an instrument, that 
 the co-sounds though of different degrees of pitch are of equal 
 time, volume, and force. Now the formation of the shake, thus 
 constituted, may be described under two conditions; In both 
 of which, the delay, arising from each successive concrete having 
 both a radical and a vanish,— and which, as we have shown, 
 creates the whole difficulty of the case,— is obviated by the use 
 of the Compound stress. 
 
 For the first formative condition let the summit of the im-
 
 528 A BRIEF ANALYSIS OF SONG. 
 
 pulse, or tlio vanishing portion, be enforced to an equality with 
 the radical. "We shall then have tAvo impressive 'sounds, at the 
 extremes of the impulse, joined by a smooth transition of the 
 fainter[concrete, and forming the first two co-sounds of the shake ;- 
 which, in this case, are both made in the time required for one 
 impulse, when that impulse contains a natural radical and vanish. 
 Now as the vanishing stress, or what, in this instance, is improperly 
 called the upper note of the shake, is terminated by an occluded 
 catch, as in the sob and hiccough, the voice is enabled by an 
 immediate opening of that occlusion, to begin a new radical 
 stress, improperly called the lower note. Thus, by breaking 
 from the occluded vanish of one impulse into the radical of the 
 next, and so, saving the time of transition through one whole 
 concrete, the rapid and apparently united co-sounds of the shake 
 are effected. In the following diagram, 
 
 a and h denote two proximate degrees of the scale. The figure 
 1 the radical stress, or lower sound of the shake : 2 the 
 vanishing stress, or upper sound, on Avhich the voice is occluded. 
 In an imperceptible instant, this occlusion breaks out into the 
 next radical stress 3. The voice' is then diminished in force ; 
 and again increased to its vanishing stress, and occlusion at 4. 
 
 When made in this way, the shake may be considered as a 
 rapid iteration of the compound stress, between the extremes of 
 a tone or a semitone. 
 
 For the second condition, let us take the first two of the 
 co-sounds, — or as we may call them, co-stresses, — described and 
 illustrated above. Deliberate trial will prove that an applica- 
 tion of stress to the upper extreme of the rising concrete at 2, 
 and to the lower at 3, as represented in the last diagram, in no
 
 A BRIEF ANALYSIS OF SONG. 
 
 529 
 
 way, prevents the voice, from making a downward continuous 
 turn, from 2 to 3, in one case, and an upward continuous turn, 
 from 3 to 4, in the other, into the form of a continued wave : 
 and thus by an alternate succession of these radical and vanish- 
 ing stresses, joined by the fainter concrete, we are able to effect 
 the rapid iterations of the shake : as represented in the follow- 
 ing diagram : where the voice opens at 1, with the radical 
 stress; then diminishes to the faint concrete; subsequently 
 increases to the vanishing stress at 2 ; then without an occlu- 
 sion, turns downward, and after diminishing to the faint concrete, 
 enlarges to the stress in the radical place at 3 ; and in this 
 way, when rapidly executed, forms the proper vocal shake. 
 
 Under this view, the shake is a rapid alternation of the com- 
 pound stress, on the rising and falling constituents of a continued 
 wave of proximate degrees. And thus we learn, that the iterated 
 co-sounds are not notes, but emphatic stresses, of no assignable 
 time, on the points of contrary flexure in the wave. But as 
 there can be a sudden fulness of the voice, only on a first out- 
 break of the radical, an engrafting of the vanishing stress on 
 the concrete, at the place of the second or upper sound, must 
 be by a swell into the fulness of that stress. From 2, the fulness 
 is diminished in order to swell again into the lower sound at 3 ; 
 and thus the shake has the form represented in the dia- 
 gram. From this junction of the stresses by a diminution and 
 swell of the concrete ; and from the gliding of one into the 
 other, we may perceive the cause of the smoothness, and of the 
 ' liquidity,' as it is called, of a skillful and finished execution of 
 this vocal ornament. The peculiar manner of combining this 
 double stress with raind intonation in the shake, not being
 
 530 A BRIEF ANALYSIS OF SONG. 
 
 part of the natural uses of the voice, — for the compound stress 
 in speech consists of but hvo sloio co-sounds of the shake, — 
 it is not surprising that the power of executing it, is unattainable 
 by some, and only acquired, in any case, after a long time, by 
 great industry and perseverance. As the compound stress is 
 practicable on every interval, so a shake might be composed of 
 an iteration of that stress on the extremes of wider intervals : 
 and indeed, a slow shake of this kind is sometimes heard among 
 the tricks of the Florid song : but it has no expression, and is 
 not technically classed with that ornament. 
 
 Such is my attempt to explain the manner of combining stress 
 and intonation in the shake. But after all, I ^am not able to 
 give an unquestionable description of it. By a slow and mea- 
 surable movement of my own voice, I perceive, it can be made 
 under each of the conditions above described. But when it is 
 quickened to its characteristic rapidity, the distinct measurement 
 of its structure and motion is lost, and I find it impossible to 
 decide, which of the conditions is then employed. With the 
 assistance of this work, some other observer may describe it 
 more definitely. 
 
 There is another occasion, on which the compound stress is 
 used in song. 
 
 When an extent of the whole compass of the voice, greater 
 or less than the scale, is rapidly traversed, but with a marked 
 designation of each degree in the flight, it is called ' running a 
 Division.' We have seen, in the formation of the shake, that 
 adjoining points of the scale cannot be marked in rapid succes- 
 sion by concretes, where each contains both the radical and vanish ; 
 it is necessary therefore in executing a Division, that the com- 
 pound stress should be used, under one of the two conditions of 
 its rapid execution, above proposed. In the first, the concrete 
 receiv^es the radical abruptness, and the vanishing occluded 
 catch. This occlusion prepares the way for a second radical, 
 and thus by successive concretes of compound stress, with a 
 momentary but imperceptible catch between them, the degrees 
 of the Division are rapidly traversed, and distinctly marked. 
 For the second condition, we must suppose the voice to make a 
 
 i 
 
 I
 
 A BRIEF ANALYSIS OF SONG. 53I 
 
 concrete movement, through the scale, to the -whole extent of 
 the designed Division ; and the swell of an emphatic stress to 
 be applied, without a catch, to each of the proximate degrees of 
 the scale, within that extent. This may be illustrated, by sup- 
 posing the chain of oblique figures in the second diagram of the 
 shake, to be drawn out to a straight line, so as to represent the 
 stresses on a rising or a falling scale. A Division is then, a 
 rapid iteration of the compound stress, on every proximate 
 degree of the scale, for a given extent, in an upward or down- 
 ward direction. 
 
 There are various ways of running a division, or as we may 
 call it, a Chain of compound stress. In long sweeps of agility, 
 the whole compass of the voice, may be passed through in one 
 continued chain of upward or downward movement ; or the 
 progress may be less extensive ; or it may be made by varied 
 groups of compound stresses, with a pause between the aggre- 
 gates. In short, the compass may be traversed in number- 
 less ways, by the pitch, time, and manner of succession, of the 
 co-sounds. Sometimes the run is by the proximate step of a 
 semitone: but whatever the movements may be, they are all 
 performed on the principle of the compound stress. 
 
 Of the Melody of Song. Having described the forms, of 
 pitch, time, and stress, we may now take a general view of 
 their combinations. 
 
 The structure of melody exhibits every variety in the number 
 of its constituents, and in their interchangeable union, from the 
 use of a simple protracted note with its almost imperceptible 
 concrete of a second, which we called Discrete song ; to that of 
 every form of the concrete, and of the compound stress consti- 
 tuting 'airs of agility' or 'florid execution,' which we called 
 Concrete song. This distinction however serves only to mark 
 the extremes of a varied use of the voice ; since song is scarcely 
 ever heard in the strictly discrete form; and when once the 
 concrete movement of wider intervals than the second is admitted, 
 no definite line o,f separation can be drawn between the execu- 
 tion of its simple, and of its most complicated structure. 
 
 In general terms then, and without pretending to describe the
 
 532 A BRIEF ANALYSTS OF SONG. 
 
 confines of each, I would call the Discrete-melody, that ^vhich 
 moves by proximate degrees, and by radical change under 
 the form of intonation, represented by the first two scales of 
 the protracted radical and vanish ; and showing occasionally, 
 because it can scarcely be avoided, a concrete movement of some 
 of the wider intervals. This is the style of song used by the 
 Church, when the choir is assisted by the congregation. It is 
 suited to the common capacity of the voice, and resembles the 
 instrumental efiiect of the organ which accompanies it. 
 
 I would call the Concrete melody, That disposition of the 
 
 note, concrete, compound stress, and every form of time and 
 intonation, which constitutes, within due limits, the delightful 
 union of nature and art, in the expression of song ; but which 
 forced beyond all bounds, produces the extraordinary and un- 
 meaning flights of a mere wonder-working execution. An 
 execution that has cunningly joined the profits of the Artist 
 with the difficulties of his art ; and with all who do not see 
 through the false association, confounds a fanatical interest in 
 the name and fashion of a Singer with the cultivated feeling 
 and taste of a musical ear. An execution that has at last 
 brought an audience, too often, to mistake a falling-in with the 
 noisy applause of a surrounding crowd, for their own individual 
 sensibility to the enrapturing expression of melody, and the 
 harmonizing richness of its perfecting accompaniment. 
 
 We are now prepared to sum up the diiFcrenccs between the 
 construction of song and speech. 
 
 The Discrete-melody of song, though resembling in a few 
 points the melody of speech, is still remarkably distinguished 
 from it, by the eifect of the protracted note, and by the more 
 frequent occurrence of wider transitions in the radical change. 
 
 In the Concrete-melody of song, under its most complicated 
 form, for I thus choose an extreme case, the difference consists 
 in the kind, number, and uses of its movements. The range of 
 its mclodial compass exceeds that of speech. The compound 
 stress, in 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 by the speaking voice. The only function common 

 
 A BRIEF ANALYSIS OF SONG. 533 
 
 to both is the equable concrete, which is sometimes set to the 
 short syllables of song ; though it is not then recognized as a 
 feature of speech. The wider waves, too, are occasionally used 
 for emphasis in discourse ; but the combination of the upward 
 and downward concrete into this movement, occurs perpetually 
 in the florid song. 
 
 Of the Expression of Song. Expression in song is the 
 power of exciting certain feelings by means of the pitch, time, 
 force, quality, and abruptness of sound. 
 
 It appears from this definition that the materials of expression 
 in song are the same as those in speech : though some difierence 
 will be found in their special employment, and respective eflfect, 
 in the two cases. The Italians who have taught us so much in 
 music, — and who, with the purpose and power of their art changed 
 perhaps to a vain-glorious authority, enslave too many fashion- 
 able and often musical ears to their National Mannerism and 
 their Skill, — have severally divided their song, with reference, 
 rather to the style of its execution, and the places in which it is 
 displayed ; than the sentiments it expresses. I am only hinting 
 at an arrangement, upon the points of its rudimental functions, 
 and their effects. 
 
 In the general view of the subject of expression, we find, the 
 dignity of Song is produced by the same fulness in quality, 
 length of time, and gravity in pitch, that give an elevated and 
 solemn character to reading. There can be no grandeur in a 
 melody with the reverse of these conditions. 
 
 A lively style of song, on the contrary, like the sprightly 
 manner of discourse, is made by a lighter quality ; a quicker 
 time ; a higher course of pitch, and a greater variety in its 
 successions. The Aria Buffa or the Comic Song, generally 
 consists of such short quantities, that most of its syllabic im- 
 pulses are made in the true equable concrete of speech. Inde- 
 pendently of its measure, the only reason why in some cases we 
 know it to be song, is that the concrete and the radical pitch 
 are occasionally of wider intervals than belong to the current 
 of speech. 
 
 The plaintive effect of the semitone, and of the minor third.
 
 534 A BRIEF ANALYSIS OF SONG. 
 
 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 in song, 
 does, like the intonation at the periods of discourse, produce the 
 agreeable feeling of satisfaction and repose. 
 
 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 what is effected by a judicious use of the more impres- 
 sive vocal movements. Its sources lie in quality, pitch, time and 
 stress. 
 
 The mere sound of a prolonged note, may give a peculiar 
 character to song. Fulness produces solemnity ; smoothness 
 excites the idea of grace; and in the grotesque efforts of the 
 comic song, the extreme and distorted variations of quality give 
 rise to a sense of the gay or the ridiculous. As regards quality, 
 the principles of expression are similar in speech and song : but 
 perhaps the effect of quality is more obvious in the latter. 
 
 The expression of Pitch consists in the transition through cer- 
 tain intervals. The discrete-melody can therefore dispky the 
 plaintiveness of the semitone, and occasionally of the minor 
 third ; together with what may be effected by the successions of 
 other intervals of the scale. 
 
 The Discrete song may, by its Time, be either grave or gay. 
 It appears, that the longer quantity of song is more agreeable 
 than the short syllabic impulses of speech, even when they each 
 have the same order of pitch. This perhaps arises from an asso- 
 ciation of the protracted notes of song, with the effect of long 
 quantity in speech : for extended quantity is always the sign of 
 a stronjj or dignified emotion. 
 
 The radical and the median stress are applicable to the pro- 
 tracted note of the discrete-melody: but a varied swell of the 
 median, constitutes the principal means of expression. The pro- 
 tracted note may also bear the tremor. 
 
 Some of the more moderate forms of the wave may be admit- 
 ted into what I have called, without assigning a very definite
 
 A BRIEF ANALYSIS OF SONG. 535 
 
 boundary to its nature, the discrete song. Now all the forms of 
 expression, both in -the Concrete and the Discrete, whether 
 of the grave, the gay, or the plaintive ; and whether produced 
 by pitch, time, quality, or force, are to be considered as inde- 
 pendent of all purpose in thought or meaning: for it will be 
 shown presently, that except in some accidental or habitual asso- 
 ciations, song has, apart from the display of feeling by words, 
 an expression altogether of its own. 
 
 From some very general descriptions, and some known par- 
 ticulars of the Greek song, it might be inferred that its most 
 esteemed melody was of this discrete kind ; enriched with all the 
 concrete graces of expression, admissible into its structure. I speak 
 of song, rendered touching, self-relying, and unambitious ; song, 
 with its all-sufficient melodial, and its own peculiar harmonic 
 resources for delight, free from vain intrusion, and restricted 
 to itself by the effective principles of Grecian taste. For we 
 must suppose, nay we know from a satirical record, — there was 
 a like cold caprice in composition, and a like difficulty in execu- 
 tion for the profit of the Singer, and for the noisy excitement 
 of the Audience, that at present so often degrade the soul of 
 music, by exalting its fingers and its throat. 
 
 It has been thought, — the Cantus planus of the early Christ- 
 ian Psalmody, improved afterwards to the Ambrosian and the 
 Gregorian Chant, is a traditional descent of a form of the Greek 
 Temple-Music, through the old Roman ritual. However this 
 may be, there is a striking analogy, both as to structure and 
 efiect, between the Diatonic melody, and the Plain-Cliant, in its 
 early simplicity. The Chant employed but four lines of the 
 stafi" in the range of its pitch ; the succession of its notes was 
 by proximate degrees, through the radical pitch of a second ; it 
 never set more than one note to a syllable; and used but two 
 divisions of time, the long and the short. Now in this account, 
 substitute the Equable concrete for the Note, and the resem- 
 blance changes almost to identity. In its effect, the Chant had 
 oriffinallv, and when not desecrated by 'modern improvements' 
 of wider concrete and discrete intervals, and affected gi-aces, still 
 has, in its holy purpose of worship and prayer, those deep and
 
 536 A BRIEF ANALYSIS OF SONG. 
 
 long draTfn notes of solemn dignity, -vyliicli is but a transcending 
 degree of the character, given to epic and dramatic reading, and 
 to parts of the Church-service, by the fulness of an orotund 
 voice, in the diatonic melody.* 
 
 The character of the Concrete-song appears in various 
 degrees, from the limits of the style last described, to that intri- 
 cate composition of the vocal constituents which defeats their 
 purposes, by an annihilation of all meaning and sentiment. 
 
 The expression of this melody includes all the means enume- 
 rated in the account of the Discrete ; with the addition of other 
 more elaborate forms of intonation ; which, employed within due 
 bounds, by a voice and ear, true to the calls of educated senti- 
 ment and taste, and directed by fitness and feeling, produce 
 
 * We have in the course of this work, not only pointed out similarities between 
 the principles of Music and of Elocution, but have shown their very materials 
 or tunable constituents to be common to both. 
 
 The further we look into the Arts, the more closely we find them related to 
 each other : yet who will say, there is a resemblance between Architecture 
 and Speech ? To the eye and ear of the Doorkeeper of the Capitol who listened 
 to Cicero, there could have been none. But turn an inquiring and reflective 
 mind to a consideration of the principles that constitute, or create, a similarity 
 between them ; and observe how, in the analytic Perspective of a philosophic 
 taste, they approach each other ; and with a still extended view of their effects, 
 how, by those effects and principles, they mingle into one. 
 
 I have long thought of the analogy to which I here allude ; but believing it 
 might pass for a metaphoric extravagance, rather than an illustration, I have 
 not till this last moment, dared to call the Diatonic Melody, the Doric order of 
 Speech. In this country at least, I have 7net wilh none, so much interested in 
 the /Esthetic principles of these arts, as to wish to discover, or desire to be 
 told their points of resemblance. When however, I think of a Doric Peripteral 
 Temple, which by its concentrated Design, impresses itself on the mind by an 
 image, only second to reality, I see an ambitious sameness in form aud light, 
 yet varied in line and shadow, just to show-forth the striking elegance of its 
 Unity ; a Grandeur rising above heaviness, till it appears in Grace ; and a 
 Simplicity, with only such appropriate ornaments as make them necessary 
 parts of an undivided whole. With this suggestive picture before me, it 
 brings-up in related effect, the likeness of Roscius risen again to the Stage, 
 and breaking his silence, with the fulness of the orotund in a diatonic melody ; 
 impressing the respectful ear by a grave simplicity in time and intonation, 
 varied only to give grace to its dignity ; and moving occasionally with con- 
 trasted, but unobtrusive force and spirit, through the wider intervals of a just 
 and appropriate expression.
 
 A BRIEF ANALYSIS OF SONG. 537 
 
 effects in the liigliest degree impressive, delicate and delightful. 
 The further use of the radical and median force on the rising 
 and falling concrete, as well as on the wave, adds a brilliant 
 variety to its. character. We have in the Bravuras and Yolatas 
 of this kind of song, all the extraordinary coloring of the com- 
 pound stress, in the production of the shake, and the endless 
 run of Divisions, through their constituents of stress and pitch. 
 It like^wise commands powers of expression, derived from the 
 Tremulous scale, both through the plaintiveness of the semitone,, 
 and the laughing movement of wider intervals. 
 
 As song employs in its composition, the expressional means of 
 speech, one would suppose that certain movements must have in 
 each case an identical effect. But it is not always so. We have 
 learned that some functions represent the same sentiments in 
 both. There are, however, many forms of intonation which lose 
 their meaning and force when separated from words, and trans- 
 ferred to song. On the subject of the vocal signs of the pas- 
 sions, it was shown that their purpose is not only modified by the 
 conventional sign, but in some instances is purely dependent upon 
 it. This was illustrated by reference to the voices of birds : but 
 song affords a more satisfactory proof. For since its elaborate 
 structure does employ all those forms of concrete and of radical 
 pitch, together with the wave, that produce the expression of 
 speech, we ought during the varied course of its melody, to be 
 constantly recognizing the vocal signs of interrogation, surprise, 
 positiveness, sneer, contempt, and raillery ; whereas the song 
 which makes the freest use of these signs, never conveys any of 
 these sentiments, except when joined to language. 
 
 Song, nevertheless, without the use of words, may be power- 
 fully expressive ; and it is so by the use of these very concretes, 
 quantities, waves, and swelling stresses, that give the senti- 
 mental meaning to speech : yet the expression of song is peculiar 
 to itself, and in very few, if any, instances has relation to the sense 
 or sentiment of particular words or phrases. Persons who enjoy 
 the melody of song, must perceive, the emotions created by it 
 are altogether so indefinite, that they are not able' to refer them 
 35
 
 1 
 
 638 A BRIEF ANALYSIS OF SONG. 
 
 to any other source, than that of primary sensation, or subse- 
 quent memory and association, nor to reduce the signs of expres- 
 sion even to such classes of effects as have been instinctively 
 felt in speech, though they have never been 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 forms arise from this system never having been 
 analyzed and rendered familiar and specific by names-? Or, 
 does the expression of song depend on an association between 
 its vocal movements, and those of speech: the former assuming 
 the agreeable effect of the latter, without their definite meaning. 
 
 By a comparison of the characteristics of speech and song, — 
 the only tAvo classes of the vocal functions capable of exciting 
 the mental conditions of sentiment and thought, — it appears 
 that song has a system of expression of its own, distinct in most 
 points from that of speech. If the reader has followed me 
 attentively thus far, he must have a full knowledge of the means 
 of expression in speech ; and of the precepts at least for that 
 expression, if he has not the power of accurately executing 
 them. We here offer a brief record of our observation on the 
 expression of song, to show by comparison, what is peculiar to each. 
 
 And first. No idea, thought, term, or proposition is directly 
 conveyed by song. It only excites, when duly composed and 
 executed, a mental sensation, distinctively called feeling^ always 
 agreeable, except under some accidental and pervertive associa- 
 tion. It is a question so inviting to dispute, that we will not 
 stop to consider it, — whether these agreeable feelings arc exclu- 
 sively the direct result of the simple vocal impression, or are 
 indirectly derived from memory and association ; and thus, in a 
 manner, connected with thought and meaning. "When we hear 
 Song, we are pleased with the quality of its notes : and this, 
 quality is far more agreeable than that of the speaking voice ; 
 while its greater prolongation gives a greater measure to the 
 agreeable sensation. This sensation or feeling produced by the 
 quality of a prolonged note, is therefore peculiar to song. 
 
 Second. The effects of the succession of melody in song, are
 
 A BRIEF ANALYSIS OF SONG. 539 
 
 quite distinct from those of speech. For speech having no 
 arrangement of Key^ to govern its progressions, has no relation 
 of concord and discord, so to call it, between succeeding con- 
 cretes ; and these by perpetually changing, afford no fixed or 
 continuous pitch, by which those relations may be compared : 
 the second, third, fifth, octave, and other intervals being terms 
 only for the extent of pitch, not for harmonic relations. But 
 song by its continuous notes and its Tcey^ has the relations of its 
 sounds measurable under Avhat has been called harmony in suc- 
 cession. It is on this resource — without relation to thought or 
 passion, — its powder of exciting pleasure depends: and this 
 resource, speech — having its melodial expression from the con- 
 trast of high and low, without relation to harmony, — does not 
 in the least degree possess. Now the succession of intonations 
 in song, when associated with the other modes of quality, time, 
 and force, and properly distributed, is capable within itself, of 
 exciting the sentiments of Grandeur, Solemnity, Plaintivencss, 
 Gaiety, and Grace. And if to these be added what may be 
 called a perception of Oddity, or the Grotesque, they will per- 
 haps include all the effects, that independently of the individu- 
 alities of fancy and the ear, seem to be within the expressive 
 powers of song. From this view we exclude all those poetic and 
 transcendental analogies, not so near, — to adopt their own st^dc, 
 — even sls far-fetch' d, if a resemblance, but infinitely distant, 
 if at all a parallel: such as are found in 'Alexander's Feast,' 
 'St. Cecilia's Day,' and the 'Ode on the Passions,' together 
 with not a few in Haydn's ' Creation,' and all throughout that 
 once fashionable and serious folly, the 'Battle of Prague.' 
 These pretensions and falsities hold the same relation to tlie real 
 expression of song, that the pretensions and falsities of Recita- 
 tive do to the truth of the expression of speech. 
 
 We have said, the successions alone, of melody in song, and 
 not its individual notes, do, with their varieties in time, and 
 without embracing thought or meaning, produce its expression. 
 Hence the permutations in the order of these notes, for an agree- 
 able succession would scciu to be innumerable. But the more
 
 } 
 
 540 A BRIEF ANALYSIS OF SONG. 
 
 agreeable successions, whether they affect the mind instinctively, 
 or through cultivated habit, or by association with feelings 
 derived from other senses, might like the phrases of spoken 
 melody, with their respective feelings, be reduced to a few forms, 
 and thus be described and named. As ftir as I have been able 
 to assign the agreeable effects of melody, to certain phrases, the 
 forms do not seem to be numerous ; and are really so simple, 
 that they probably have been known and used in song from 
 immemorial time ; yet their intermingling successions, — as with 
 the long unknown and apparently confused phrases of intonation 
 in speech, — have to this day, prevented their being separately 
 perceived and named. 
 
 Composers are often charged with plagiary of certain pas- 
 sages of melody. But all such passages, or Phrases of Expres- 
 sion as they may be, or are called, have from time immemorial 
 been familiar to the ear, and enjoyed by feeling, and have come 
 down to us without known Authorship or Date. On this sub- 
 ject then, of the individual form or phrase, there can be no more 
 originality, than there can be on that of the syllables of speech, 
 which in all their permutations, have throughout time and among 
 nations, already been made. The mass of Composers, — like the 
 mass of Writers, with their common-places of thought and lan- 
 gungc, — again and again borrow and repeat the common-place 
 phrases of melody ; while a few, like Bacon and Shakspeai-e, or 
 Haydn and Mozart, choicely select and combine those original 
 thoughts, in one case, and expressive vocal notes, in the other, 
 which, in their exalted association with nature and truth, are 
 so far above being vulgarized by general imitation, as to be 
 new and to please forever. 
 
 Under the class of phrases of expression in song, are included 
 those groups of notes called Graces. And here, speech has 
 nothing corresponding to the Beat, the Turn and Shake. Per- 
 haps however, there is a very remote analogy, in effect, between 
 the median stress of speech and the appogiature ; the Tremolo, 
 and the prolongation of the tremor on one line of pitch ; between 
 the anticipative character of the prepared cadence, and the sus- 
 pension of the shake, preceding a close on the key-note of song.
 
 A BRIEF ANALYSIS OF SONG. 54I 
 
 But why has song been so long without a classification of other 
 phrases, with their peculiar and no less striking expression, than 
 that of its ornamental Graces ? 
 
 • That song has its own peculiar expression, in no way con- 
 nected with thought, or sensible meaning of any kindj is proved 
 by a well known fact in lyric history. It has long been the 
 practice of song writers, to adapt their verses to the music of 
 existing airs ; nor, with an exception of the use of the minor 
 third, does this seem to have been done under the idea of there 
 being any peculiar fitness of the melody or successions of pitch to 
 the Air, — though there may have been in its time, quality and 
 force, — to any determined ideas or meaning: since words of 
 every different sense and expression are adapted to the same air, 
 and are received as satisfactory, without the least perception of 
 a want of congruity. 
 
 I have thus endeavored to furnish some desultory observations 
 and thoughts, in answer to the questions proposed in the text ; 
 upon the truth of which, if the subject deserves it, others must 
 finally decide. 
 
 We are now able to comprehend, why persons who sing with 
 the greatest execution, are rarely or never good readers. One 
 cause may be assigned, in the difference of the respective move- 
 ments ; particularly the want of the full command over the equa- 
 ble concrete in all its varieties of time, by singers, since they 
 rarely employ it except for the short quantities of the comic 
 song. The principle reason why those distinguished by great 
 vocal flexibility, in elaborate composition, are generally very 
 indifferent actors, is that this intricate execution is always made 
 with a sacrifice of expression. On some points, as we have seen, 
 the expression of the more simple song, and of speech is identi- 
 cal ; and even when this song does not convey the special senti- 
 ments of speech, by the use of its intonations, still it has an 
 agreeable and impressive character of its own. But the practice 
 of the Bravura song, with some rare exceptions, is totally regard- 
 less of the instinctive intonation of passion. In it, long and 
 short quantities, the radical explosion and the median swell, the 
 diatonic succession and the chromatic, the plaintive and the
 
 542 A BRIEF ANALYSIS OF SONG. 
 
 laughing t4'emor, the various forms of the -wave, concrete transi- 
 tions and discrete skips from the deepest bass to a piercing fal- 
 sctte, are made to play with each other in every variety of per- 
 mutation. In short, as the voice, like the throat of the mock- 
 ing-bird, mingles all its possibilities, without regard to design, 
 the singer thereby confuses that natural association between sen- 
 timent and vocal sign, which good speaking always requires, and 
 which should also be the characteristic of sons: : For the habit- 
 ual practice of the Bravura, equally with that of Mimicry, per- 
 verts or destroys the origiilal purpose of expression in speech. 
 If I had the opportunities of European experience, I might 
 speak with more universality and precision ; but as far as I have 
 observed, singers who excel in the florid execution, acquired by 
 the mere drill of the Conservatorio, and exercised in the routine 
 of the Concert-room or the Stage, are not often gifted with 
 nicety or comprehensiveness of conception, nor with that sensi- 
 bility which sometimes accompanies a delicate organization of 
 ear. For the temperament of a singer can as readily be 
 perceived, in his peculiar management of time, stress, and into- 
 nation, as the mind and feeling of a writer can be gathered from 
 his style. 
 
 What is called a musical ear, seems to depend on an inscruta- 
 ble instinct, and the exercise of attentive observation by this 
 sense : and though our history indicates, that high accomplish- 
 ments in elocution must always be grounded on its discrimina- 
 tions : still the training of the ear, by those who excel in the 
 aiFccted difficulties of the Florid song, and the formal character 
 both of taste and feeling thereby rendered habitual, must in a 
 great measure, destroy the natural association between senti- 
 ment and vocal sign, constituting the proper expression of 
 speech. There have been Actors, who under an enlightened 
 system of dramatic instruction, might have entered into the 
 pliilosophy both of passion and speech, and who, by discipline, 
 could have reached the flexibility of florid execution. But we 
 have reason to believe, that had this power over the intricacies 
 of song, been habitually exerted, particularly unrler the absorb- 
 ing vanity, so apt, in this case, to accompany success, it must
 
 A BRIEF ANALYSIS OF SONG. 543 
 
 have destroyed that command over the equable concrete, which 
 woukl have enabled theui^to give their consummate intonation to 
 the language of the tragf* poet. We will suppose, Mrs. Siddons, 
 with a nice sense of Time and Tune, might perhaps have joined 
 voice with the incomparable Mara, in the expressive songs of 
 Handel or Mozart, without impairing her power over Shaks- 
 peare. But she would have been lost forever to all the mind 
 and soul of speech, had she been trained with Catalani, to that 
 wonderful facility which was able to outstrip even the fashion- 
 serving contrivances and difficulties of the composers of the day. 
 
 OF RECITATIVE. 
 
 The term Recitative is applied to the intonation used in cer- 
 tain dramatic and vocal compositions. It had its name from 
 being employed in narrative or recital, in contradistinction to 
 the intonation of song, which was appropriated to the expression 
 of sentiment or passion. Recitative is however employed at 
 present in the Italian Opera, and other compositions, as the 
 means of expression, as well as for the common purposes of the 
 dialogue. 
 
 Xothing has puzzled musical logicians more than the attempt 
 to define this term. 
 
 Rousseau, in his dictionary, speaks of it thus : ' Recitative. 
 A discourse recited in a musical and harmonious tone. It is a 
 method of singing which approaches nearly to speech, a decla- 
 mation in music, in Avhich the musician should imitate as much 
 as possible, the inflections of tlie declaiming voice.' 
 
 Busby gives the following definition : ' Recitative. A species 
 of musical recitation, forming the medium between Air and 
 rhetorical declamation, and in which the composer and performer
 
 544 A BRIEF ANALYSIS OF RECITATIVE. 
 
 rejecting the rigorous rules of time, endeavor to imitate the 
 inflections, accent, and emphasis, of natural speech.' 
 
 One calls ' Recitative, a kind of singing that differs hut little 
 from ordinary pronunciation.' 
 
 Another says, 'Recitative is speech delivered through the 
 medium of musical intonation.' 
 
 While others, still more general, describe it as, ' singing 
 speech,' and, 'speaking song.' 
 
 Before we are conscious of what we require in knowledge, we 
 never perceive how little satisfies us. We now have learned 
 enough, to authorize us to say, that all these definitions though 
 written to instruct, contain no further explanation, than might 
 be given by the humblest auditor at an oratorio. By the terms 
 of all these definitions, Recitative is somehow made up of speech 
 and song. Now the elementary movements of song had, in a 
 degree, been known and described ; and therefore the meaning 
 of its term in the definition, might have been intelligible. But, 
 as regards a knowledge of the nature of speech, on which these 
 definitions are in part constructed, let us hear Rousseau, under 
 the very article we have quoted above. ' The inflections of the 
 speaking voice' says he, ' are not hounded hy musical intervals. 
 They are uncontrolled, and impossible to he determined.' 
 
 An understanding therefore of the nature of Recitative, 
 through the nature of its mingled or interwoven constituents, 
 song and speech, the latter of which was thus declared to be 
 utterly inappreciable, must according to Rousseau at least, have 
 required some other powers of comprehension, than we at pre- 
 sent possess. For having no perception of the characteristics of 
 one of the constituents, his knowledge of Recitative seems to 
 have been, if I may be allowed to jest, not unlike that of our 
 personal acquaintance with the heads of a family, when the 
 father is married to an invisible woman. 
 
 In general description. Speech, Song, and Recitative, are 
 varied forms of intonation ; deriving their specific differences 
 from the number, kind, and combination of their respective 
 vocal movements. Having described the melodial peculiarities 
 of speech and song, let us by the light of our history, endeavor 
 to point out the characteristic intonation of Recitative.
 
 A BRIEF ANALYSIS OF RECITATIVE. 545 
 
 The plainest style of Recitative, for its style varies, is charac- 
 terized by the following construction. 
 
 First. It has no systematic rythmus or musical measure in 
 the progression of melody. 
 
 Second. It never gives more than one note to a single sylla- 
 ble ; while song sometimes runs several short notes over one. 
 
 Third. It employs the protracted radical and protracted 
 vanish, and the wave, on long quantities, and occasionally the 
 equable concrete on short ones. 
 
 Fourth. Its melodial intervals, or the discrete movements of 
 its radical pitch, are of every extent, both in upward and down- 
 ward transition. 
 
 Fifth. It employs the means of time, force, and quality of 
 voice. 
 
 These are the simple constituents of Plain Recitative : and 
 the following are some of the principles of their application. 
 
 Its melody consists of phrases of the monotone, and of the 
 radical pitch through every interval, even to the rising and 
 falling octave. It makes no systematic distinction between a 
 diatonic ground-work, and the emphasis of wider intervals, such 
 as gives effective power and dignity to speech : the successions 
 of pitch being rather according to the promiscuous mingling of 
 song. I have not recognized, in what is called unaccompanied 
 recitative, any application of the doctrine of key ; its melodial 
 relationships having in this respect the characteristic of speech. 
 The cadence or full pause is made by phrases of every form, 
 from the monotone, to the rising and falling discrete octave : 
 the current melody, consisting of the protracted radical, or 
 protracted vanish, with an occasional rising and falling concrete 
 and wave. All these constituents are so intermingled and 
 arranged by the composer, as not only to suit that caprice, he 
 may choose to call Expression, but also to give that order to the 
 constituents, — he may choose to call Melody. If however we 
 give up our belief that Recitative is wonderfully expressive, we 
 may understand, as well as plainly hear, how this supposed 
 variety, founded on wider intervals and waves, with a frequent 
 recurrence of upward and downward skips, and with so many
 
 546 A BRIEF ANALYSIS OF RECITATIVE. 
 
 plunging cadences, may, by its constant and violent obtrusions, 
 be shockingly monotonous to the Natural Science of an ear, 
 accustomed to a true vocal expression, under the easy and 
 gratifying variety of cultivated speech. 
 
 Such being the structure of Recitative, its expression, if it 
 has any to an unprejudiced ear, can have but little resemblance 
 to that of speech. Making the intonations of the speaking 
 voice, which it pretends to borrow, the measure of this power, 
 the only forms of expression I have been able to perceive in 
 plain Recitative above described, are included under the follow- 
 ing heads. 
 
 First. The expression of slow and of rapid utterance ; and 
 of long and of short quantity. 
 
 Second. That of the degrees of force ; both as to emphasis 
 and drift. 
 
 Third. That of quality ; particularly of guttural vibration, 
 and aspiration. 
 
 Fourth. That of intonation ; by the occasional employment 
 of the discrete rising fifth or octave, for inquiry ; of the down- 
 ward skip, for positive or imperative declaration ; ami of the 
 wave of the semitone and minor third, for plaintiveness. But 
 even these are mingled with unmeaning intervals, and so dis- 
 tracted by them, that like the same intervals in the throat of 
 the mocking-bird, they lose much, if not all their expressive 
 character. Nor indeed are they applied according to invariable 
 rule : for I have heard true interrogative phrases, intonated with 
 a simple monotone, or ditone ; declarative questions with a 
 downward fifth, or octave; and forcible imperatives, with the 
 widest ascending intervals. This, with the Little Book and 
 pencil in hand, was noted at the Opera. 
 
 This plain Recitative would at once strike the common ear as 
 very peculiar, and quite distinct from speech and song : and 
 the above description of its structure and character, for it can 
 scarcely bo called expression, must when compared with the 
 structure and expression of speech and song, give us a definite 
 perception of these three vocal fufictions, and enable us to point 
 out what is peculiar to each. We perceive, that one cannot
 
 A BRIEF ANALYSIS OF RECITATIVE. 547 
 
 assume the character of another, without dropping its own 
 character, and becoming altogether that other : and that defini- 
 tions which set forth Recitative, as a musical intonation of 
 speech, or an engrafting of the inflections of speech on song, or 
 of song on speech, are, in pretending to recognize the character 
 of each, without either meaning or truth. We can further 
 perceive, that as speech never employs the protracted notes, but 
 always the equable concrete, it does not, through this broad 
 distinction, partake of the character of song or recitative ; 
 while both these last, using the protracted notes, are more 
 nearly related ; and without much change of character do 
 mutually pass into each other. And so it happens, that the 
 singer often gradually changes the form of the above described 
 Plain Recitative, to that of florid execution, by freely intro- 
 ducing all the intonations of song. Hence instead, of the plain 
 melody, constructed of the few constituents above mentioned, 
 lie introduces to a greater or less extent, the rising and the fall- 
 ing concrete in all their forms; — tremors, — notes, — waves, and 
 even divisions and shakes : in short, while applying these con- 
 stituents, under a barred and rythmic time, he does, in effect, 
 produce the full characteristic of song itself. 
 
 In regarding then these three forms of intonation, it appears, 
 that Speech and Song, both by construction and effect, arc most 
 unlike each other : that even the plainest Recitative, by con- 
 struction more nearly resembles song, and in its execution by 
 vocalists, most readily runs into it: that Speech has the most 
 extended and delicate powers of expression ; since there is in 
 it, the union of a conventional language with an instinctive 
 intonation, and a perfect adaptation of one to the other : that 
 Song, exclusively of words, by the succession of its notes, and 
 concrete intervals, and other forms of intonation, together with 
 quality, quantity, and force, has its own peculiar manner of 
 exciting feelings of grandeur, pathos, gaiety, and grace : and 
 that Recitative, which, by one of the not unfrequent delusions of 
 perception, Avas originally introduced, and has since been con- 
 tinued for centuries, as embracing within itself the characteristic 
 expression of both speech and song, does, by this vain effort to
 
 548 A BRIEF ANALYSIS OF RECITATIVE. 
 
 join two incompatible functions, really destroy tlie peculiar and 
 delightful nature of each. 
 
 Composers of Recitative may among themselves have framed 
 rules for a conventional expression, to which being long accus- 
 tomed, they may have come at last to believe them to be the 
 rules of natural expression. If those, not under this influence 
 of habit, do sometimes listen with pleasure to Recitative, or 
 say they do ; is it not, that this vocal Oddity having been 
 invented, or restored in modern Italy, — Italy has, on this point, 
 assumed to give law to musical taste : that it is expected at the 
 Opera : and that it is carelessly heard, in anticipation of the 
 succeeding Air ? Such associative influences are not uncommon 
 in perverting our judgment and reconciling us to bad taste. 
 Besides, it is as far from being true, in Art, as it is in Govern- 
 ment, that allowed dictatorial authority is a protection against 
 error and corruption. The Archictecture of Italy, with a sort 
 of prescriptive right to direct the world, has in most of its depart- 
 ments, done as much violence to the principles of unity, grandeur, 
 simplicity, order, and cautious variety, as the false pretensions 
 of Recitative have done to the true and natural system of vocal 
 expression both in speech and song. 
 
 When Recitative had, by some capricious straining after 
 novelty, been introduced, it became an object with the reflective 
 part of its votaries, to find some reason to justify its use. With 
 this view, it was, by a strange conceit, classed among the Imi- 
 tative arts : and its peculiar intonation was supposed to be a 
 refined copy of common speech, raised to the Beau Ideal of 
 vocal expression. 
 
 The following free translation of an extract from an article by 
 Marmontel, in the French Encyclopedia of Diderot, under the 
 word Recitative, describes this theory. ' When the Italians 
 proposed to give a melody to theatric declamation, the purpose 
 in joining music with it, like that in exalting prose into poetry, 
 was to embellish nature in imitating her. That is, to give to 
 declamation a character more agreeable to the ear, and if pos- 
 sible, more exciting to the feelings than that of natural speech ; 
 without however, altering too far, the form of the Archetype ;
 
 A BRIEF ANALYSIS OF RECITATIVE. 549 
 
 but so ordering the refined imitation, that it might not obscure 
 the purpose and means of the original.' And again, — 'If then 
 it is true, that song, like verse in relation to prose, does em- 
 bellish speech in imitating it, thereby throwing an elegant illusion 
 over its character, we should not reject this additional pleasure 
 of taste ; and whoever is endowed with a delicate ear, will not 
 complain on hearing speech delivered in a singing voice.' 
 
 We are sorry to differ from M. Marmontel : and though we 
 may not have that delicate ear, and therefore may have no right 
 to complain, yet with a taste acquired in the school of nature, 
 we cannot approve. And here, notwithstanding my early 
 resolution, only to observe and record, to which however I have 
 not been able always to conform ; I feel myself compelled to 
 join something of an argument with the inquiry into this subject. 
 
 The theory of Imitation assumed common conversation, which 
 it called the 'natural tone,' to be the archetype or pattern. 
 The more deliberate and impressive style of the theatre, and of 
 public oratory, was called Declamation ; and was the First 
 remove in imitation from the natural tone. This declamation, 
 when chanted by the voice alone, or with the instrumental 
 company of something like a varied drone-bass, was called 
 Plain Recitative : and its further remove from common speech, 
 and approach towards song, was the Second degree .of imitation. 
 Recitative accompanied by instruments, in a barred and rythmic 
 harmony, formed the Third degree of 'imitation, and a still 
 further remove from the natural tone, ox common speech : while 
 Song, or what is called Air, was supposed to have the least 
 resemblance to it. 
 
 Now, by the light of our history, the reader may perhaps 
 perceive the fallacy of this assumption. Language is the sign 
 of the mind, not a copy of it. Common speech then, is the 
 si en of thought and passion, and in no sense of the term, an 
 imitation of them. Declamation is speech itself, in a more 
 impressive use of its constituents. Plain recitative employs 
 some intonations, not used in speech, and makes a false or 
 garbled application of those that arc, and consequently is no 
 imitation of it. Accompanied recitative has still greater differ-
 
 550 A BRIEF ANALYSIS OF RECITATIVE. 
 
 ences from speech than the Plain, though of similar character 
 and effect. While Air, or Song having its own peculiar use of 
 notes and intervals, with its own peculiar expression, can have 
 no resemblance whatever to speech ; and cannot therefore be an 
 imitation of it. Thus we learn that common speech, is an 
 original function ; or, to'speak figuratively, only copied, if at 
 all, from nature's secret pattern of its purpose : nor has nature 
 herself ever copied anything from it. But conceitful man, in 
 trying to beautify, by imitating her, as he supposed, at last 
 blundered into Recitative ; the original of which is not to be 
 found in the natural voice of all this peopled earth. And if 
 drawn by Plato from the skies, — when, in the Sacred name of 
 Urania, has any imagined audience of the heavenly choir, ever 
 reported an example of its vocal oddity and monotonous affec- 
 tation ! 
 
 Another reason, assumed to justify the use of Recitative, was, 
 that as speech is so widely different from song, in its effect^ upon 
 the ear ; and as the louder sound, and stronger contrast of 
 intonation, together with the peculiar and different kind of 
 expression in song, are much more striking than the ' natural 
 tone,' it was supposed, there should be some intermediate func- 
 tion, partaking of the character of each, to unite their succes- 
 sion with less violence to the ear. The instances of things, 
 both in nature and art, in favor of this idea of gradual transition, 
 are not more numerous than the instances of abrupt changes 
 that oppose it ; and as ijo argument can therefore be drawn from 
 this source, we must consider the case in itself. 
 
 On the ground then of our history of the voice, we cannot 
 admit, there is the least reason in good taste, or the demands of 
 the ear, for this interposition of Recitative. How does the 
 principle apply to that natural and universal function of Speech, 
 the Equable Concrete, when a gradual vanish leads us out o/the' 
 full and abrupt opening of the radical, and not gradually from 
 silence, into it ? Do the first notes of song, in a favorite melody, 
 ever require more than their own delightful impression, to intro- 
 duce them from silence or from speech? Who, in the Church- 
 service, calls for a motley midway of intonation, in passing from
 
 A BRIEF ANALYSIS OF RECITATIVE. 
 
 551 
 
 prayer and benediction, to the chant and the anthem ? And 
 what, in the decent pride of consistency, becomes of this prin- 
 ciple of gradual transition, -when the voice passes abruptly from 
 silence to the striking peculiarity of Recitative; and ao'ain, 
 when in an unknown language, from this gibberish, both of 
 words and expression, to the deafening jargon of melody and 
 harmony, in the over strained voices and trumjiets of a full 
 operatic chorus. The design of this theory of mediation, to 
 prevent the violent contrast between speech and song, has ren- 
 dered the whole course of the Opera, when not broken by Air, 
 a continued monotony, to him whose ear has not been contorted 
 by fashion, and who admits our view of the principles of Drift ; 
 for these show that in speech, nature has seemed to guard the 
 ear against the false, and too frequent use of wide and expres- 
 sive intervals, by making such a use always monotonous and 
 offensive. There are no unnecessary chasms in the designs of 
 nature, though the works of man are full of them. When there- 
 fore he comes to study her purpose in the voice, he will find no 
 gap between speech and song to be passed by the Ponticello, no, 
 the Ponte-rotfo of Recitative. 
 
 From the violence offered by Recitative, to our vocal habits, 
 St. Evremond long ago formally questioned its propriety, and 
 its tasteful purpose. This is a very strong reason : for surely, 
 no one ever did recognize or enter-into the expression of this 
 extraordinary intonation, if he had not by the authority, or 
 the daily practice of the Conservatorio, been drilled out of the 
 instinct of a natural ear, into a forced belief that it is the 
 only Artistic style for disj)laying dramatic and heroic feeling. 
 But this argument, like that against many other things, at first 
 very shocking, may be refuted by custom and time. Our 
 objection is drawn from another source. It has been shown, 
 that speech being founded on a universal and identical under- 
 standing and practice among mankind, has a system of verbal 
 and vocal signs, for thoughts and sentiments, often indeed 
 perverted and corrupted, but never overruled and clianged to 
 a different system : while song, like instrumental music, has a 
 system of intonation altogether its own, for the expression
 
 ? 
 
 552 A. BRIEF ANALYSIS OF RECITATIVE. 
 
 of sentiment only, and totally independent of verbal signs. 
 From a close observation of these distinctions, and a studious 
 search after any system which might be admissible, we have 
 insisted, that besides these two forms, the voice has no other 
 universal means of expression : that from their separate natures, 
 their uses are not compatible with each other, or interchangeable : 
 and that any attempt to institute other signs for expressing 
 thought and feeling in a just and natural way, is like an endea- 
 vor to create anew the voice and mind of man. Thus our 
 preceding objections are not drawn, except unconsciously, from 
 a contest of our own personal, with a prevailing conventional 
 taste ; for we have labored to found them upon an analysis of 
 speech and song ; and thereby to show that the systematic idea 
 of Recitative, which was designed to effect a more exalted ex- 
 pression, by engrafting song on speech, is, by the light of 
 nature, and the test of an unenslaved ear, after all but a fiction, 
 and ought therefore to be a failure. 
 
 This conclusion will certainly be considered by the Masters of 
 music, and their world of followers, as highly audacious : but it 
 has been thought upon much longer with reference to truth, than 
 to opinion ; and we appeal from prescriptive prejudice, and the 
 inflexibility of the musical mind, to a liberal and a docile sense, 
 instructed by a history of the nature and inflexible ordination 
 of the human voice. But notAvithstanding all our objections, 
 Recitative will still continue to be a fancied and therefore 
 self-suflicient delight of the Opera ; just as the artificial taste 
 for Alcohol and its associate, that Nauseous "Weed, will, among 
 the craving and restless wanderers in sensation, — regardless of 
 the warning and the penalty of disease and death, — continue to 
 supply the place of sclf-contcnted purposes, in productive occu- 
 pation, and in educated thought. 
 
 We owe the modern creation, or supposed revival of Recita- 
 tive, in part, to the fatal influence of that vampire of classic 
 authority, which, while fanning us into a learned and vain- 
 glorious stupefaction, has for ages, on more subjects than one, 
 been drawing out the life-blood of our intellectual independence. 
 The ignorance of both the Greeks and the Romans, upon the
 
 A BRIEF ANALYSIS OF RECITATIVE. 553 
 
 subject of the vocal functions, obliged them to describe their limited 
 perceptions, by loose explanation and indefinite metaphor ; and 
 we have been contented, in this as in other of their arts, to take 
 a record of the poverty of their knoAvledge, as the historic scraps 
 of a system, regarded by the modern scholar, if not by themselves, 
 as little short of perfection. The learned Avorld has teased itself 
 into despair, by attempts to discover, wherein consisted the 
 inimitable charm of Greek poetical recitation ; and to reduce to 
 palpable illustration the ordinary formal causes of that ' melo- 
 dious language,' which when writers on the human voice shall 
 fully understand their subject, they will admit to be very little 
 more melodious than their own. 'Among the Greeks,' says 
 Rousseau, and his classical scholarship and musical-philosopliy 
 may well speak for the rest, in this matter, ' among the Greeks, 
 all their poetry was in recitative.* And again ; ' The Greeks 
 could sing in speaking, but among us, we must either sing or 
 speak ; we cannot do both at the same time.' With such a 
 mystical and distracting physiology, as here set forth, no wonder 
 that worshippers of the inexplicable po^ver and perfection of 
 antiquity, should have raised up altars to this ' Unknown God :' 
 nor that Pulci the poet, in reciting his Morgante Maggiore^ as 
 we are told, at the table of Lorenzo de Medici, should have 
 imagined himself to be the happy instrument of a needed reve- 
 lation, of the method of Grecian dramatic-recitative, or of 
 Homer's declamatory song. 
 
 If there is any truth and consistency in nature, the human 
 voice in its mechanism, its principles, and its uses for thought 
 and expression, has been the same, wherever thoughts and senti- 
 ments have been the same. And as the earliest writings, and 
 other records of the earliest nations, exhibit the same character 
 of thought and sentiment, that prevails at the present day, we 
 must conclude, — if the Greeks did not use their voices, accord- 
 ino- to the laws of nature, as we acknowledge and fulfill them, — 
 they must, by our decision at least, have used them improperly ; 
 and thus have thwarted the purpose of the voice. When there- 
 fore, in the contemptuous language of classical scholarship, we 
 are told, we cannot speak and sing at the same time, we scholars 
 36
 
 554 A BRIEF ANALYSIS OF RECITATIVE. 
 
 of nature and inquiry, must saj, the Greeks could not speak 
 and sing at the same time. 
 
 Notwithstanding the universal confidence in the taste of the 
 Greeks, we cannot believe, thej were free from gross and 
 unnatural faults, in their Art of the Voice, on which they have 
 left us neither method nor rule : since we know how they vio- 
 lated their own established principles, in some of their boasted 
 and well-recorded arts. 
 
 The selfish and tasteless purpose of the Statesman, the osten- 
 tatious authority, and equal selfishness of the Priesthood, and 
 the inflexible formality of a Ceremonial worship, may, in the 
 Vocal-Ritual, as well as in Temple-Architecture and Sculpture, 
 have continued the enormities of some ruder age, or courted a 
 time-serving variety in the fashion of newer faults ; all in 
 flagrant, but unconscious inconsistency with their methodic 
 principles of Fitness, Unity, Grandeur, Harmony, Proportion, 
 and Grace. In proof, let us learn how this fitness, and unity, 
 and grandeur were marred, even by the renowned Phidias, in 
 his renowned Minerva, by assigning her a labor of strength, not 
 of wisdom, in balancing a victory on her palm : with a sculp- 
 tured form made up of ivory and gold, surrounded by an enriched 
 and costly farrago of accessory decoration, all congenial indeed 
 with the pomp and vanity of the Priest and the Devotee ; but 
 to the eye of an uncontrolled Grecian Artist, refusing, in mate- 
 rial, or color, or accessory, or form, any unitizing relations, 
 either of harmony or contrast. Let us learn too, how fitness 
 and propriety were outraged by discordantly perching a statue 
 aloft, on each angle of a Doric pediment; and by striping the 
 immaculate whiteness of an external entablature with some 
 gaudy and dis-gracing, paint. In further and still existing 
 proof, let us go ourselves to the celebrated Erictheura, on that 
 all-observed Athenian Acropolis; — bearing in mind the unity, 
 simplicity, order, proportion, and symmetry, which in a Peripteral 
 Temple, impressed themselves, all at once, on the eye of the 
 beholder; — and see those i)rinciples neglected in this unbalanced 
 plan, as if unknown or forgotten ; a plan confusing even to us, 
 but to a Grecian Artist, unbiased by obligation to the priest-
 
 A BRIEF ANALYSIS OF RECITATIVE. 555 
 
 hood or the people, presenting only the distraction of undeter- 
 mined entrances, fronts, and sides ; and of excrescences, vainly 
 claiming by some trifling merits in detail, to be parts of the 
 ■whole. But we have not yet done with this un-grecian Erictheum, 
 Its Caryatid portico, if designed as an emblem of Grecian enmity, 
 has by that enmity, taught us the uncertainty of Grecian taste. 
 AVe still see in columns, changed to Caryan women, with the 
 conceit of reeded draperies, how these ' Arts of Taste that 
 civilize mankind,' while leading on to the grotesque, forgot their 
 rules, not only of unity, fitness, order and propriety, but of 
 humanity itself, in recording even in marble, an ungenerous and 
 degrading vengeance to the memory of a fallen foe. 
 
 Thus if we weigh the boasted merits of Grecian taste in its 
 own balance, we may, from some overpoise of prejudice, or 
 authority on its part, often find it wanting. On the subject of 
 the voice, the Greeks having no oratorical physiology as we may 
 call it, could have had no well founded or influential rules. AVe 
 are free therefore to imagine grosser violations of taste in the 
 practice of their speech, than we find in the choice productions 
 of some of their arts, which we know to have been directed by 
 principles deep-founded and exact. If the history of the voice 
 contained in this work, authorizes an opinion, we may rest in a 
 belief, that could we have a dreaming levclation of the manner 
 of their hierophants, orators, players, sophists, street-criers, and 
 school-boys, we would awake to record a chapter of criticism, 
 very much like our fiftieth section, on the faults of readers in 
 the nineteenth century. 
 
 The style of that vocal perfection which the Roman eulo- 
 irist, by the privilege of his poetry, figuratively ascribes to the 
 inspiration of the Muse, may, in the chant of the Ode\nn, the 
 declamations of the Theatre, and the recitation of the Olympic 
 Games, have been with the Greeks, a greater departure from 
 the rule of nature in the human voice, than they sometimes 
 exhibited, in a departure from their high and all-sufficient 
 principle of unity in Material, by the discordant assemblage, — 
 in their most celebrated Statues, — of gold, and ebony, marble, 
 ivory and wood: or in the viulation of their own eternal rules
 
 556 A BRIEF ANALYSIS OF RECITATIVE. 
 
 of simplicity, grandeur, unity, decorum, and grace, exhibited in 
 the Erictheum, — placed, as it would seem, to make its faults 
 more glaring, — placed in 'audacious neighborhood,' beside the 
 all-surpassing Parthenon. 
 
 I return from this digression, to remark, that ignorant as we 
 are of the real vocal practice of the Greeks, the reader who has 
 attentively considered, and who comprehends the descriptions, 
 in this essay, will be satisfied, to conjecture for himself, what 
 they did if it was wrong, and to decide what it was, if they knew, 
 and did what is right. 
 
 If then Signor Pulci did delight the adulated and munificent 
 Lorenzo, by the recovery of some lost conventicle or canting 
 tune, in vogue with the ancient Altar or the Stage ; it might 
 allow the conjecture, that some Recitative-corruption of speech 
 had come down by tradition from Homer or Tyrteus, or was, in 
 latter days, by some capricious influence, imposed upon the 
 servile ear : just as the natural laws of vocal expression are in 
 this generation, overborne with like distortion, by the inveterate 
 dogmas of the composer, the masked tyranny of fashion, and 
 the consenting slavery of mankind.* 
 
 • I once contemplated subjoining to this essay, some remarks on the subject 
 of Greek accent. But perhaps the obscurity, inconsistencies, and meager 
 philosophy of this worried topic of classical heresy and faith, are now suflB- 
 ciently apparent, by the light of our preceding analysis. The self-delusions 
 of national vanity are peculiar to no age or people: and one can see about him 
 every day, enough of the boast of empires and of men, to make him scrutinize 
 the rolls of fame, blazoned by the same genus of vaingloi-y and of credulity, 
 two thousand years ago. 
 
 We know all the stories about barbarian ambassadors being delighted with 
 the mere music of a language, they did not understand : and of that universal 
 acuteness and 'proud judgment of the ear,' which made the Athenian herb- 
 women and porters speak with all the purity of the Academy. But we should 
 have other proof than the report of Greek grammarians: and should find 
 them writing with more fulness and precision, on a subject they are said to 
 have understood so well, before we believe that in this matter they were at all 
 superior to ourselves. 
 
 If one were even disposed to believe in the vocal perfection of the Greeks, 
 through any other than their own testimony, he might well question the 
 authority of their Roman eulogists : since they themselves, the pupils of the 
 Greeks, display no better analysis or system in their institute of elocution. We
 
 CONCLUSION. 557 
 
 Here I conclude the cursory view of the physiological func- 
 tions of Song and Recitative: having avoided therein, every 
 thing like a practical consideration of the subject. Some one 
 better qualified than myself may be disposed to prosecute the 
 inquiry. In the first part of this work, the nature of expression 
 in speech is set forth by an elementary description, and detailed 
 illustration of its particular forms. An investigation of the 
 nature of expression in Song by the light of that description, 
 and according to the hints here thrown out, would be interest- 
 ing, and might be successful. Nothing could give me more 
 pleasure than to assist 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 phi- 
 losophy which I hope will be found to have been effectual here. 
 
 For reasons that are known to more than to myself, but which 
 the public need not at present know, I laid aside a Practical 
 work on Medicine, with the view of completing this : and I am 
 now going to resume it. 
 
 It is more than twenty-seven years since the preceding 
 sentence was written, in the first edition of this Essay. After 
 its publication, I did resume the subject to which I then alluded. 
 Its broad design was arranged in early life ; and much of its 
 
 may fairly estimate their discrimination, when with the same pen that deals 
 out the extravagancies of praise upon the oratorical action of their master?, 
 they gravely give us, as proof too of their own nicety in vocal matters, the 
 story of one of their famous orators having occasion for a Pitch-pipe: to enable 
 him to recognize his own voice, and to govern his melody, through the more 
 acute perceptions of a slave, who now and then blew this little regulating 
 trumpet at his elbow ! ! 
 
 Should I be obliged to hold an opinion upon the subject of ancient accent : 
 the fixed appropriation of its acute, grave, and circumflex signs to sylla- 
 bles, being utterly inconsistent with a proper or elegant system of intonation, 
 would induce me to believe,— the Greeks and 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 fragments of Egyptian science, 
 which Pythagoras, or whoever imported them, did not thoroughly understand.
 
 T 
 
 558 CONCLUSION. 
 
 detail was afterwards executed. Having however resolved to 
 pursue that subject by observation alone ; and being unwilling 
 either to throw time away, or to be forced into wasteful con- 
 tentions, without even a distant prospect of usefulness, I long 
 since laid it aside for subjects, that, if not contributive to others, 
 might at least be instructive and agreeable to myself. Its pur- 
 pose was, on the ground of the method of discovery adopted in 
 this essay, to propose to the Practical Department of Medicine, 
 the means for inquiring into the deep-laid causes of its uncon- 
 scious theoretic habits ; its sectarian contrarieties ; its perpetual 
 changes in opinion and practice ; and its restless, but well-meant 
 endeavors in the wrong way, to accomplish something right and 
 needful for itself. 
 
 To obtain if possible, a hearing in a Cause so apparently 
 hopeless, I laid before the Profession the preceding Example 
 of philosophic investigation. This was not done with the 
 least thought to improve its Elocution ; but to suggest, from the 
 successful result of an inquiry into one of its own subjects, a like 
 inquiry into some of those versatile fictions, which under the 
 name of knowledge, have to no purpose, occupied it so long ; 
 and which have, to tbe plain observation of the world, been so 
 long a subject of well-deserved satire. In this object, how- 
 ever, I have failed. For though it was submitted as an original 
 view of the proper Pln'siology of the voice, yet with a Census 
 of more than fort}^ thousand Physicians, in the United States, 
 I do not know, nor have I heard-of one, who has so far looked 
 into it, as to have ri.sked his Theoretic Life, by catching a sin- 
 gle infectious idea from its adopted Baconian method ; a method 
 that did hope to recommend itself by what it had done. 
 
 To my intelligent readers of another class, I may remark, — 
 and it will perhaps be understood, — that widely different as 
 the Essay they have just finished is, in logic and in practical 
 character, from the Old Elocution ; there would be a still greater 
 difference between some Neio Order of 3Iedicine, founded on 
 the method of this Essay, — and the disorderly opinions and prac- 
 tice of any of the countless Heterogeneous Systems of the day : 
 Systems under which, their votaries must continue, as they have
 
 CONCLUSION. 559 
 
 always clone, to pretend to know more than they do know, and 
 affect to perform more than with their jealous contentions among 
 themselves, they ever can. Let them then change their narrow 
 method of observing and thinking, for one of Baconian breadth 
 in observation and thought : and thus Truth, — who in her purity 
 and plainness seems always to have avoided them, — when no 
 longer under the fear of being degraded by Popularity, and 
 mystified by the interests of Professorial Schools, will, Avith but 
 an experimental and observative look of invitation on their 
 part, lose all her shyness, and freely afford her restorative assist- 
 ance in their present theoretic extremity. 
 
 THE END.
 
 J- 
 
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