\ 
 
A 
 
 SYSTEM 
 
 OF 
 
 PRACTICAL ELOCUTION 
 
 AND 
 
 RHETORICAL GESTURE; 
 
 COMPRISING ALL THE ELEMENTS OF 
 
 VOCAL DELIVERY, 
 
 BOTH AS A SCIENCE AND AS AN ART ; 
 
 SO ARRANGED AND EXEMPLIFIED AS TO MAKE IT EASY OF ACQUISITION 
 
 FOR PRIVATE LEARNERS WITHOUT A TEACHER, 
 
 AS WELL AS FOR TILE USE OF 
 
 COMMON SCHOOLS, 
 ACADEMIES, SEMINARIES, &c. 
 
 ILLUSTRATED BY ONE HUNDRED AND TWENTY-FIVE ENGRAVINGS AND FIGURES, 
 
 AS WELL AS BY NUMEROUS TABLES AND EXAMPLES, 
 
 MAKING THE WHOLE 
 
 EMPHATICALLY PRACTICAL AND THEORETICAL. 
 
 BY DR. J. WEAVER, 
 
 INSTRUCTOR IN ELOCUTION. 
 
 PHILADELPHIA : 
 
 BARRETT AND JONES, PRINTERS, 34 CARTER'S ALLEY, 
 
 1846. 
 
. 
 
 -pNiMU 
 
 TH4- 
 
 
 
 Entered, according to Act of Congress, in the year 1846, 
 
 By DR. J. WEAVER, of Meehanicsburg, Pa. 
 in the Clerk's Office of the District Court, of the 
 Eastern District of Pennsylvania.- 
 
 
INTRODUCTION. 
 
 The importance of a knowledge of the principles of Elocution, must 
 be strongly impressed upon every reflecting mind ; since that, by the 
 use of these principles, all our personal intercourse with each other is 
 conducted, both of a private and public character. "We cannot speak to 
 each other in the most simple manner in our private intercourse of busi- 
 ness or friendship, without employing more or less of these principles, 
 to effect our purposes. In every word, in every syllable, in every 
 sound, is contained one or more of the elements constituting the basis 
 of Elocution. And it may also be observed, by almost every reader of 
 this introduction, that even in the humbler walks of life, a good elocu- 
 tion gives a very decided advantage over a bad or an awkward one. 
 
 If the intonations of a man's voice be smooth, flexible, and properly 
 energetic. Ins intercourse in business will be greatly facilitated, and 
 success will more likely and generally follow. For there is a vast 
 amount of matter in sound, hardly to be conceived ; and it is the man- 
 na- of saying a thing, which gives it more effect, in many instances, 
 than the thing itself. Hence, a good elocution gives a man greatly the 
 advantage. 
 
 Again, when we look around us, and observe those who have become, 
 or made themselves conspicuous in our own country, in the different 
 professions, in church, and in state; we shall find, that in proportion as 
 were eloquent, and had high powers of utterance, they became 
 eminently successful, and are considered and looked up to as superiors 
 in this respect, and consequently take the lead, and are catable also, 
 to lead, and DO really lead the destiny of our country, and, in some 
 respects, that of the world. 
 
 Eloquent men are not always the most learned ; nor are they the 
 most profound in thought and reasoning. But when eloquence and eru- 
 dition are united in the same individual, he becomes brilliant, and stands 
 head and shoulder above his fellows. Look, for instance, upon Cicero 
 and Demosthenes, of olden times ; upon Sir Robert Peel and Lord 
 Brougham, of modern England ; upon Whitefield and Durbin, of the 
 Toga, Clay and Webster, Calhoun and Preston, Randolph and Adams of 
 our own country ; some of whom did, and the others novj can electrify 
 assemblies, and throw them into a state of intense thought and feeling, 
 in which they are almost unconscious of every thing else, save that 
 thought and that feeling. 
 
IV INTRODUCTION. 
 
 From this, then, we may naturally infer, that to become useful and 
 to do good in this world, a good elocution is one of the most efficient 
 means. And especially in a country like ours, where civil liberty 
 secures to every one a freedom of thought and a freedom of speech, by 
 which he is permitted to act in every way of usefulness, in any depart- 
 ment of life, to which his genius, disposition, and education may incline 
 him. Being governed only by the law of liberty and the law of love, 
 force is never permitted to take the place of reason, and crime and cor- 
 ruption ?ieed not be suffered to go unpunished. 
 
 The institutions of our country, then, would seem to foster the very 
 spirit of eloquence ; and it would seem almost a crime to check that 
 spirit, or withhold aid in the promotion of its onward progression. Let 
 us endeavor to make a nation of orators, by affording to every r man, 
 woman, and child in our country, the theory and practice, or the means 
 and the mode of acquiring the improvement, and an efficient use of this 
 most important and powerful instrument of the mind — the voice. 
 
 When we look round upon the great theatre of life, what attracts our 
 attention more strongly, than that spirit-stirring oratory which occa- 
 sionally manifests itself in the corruscations from the moral horizon ? 
 What more distinguishes one man from another, than the power of utter- 
 ance, the power of speech to stir man's blood and start him into action ? 
 Who is generally employed by Providence, to effect any great moral 
 reformation, but the man who is able to wield the almost omnipotent 
 power of a commanding vocal utterance ; the man who, Luther-like, 
 makes himself feel what he says, and makes others feel what they hear '. 
 Who is there that, is not willing to hear the man, who, Paul-like, has 
 power to make an infidel-Felix tremble on his judgment seat ? Who is 
 there that does not love to feel the power and truth of argumentation, 
 and to luxuriate in the feelings which are inspired by eloquence ? Nay, 
 there are none who delight not in being under the influence of the in- 
 spiring tones of a properly modulated intonation, and who do not love 
 to feel the overwhelming power of eloquence. 
 
 From this, then, we may clearly conclude, that there is a demand, 
 a general demand, which should be supplied. And what better method 
 can be taken, than to place the means of supply within the reach of 
 every man, of every gentleman and lady, of every common school dis- 
 trict, of every academy, and of every college and university in our 
 country. 
 
 The best method for securing fluency and flexibility of voice, and a 
 pleasant flowing intonation, is to commence almost in the nursery, at 
 least from two years and upward to train the voice concretely and dis- 
 cretely upward and downward through its whole compass, as also on the 
 different modes of stress, especially that on long and short quantity, the 
 former by the Loud Concrete and Median Stress, and the latter by the 
 Radical Explosion. 
 
INTRODUCTION. V 
 
 If children are thus trained in the alphabetic elements, especially the 
 vowels, by the mother or father, the brother or sister, occasionally 
 only, as a pleasant pastime ; the effect upon the voice, as it is developed 
 by age and this pleasant exercise, will be found to be extended far be- 
 yond the most sanguine expectation. 
 
 The training should not stop here, but be continued in our common 
 schools, and the exercises there made more particular and definite ; and 
 the Elements of Expression, as they are developed in the following 
 pages, should be applied in Reading and Declamation. 
 
 The application of the principles of Elocution, will then be greatly 
 aided again, by a knowledge of the principles of Grammar, and the mind 
 expanded by the study of Geography and Astronomy, and strengthened 
 again by that of the combination of numbers or Arithmetic. Thus the 
 powers of the mind and the powers of the voice may be trained in a 
 healthful unity and harmony with each other, and the whole man will 
 be developed in all his susceptibilities by these gymnastics of thought 
 and speech. 
 
 Again, while the mind is still further expanded, and its powers 
 strengthened in the delightful and steady trainings in our Academies 
 and Colleges, by the study of History, ancient and modern ; — by the 
 study of Astronomy, of Natural Philosophy, Chemistry, and Mathe- 
 matics, in their several departments; — by the study of Intellectual and 
 Moral Philosophy ; — by the study of the BIBLE, Grammar, Logic, 
 Rhetoric, and, though last, yet not least, by Elocution in all-subduing 
 eloquence, we shall have the man, we shall have the whole man, we 
 shall have the finished man, full grown and of mighty strength, start, 
 (like Minerva out of Jupiter's brain,) in full being and fully equipt, 
 upon the theatre of action and contending life, with all the panoply of 
 successful warfare, though not destructive, neither aggressive nor 
 oppressive in its character, but full of peace, and love, and good-will. 
 
 The principles, by the application of which, speech becomes impres- 
 sive and effective, are, like the established rules of art. to be considered 
 and studied, not as the barriers of a flood, which in protecting from 
 inroad, restrictively prevents the opportunities of further conquest, but 
 as guides and escorts of art, to acquisitions of wider glory. 
 
 The high accomplishments of elocution are supposed, by too many, to 
 be the unacquired gifts of nature or of genius, and to consist of -powers 
 and graces beyond the reach of art. So seem the plainest operations of 
 arithmetic to the savage ; or the knowledge of either of the professions 
 to the untutored and humble peasant. Ignorance knows not what has 
 been done ; and indolence thinks nothing can be done ; and both united 
 prevent any effort, and encourage supineness and indifference. 
 
 But we would here say, that a full knowledge of the principles and 
 practice of an art, enables an industrious and ambitious votary of truth, 
 
 
VI INTRODUCTION. 
 
 to approach perfection ; and if he find no way made ready for him, he 
 goes to work and makes one for himself. But the embodying of sense 
 by sound, and the coloring of feeling by its expressive modes of intona- 
 tion, are fixed in their constitution, by the decisions of the experienced. 
 And hence, we have encouragement to say, that an impressive and 
 effective delivery is within the reach of every one. And we would 
 further state, that any adult of a sound mind without any insuperable 
 impediment or deficiency in the organs of speech, can acquire the use of 
 all the elements of an impressive intonation, and become interesting 
 and fluent in speech and reading. And this may be done, too, without 
 the aid of a teacher, in the following manner. 
 
 Let any one take this system of the exposition of the functions of the 
 voice, and, in a room by himself, (or otherwise if he please.) read 
 aloud, with firmness of voice, and a full determination to execute and 
 accomplish all the directions given, every table, and every paragraph, 
 from the beginning to the end. And when he shall have thus waded 
 through the stream, two or three times ; he will be ready to exclaim, 
 that it is surprising that this subject has been neglected for so long a 
 time, and that the powers of the voice are so susceptible of improve- 
 ment. 
 
 It will be found that the descriptions and directions contained in this 
 course, are so simple, and the tables for exercise and examples so 
 numerous, that the comprehension of the principles of elocution will be 
 comparatively easy, and their production, and the application of them in 
 practice, so clearly illustrated by the examples and tables, that there 
 will be very little difficulty in making them our own. For when we 
 practice any thing until it becomes easy and habitual, it then forms a 
 part of ourselves ; for it is said, that we are but a bundle of habits. 
 Thus, then, if we practice the elements of an impressive intonation 
 into a habit, and have attached to each element its distinctive feeling ; 
 then the feeling or emotion will urge the appropriate element, and the 
 execution of any given element will excite the relative feeling. Hence, 
 the expressive element and the feeling will mutually and reciprocally 
 excite each other. 
 
 We would take pleasure, here, to state, that the world is indebted to 
 Dr. Rush for laying the foundation of a correct and Philosophical Elocu- 
 tion. The functions of the voice, in the production of Speech, Song, 
 and Recitative, was never understood until he developed it, in his 
 invaluable work on the Philosophy of the Human Voice. The world 
 will ever be under obligation to him for his description of the con- 
 crete function of the voice, by which the different elements of ex- 
 pression are rendered cognizable, and by which the passions, sentiments, 
 and emotions of the heart, are exhibited in their diversified modes of 
 being, and different degrees of intensity. 
 
INTRODUCTION. VU 
 
 The several works already published on this subject have been 
 examined, and it is thought that neither of them is sufficiently practical 
 on the Elements of Expression — the fundamental principles of an im- 
 pressive Elocution. Barber, Walker, Steel, Porter, Russell, Comstock, 
 Caldwell, and several others, have been carefully consulted, and they 
 certainly possess their respective degrees of merit, but are deemed defi- 
 cient in the description and clear distinctions of the several elementary 
 functions of the voice, and of the^ practical trainings on the same. 
 
 It will be very seldom found, in the course of the following pages, 
 that reference is made to the author from whom any quotation or any 
 useful hint has been taken. It would have encumbered both the work 
 and the mind of the reader, if reference had been made so frequently as 
 would have been necessary. It was, therefore, originally designed to 
 make a general acknowledgment. And here it may be proper to say, 
 that great pleasure is taken in making the grateful acknowledgment. 
 
 Notwithstanding the many selections that have been made, from those 
 above named and a few others, for it was designed to select the very 
 best of each, and combine it with what is new, and thus make an im- 
 proved whole suited to the present demand or wants of the common 
 people. Yet the general plan of arrangement ; — the alphabetic 
 division ; — the description and arrangements of the vowel and conso- 
 nant elements ; — the numerous tables for exercise and illustration; — 
 the tracing of the functions of the voice on the alphabetic elements to 
 their legitimate effects in the coalescence of the different elements ; — 
 the nature and cause of the pitch of the voice ; — and the giving to the 
 whole work an eminently practical character, &c. may all be regarded 
 as original. 
 
 The difficulty of setting forth with clearness a subject which has, 
 heretofore, been so much overlooked and neglected, and which must be 
 new to a very large portion of our citizens, has been considered, and 
 continually kept in view ; yet it is believed that this entire matter has 
 been set forth, in so clear and simple a manner, that any person of 
 ordinary capacity and perseverance may master it, without an In- 
 structor. 
 
 The description of each principle and function, the frequent repetition 
 of the same, and the repeated illustrations of them by numerous and 
 diversified examples, will, the author flatters himself, render it easily 
 attainable by every one who will but put forth the effort a little while.* 
 Let any one undertake and persevere, only a half an hour per day> for 
 
 * It will be found that many repetitions of the same thing, will occur at 
 different places throughout this work ; but we would remark that this was 
 necessary, partly in - order to show the relation of matters and principles that 
 were unavoidably separated by arrangement, and partly to impress them more 
 indelibly by those repetitions. 
 
Vlll INTRODUCTION. 
 
 three months, and he will find ample encouragement to prosecute the 
 subject until he shall have completely mastered it. 
 
 The history of the world is full of testimony to prove how much 
 depends upon industry ; not an eminent orator has ever lived but is an 
 example of it. Yet, in contradiction to all this, the almost universal 
 feeling appears to be, that industry can effect nothing ; that eminence 
 is the result of accident ; and that every one must be content to 
 be just what he may happen to be. Thus multitudes, who come 
 forward as teachers and guides, suffer themselves to be satisfied with 
 the most indifferent attainments, and a miserable mediocrity, without 
 so much as inquiring how they may rise higher, much less making any 
 attempt to rise. 
 
 Multitudes would be ashamed to practice any other art in public, 
 without having first served an apprenticeship to learn it. If any one 
 would sing, he employs a master, and is drilled in every elmentary 
 principle ; and only after the most laborious process dares to exercise 
 his voice in public. This he does, though he has scarce any thing to 
 learn but the mechanical execution of what lies before his eyes in 
 visible forms. But the extemporaneous speaker, who is to invent as 
 well as to utter, to carry on an operation of the mind, as w T ell as to pro- 
 duce sound in certain appropriate modes, enters upon the work without 
 any preparatory discipline. 
 
 What hours and days would he spend in giving facility to his fingers, 
 in attaining the power of the sweetest and most expressive execution, 
 were he learning to play for public exhibition ? Should he, for in- 
 stance, be devoting himself to the organ, what months and years would 
 he labor, that he might know its compass, and be master of its keys, 
 and be able to draw out, at will, all its various combinations of har- 
 monious sound, and its full richness and delicacy of expression ! And 
 yet, he will fancy that the grandest, the most various, and the most 
 expressive of all instruments, which the infinite Creator has fashioned 
 by the union of an intellectual soul with the powers of speech, may be 
 played upon without study or practice ; he comes to it a mere unin- 
 structed Tyro, and thinks to manage all its stops and movements, and 
 command the whole compass of its varied and comprehensive powers. 
 He finds himself a bungler in the attempt, is mortified at his failure, 
 and settles it in his mind, that the attempt is vain. 
 
 But, we say, be encouraged ; success, in every art, whatever may be 
 the natural talent, is always the reward of industry and pains. And 
 the instances are many, of men of the finest natural genius, whose 
 beginning has promised much, but who have degenerated wretchedly as 
 they advanced, because they trusted to their gifts, and made no efforts 
 to improve. That there have never been other men of equal endow- 
 ments with Demosthenes and Cicero, none would venture to suppose, • 
 
INTRODUCTION. IX 
 
 but who. if they had devoted themselves to their art as they did, would 
 have become equal or superior to them in excellence ? If these great 
 men had been content, like others, to continue as they began ? and had 
 never made their persevering efforts for improvement, what would 
 their country have been benefited from their labors and genius, or the 
 world have known of their fame? They would have been lost in the 
 undistinguished crowd that sunk to oblivion around them. What would 
 be the present condition of Brougham and of Peel. — of Webster and of 
 Clay, — of Calhoun and of Preston, — of Bascom and of Bethune, if they 
 had contented themselves with but ordinary attainments ? Instead of 
 standing on the very pinnacle of fame, as they now do, they would be 
 mixing with the commingling mass below, a place assigned them by 
 supineness or want of perseverance. For the same reason that men 
 can learn to sing, or play a musical instrument, or become expert in 
 any handy-craft, they may learn to manage the voice in speech, to secure 
 an impressive intonation. 
 
 Science, as we usefully regard it, does no more than lay down for 
 art those directive rules which sagacity has drawn from observation 
 and trial; and, though it may not always ennoble what it touches, it 
 takes from it the characteristic of brutality, which is defined to be the 
 instinctive execution of what is not understood by the agent. For 
 boxing, low, yet skilful as it is, may be called the science of brachial 
 defence ; and believe me. reader, that the elementary trainings in its 
 positions and motions, carries not more superiority over the untaught 
 arm, than the definite rules of Elocution, founded on a knowledge of the 
 elements of the voice, will have over the best spontaneous achieve- 
 ments of passion. 
 
 It is not intended, here, to say, that instruction can create the essen- 
 tial powers of a speaker ; but we know it can improve and direct them.- 
 Passion, says a writer, knows more than art. It may know more than 
 art ; but art sometimes knows better than passion. The display of 
 the passions on memorized discourse, is not always addressed to those 
 who are under the sympathetic influence of those passions. When it 
 is so, or when, at moments, the speaker can raise that sympathy, all is 
 right that passion does. When, however, we are in that state of de- 
 liberation which contemplates what passion should be, there arises 
 such comparisons between what we feel ourselves, and what we ought 
 to feel, that we are obliged to call up, from taste, some ideal rule to 
 settle an uncertainty of opinion. 
 
 We, from a well-devised practical system of Elocution, look for no 
 more than we are every day receiving from established arts. All men 
 speak and reason, for these acts, as far as we know, are as natural as 
 passion ; but the arts of Grammar, Logic, Rhetoric, and Elocution, teach 
 us to do these things in the best manner. For the systematizing of the 
 1* 
 
X INTRODUCTION. 
 
 principles of an art, signifies the teaching of the best manner of exe- 
 cution in said art. 
 
 Again, there is a will in man, with a system of muscles which the 
 common calls of exercise render obedient to that will, and which 
 thereby produces motion in every direction not forbidden by the nature 
 of the joints. Now, there is scarcely a boy of any physical activity 
 or enterprise, who does not, on seeing a circus rider, desire to imitate 
 him ; to catch and keep the centre of gravity through all the varieties 
 of balance and motion. Yet, this will not prevent his fall, on a first 
 trial, however natural the tie between his will and all his muscles may 
 be. The truth is, that, without long experience, he knows not what 
 is to be done ; or if he knows, he is unable to effect it. With some 
 analogy to this case, there are many persons, not destitute of feeling 
 or passion, who have a pretty fine command of the voice on the com- 
 mon occasions of life, but who betray a faltering tongue if they attempt 
 to imitate the varied powers of the long-practised speaker. When the 
 voice is prepared by elementary training, the feeling which prompts 
 the expression will find the pliant and strengthened organs ready to 
 furnish a satisfactory and elegant accomplishment of its designs. 
 
PART I. 
 
 ARTICULATION. 
 
 A perfectly accurate and distinct articulation must form 
 the basis of a good delivery. Speaking and reading cannot be 
 made impressive, if the utterance is indistinct. Teachers and 
 Pupils should, therefore, always attend to distinct articulation , 
 as a primary object ; and it should be prosecuted alone, as a 
 distinct branch of study, and persevered in, until perfection in 
 it will be attained. 
 
 Indeed, the secret of success in acquiring a distinct articula- 
 tion, consists in attending to the elements of a. thing, and but 
 one thing at a time. 
 
 The object of this attempt, is to lay down the Elements of 
 Articulation ; and to present this important subject to the view 
 of the pupil and teacher, in such a simple and tangible form, 
 that the one may have a scheme of teaching, and the other a 
 definite mode of acquiring, this preparatory and indispensable 
 requisite of all good reading and speaking. 
 
 A slight attention to speaking and reading, will show that 
 a good articulation is very uncommon. The attentive listener 
 will observe that letters, words, and sometimes considerable 
 portions of sentences, are pronounced with so little force and 
 precision, that the mind is ever confused in attempting to 
 comprehend the meaning. 
 
 Distinctness of articulation, is not only necessary, in order 
 to be heard and understood with pleasure, but it is a positive 
 beauty. The elementary sounds of speech, when properly 
 uttered, are, in themselves, agreeable. But to render them so, 
 the following directions of a modern writer must be observed. 
 " In just articulation, the words are not to be hurried over, nor 
 precipitated syllable over syllable ; nor, as it were, melted 
 
 11 
 
12 ARTICULATION. 
 
 together into a mass of confusion. They should neither be 
 abridged nor prolonged, nor swallowed, nor forced ; they should 
 not be trailed nor drawled, nor let to slip out carelessly. They 
 are to be delivered out from the lips as beautiful coin, newly 
 issued from the mint, deeply and accurately impressed, perfectly 
 finished, neatly struck by the proper organs, distinct, in due 
 succession and of due weight." A good articulation is an 
 affair altogether acquired. It requires nothing more than 
 attention to continued elementary practice. It depends upon 
 a few certain definite positions of the organs of speech, and 
 the power of varying those positions with rapidity, precision, 
 and facility. Now, though every body admits this, scarcely 
 any one attends to it. Experience shows, that in order to insure 
 a good articulation to pupils and persons in general, some 
 methods must be adopted, not at present in use. What should 
 these methods be ? We answer, the only sure means are, a 
 
 SERIES OF PRACTICAL ELEMENTARY EXERCISES, which Constitute 
 
 a sort of gymnastics of the voice. Those must be practised 
 and persevered in. If this training is steadily enforced, expe- 
 rience enables us to say, it will be successful in ensuring to 
 young persons, as well as older ones, a distinct, forcible, and 
 impressive articulation. Practice, — practice upon a series of 
 elementary tables of the primitive sounds of speech, and of 
 their varied combinations, is the ONLY remedy. We, there- 
 fore, advise, that no pupil be ever permitted to proceed to 
 reading until distinctness of utterance is secured by repeated 
 exercises upon the sounds contained in the following tables. 
 
 A good articulation consists in a precise, forcible, and 
 sufficiently prolonged utterance of syllables, according to an 
 approved standard of pronunciation. Now, a syllable is some- 
 times a single indivisible sound : but sometimes it consists of 
 several simple distinguishable sounds, into which it can be 
 divided by the voice. If we pronounce the word omen ; 
 the first syllable is ' o,' a simple indivisible sound; 'men/ 
 the second syllable, appears, to a hearer unaccustomed to a 
 scientific consideration of speech, to be but one sound only, 
 and indivisible ; but it consists of several simple distinguishable 
 sounds. In order to illustrate the compound nature of the 
 syllable 6 men/ let it be pronounced distinctly drawling, or 
 prolonging its sound as much as possible ; as m-e-n. It will be 
 observed that the lips are brought together, and pressed against 
 each other, and the air being, at the same time, forcibly im- 
 pelled from the throat through the nose, a sound is heard which 
 somewhat resembles the lowing of an ox. This sound is the 
 
ARTICULATION, 13 
 
 one represented by the letter ' m? The lips being held in 
 somewhat forcible contact, are now separated, the mouth is 
 opened, its cavity assumes that form which is necessary to 
 sound 'e 5 in met, which is the same as ' e' in men (the last 
 syllable in omen.) Finally, this last sound being completed, 
 the tip of the tongue is carried upward, and pressed against the 
 upper gums, and air issuing from the throat through the nose, 
 produces the sound peculiar to the letter 4 n. 5 Let the position 
 of the lips first adopted, be maintained for some time, and the 
 air passing through the nose, the murmur by which the sound of 
 c 77z' is produced, will be heard distinctly. Let this position of 
 the organs of speech, and the murmur, which is thus heard, be 
 continued, and repeated until both are fixed and retained in the 
 mind, and the element of the letter i m ' will never be forgotten. 
 Then, ceasing to sound 'm,' let the c e' be next sounded alone, 
 observing the particular shape which the mouth assumes 
 during the sound, as well as the character of the sound itself, 
 and retaining both (the position of the organs of speech and the 
 sound thus produced) in the mind, and we shall have a distinct 
 idea of the elementary sound of ' e,' and how it is produced. 
 The element of 6 n' is produced by pressing the tip of the 
 tongue against the upper gums, and letting the air pass through 
 the nose with a gentle murmur. By fixing the attention upon 
 the position of the organs and the sound thus produced, we 
 shall have a lasting impression of this element. In this way, 
 every element of the language may be produced, and may be- 
 come the subject of consideration. After the four sounds of 
 the above word 'omen* be separated and slowly pronounced, 
 as o-m-e-n, they may then be sounded as closely together 
 as possible, and thus we may observe how the distinct elements 
 coalesce or run into each other, in this word; as also in every 
 other word in the lano;uao;e. 
 
 Now, for the purposes of science, we call the four sounds, 
 heard in the word 'omen,' elements; because they are the 
 simplest possible sounds, into which the word can be resolved. 
 An element is the simplest known form of any thing. 
 
 A vocal element is the simplest possible sound of the voice, 
 or a sound that cannot be further divided. The division of 
 syllables into their elementary parts, is a branch of vocal 
 analysis, which will be clearly exhibited in the sequel. This 
 analysis shows that the vocal elements of the English language 
 are (not including short vowels) thirty in number. 
 
 Before proceeding to exhibit the tables of elements, it will 
 be well enough to observe, that we are persuaded that tables of 
 
14 ARTICULATION. 
 
 elements, if properly used, will be found charmingly effective 
 in teaching very young persons a distinct, forcible, and grace- 
 ful articulation. This must be at once admitted by the reader, 
 when he is informed that the thirty elements (or thirty-seven, 
 including short vowels) exhibited in our tables, do, in different 
 combinations, make up all the syllables of our language. 
 Elements make syllables, syllables words, words sentences, 
 and sentences discourse. If each element which ought to be 
 sounded in a word, is distinctly formed by the organs of utter- 
 ance, the words must be well pronounced ; and if all the words 
 are thus pronounced in a discourse, the Articulation must be 
 faultless. It would be a shame to urge such plain matters of 
 fact, were it not for our extraordinary ignorance on this sub- 
 ject. The vocal elements are never pronounced in the hearing 
 of those ignorant of the subject, without exciting the mirthful 
 wonder of the auditors. 
 
 " When the elements are pronounced singly, they may receive 
 a concentration of organic effort, which gives them a clearness 
 of sound, and a definite outline at their extremes, that makes a 
 fine preparation for a distinct and forcible pronunciation in the 
 compounds of speech." — (Rush.) 
 
 And here, we would again say, obtain correct ideas of the 
 sounds of the alphabetic letters or elements, and their influence 
 over each other, the meaning and pronunciation of words, and 
 their power over the mind and the passions of men, when teem- 
 ing with thought and reason ; and then you may expect to 
 become, what you desire to. be — good speakers, readers, and 
 writers. Master all the elementary principles, or you cannot 
 acquire a correct, distinct, appropriate, and graceful intonation. 
 Resolution, self-exertion, and perseverance, are Omnipotent. 
 Try them and see. Avoid rapidity and indistinctness; also, 
 drawling, mincing, mouthing, nasality, and an affected manner; 
 and read, speak, and sing in a clear, strong, full, agreeable, and 
 natural tone, which contains in itself so sweet a charm, that it 
 almost atones for the absence of argument and fancy. Give 
 the consonant sounds or elements, and particularly the final 
 ones with great care and distinctness. This distinguishes, in a 
 great degree, the accomplished scholar and gentleman. 
 
 It is not the quantity gone over, but the manner of going 
 over, and acquisition of correct principles, with the ability to 
 apply them accurately and involuntarily, that indicates pro- 
 gress in this art. This art, like all others, is made up of many 
 little things ; look well to them, and all difficulties will vanish. 
 Knowledge is power; and the appropriate arrangement and 
 
ARTICULATION. 15 
 
 modification of the alphabetic elements, form an exhaustless 
 source, and the great medium of knowledge. The interchange 
 of ideas, by the operation of vocal sounds, is the basis of in- 
 struction. Every youth ought, therefore, to blush at the 
 thought of remaining ignorant of the first principles of his 
 native language. 
 
ELEMENTS OF THE ENGLISH LANGUAGE. 
 
 The elements of the English Language are the sounds repre- 
 sented by the graphic characters, called the English Alpha- 
 bet. 
 
 There are Twenty-Six Letters in the English Alphabet, yet 
 there are Thirty Elements, (or thirty-seven, including short 
 vowels,) in the English Language. Therefore, as there are 
 a greater number of elements than letters, some of the 
 letters represent different elements, according to their combi- 
 nation with each other. To have a perfect alphabet, we 
 must have an appropriate character or letter to represent every 
 element. 
 
 The Alphabet is generally divided into Vowels and Conso- 
 nants, but it may be more properly and philosophically divided 
 into Vowels or Pure Vocal Sounds, Voco-aspirs, and Aspirs* 
 
 I. Vowels or Pure Vocal Elements. 
 
 The Pure Vocal or Vowel Elements, are Pure Laryngial 
 Sounds, unmixed with any other sound, and are made, princi- 
 pally in the Glottis, by the air passing through it, without any 
 aspiration, buz, or hiss mixed with them. They display the 
 radical and vanish in a very perfect manner. 
 
 The Vowel Elements are Seven in number, and may be said 
 to be Seveji different sorts or kinds of vocality. They are the 
 
 * The words 'Vowel, 1 'Vocal. 1 and '-Voco, 1 have the same origin. They 
 are derived from the Latin word 'Vocales,' which means, having a voice, 
 vocal, or making a noise. They generally refer to a noise, or sound, made in 
 the mouth by the breath ; or a sound made by the organs of the voice — yet the 
 word t vowel' is more generally used to denote those alphabetic characters 
 which represent pure vocality, in opposition to the consonants, which imply 
 impitre vocality. The word « vowel,' however, sometimes denotes the vocality 
 itself. The words ' vocal 1 and « voco 1 refer generally to the voice, or to the 
 sounds made by the voice, which may be either pure or impure vocality. But, 
 in this work, the word ' voco 5 is used in the sense of consonant or impure 
 vocality, or vocality mixed with aspiration, buz, or murmur. 
 
 The word < aspir 1 is derived from the Latin Aspero, to pronounce or utter 
 with a strong breath; to whisper ; to hiss ; to aspirate. Hence, the voco- 
 aspir elements are sounds, in which there is a vocality mixed with a whisper, 
 buz, or aspiration. The aspir elements are sounds made only by whispering or 
 aspirating them. 
 
 16 
 
ELEMENTS OF THE ENGLISH LANGUAGE. 17 
 
 purest laryngial tones that can be made, having more of a 
 musical quality than the other elements, and are capable of 
 indefinite prolongation; admitting of the concrete and tremu- 
 lous movements, through all the intervals of the scale, and can 
 be uttered more forcibly and abruptly than any other sounds ; 
 thus finely adapted to the display of the delicate structure of 
 the vanish of the voice. They are heard on the following 
 vowel characters, and made by the joint function of the Larynx 
 and mouth, through which the air passes in their formation. 
 
 ee — eh — ah — aw — oh — 6oh — uh, or < u' in up. 
 They are called vow r el or pure vocal elements, because they 
 are the purest sounds which the voice is capable of making, 
 and always represented by those alphabetic characters, ever 
 called vowels. 
 
 Division of Vowel Elements, 
 
 Vowels, or Pure Vocal Elements, may be divided into mono- 
 thongs, diphthongs, and triphthongs. 
 
 A Monothong is a simple, pure vowel sound or element, 
 unmixed with any other element, and heard on the vowels in 
 the following words, 
 
 eve — age — arc — awe — ode — ooze — urn. 
 
 A Diphthong is the coalition or union of a vowel element 
 with the element of ' w' or 6 y' pronounced as closely together 
 as possible, and represented by one, two, or three vowel cha- 
 racters, and heard on the italics in the following, 
 ice — zre — use — z/re. 
 
 The diphthong is here represented by one vowel character, 
 1 i' and c u,' and pronounced ayce, ayre — yuse, yure. 
 
 The diphthongs in the following words, are represented by 
 two vowel characters ; as our, out ; oil, voice ; quote, quick ; 
 spamel ; pronounced iwv, iwt ; 6y\, voyce ; kwot, kwik ; 
 span-yel. 
 
 In the following words, the diphthongs are represented by 
 three vowel characters ; as beauty, adieu ; pronounced byw-ty, 
 a-dyu. 
 
 A Triphthong is the union of a vowel element with the ele- 
 ments of c w' and ' ?/,' pronounced as closely together as possi- 
 ble, and represented by two or three vowel characters, and 
 heard on the italics in the subjoined words — choir, q?/ire, 
 represented by two vowel characters, ' oi,' ' uif and pro- 
 
18 ELEMENTS OF THE ENGLISH LANGUAGE. 
 
 nounced — < kwkyr,\ or i kwirf the two words are pronounced 
 precisely alike. 
 
 In kuoin, kuoit, the triphthongs are represented by three 
 vowel characters, and pronounced kwoyn, kwoyt. 
 
 Thus, all the diphthongs and triphthongs are resolvable into 
 one pure vowel element, and the elements of 'w> or <y,' or 
 ' w' and c yj 
 
 assuage pronoun 
 
 ced 
 
 as-swag 
 
 langiash " 
 
 
 lang-gwjsh 
 
 feud " 
 
 
 fyad 
 
 quart " 
 
 
 kwart 
 
 language " 
 
 
 lang-gimdzh 
 
 filial " 
 
 
 fil-ykl 
 
 minion " 
 
 
 min-i/un 
 
 viziere " 
 
 
 vlz-^er 
 
 II. Voco-Aspir Elements. 
 
 The Voco-Aspir elements are impure vocal sounds, mixed 
 more or less with an aspiration, buz, or murmur. They are 
 made partly in the glottis and partly in the mouth or nose. 
 The vocaiity is made in the glottis, and the buzzing in the 
 mouth or nose. They are fourteen in number, and are marked 
 by the italics in the annexed words — 
 
 oig, dip, go, vine, zone, ye, woo, there, azure, Zip, way, no, 
 7*0, ring. 
 
 They are called Voco-Aspir, because they have a vocaiity 
 mixed or united with an aspiration, buz, murmur, or reverbera- 
 tion, in the mouth, or cavities of the nose. 
 
 From the formation of these elements, they are greatly 
 inferior, as materials for the display of emphatic force, and for 
 the elegant purposes of speech ; though they do admit of being 
 carried concretely through the intervals of the vocal scale, yet 
 some of them with considerable difficulty. 
 
 III. Aspir Elements. 
 
 Aspir Elements are such as have no vocaiity, but are. made 
 by the air passing through the mouth, with an aspiration, hiss, 
 or breathing only. 
 
 There are nine of these, and are heard on the italics in the 
 following words — 
 
 pin, tin,* kin, fin, sin, hot, what, thick, sAip. 
 
ELEMENTS OF THE ENGLISH LANGUAGE. 
 
 19 
 
 From their limited power of variation in pitch, even when 
 uttered singly with a designed effort to produce them ; and 
 from their supplying so very small a part of the concrete, 
 when breathed among the constituents of syllables, producing 
 only a kind of whisper or aspiration, they may be called aspi- 
 rated sounds, or Asphs. From their having no vocality, they 
 are incapable of the radical and vanishing function of the 
 voice. 
 
 By a careful examination of the position of the organs of 
 speech, it will be found by comparing the production of cer- 
 tain vocos with the aspirs, that they run in pairs, and the same 
 position of the organs will produce the two elements of each 
 pair, only that the vocality of the vocos is wanting in the 
 aspirs. This may be done by examining the following table. 
 ap — ba 
 at — da. 
 a& — ga 
 
 if- 
 
 us — za V Vocos. 
 
 Aspirs. \ us — 
 he 
 what 
 eth 
 ish 
 
 va 
 za 
 
 - ye 
 
 — we 
 
 — the 
 
 — zhur 
 
STRUCTURE OF THE VOWEL ELEMENTS. 
 
 (1 eel, 2 ale, 3 al, 4 all, 5 ole, 6 ool, 7 w/Z.) 
 
 1. The First vowel element is heard on c e,' in r eel' or c eve,' 
 and is made by forcibly expelling air through the glottis, with 
 the lips and teeth a little separated, the body of the tongue 
 pressed laterally against the small grinders on both sides, and 
 the air passing out over its surface and point. The position 
 of the lips and teeth, required for the utterance of this ele- 
 ment, is illustrated in the following cut. 
 
 long. 
 eve 
 era 
 eel 
 
 short. 
 in 
 it 
 emit 
 
 use 
 live 
 
 2. The Second element is heard on * a,' in i ale' or c age,' 
 and is made in the glottis, by forcibly expelling air through it, 
 with the body of the tongue pressed laterally against the 
 grinders on both sides, and the lips and teeth somewhat more 
 separated than for the first element. This may be perceived 
 by sounding them, alternately, and noticing the movements of 
 the mouth ; as e, a, e, a, e, k. The shape of the mouth is 
 shown in the cut below. 
 
 long. 
 age 
 ace 
 aim 
 
 short. 
 edge 
 |ll, 
 kgg. 
 
 3. The Third vocal element may be heard on c a,' in c al' or 
 c arm,' and is made by forcibly expelling air through the glot- 
 tis, with the body of the tongue pressed laterally against the 
 
STRUCTURE OF THE VOWEL ELEMENTS. 21 
 
 grinders on both sides, and the lips and teeth a little more 
 separated than is necessary for the utterance of the second 
 elerr ent. This may be noticed by observing the motion of the 
 mouth when the two elements are alternately uttered ; as a, 
 ah, a, ah, a, ah. The position of the mouth is represented in 
 the cut below. 
 
 
 ice 
 isle 
 
 4. The Fourth element is heard on c a,* in c all' or 6 aw,' and 
 is made in the glottis, by expelling air forcibly through it, 
 with the whole cavity of the mouth and throat very much 
 enlarged, by elevating the palate, and depressing and retract- 
 ing the body and root of the tongue, the lips slightly protru- 
 ding, and the angles of the mouth drawn toward each other, 
 with a very wide opening of the mouth, giving it the appear- 
 ance of the following cut. 
 
 l° n g- k mmk 3K\^'i short. 
 
 awe ^^H^t 0( *d 
 
 6r wHS- what 
 
 our 
 oil 
 5. The Fifth element may be heard on <o,' in < ode' or 
 c ole,' and is made by expelling air forcibly through the glottis, 
 with an enlargement of the cavity of the mouth and throat, 
 the lips protruding somewhat, and the teeth approaching each 
 other a little more than for the utterance of the fourth ele- 
 ment, giving to the opening of the mouth an appearance of 
 roundness, which may be discerned clearly by uttering the two 
 
22 
 
 STRUCTURE OF THE VOWEL ELEMENTS. 
 
 elements in alternation ; as 6, aw, 6, aw, 6, aw. The posi- 
 tion of the mouth may be represented by this cut. 
 
 long. 
 ode 
 
 own 
 61d 
 
 short, 
 oat 
 to-to 
 coat 
 
 6. The Sixth element is heard on c oo,' in c ooP or c ooze/ 
 and is made by forcibly expelling air through the glottis, with 
 a little protrusion and separation of the lips, and an enlarge- 
 ment of the cavity of the mouth, yet somewhat diminished 
 from that necessary for the utterance of the fifth element, by 
 approximating the jaws, which will appear evident by sound- 
 ing them alternately ; as 6o, 6, 6o, 6, 6o, 6. The shape of 
 the mouth is indicated by the following cut. 
 
 long- 
 ooze 
 coo 
 rule 
 
 short. 
 pull 
 wool 
 pull 
 
 7. The Seventh vowel element may be heard on ' u, 5 in ' ulP 
 or c urn,' and is made in the glottis, by a forcible expulsion of 
 air through it, with the teeth and lips a little separated, the 
 posterior part of the mouth a little enlarged by depressing the 
 root of the tongue, and elevating the palate. This element 
 seems to be made deep down in the throat, while the sixth 
 seems to be made up high in the palatal part of it, which 
 may be observed by alternately sounding or exploding the 
 two elements ; as u-p, 6o, u-p, 6o, u-rn, 6o. The position of 
 the mouth is represented by the cut below. 
 
 long 
 
 .iirn 
 
 ii rr 
 
 bur 
 
 short- 
 
 MP 
 us 
 
 htr 
 
TABLE OF THE VOWEL ELEMENTS OF THE 
 ENGLISH LANGUAGE. 
 
 It is here particularly suggested that, in using the following 
 table, special attention is to be given to the elementary sounds. 
 The elementary sounds of a language are those which are 
 heard in the proper pronunciation of its words, and which 
 are, in many instances, very different from the names of the 
 letters. The same letter sometimes stands for different sounds 
 in different words ; as 6 a 5 in all, arm, age. Attend, therefore, 
 to the elementary sounds which are, as shown in the following 
 table, distinct. The vowel elements, or pure tones, are seven 
 in number (or fourteen including the short ones). The table 
 also includes some of the compound sounds, or diphthongs and 
 tripthongs ; as i, u, ou, oi, ow, oy, uoi. 
 
 The elementary sounds are distinguished and determined by, 
 and heard on, the figured letters in the words of the table, when 
 properly pronounced. The figures above, or over the vowls, in- 
 dicate the number and kind of the elements. The figure 6, for 
 instance, indicates the sixth element, as heard on ' oo,' in c ooze. 5 
 So that whatever vowel has the figure 6 over it, uniformly has 
 the same element, or that on 6 oo,' in 'ooze,' i coo,' as will also 
 be heard in 6 rule,' < move.' The figure 2 notes the second 
 element, which is heard on ' a,' in c age.' The fifth element 
 is heard on ' o,' in c ode,' or ' oo' in c floor,' ' door;' and so of 
 all the seven elements. 
 
 The point below a vowel indicates the short sound of that 
 vowel ; as 4 a,' in i at,' is the short sound of ' a,' in < arm ;' — 
 a, in what, is the short of ' a,' in ' all ; — ' u,' in full, is the 
 short of ' u,' in i rule f — 6 1,' in ' it,' is the short of ' e,' in 
 c eve ;' and so of all the others. The absence of the point 
 below the vowel indicates the long sound uniformly. 
 
24 TABLE OF THE VOWEL "ELEMENTS 
 
 Long Vowel Sounds. 
 
 1 e in eel, eve, era, ear, edict, he. 
 
 2 a " age, ace, ache, pare, sail.* 
 3a" arm, arc, are, far, father. 
 4a" all, awe, for, nor, war. 
 
 5 o " ode, ore, own, old, no, note. 
 
 6 oo " ooze, coo, woo, rule, move, who. 
 
 7 u " urn, turn, burn, love, dove, urr, sun. 
 
 Short Vowel Sounds. 
 1 e in it, tip, kick, gig, flit. 
 2a" edge, ell, Q^g, whence, ex. 
 3a" at, back, am, dash, add. 
 4a" ox, what, not, was, bog, odd. 
 5 o " oh, obey, omit, oblige, coronary. 
 5 oo " pull, wool, full, unto, wood. 
 7 u " tip, tm, sir, her, err, fllrt.f 
 
 Long Diphthongs. 
 i in ice, ire, isle, fine, tidings.J 
 u " uve, use, tzmic, fuse. 
 ou " ouv, out, thou, how, now. 
 oi " oil, voice, join, toy, joy, boy. 
 
 Short Diphthongs. 
 i in idea, iambic, idolatry, 
 u " unique, utility, singular. 
 
 Triphthongs. 
 oi in choir, pronounced kw&yr or kwir. 
 ui " quire, " kw|tyr or kwir. 
 
 uoi" quoin, quoit, pronounced kwoyn or kwoyt. 
 
 * The second vowel element is said by some to be a diphthong, whose con- 
 stituents are < a, ? as heard in ' fame,' and « e,' in ' me.' We would say that 
 the simple elements are < ay ,' instead of « ae,' as heard in < day,' < \>ay ;' but 
 this cannot be the sound when it is short, as in < ate.' This second element, 
 however, may be made as long as the longest without making a diphthong 
 of it. 
 
 f These are the only simple elementary vowel sounds, from which, and by 
 the combination of which with each other, and with the consonant elements, 
 every sound which enters into the constitution of the various words of our 
 language, is virtually and substantially made. All the Diphthongs and Triphthongs 
 are made of « y' or < w,' or both. And here we may notice the remarkable 
 similarity in respect to number, that there is in the seven colors of light ; the 
 seven sounds of music, and the seven vowel elements of elocution or speech. 
 
 \ I and u, written without a figure, denote their diphthongal sounds. Keep 
 this particularly in mind. The constituents of < i' are l a,' in « at,' and « y ;' as 
 ay, pronounced closely together, and sound like <■ eye ;' — those of < u' are '- y, y 
 and i u,' in • full ;' as * yu,' or ; you.' 
 
OF THE ENGLISH LANGUAGE 25 
 
 The difference of the vowel elements, in the foregoing table, 
 can be very clearly perceived. Each is pointed out in the 
 word used for illustration, by an italic letter or letters- These 
 letters, if pronounced as they are usually heard in good articu- 
 lation, will give the true element in question. When no 
 teacher is at hand to demonstrate the sounds of the elements 
 with his voice, the following directions will lead the attentive 
 student to a perception and intonation of these distinctive ele- 
 ments. 
 
 Let each word, by which the elementary sound is illustrated 
 in the preceding and the subsequent tables, be pronounced in 
 a very slow, drawling manner at first. During its pronuncia- 
 tion, let special care be taken to notice the position of the 
 organs of speech, and the particular sound produced on the 
 italicised letter, as it issues from the mouth. For this sound 
 is the intended element thus developed. This slow, and drawl- 
 ing pronunciation is to be repeated over and over again, until 
 the element intended is clearly distinguished by the ear from 
 the rest of the word, and the position of the organs by which 
 it is formed, can be adopted at pleasure. The element itself 
 is then to be pronounced or sounded alone — repeat, and 
 re-repeat with all the different degrees of force and abrupt- 
 ness, of which the individual is capable. It is now to be 
 sounded alone, and then in the words in which it occurs, with 
 such degrees of energy, as to come with marked distinctness, 
 force, and fulness on the ear. This exercise is to vary in pitch 
 as well as force, at least, through every note of an octave, 
 upward and downward, with force, fulness, and abruptness ; 
 and to be continued until he has acquired precision, facility, 
 and distinctness, in uttering them all. This sounding of the 
 elements contained in the several tables, is to constitute the 
 first exercise of the Student of Elocution, and persevered in, 
 until he has acquired what is above stated. 
 
EXPLOSION OF ELEMENTS. 
 
 The most important function of the voice, is the power of 
 explosion. This power can be manifested in the utterance of 
 any of the vowel elements. The vowel elements are the pro- 
 per sounds upon which the voice can exhibit and develope 
 this explosive function. All the vowel elements can be 
 exploded from the throat or glottis, with very great sudden- 
 ness and force. The .glottis and posterior parts of the throat 
 are the parts principally concerned in the production of explo- 
 sive stress. In exploding, there is a previous occlusion of the 
 glottis necessary, that the sound may suddenly burst forth from 
 behind this occluded part. Explosion, then, consists of a very 
 short, violent, full, and single effort, forcibly made from behind 
 the occluded part, upon any vowel element, by the sudden 
 action of the abdominal muscles. . This sudden and violent 
 effort may be made short and quick, in the way of a very short 
 and sudden cough from the very depth of the throat. In mak- 
 ing this cough, great care must be taken to exclude every 
 thing like aspiration, letting nothing be heard but pure vocality. 
 The sound must be free from hoarseness, huskiness, or aspira- 
 tion ; as coughing has more or less of aspiration mixed with it. 
 After the sound can be made purely vocal and distinct, then 
 more effort must be put forth, and by degrees, raised to the 
 utmost degree of percussive stress. 
 
 Let it be the special business of the teacher to see, and 
 know that the pupils can, and do bring the organs of speech in 
 the proper position to pronounce and explode with distinct- 
 ness and force, by the aid of the abdominal muscles, the several 
 vowel elements, as they are exhibited and illustrated in the 
 preceding table. Let them be exercised, on every degree of 
 pitch, from the lowest to the highest, of which they are capa- 
 ble, and with every degree of force and abruptness, from the 
 lowest and strongest vocality, to the most intense percussive 
 explosion that is capable to be given to them, by the exertion 
 of their utmost effort. 
 
 In commencing the exercise, begin with the lowest pitch, 
 and rising one note at a time, until the highest degree is at- 
 
EXPLOSION OF ELEMENTS. 27 
 
 tained, preserving throughout the utmost degree of force, ful- 
 ness, and abruptness,— particularly on the lower pitches. 
 
 In exploding, the lungs should be filled with air, and then 
 occluding it for a moment by closing the glottis, while a vio- 
 lent effort for expulsion is being made by the abdominal 
 muscles : and then suddenly letting it off with all the sudden- 
 ness and percussive stress, that can possibly be given. 
 
 In thus exploding the elements, great care should be taken, 
 that the lungs be filled and frequently replenished with air, 
 not suffering them to become exhausted or empty, during the 
 explosion : for it depends upon the full and frequent supply of 
 air in the lungs, that we are prepared to give strong feeling, 
 piercing energy, and electrifying vivacity, as well as distinct- 
 ness to our intonations. 
 
 The mouth should be opened as wide as possible, and the 
 sound made as far back in the posterior part of the throat as 
 possible, accompanying it with an effort, as it were, to drive 
 the air through the head as it passes out of the larynx. The 
 sound, at the same time, should be made short and abrupt, and 
 yet as full as it can. It may be represented by a disk or cir- 
 cle; thus A| ; to contradistinguish it from a long sound, 
 
 which may be represented by a cone Jm , or a swell in 
 
 music _ m ^^^p The report, when properly and correctly 
 made, should be as short and sudden, as the crack of a whip, or 
 the firing of a gun, and as loud, if possible, as the latter. In 
 other words, the explosion should be made with the very 
 highest degree of percussive force, and with the utmost strength 
 and fulness of tone. 
 
 This sudden and very forcible utterance of vowel elements, 
 is STRESS, in its most simple and elementary state, and in its 
 highest degree. This function of the voice is acquired only by 
 exercise or practice on the elements ; and it may be so ac- 
 quired as to be at the command of the speaker or reader, at any 
 time he wishes to employ it. It will be necessary to use it in 
 various degrees, and according to circumstances. The pupil, 
 however, may assure himself, that the acquisition of it for 
 speaking and reading, is worth all his pains, and that the only 
 mode of obtaining it, is by the method of exercise above recom- 
 mended. That audible and satisfactory distinctness in the 
 utterance of all syllables, (particularly the short ones,) which 
 
28 
 
 EXPLOSION OF ELEMENTS. 
 
 is heard in a very pleasant speaker or reader, is dependent on 
 the degree of percussive stress, with which they are exploded 
 by the voice. This same kind of explosive stress constitutes 
 one of the most important forms of emphasis; and it is the 
 natural symbol of great energy of feeling. If words are not 
 marked by a due degree of percussive or explosive stress, they 
 will not be audible through any extensive space. Brilliancy, 
 Sprightliness, and Energy of delivery, without which, reading 
 is insipid, and oratory has no existence, and which are essen- 
 tial to render a public reader or speaker interesting, are de- 
 pendent on a well executed stress. 
 
 As, then, the power of uttering the vowel elements, in the 
 manner prescribed, is necessary to a clear and distinct articu- 
 lation, (especially of the short ones,) and as it is one in which 
 practised speakers and teachers are very often deficient, 
 a table of the elements is here again subjoined. When the 
 student can explode them with facility and effect, he may be 
 assured that he has obtained a mastery of one of the most 
 important uses of his voice. 
 
 When a class is to be exercised, each individual should be 
 required to explode every element in the table, with the utmost 
 degree of force, united with abruptness, which he can com- 
 mand ; and after this, the whole class should pronounce or 
 explode them in concert. This practice will secure the 
 advantages of a strong and powerful voice ; of strength- 
 ening such as are naturally feeble ; and of giving fulness and 
 strength of tone to all, in proportion to their natural capaci- 
 ties. 
 
 It may be well, perhaps, to add, that we greatly doubt 
 whether persons generally will ever gain strength and ful- 
 ness of voice, in any other way than by exploding the elements ; 
 and it is also known, that persons with naturally feeble voices, 
 have been rendered capable of speaking forcibly, and impres- 
 sively in public, by a perseverance in the practice here 
 recommended. 
 
 When the seven elements and their compounds, are thus 
 made to be familiar to the ear and organs of speech, the words 
 which are used to illustrate the elements in the table, may be 
 pronounced and exploded in the same manner, that the ele- 
 ments were. Then, the elements and words should be ex- 
 ploded alternately, until facility, fluency, distinctness, and 
 force, are acquired. These are the proper means which will 
 give complete command over elements and words. 
 
EXPLOSION OF ELEMENTS. 29 
 
 It should always be kept in mind, that the SHORT VOWELS, 
 OR ELEMENTS, are t lie proper materials for the display of the 
 explosive function. 
 
 1 i in it, in, emit, yds, pretty, flit. 
 
 2 e " ell, egg, ex, edge, whence, shape, met. 
 3a" at, am, back, ash, patch, add. 
 
 4 o " ox, on, what, not, object, odd. 
 
 5 o " oat, coat, boat, tor/t, oh. 
 
 6 u " full, pull, wool, wolf, wood, woald. 
 
 7 u " up, itrr, her, sir, bjrth, myrrh, earth, mjrth. 
 Dipthongs : 
 
 i in eye, fine, v?'ce, fire, ay, ay. 
 
 u " you, few, duty, beaty, yu. 
 
 ou rt out, thou, now, poar, aw. 
 
 oi " oil, toy, voice, boy, ]oy, ]oice, ay. 
 
 ui " quire, choir, (pronounced kwkyr) way. 
 
 uoi" quoit, quoin, u kwoyn) w 9) r . 
 
 These should be exploded as short and as loud as possible. 
 Let the following character represent the sound, 
 
 Jfc 'I,' ' eye,' upward vanish; £^ < J,' ' eye,' downward vanish; 
 
 and in like manner, all the elements and words of the table. 
 
 Irregularity of Vowel and Diphthongal Sounds. 
 
 A familiarity with the elementary sounds will show ?f /irsf, 
 That the graphic characters, called letters, represent two 
 things, — the sounds by which they are themselves named — and 
 the real elementary sounds which enter into the vocal utter- 
 ance of syllables : second, That the elementary sounds heard 
 in pronouncing syllables, ought to be carefully distinguished, 
 from the sounds which constitute the names of the letters. 
 This distinction is important, because the sounds of the names 
 of the letters, and the sounds of the elements of them (for both 
 of which, letters stand as symbols,) are, though sometimes 
 alike, often entirely different. For example, a in age, has 
 the same elementary sound as is that of the name of the letter; 
 but this is not the case in the words all, many, arm, furnace, 
 and sugar. Hence, the letter a represents six different ele- 
 mentary sounds, as heard in the six preceding words, illustra- 
 ting these different elements. In the word ivh-i-ch, not one of 
 the sounds of the names of the letters, is heard. 
 
 Every language, to be perfect, ought to have a graphic 
 
30 EXPLOSION OF ELEMENTS. 
 
 alphabet, representing the several elements, so that every ele- 
 ment might have its own appropriate character or letter ; and 
 these characters, and none others, should be employed in 
 spelling; and no letter should be admitted into a word which 
 is not actually sounded. 
 
 As one letter is now often employed to indicate entirely 
 different sounds, and several letters sometimes stand for a single 
 sound, we must be careful not to suffer ourselves to be con- 
 fused by the written letter or letters in the words employed 
 for the illustration of the separate elements. The sound 
 actually heard m pronunciation, is the THING to which we 
 are to attend — the actual element. The same sound is the 
 same element, though represented (as it often is) by different 
 letters. We represent the same vowel sound by the different 
 combination of vowels in the following words : Jew, vievi, 
 adw, beauty. Again, we have the short sound of a, as heard 
 in age, represented by e in edge ; and so we hear the short 
 sound of e in era, on i in it. The two vowel characters ai, 
 variously combined with consonant characters, give the fol- 
 lowing different elements. They represent the element 
 
 of a in age, in the word ami, — (ame.) 
 of a in add, in the word plaid,— (pi ad.) 
 of i in in, in the word villain, — (villjn.) 
 of u in un, in the word Britazn, — (Brit tin.) 
 
 Thus may be seen, that the different combinations of vowel 
 characters with consonants, and different consonants wit-h 
 vowels, the elements are, in very many instances, changed 
 from their appropriate and distinctive sounds, according as 
 such elements can be made, in quick succession and with ease, 
 dependent on the parts of the organs of speech, employed in 
 the production of such elements. The following table exhibits 
 some of the many changes and irregularities inherent in our 
 language. And by frequently drilling and exercising children 
 and pupils on this table, so that they shall become familiar 
 with the changes and sounds, they will acquire a distinctness, 
 facility, ease, and grace, that can be secured by no other 
 method. 
 
 1 E long, as heard in eve, era, even, demesne, epoch, he, we, 
 me, premium, here, mere, precede. 
 " " on i, in machine, police, fatigue, valice, 
 
 ravine, marine, bastile, invalid. 
 
EXPLOSION OF ELEMENTS. 31 
 
 1 E long as heard on ai, in raisins, (re-zns.) 
 
 " " on ee, in eel, feel, feet, fleet, creed, see, thee, 
 
 spleen. 
 
 " " on ea, in yea, plea, ear, year, zeal, peal, 
 
 seal. 
 
 " " on ei, in either, neither, deceive, seine, con- 
 
 ceit, conceive. 
 
 " " on eo, in people. 
 
 " " on ae, in aegis, (egjs.) 
 
 " u on ia, in caviare, (ka-ver.) 
 
 " u on ie, in liege, mien, tier, coterie, orgies. 
 
 " " on oi, in turkois, (tur-kez.) 
 
 u u on oe, in foetus, antoeci. 
 
 " " on ey, in key, turnkey. 
 
 " " on uoi, in turqaois, (tur-ktz.) 
 
 " " on nay, in quay, (ke.) 
 
 1 E short as heard in emit, eject, elate, enunciate, antelope, 
 Penelope, yes, linen, pretty, goodness. 
 England, (ing-land.) 
 
 " " on i, in pin, fin, in, indivisibility, tin, im- 
 
 print, it, is, his, bit, dignity, masculine, 
 femenine, genuine, discipline, juvenile, 
 servility, spirit, vicinity, infinite, infi- 
 nity, terrible, issue, visage, aborigines, 
 antipodes, perfidious, Indian, (Ind-yun.) 
 
 " " on o, in women, (wim-in.) 
 
 " " on a, in furnace, visr/ge, (fur-nis, vjs-jj.) 
 
 " " on u, in business, (biz-nis,) basy, (biz-ze.) 
 
 " " on y, in sylvan, tyranny, syllable, typical. 
 
 " " on ai, in curtain, mountain, fountain. 
 
 " " on ay, in Sunday, Monday, &c, Sunde, &c. 
 
 " a on ee, in breeches, (britsh-is.) 
 
 u " on ei, in foreign, (for-in.) 
 
 " u on eo, in pigeon, (pid-jin.) 
 
 w " on ey, in mondz/, honey, barley, Pompey. 
 
 u u on ia, in carriage, marriage, parliament. 
 
 " " on ie, in sieve, sullied, studied, duties. 
 
 " " on oe, in oeconomy, oedematous, pigeon. 
 
 " u on oi, in tortois, shamois. 
 
 " " on ui, in qailt-d, gainea, circuit, bisciqt. 
 
 " " on uy, in plagwy. 
 
 " " on ua, in victuals, (vjt-tlz.) 
 
32 EXPLOSION OF ELEMENTS. 
 
 2 j? long as heard in age, fine, bane, ancient, parent, paper. 
 
 " " on e, in where, there, tete-a-tete, ere-long. 
 
 " " on aa, in *#aron, baal. hack. 
 
 " " on ae, in Gaelic. 
 
 " " on a?', in fair, pair, hail, paz'n, dram, airy. 
 
 " " on au 9 in ga?zge-r-ed-ing. 
 
 " " on ay, in may, day, pa?/, hay. 
 
 " " on ao 9 in gaol-er. 
 
 " " on ea, in tear, bear-er, swear-er-ing. 
 
 " " on ee, in e'er, ne'er. 
 
 u " on en, in connoisseur, (kon-na-srae.) 
 
 " " on ez, in their, heir, feign, obez-sance. 
 
 u u on ey, in he?/, Dey, prey, they, obei/. 
 
 " " on oei, in coup d'oezl. 
 
 2 *# short as heard in any, many, fortunately, alternately. 
 
 " " on e, in edge, ell, ex, whence, pet, bed. 
 
 " " on u 9 in bnry-ing-ed. 
 
 " " on ae 9 in Michael, Michaelmas. 
 
 " ? on ai 9 in against, said, maintain, again. 
 
 " " on ay, in says. 
 
 " " on ea, in stead-y-ily, dead, zealous-ly, deaf. 
 
 u " on ez, in heifer, nonpareil. 
 
 " " on eo, in jeopard-y-ize, feof-er-ment. 
 
 " " on ze, in friend-ly-ship. 
 
 " " on oe, in assafoetida, foetid. 
 
 " " on oi y in connoisseur, (kon-nes-sar.) 
 
 u " on we, in gz^ess-ing, boqwet, gzzest, gaerdon. 
 
 3ci long as heard in arm, art, par, ah, father, wrath, mana. 
 
 " " on aa 9 baa (of a sheep,) ma'am. 
 
 " " on e, in sergeant, (sar-gent.) 
 
 " " on au 9 in laundress, laz/gh, draz/ght. 
 
 " " on ea 9 in heart-en-y-burn-less, blood. 
 
 " " on ua 9 in gziard, gzzardian, gzzarantee-ty. 
 
 3 A short as heard in am, back, mat, wrap, granary, chalice. 
 
 " " on aa 9 in Isaac. 
 
 " " on ai 9 in plaid, railery. 
 
 " u on au 9 in lazznch-ing-ed, azmt, taant-ed-ing. 
 
 " " on ea, in pageantry. 
 
 M " on az, in martial, partial, plag/ary-rist-ism. 
 
 " " on ua, in piqaant. 
 
EXPLOSION OF ELEMENTS. 33 
 
 kA long as heard in all, fall, ball, call, war, thraldom. 
 
 " " on o, in or, nor, for, corpse, gone. 
 
 " " on au, in Pawl, maz/1, defraud, awght. 
 
 " " on aw, awl, cawl, drawl, shawl, bawl. 
 
 " " on eo, in George. 
 
 " " on awe, in awe-ful-ly. 
 
 " " on oa, in broad-cast-ness, abroad. 
 
 " " on 02, in reservoir, (rez-er-var.) 
 
 " " on ou, in owght, fowght, noaght, thoz/ght. 
 
 4 A short as heard in what, watch, wash, swallow, quantity. 
 
 " " on o, in not, forehead, yicht, (yot,) hod. 
 
 " u on e, in encore (ong-cor.) 
 
 " " on au, laurel, laz/danum, cauliflower. 
 
 " " on ou, in hoagh, (hok,) coagh, (kof,) trough. 
 
 " " on ow, knowledge, acknowledge. 
 
 5 long as heard in ode, oh, no, note, sloth, depot, sofa. 
 
 " " on ao y in Pharaoh, (fa-ro.) 
 
 " " on au, in hautboy, (ho-boy.) 
 
 " u on eo, in yeoman-ry. 
 
 " " on ew, in shew-bread, (sho-bred.) 
 
 " " on oa, in loathe, goad, hoary, loaf, hoax. 
 
 u " on oe, in toe, doe, hoe, foe, sloe. o'er. 
 
 " " on oo, in door, floor. 
 
 " " on ou, in foz/r, cowrt, dowgh, though, sowl. 
 
 " " on ow, in show, throw, bowl, tow, low. 
 
 " " on wo, in sword. 
 
 " u on eau, in bureaa, beaw, (bu-ro, bo.) 
 
 " " on owe, in owe. 
 
 5 short as heard in domestic, polite, decorate, democrat. 
 
 " " on ow, in sorrow, fellow, willow, borrow. 
 
 6 00 long as heard in coo, too, woo, moon, room, poor, mood. 
 
 " " on u in rule, ruin, suet, fluid, druid, lurid. 
 
 " a on o, in move, prove, to. 
 
 " " on ea, in rheum, rheumatism-tic. 
 
 " " on ew, in crew, flew, (cru, flu,) yew (yu.) 
 
 " " on oe, in shoe, canoe. 
 
 " " on ou, in tour, croup, grozzp, rendezvous. 
 
 u " on we, in pursue, clue, glue, rue, sue, true. 
 
 " " on uo, btioy (66-e.) 
 
 " " on ui, in juzce, sluice, cruise, nuisance. 
 
34 EXPLOSION OF ELEMENTS. 
 
 6 00 long as heard on ieu, in lieutenant, purlieu, messieurs. 
 " " on oeu, in manoeuvre -ing 
 
 u u on ew, in ewer (yu-er.) 
 
 " " on ewe, in ewe (yu.) 
 
 " " on wo, in two (tu.) 
 
 6 00 short as heard in wool, book, cook, foot, stood, good. 
 " " on o, in woman, bosom, wolf, worsted. 
 
 " " on u in full, puss, Russia, Prussia, cuckoo. 
 
 " " on we, in tissue, issue, statue, virtue. 
 
 " " on ui, in fruit, suit, recruit, pursuit. 
 
 " " on ou, cowld, wowld, should, bou-je. 
 
 7 U long as heard in urn, turn, burn, thrust, fur, uz, burst. 
 " " on o, in come, 16ve, dove, shove, above. 
 
 << " on e, in her, per, mercy, err, perfect. 
 
 " " on ea, pearl, earl-y, heard, earth-en-ly-y. 
 
 c < " on ue, in guerdon, querulous-ly-ness. 
 
 " " on ou. in scoarcre. 
 
 7 U short as heard in up, un, cut, cum, sun, unto, us, must 
 
 " " on i, sir, fir, first, virtue, virgin, girl, mirth. 
 
 " " on e, in clerk, were, reader, writer, printer. 
 
 " " on re, in nitre, lucre, massacre, centre. 
 
 " " on o, in onion, son, come, nothing, dozen. 
 
 " " on a, in sugar, vinegar, scholar, leopard. 
 
 " " on ai, in Britain, (Britun.) 
 
 " " on ea, in ocean, (o-shun.) 
 
 " " on eo, in surgeon, dungeon, escutcheon. 
 
 « " on la, in logician, physician. 
 
 « « on io, in action, motion, question. 
 
 " " on oo, in blood, flood. 
 
 " " on oa, in cupboard, (cub-btird.) 
 
 " « on oe, in does (dus.) 
 
 " " on oi, in avoirdupois. 
 
 « << on ou, in co?isin. trouble, cowple, cowrage. 
 
 « « on ow, in bellows, gallows. 
 
 « " on no, in liqzzor (lik-ur.) 
 
 " « on we, in answer (an-sur.) 
 
 « " on y, in myrrh (mivr,) myrtle (m\\r-tl.) 
 
 " " on eou, in gorgeoz/s (gor-giis.) 
 
 " " on iou, in fact/ows, anx?oas, consc?cas. 
 
EXPLOSION OF ELEMENTS. 35 
 
 The following; are compounds, or diphthongal, because they 
 are composed of two or more elements, united as closely to- 
 gether as possible, and pronounced or exploded by a single 
 impulse of the voice. 
 
 / long diphthongal, is composed of 'a' and <y, 5 and heard on 
 aye or eye, and also in file, pine, oblige, 
 oblique, horizon, piny, grind, sine, levia- 
 than, thine. 
 
 /long is heard on y, in fly, shy, pry, rely, tyrant, occupy, type. 
 
 " " ai, in aisle t^ayle or lie.) 
 
 " " ^in ciy (yes") 
 
 " " ei, in height-ening, heigh-ho, (hhyt,hhy-hb.) 
 
 " " fe, in die, hie-d, pie, lies, vie, tie, files. 
 
 " " ui, in cut bono, (to what purpose,) (kky- 
 bo-no.) 
 
 " uy, in buy, (bay or hi.) 
 
 " " eye, in eye, (ay) or I. 
 
 / short diphthongal, as heard in iambic, idolatry, idea, 
 idunea. 
 
 U long diphthongal, is composed of <y' and '*u, ? as heard on 
 yu or you, and also in Use, ure, tube, tune, 
 (yuse, uxxre, tyube, tyune.) 
 
 U long diphthongal, as heard oneu, in feud, deuce, feudal. 
 
 " " ew, in few, dew, fewd, (/yu, dyu, fuyd.) 
 
 " << ua, in mantua-maker (mantyu-maker.) 
 
 u u ue, in due, hue, imbue, subdue, endue. 
 
 " " tit, in juice (dzhyus.) 
 
 " " eat^, in beau-ty-tify (byu-ty.) 
 
 " w ieu, in adieu (a-dyu..) 
 
 u . " tew, in view-ed-ing (ryu.) 
 
 "' " ueue, in queue (kyu.) 
 
 U short diphthongal, as heard in unique, utility, singular, par- 
 ticular, regular. 
 " " ue, in ague, argue, revenue, avenue, retinue, 
 
 value. 
 " " eu, in grandeur (grknd-yur.) 
 
 OJJ compounded of 'a.' arid c w, ? pronounced as closely together 
 as possible, and heard in our, out, (out, owt,) and 
 also in thou, pound, without, stout, rout, flour. 
 
36 
 
 EXPLOSION OF ELEMENTS. 
 
 OU is heard on ow, in now, vow, cow, gown, town, endow, 
 how, mow, ow\, power, frown, prowess. 
 " " owe, in Howe (a man's name.) 
 
 " " o, in accompt (accownt.) 
 
 01 composed of '6' and 6 y, 9 sounded as closely together as pos- 
 sible and heard in oil, toil, (pronounced by\, 
 tby\,) and in voice, choice, joice, join. 
 
 O/is heard on oy in boy, ]by, coy, toy, employ, annoy, ahoy, 
 alloy. 
 
 EU compounded of c y' and 'u, 5 sounded as closely together as 
 possible, and heard in feud, feudal, amateur, deuce. 
 
 E W has the same sounds that eu have, as few, dew, ewer, new, 
 mew, (ya.) 
 
 IA compounded of y and 'a', as heard in filial, poniard, (fil- 
 ykl, pon-ykrd,) guaiacum (pronounced gwa-2/a-ctim.) 
 
 IE composed of '3/' and '£,' and heard in spaniel, Daniel, (y£l.) 
 
 " " y and <u,' and heard in brazier, glazier, gra- 
 
 zier, soldier, (pronounced brhz~yi\r, grkz- 
 yixr, sold-yur.) 
 
 " " 6 y> and 'e,' and heard in vizier (viz-yer.) 
 
 10 compounded of c y' and 4 u,' and heard in minion, pinion, 
 {min-yiin, pin-yun.) 
 
 1U have the same elements that <iV have : bdellium {del-ywn.) 
 UA sounds like <w 5 and <a,' and heard in assuage, persuade, 
 {as-sw&g, per-sv&d.) 
 
 u have the elements of <w ? and 'a,' as heard in equal-ly, 
 
 qaack. 
 
 " " " 4 w' and 'a,' as heard in quadrant, 
 
 quadratic, qaart, quarry. 
 
 " " " 'iv* and C £, J and heard in language, 
 
 {liing-gWLdzh) 
 
 JJE ' ' " l w* and <£', and heard in mansudtude, 
 
 qui en, consuetude, desuetude. 
 
 " Li " 'w'and^,' and heard in conquest? 
 
 request. 
 
EXPLOSION OF ELEMENTS. 37 
 
 ZZ/have the elements of c w' and c t,' and heard in languid, 
 
 languish, linguist. 
 
 UO " " c w' and c 6, 5 and heard in quote, 
 
 quota, quorum, quotidean. 
 
 AY composed of 'a' and 'y, ? and heard in ay, (yes, certainly) 
 AYE compounded of 'a ? and c y,' and heard in kye, (always, 
 
 ever,) e final is silent- 
 EAT], compounded of { y 9 and c u,' and heard in beauty (byu-te.) 
 EWE, composed of 6 y' and 'u,' and heard in ewe, (a female 
 
 sheep,) pronounced like yew, or ya- 
 EYE, compounded of 'a' and c y, 9 and heard in eye, pronounced 
 
 like the pronoun 1. 
 IEU, composed of y and c u,' and heard in adieu, (a-dyu.) 
 IEW, composed of 'y 9 and 4 u,' and heard in view, (vyu.) 
 UOY, compounded of 'u' and 'y, 9 as buoy, (bay or boy.) 
 
 A triphthong is the union of three elements, — one vowel, and 
 the two voco-aspirs 'w 9 and 'y 9 
 
 UO I, compounded of c w, 9 c o 9 and 6 y, 9 as heard in quom, quoit, 
 (kwoyn.) 
 
 01, compounded of c w, 9 'k 9 and c y, 9 as heard in choir (pro- 
 nounced kwkyr.) 
 
 UI, have the same elements as heard in quire (pronounced 
 kwkyr.) 
 
 The following combination of vowel characters are always 
 monothongal. 
 
 AA in baa sounds like 'a 5 in arm. 
 
 AE in Caesar sounds like 'e 5 in he. 
 
 AO in gaol sounds like 'a. 5 in age. 
 
 AU in taught sounds like 'a' in all. 
 
 AW in law sounds like 'a' in all. { 
 
 EA in clean sounds like 't 9 in he. 
 
 EE in reed sounds like 'e 5 in he. 
 
 EO in people sounds like 'e 5 in he. 
 
 EY in they sounds like 'a' in age. 
 
 OA in coat sounds like '6' in ode. 
 
 OE in oeconomy sounds like <e' in he. 
 
 00 in moon sounds like '\i 9 in rule. 
 
38 EXPLOSION OF ELEMENTS. 
 
 These following are monothongal and diphthongal. 
 Jil in aim sounds like 'a' in age. 
 AI in aisle sounds like 'a.' and 'y 9 in kysle or isle. 
 Elm celling sounds like <e' in he. 
 Elm height sounds like 'a' and 'y 9 in hay or hi. 
 IE in friend sounds like 'e' in edge. 
 IE in pie sounds like 'a' and 'y 9 in pay or pi. 
 CW in crow sounds like '6' in no. 
 OW m now sounds like 'a' -and 'w 9 in naw or now. 
 
 W 9 is a vowel only, when preceded by e, and requires the 
 radical stress on it, in intonating the syllable, and always has 
 the sound of 'u 9 in rule, or oo in 'coo? as heard in brew-er, 
 crew, drew;, flew, grew, slew, threw, dew, few, gew, hew, Jew, 
 mew, new, pew, view, yew, ewe, ewer, ewry; the five last are 
 pronounced vyii 9 yu, yu, ya-ur, yu-re. The 'e' has the sound 
 of <y.' 
 
 W 9 alone, never constitutes a syllable like other vowels, nor 
 can it ever confer the syllable character on any combination 
 of consonants, without the use of the vowel <e.' 
 
 The 'W 9 is a consonant or voco-aspir in every other possible 
 situation ; and its consonant element is very much like that it 
 has as a vowel, only less distinct and forcible, arising from its 
 being a squeezed and shortened sound of the 'oo 9 in 'coo 9 as 
 may be observed by alternately sounding the following words 
 distinctly and properly; as { woo,' 'drew.' If the lower jaw 
 be closely observed, it will be found closer together in sound- 
 ing the 'w 9 as a consonant, or in the first w r ord, than in the 
 second, or as a vowel. In the first word, we have the element 
 of 'w 9 as a consonant, and in the second, the element of 'w 9 as 
 a vowel. As a vowel it is synonymous with c oo,' in 'coo 9 or 
 'woo; 9 and the same as 'ew 9 in drew. And it must be observed, 
 by noticing the motion of the mouth in pronouncing the word 
 woo 9 that the lower jaw separates considerably as the voice 
 passes from the element of 'w 9 to that of 'oo. 9 
 
 W 9 is a consonant in the following words as well as at the 
 commencement of syllables, as mow, plow, now, brow, how, 
 cow, — the same as 'ou' in ' thou.' 
 
 W 9 as a voco-aspir, is heard on 'u 9 in the following: — lan- 
 guid-gujsh, queen, persuade, assuage, quack, equal, equality, 
 quart, quote, quotient, language; 'u,' in these instances, has 
 the sound of c w.' 
 
 W 9 is heard on 'o 9 in choir, (hwhyr or /cwir.) 
 
 W 9 is heard before 'o 9 in one (wcn>e 9 ) once (wons.) 
 
EXPLOSION OF ELEMENTS. 39 
 
 Y, is a vowel in every syllable in which there h no other 
 vowel sound; as type, thy, cry, fly. 
 
 Y, may form a syllable alone, as man-y, cop-y, (men~t, cop-t.) 
 
 Y, as a vowel, has the sound of i or e. 
 
 When c y' is long, and under the primary or secondary accent, 
 it has the elements of diphthongal i, as pry, my, tyre, defy, 
 comply, rhyme, pyre, hydraulics. When it is short, either 
 accented or not, it has the short element of e, as tyranny, syno- 
 nymy, (fer-a/i-Tie, sz-nqn-nt-mt,) sympathy, system, symptom, 
 syllable, holy, duly, any, many. 
 
 Y, as a consonant or voco-aspir, is sounded by bringing the 
 organs of speech into that position necessary to pronounce the 
 6 e 5 in 'he, 9 but having the front teeth slightly to touch, and, 
 thus placed, commence the subsequent vowel element. The 
 element thus produced will be a squeezed sound of the element 
 of the c e ? in he. This may be demonstrated by pronouncing 
 the word 'ye, 5 in which the 'y 5 and 'e 5 alone are used. The 
 teeth will be observed to separate a little, while the voice 
 passes from the element 'y 9 to that of <e,' as ye, ye, ye. This 
 element of the c y 9 is, then, nothing more nor less than the 
 squeezed element of ( e, 9 and is heard in the two following 
 vowel characters, 'e 9 and Hf joining another vowel in the same 
 syllable. 
 
 01 sounds like 6j/, as join, boil, soil, hoist, {joyn, boyl, soy/, 
 
 hoyst.) 
 EU sounds like yu, as feud, deuce, (fyud, dyus.) 
 IA sounds like ya, as poniard, filial, (pon-yard, fll-yal.) 
 IE sounds like ye, as spaniel, Daniel, (span-yel, Dan-yel.) 
 IE sounds like yti, as brazier, soldier, glazier, (braz-yur, 
 
 sold-yUr, glaz-ytir.) 
 IE sounds like ye, as vizier, (vlz-yer.) 
 10 sounds like yU, as minion, pinion, (min-ytm, pin-ytin.) 
 IV sounds like yu, as bdellium, (del-yum.) 
 EW sounds like yu, or diphthongal u, having the elements of 
 
 'eu' in fewd, as few, pew, dew, hew, mew. 
 
 In these instances e has the sound of 7/, and the ew have the 
 sound of yu — the same as diphthongal u. 
 
40 CONSONANT ELEMENTS. 
 
 Table of the Consonant Elements. 
 
 In the following table, the letter or letters, representing the 
 consonant elements, are distinguished by being put in italics. 
 The mind must be specially directed to the sound of these 
 letters, as heard in the proper pronunciation of the words and 
 syllables, given for illustration. The position of the organs of 
 speech should also be noticed, with a view to form or sound 
 any of the elements at pleasure. The words illustrating the 
 elements should, first, be pronounced very slowly, until the 
 ear catches the sound. The element should then be sounded 
 alone, or separately from the rest of the letters in the word, 
 and then with the other letters in the syllable ; and thus alter- 
 nately sounding the syllable or word, and then the element 
 alone, until the mind has a clear and distinct perception of the 
 element, and thus the individual will acquire great facility in 
 assuming the appropriate position of the organs, necessary to 
 produce the elements. 
 
 1 b in 6a, bo, ab, ob, bab, bib, brag, 6ri6e. 
 
 2 d " do, did, acta/, odd, druid, hid, ant/, hand, deed. 
 
 3 f " / or ? /°g 5 fife } — ' P? ? m sapphire ; — ' ph, 5 in seraph. 
 
 4 g " go, give, gave, gag, gig, gog, flag ; < dzh,' in gilt. 
 
 5 A " he, have, Aad, Aim, Aind, her, hurl,. 
 
 6k" koo, kick ; 6 q,' in quick ; ' c,' in coo ; 6 ch,' in cAord. 
 11" low, Zip, a//, will, lol, Idly, shall. 
 
 8 m " me, ma, mo, &im, rum, maim, member. 
 
 9 n " no, now, nun, non, in, on ; ' m,' in cowptroler. 
 
 10 p "pa, pie, par, pump, prop, apt, up, tip, wrap. 
 
 11 r* "(vibrant,) raw, run, pray, fright, roar; — ' r,' smooth, 
 
 as war, err, or, tour. 
 
 12 s " so, saw, sum, os, us, hiss ; c c,' in cite. 
 
 13 t " to, tie, it, lit, sit ; < tsh,' in virtue, (virtshue ;)"' b,' in 
 
 subtle ; — < d,' at the end of participles having either of 
 the aspirs, p, k, s, c,f, sh, th or cA; as wiped, wal/c- 
 ed, chased, traced, cuffed, i\ushed, toothed, pitcAed. 
 
 14 v " view, vine, veal, vie, valve, volve, give. 
 
 15 w" woo, we, will, were, wool, water ; ' u, ? in queen, (kween.) 
 
 =* When the « r' is followed by a vowel, it should be made by vibrating the 
 tip of the tongue against the gums of the upper front teeth, and hence it may 
 be called the vibrant « r.' When the < r' follows a vowel, it is called the 
 smooth < r,' because the sound is made smooth by moving the point of the 
 tongue backward, toward the roof of the mouth, with a slightly tremulous 
 motion of it. This element should always be made short, when it is trilled, 
 or made vibrant or rough. 
 
CONSONANT ELEMENTS. 41 
 
 16 y " ye, yes, you, yield , c h,' in Junior (yumor) ; — c j,' in 
 
 halleluja (halieluya) ; ' e 9 in .Europe (yurope) ; 'i,' in 
 pinzon (pin-yzzn). 
 
 17 z " ^eal, zone, addz ; c s,' in is, was ; l c,' in discern. 
 
 18 th " Mou, Mine, Mem, Men, wiM, beneaM, bequeaM. 
 
 19 M " Min, Mird, Mumb, Mick, fourM, sixM, MousanM. 
 
 20 sA " sAe, sAall ; wasA ; ' s,' in sure ; ' t,' in partial. 
 
 21 2A" azure 5 l s,' in treasure pleasure, fusion, precision. 
 
 22 wh •" wAat, wAich, when, whence, where, wAither. 
 
 23 Tig " smg, sang, sung ; c n, 5 in sanguine, tharck, bawk. 
 Thus, we see, there are twenty-three consonant elements, but 
 
 seventeen characters, only, by which they are represented. 
 They are b, d, f, g, h, k, 1, m, n, p, r, s, t, v, w, y, z * 
 
 Some of these are united, to represent a simple elementary 
 sound ; as th, sh, ch, zh, wh, and ng. Others represent differ- 
 ent elements ; b, d, f, g, h, m, p, s, t. B, represents its own 
 peculiar sound or element, in ' ab, 5 and has the sound of 6 t,' in 
 subtle. 
 
 D, sounds like ' t,' in < wiped,' besides its own in ' add.' 
 
 F, has its own sound in i if, 9 and that of ' v.' in ' of 9 
 
 G, has its own element in " egg, 9 and that of ' k,' in 
 strength,' and ' dzh,' in i gin' (dezhin). 
 
 H, has the sound of ' y,' in Aumor (yumor), besides its own 
 distinctive sound in ' he,' ' hew.' 
 
 M, represents its own element in c im, 9 and that of 'n,' in 
 co^troler. 
 
 P, in ' up has its own sound ; and in sapphire it has the 
 sound of ' f. 9 
 
 S, besides its own sound, as heard in <os,' has the sound of 
 1 z, 9 in i is,' i his ;' — of ' sh,' in ' sure/ ' sugar ;' — and of ' zh,' 
 in ' pleasure,' l fusion.' 
 
 T, in < at,' has its own proper sound, and in { partial,' it has 
 the sound of ' sh.' 
 
 L, sounds like ' r ; ' in colonel (kur-nel), besides its own in 
 'a//.' 
 
 Others again represent the same identical element ; as c k,' 
 1 g,' ' c ;' the element is heard on ' k, in ' kick, 9 on the ' q,' in 
 1 juilt' (kwilt), and on the <c,' in ' can' (kan). 
 
 J, G, X, Q, C, CH. 
 
 These are always representatives of some one or more of 
 the twenty-three consonant elements, and have no distinctive 
 elements of their own, except ■ g.' 
 
 * c, y q, x, are not included, because they always represent other elements, 
 and have, therefore, no distinct element of their own. 
 
42 CONSONANT ELEMENTS. 
 
 J, is ever compound, and uniformly has for its constituents 
 the second and twenty-first elements, or ' d' and i zh ;' as ' joy,' 
 ' John,' ' judge;' pronounced, dzhoy, dzhon, dzhodzh ; except 
 when it has the sound of ' y ;' as in hallelu/a, (hallelut/a.) 
 
 G, besides the sound as a simple element, being the 4th in 
 number, represents the same elements as 'j,' as heard in 'gin,' 
 ' gin ger,' George (dzhin, dzhindzher, dzhordzh). In short, it 
 has the sound of 'j' in all cases where it is a compound; as 
 elegy, (el-t-dzht). 
 
 X, sometimes has the sound of ' ks' (the sixth and twelfth 
 element), as heard in ' wax,' ' tax' (waks, taks) ; at other times 
 it represents ' gz' (the fourth and 17th), and heard in ' exist,' 
 ' exert' (eg-zist, eg-zert). X, has also the sound of ' z,' in the 
 beginning of words ; Xerxes, Xyster, Xenophon, (Zerks-es, 
 Zister, Zen-o-fun). At other times, again, f x' represents 
 ' ksh,' (the sixth and 20th ;) as anxious, luxury, (ank-shus, luk- 
 shury.) In every instance ' x' represents one or the other of 
 the twenty-three elements, either ' ks,' • gz,' ' z,' 'ksh.' 
 
 Q, has always the sound of fc k ;' as quart, quaff. 
 
 C, has no element of its own, yet it represents six different 
 sounds, viz : t, s, k, sh, tsh, and z. It has the sound of ' s,' in 
 city, cent ; and of ' k,' in cut, cab ; and of ' sh,' in social ; of 
 ' t,' in victuals, (vit-tls,) and of ' tsh,' in violuncello, (violun- 
 tsheWo • and of i z,' in discern,' (diz-zurn.) 
 
 CH, represents ' t' and ' sh,' (the thirteenth and twentieth ;) 
 as ' marcA,' ' chief,' ' church,' (martsh, tshief, tshurtsh.) CH, 
 represents, at times, ' k,' (the sixth element,) as ' chord,' 
 cAaos,' (kord, kaos,) it, at other times, again, has the sound of 
 'sh, (the twentieth element,) as 'chaise,' 'chagrin,' (shais, 
 shagrin.) In ostrich, ' ch' has the sound of ' dzh,' as os- 
 tridzh. 
 
 We, very frequently, use letters which are not sounded, or 
 are silent. The italics in the following list are silent ; as 
 ghost, KaAn, rAetoric, comptroler, accomptant, scene, migAt, 
 frigAt, column, kiln, isle, corps, viscount, dracAm, icrite, ta/k 
 wa/k, demesne, apostle, listen, mortgage. 
 
CONSONANT ELEMENTS. 
 
 43 
 
 - - - ( might 
 
 sub-vocos 
 \ and 
 sub-aspirs 
 
 zone 
 storie 
 
 then 
 thin 
 
 { night 
 Zight 
 right 
 
 semi- 
 vocos. 
 
 tan > 
 
 azure 
 sAore 
 
 was 
 what 
 
 s- 
 
 per-vocos 
 
 and 
 per-aspirs. 
 
 * The small braces connect a voco and an aspir ; and the elements of the 
 italic letters, in each pair, are made by the same position of the mouth; the 
 upper, in each pair, being a voco and the lower an aspir, respectively. 
 
 Note. — The letters j, g, x, q, c, ch, are made under one or the other of the 
 above positions of the mouth, according to the elements which they may represent. 
 
44 CONSONANT ELEMENTS. 
 
 Classification of the Consonant Elements. 
 
 The classification of the consonants, may be made on the 
 principle of their formation in the glottis and the mouth. 
 They may, (by observing this principle,) be divided, as before 
 directed, into two general classes, viz ; Aspirs and Voco- 
 aspirs, 
 
 The Voco-aspirs are such as have a vocality made in the 
 glottis, united and modified by an aspiration, buz, or murmur, 
 made in the mouth or nose. The Aspirs are such as have no 
 vocality, but are made in the mouth only, by the air or breath 
 passing through it, in some particular manner. The following 
 table exhibits them in pairs, as they correspond to each other 
 in their formation. 
 
 Sub. Per. Semi. Compounds. 
 
 Voco-aspirs, b,d,g. v, w, z, th, zh, y. m, n, 1, r, ng. gz,j,g. 
 Aspirs, p, t, k. f, wh, s, th, sh, h. x, ch. 
 
 Q, has uniformly the sound of c k. 5 C, has either the sound 
 of k, s, sh, tsh, or z ; — where ' c ? has the sound of 'k, 5 <s,' ' sh, 5 
 or s tsh,' it is an aspir ; where it sounds like i z,' it is a voco. 
 Where ' x' represents the elements of i ks' or ' ksh,' it is an 
 aspir ; and where 6 gz' or ' z,' it is a voco-aspir. / and G are 
 always vocos, because 6 dzh,' their constituents, always are. 
 Cff, are always aspirs, except in ostricA, as ostridzh. 
 
 These two divisions may again be further divided ;— the 
 Voco-aspirs into Sub-vocos, Per-vocos, and Semi-vocos; — the 
 Aspirs into Sub-aspirs, and Per-aspirs. 
 
 The Sub-voco-aspirs are such as have the sound made in the 
 glottis, but with the mouth and nose perfectly closed, the air 
 accumulating in the posterior part of the mouth immediately 
 above the glottis; thus producing a Sub or under Vocality, by 
 occluding, for a time, the air in the mouth and nose, and then, 
 suddenly leaving it off with a little vocule or puff. There are 
 only three ; as b, d, g ; as ab, ad, eg. 
 
 Sub-aspirs are such as are made without any vocality, by a 
 perfect occlusion of the air, compressing it in the mouth to 
 some extent, and then suddenly letting it off with a vocule or 
 puff. There are three elements of this sub-division, corres- 
 ponding to the three sub-voco-aspirs. 
 
 Sub-vocos b, d, g — ab, ad, eg. 
 Sub-aspirs p, t, k — ap, at, ak. 
 
 The Per-vocosare such as have a vocality made in the glot- 
 tis, but so modified by the different parts of the mouth and 
 
CONSONANT ELEMENTS. 45 
 
 nose, as to give to the sound a kind of buzzing vocality, by 
 compressing or squeezing the air, as it were, in its passage 
 through the mouth. There are six of them, and are heard on 
 the italics in the following, 
 
 v, w, z, th, zh, y ;— as van, will, adz, thee, azure, you. 
 
 The corresponding Per-aspirs are such as are not made in the 
 glottis, like the Per-vocos, but in the mouth alone, by the action 
 of the air on the different parts of the mouth, as it passes 
 through it, producing an aspiration or hiss. There are six 
 corresponding to the per-vocos, 
 
 Per-vocos v, w, z, th, zh, y ; as vine, will, adz, thee, azure, you. 
 Per-aspirs f, wh, s, th, sh, h; as if which, o?, thin, she, he. 
 
 The Semi-voco-aspirs are such as have a vocality or sound in 
 the glottis, but so modified by the tongue, lips, teeth, gums, 
 roof of the mouth, and nose, as to give to the sound a kind of 
 impure vocality, approaching somewhat nearer to a pure 
 vocality, than any of the preceding subdivisions. There are 
 five of them, viz : 
 
 Semi-vocos m, n, 1, r, ng ; as, am, an, all, or, sing. 
 
 The following is a view of the classification of the con- 
 sonants as above described, embracing also a division of them, 
 into tibial, dental, and palatal, from the places in the mouth at 
 which they are made, 
 
 -a s -3 
 
 Sub-vocos, b, 2, g. Per-vocos, v, w. z, th. zh, y. 
 Sub-aspirs, p, t, k. Per-aspirs, f, wh. s, th. sh, h. 
 
 Semi-vocos, m. n, 1. r, ng. 
 
 It should here be noticed, that the letters stand in pairs; the 
 labials b, p; the dentals d, t; and the palatals g, k. The 
 aspirs p, t, k immediately under the vocos b, d, g, indicating 
 that the same general position of the organs of speech, are 
 necessary for the production or formation of the elementary 
 sounds of each pair ; only that the upper have vocality added 
 to the lower ; the lower being an aspiration only, and the 
 upper a vocality added to that aspiration. 
 
 Let us here exemplify this in the following : ( b' is the 
 upper and i p' the lower, and the first pair ; the ' p' is sounded 
 by the tongue being in its natural place, the teeth a little sepa- 
 rated, and the lips pressed tightly together, and in this position 
 
46 CONSONANT ELEMENTS. 
 
 of the organs, make an effort to expel air, but occluding it for 
 a moment, and then suddenly letting it off in a vocule or puff, 
 by suddenly separating the lips ; thus we have the element of 
 6 p.' All that is necessary to give the element of ' b' is, keep- 
 ing the above position of the organs, only to add vocality 
 when the effort is made to expel air, letting it accumulate in 
 the posterior part of the mouth, and making the vocule not 
 quite so sharp as for the ' p.' These are called labials, because 
 they are principally made with the lips. 
 
 The same thing may be observed of i d' and % 9 as also of 
 c g' and ' k ;' the former two are dental, because the teeth are 
 principally used in making them ; and the latter are palatal, 
 because they are made by the aid of the palate or roof of the 
 mouth ; as ' gag,' ' /cic/c.' 
 
 When we bring the lower lip in contact with the upper 
 teeth, and make a hissing sound pass through them, we have 
 the element of ' f.' Now, to produce the element of ' v,' only 
 add vocality to this, and a buzzing sound is heard, which is the 
 element of ' v' to perfection. 
 
 In giving a description of the consonant elements, we shall 
 take them up in pairs, in the order in which they stand in the 
 foregoing table, with a view to show their agreement with 
 each other, and their difference. 
 
 Sub-vocos, b, d, g. 
 Sub-aspirs, p, t, k. 
 
 i?, is a compound of vocality and aspiration united ; the first 
 constituent is made in the glottis by having the tongue in its 
 natural place, the teeth a little separated, the nose closed, the 
 lips tightly pressed together ; and in this position of the 
 organs, make an effort to sound the 6 u' in ' up,' which gives a 
 sub-vocality or guttural murmur, letting the air accumulate in 
 the nose and posterior part of the mouth, and then letting it 
 off in a vocule or puff, by suddenly separating the lips, as b, b, 
 ab. This sub or smothered vocality is the first constituent ; 
 and the vocule following, constitutes the second, b, ba, ab. 
 
 P, is a simple element or aspiration, and made with the 
 organs of speech, precisely in the same position necessary to 
 produce the first constituent of c b.' The lips being tightly 
 pressed together as for ' b,' make an effort to expel air, but 
 occluding it for a moment, and then letting it off in a vocule 
 or puff, by suddenly separating the lips ; and thus we shall 
 have the element of * p,' which is but a vocule, puff of air ; or 
 an aspiration ; as p, p, ftp, up. 
 
CONSONANT ELEMENTS. 47 
 
 The second constituent of c b,' and the element of ' p' are 
 alike, with this difference ; that of i p ? is sharp and strong, and 
 that of 6 b' is flat and weak. Compare them, b, p, b, p. 
 
 Z), is a compound of vocality and aspiration ; the first is made 
 in the glottis, by having the nose closed, the lips and teeth a 
 little separated, and the tongue pressed against the gums of the 
 upper front teeth, and then making a vocality by an effort to 
 sound the ' u' in ' up, 3 letting the air accumulate in the nose 
 and posterior part of the mouth. The second is heard imme- 
 diately after the first, by letting off the air in a vocule, by sud- 
 denly depressing the tongue, and thus we have the element of 
 6 d ;' as d, d, ad, od. The first constituent is a smothered or 
 sub vocality, the second is a vanishing vocule. 
 
 T, is a simple element, which is made, like that of c d,' by 
 having the nose closed, lips and teeth a little separated, and 
 the tongue pressed against the gums of the upper front teeth, 
 and then making an effort to expel air, but occluding it for a 
 moment, then letting it off in a vocule, by suddenly depress- 
 ing the tongue. And thus we shall have the element of ' t •' 
 as, t, t, at, it. 
 
 The vocule of ' d' and the element of 6 1, 5 stand in the same 
 relation to each other, as the same parts of ' b' and c p.' The 
 element of i V is but a sharp vocule, and the last constituent of 
 4 d' is a weak one. The same position of the organs of speech 
 will produce both. The one is preceded by a smothered 
 vocality, and the other is not. 
 
 G, is a compound of a vocal and an aspirate sound. The 
 first is heard in the glottis, by pressing the root of the tongue 
 against the palate of the mouth, and thus making a kind of 
 nasal sub-vocality, or nasal murmur. The second is made im- 
 mediately after the first, by letting off the air in a little puff, by 
 suddenly depressing the tongue ; and this is the finished ele- 
 ment of < g ;' as, g, g, og, go. 
 
 K, is a simple element, which is made by pressing the root 
 of the tongue against the palate of the mouth, and then making 
 an effort to expel air, but occluding it for a moment, then let 
 it off in a vocule by suddenly depressing the tongue, and we 
 have the element of ' k ;' as, k, k, ak, ik. 
 
 Thus we see, that c b' and c p' are made by the same posi- 
 tion of the organs of speech, principally by the lips ; and there- 
 fore called labials. The c d' and 6 V stand in the same relation 
 to each other, but made by the aid of the teeth ; and therefore 
 are called dental. The 6 g' and c k' are also made by a similar 
 position of the organs of speech, and by the aid of the palate 3 
 
48 CONSONANT ELEMENTS. 
 
 therefore they are called palatals; the tongue being a common 
 organ. 
 
 In sounding the sub-vocos, we should keep it distinctly in 
 the mind, that the nose is not perfectly occluded, but that a 
 very small current of air does actually pass through it, during 
 the production of these elements, giving to them that naso-gut- 
 tural murmur, by which they are so clearly distinguished. 
 From this circumstance, then, these elements may be pro- 
 tracted to an indefinite quantity, and therefore may be made 
 more forcibly and distinctly. It is not an inconsiderable ac- 
 complishment to be able to execute these elements with force 
 and distinctness, and on the higher as well as the lower 
 ranges of the pitch of the voice. 
 
 Per-vocos, v, w, z, th, zh, y. 
 Per-aspirs, f, wh, s, th, sh, h. 
 
 The constituents of the sub-vocos appear to follow each other in 
 succession ; not so with the per-vocos. In these, the constitu- 
 ents commingle with each other, and are simultaneously pro- 
 duced. The sound in the throat and in the mouth occur at 
 the same time. 
 
 V, is a compound of vocality and aspiration. The vocality 
 is made in the glottis, and the aspiration at the same time, by 
 the under lip gently touching the upper front teeth. The 
 under lip thus placed, endeavor to sound the ' u, 5 in ' up, 5 let- 
 ting the air pass out between the lip and teeth with a buzzing 
 sound. Thus we hear the element of ' v ; as, v, v, ?;ane, tune 
 vinegar, giz;e. 
 
 F, is a simple element, which is made by gently touching 
 the under lip by the upper front teeth, and, in this position of 
 the parts, force the breath out between the lip and teeth, with 
 a hissing sound or aspiration, which gives the element of ' f ; 5 
 as,/,/, i/o^/ar. It will be observed that the same position of 
 the lip and teeth is necessary to produce the elements of ' v 5 
 and ' f, 5 and, therefore, are called labial. 
 
 W, is a compound of vocality and aspiration. The first 
 constituent is made in the glottis, by sounding the i oo, 5 in 
 4 coo ;' and the second, by slightly protruding the lips, as in 
 whistling, separating them a little, as also the teeth ; then, in 
 this position of the organs, endeavor to sound the c oo, 5 in 
 6 coo, 5 or 6 u, 5 in ' rule, 5 letting the air vibrate against the roof 
 of the mouth, before it passed out between the slightly protu- 
 berant lips, with a kind of buzzing or squeezed sound. This 
 
CONSONANT ELEMENTS. 49 
 
 squeezed c oo,' or 6 u,' is the element of ' w;' as w, w, woo, 
 we, was. 
 
 The ' w' and i v' are very frequently confounded by some 
 persons. When they would say 'wine/ they say ' vine ;' — 
 ' vere' for < where ;' — and ' winegar for i vinegar.' Attention 
 to the proper position of the lips in the production of these 
 elements, with frequent exercise on them, by way of contrast, 
 or in alternate succession, will enable them to correct the 
 fault, and give facility, fluency, and distinctness in their utter- 
 ance. Exercise on ve, we, ve, we — va, wa, va, wa — va, wa, 
 va, wa, &c. 
 
 WH, represents a simple elementary sound, which is made 
 by the lips a little separated and protruding, as in whistling. 
 When, in this position of the mouth, the air be propelled out 
 between the protruded lips, with an aspirated whistle, the 
 elements of ' wh' will be heard ; as which, wh&t, whim, wh, 
 wh. Again, let the ' h'.be sounded before the ' w ;' as hwich, 
 hwat. 
 
 Z, is a compound of vocality and aspiration. The first is 
 made in the glottis, and the second while the front teeth are 
 nearly touching ; the point of the tongue is gently pressed 
 against the upper front teeth and gums, and thus endeavor to 
 make the vocality of 'u,' in ' urn, 3 by forcing the air out over 
 the point of the tongue, with a distinctly buzzing sound. 
 This buzzing sound of the c u,' in ' urn,' modified in this way, 
 is the element of < z ;' as z, z, zone, zeal, zephyr. 
 
 S, is a simple elementary sound, made by having the front 
 teeth nearly touching, and gently pressing the point of the 
 tongue against the upper front teeth and gums • and thus 
 somewhat forcibly pressing air out over the point of the 
 tongue, with an aspiration or hissing sound, like that of a 
 cross goose. This hiss is the element of ' s ;' as s, s, os, us. 
 
 Lisping is caused by substituting ' th' aspir, for ' s,' and 
 may be cured by practice on these two elements, separately 
 or in combination. The tongue must not be permitted to come 
 between the teeth in giving the element of c s,' but in ' th' it 
 may. Exercise on 
 
 Se,thi; sa, tha. ; sa,tha; saw, thaw: so,tho; su, thu; sup, thup. 
 Read the description of the production of the elements of ' s' 
 and ' th' aspir, then exercise on the above. 
 
 TH, as a voco, is a compound of vocality and aspiration. 
 
 The first is made in the glottis, and the second at the same 
 
 time, by slightly pressing the point of the tongue between the 
 
 teeth, or against the upper front teeth, and thus endeavor to 
 
 3 
 
50 CONSONANT ELEMENTS. 
 
 sound the c u,' in 6 urn,' letting the air pass out over the point 
 of the tongue, and between it and the teeth ; and thus will be 
 heard a kind of flat, hissing sound, or buzzing, which is the 
 element of the voco ' th ; as th, th, then, there, with. 
 
 TH, aspir is a simple element, made by slightly pressing the 
 point of the tongue between the teeth, or against the upper 
 front teeth, and thus letting air pass over the point of the 
 tongue, and between it and the teeth, the element of ' th 5 aspir 
 will be heard in a kind of hissing sound, without any vocality ; 
 as th, th, thin, thick, truth, sixth. 
 
 It will be observed, by comparing the voco and the aspir 
 6 th,' that they are made by the same position of the teeth 
 and tongue — the one is a buzzing vocality, the other is an 
 aspiration. 
 
 The c z' and 6 th' as vocos, and their corresponding c s' and 
 6 th' aspirs, cannot be made without the use of the teeth ; they 
 may, therefore, be properly called dental, to designate the 
 place in the mouth for their formation. 
 
 ZH, is a compound of a vocal and of an aspirate sound. 
 The vocality is made in the glottis, and the aspiration at the 
 same time, by elevating the tongue a little toward the roof of 
 the mouth, spreading it laterally against the front grinder and 
 eye teeth on both sides, leaving space for the air to pass out 
 over the point of the tongue, and, in this position, endeavor 
 to sound the i u,' in 6 urn,' making the air to pass over the 
 point of the tongue with a strongly buzzing sound. This 
 buzzing constitutes the element of 6 zh,' or c z,' in a^ure, or 
 of ( s,' in pleasure, fusion, precision, zh, zh. 
 
 SH, is a simple elementary sound, made by elevating the 
 tongue toward the roof of the mouth, and spreading it late- 
 rally against the front grinder and eye teeth on both sides, 
 leaving room for the air to pass out over the point of the 
 tongue, and, in this position of the parts, let the air pass over 
 the tongue without any vocality, but a kind of flat aspiration, 
 and we shall have the element of ' sh ;' as sh, sh, she, sAame, 
 bush. 
 
 Y, is a compound of vocality and aspiration. The first con- 
 stituent is made in the glottis, by sounding the 6 e,' in < he,' 
 and the second while the tongue is a little elevated and pressed 
 against the anterior upper grinders on both sides, the lips 
 and teeth a little separated ; the organs, then, thus placed, 
 sound the < e' in ' he,' letting the air pass out over the tongue, 
 giving a buzzing or squeezed sound of the vowel c e,' and we 
 shall hear the element of ' y ;' as y, y, ye, jou, your, yes. 
 
CONSONANT ELEMENTS. 51 
 
 H, is a simple element, made by bringing the organs of 
 speech into that position necessary to sound the vowel ' e, ? or 
 any other vowel, and the organs thus placed, let air pass out 
 with a gentle jerk, or a short forcible breath ; for it is but an 
 aspirated breath, and thus we shall hear the element of < h ;' as 
 Ae, M, Aah, Aaw, Aoe, Aoo, Aiih. It is but a short forcible 
 breathing before a subsequent vowel. 
 
 H, is silent after every vowel, or at the end of words or 
 syllables, and after every consonant in the same syllable ; as 
 aA, oA, IsaiaA, JoAn, rAetoric, KAan, pAtAesis, (te-s&s.— ) 
 
 Semi-vocos, m. n, 1. r, ng. 
 
 M, is a compound of vocality and aspiration. The first 
 constituent is made in the glottis, and the second, at the same 
 time, in the mouth, by separating the teeth and closing the 
 lips completely ; the organs being thus placed, endeavor to 
 sound the * u ? in ' urn, 5 letting the air pass out of, and through, 
 the nose, and we shall hear the element of ' m;' as m, m, 
 &m, im, urn. 
 
 N, is a compound of vocality and aspiration. The first is 
 made in the glottis, and the second, at the same time, in the 
 mouth, by having the lips and teeth separated, and the point 
 of the tongue pressed against the upper front teeth and gums. 
 The organs being thus placed, sound the ' u' in ' urr,' letting 
 the air pass through the nose, and thus we shall have the 
 element of ' n f as a/i, in, n, n, no. 
 
 L, is a compound of vocality and aspiration. The first con- 
 stituent is made in the glottis, and the second, at the same 
 time, in the mouth, by having the lips and teeth separated, 
 and the point of the tongue brought lightly to touch the upper 
 front gums and teeth. The parts thus placed, endeavor to 
 sound the i u 5 in 6 urr,' letting the air pass out on both sides of 
 the tongue, and then we shall have the element of ' 1 ;' as I, /, 
 a//, ill, ell. 
 
 R, is a compound of vocality and aspiration. The first is 
 made in the glottis, and the second, at the same time, in the 
 mouth, by having the lips and teeth a little separated, and the 
 point of the tongue elevated toward the anterior part of the 
 roof of the mouth; then, for the trilled 'r,' make the tongue 
 to vibrate with some force against the upper gums ; and, for 
 the smooth i r,' draw the point of the tongue toward the arcb 
 of the mouth. In either of these positions of the organ? 
 
52 CONSONANT ELEMENTS. 
 
 endeavor to sound the < u' in c urr,' letting the air pass out on 
 both sides, .and over the point of the tongue, giving to it a 
 tremulous motion ; and thus we shall have the element of ' r,' 
 trilled and smooth ; trilled when it precedes a vowel, and 
 smooth when it follows one ; as raw, rough, rip, drive — fair, 
 fur, far, tier, war.* 
 
 NG, is a compound of vocality and aspiration. The first part 
 is produced in the glottis, and the second at the same time in 
 the mouth, by having the lips and teeth a little separated, and 
 the root of the tongue elevated against the palate. The organs 
 thus placed, endeavor to sound the ' u ? in ' urr,' letting the air 
 pass out through the nose, and in this way, we shall have the 
 element of c ng ;' as ng, ng, sing, sawg, sung. 
 
 An accurate knowledge of the positions which the organs 
 of speech must assume, in the production of the several ele- 
 ments of speech, is of very great importance to those who 
 would speak with distinctness and ease. The student should 
 every day, or at least every other day, exercise his vocal 
 organs on the elements of speech, in the most forcible manner, 
 and in every range of pitch. He should be closely observant 
 of the different positions of the vocal organs, during the pro- 
 duction of the various and difficult combinations, found in 
 many of our words, and thus familiarize himself to the sounds 
 of the elements, and to the positions of the vocal organs. 
 Nothing but exercise will give him ease, fluency, and energy ; 
 therefore return to the description of the elements, and to the 
 tables, by which alone accuracy can be insured ; and then also 
 to the following tables — 
 
 The four following tables are intended to exhibit the union 
 of all the Consonant Elements, with a long and a short vowel. 
 
 ^ The element of < r 5 is related very closely to the seventh vowel element. 
 It is, indeed, the element of ' u' in « urn,' modified by vibrating its sound, 
 with the point of the tongue elevated ; for the seventh vowel element, vibrated 
 by this peculiar use of the tongue, gives identically the element of < r.' This 
 is proved by sounding the ' r' distinctly and forcibly, without any other vowel 
 sound, in the last syllable of the following words ; as ba-Zv, un-dr, flow-?**, 
 pow-r. 
 
 Another evidence that the vocality of the ' r is identical with the seventh 
 vowel element, is the difficulty of pronouncing the word ' Hour' in one syllable, 
 which it should always be. We almost unavoidably make two syllables in 
 pronouncing it ; as flou-r, as though it were written flou-er. From this cir- 
 cumstance, and from its strongly vibrant character, which make it an element 
 of force, it changes every vowel, and almost every diphthong and triphthong, into 
 the seventh vowel element, when it immediately follows them ; as sugar, her, 
 str, comfort, myrrh, cur, liquor, conq/^r, &c. 
 
CONSONANT ELEMENTS. 
 
 53 
 
 The consonants are placed both before and after vowels. 
 These tables should be frequently practiced upon, with all the 
 different degrees of force and of pitch, and with long and short 
 quantity, until the pupil can execute them w*ith accuracy, 
 and exhibit, with great ease, the coalescence of the Consonant 
 Elements with vowels, and vowels with consonants. These 
 exercises will secure to the pupil clearness and distinctness of 
 pronunciation. 
 
 TABLE I. 
 
 Sub Jlspirs with a 
 
 long and 
 
 Sub- Vocos with a Ions; and 
 
 Short Vowe 
 
 I 
 
 Short Vowel. 
 
 
 pe-jp 
 
 te-it 
 
 ke-jk 
 
 be-ib 
 
 de-id 
 
 .g<Mg 
 
 pa-ep 
 
 ta-'et 
 
 pa-ek 
 
 ba-eb 
 
 da4d 
 
 ga-cg 
 
 pa-ap 
 
 ta-at 
 
 pa-ak 
 
 hk-kh 
 
 da-ad 
 
 ga-ag 
 
 pa-op 
 
 ta-ot 
 
 ka-ok 
 
 ba-ob 
 
 da-6d 
 
 ga~9g 
 
 po-op 
 
 to-ot 
 
 ko-ok 
 
 bo-ob 
 
 do-od 
 
 go-?g 
 
 p6-op 
 
 to-ot 
 
 ko-ok 
 
 bo-6b 
 
 do-od 
 
 g«-<?g 
 
 pu-l»p 
 
 tu-ut 
 
 ku-ok 
 
 TABL 
 
 bu-ub 
 
 E II. 
 
 du-ud 
 
 g^-vg 
 
 P 
 
 er-Jlspirs 
 
 with a Lc 
 
 ng and Short Vowel. 
 
 
 fA-if 
 
 whe 
 
 se-es 
 
 the-ith 
 
 she-lsh 
 
 he 
 
 fa-af 
 
 wha 
 
 sa-es 
 
 tha-eth 
 
 sha-esh 
 
 ha 
 
 fa-af 
 
 wha 
 
 sa-as 
 
 tha-ath 
 
 sha-ash 
 
 ha 
 
 fa-6f 
 
 wha 
 
 4. 4. 
 
 sa-os 
 
 tha-6th 
 
 sha-osh 
 
 ha 
 
 f6-6f 
 
 who 
 
 so-os 
 
 tho-oth 
 
 sho-osh 
 
 ho 
 
 fo-6f 
 
 who 
 
 so-os 
 
 tho-oth 
 
 sho-osh 
 
 ho 
 
 fu-if 
 
 whu 
 
 sii-us 
 
 TABL 
 
 thu-uth 
 
 E III. 
 
 shu-ush 
 
 hu 
 
 Per- Vocos 
 
 with a Lo 
 
 ng and Short Vowel. 
 
 
 ve-lv 
 
 we 
 
 ze-jz 
 
 the-ith 
 
 zhe-jzh 
 
 y^ 
 
 va-ev 
 
 wa 
 
 za-ez 
 
 tha4th 
 
 zha-ezh 
 
 y k 
 
 va-av 
 
 wa 
 
 za-az 
 
 tha-ath 
 
 zha-azh 
 
 J k 
 
 va-ov 
 
 wa 
 
 za-oz 
 
 tha-oth 
 
 zha-ozh 
 
 y* 
 
 vo-ov 
 
 wo 
 
 zo-oz 
 
 tho-6th 
 
 zho-ozh 
 
 y° 
 
 vo-ov 
 
 wo 
 
 zo-oz 
 
 tho-oth 
 
 zho-ozh 
 
 y^> 
 
 Vll-UV 
 
 Wll 
 
 ZU-liZ 
 
 thu-iith 
 
 zhii-uzh 
 
 y* 
 
54 CONSONANT ELEMENTS. 
 
 TABLE IV. 
 
 Semi- Vocos with a Long and Short Vowel. 
 
 me-jm 
 
 ne-jn 
 
 le-il 
 
 re-jr 
 
 ing 
 
 ! n g 
 
 ma-era 
 
 na-en 
 
 la-el 
 
 ra-er 
 
 eng 
 
 ? n g 
 
 ma-am 
 
 na-an 
 
 la-al 
 
 ra-ar 
 
 ang 
 
 ang 
 
 ma-om 
 
 na-on 
 
 la-61 
 
 ra-or 
 
 ang 
 
 9 n g 
 
 mo-om 
 
 no-on 
 
 16-61 
 
 ro-6r 
 
 6ng 
 
 ong 
 
 mo-om 
 
 no-on 
 
 16-61 
 
 ro-or 
 
 ong 
 
 ong 
 
 mu-tim 
 
 nu-un 
 
 lu-ul 
 
 ru-ur 
 
 UBg 
 
 V"S 
 
 Table of Difficult Combinations of Consonant Elements. 
 
 The following tablical exercises are intended to present the 
 Consonant Elements in various combinations with each other, 
 and words in which many of the letters represent elements 
 belonging to other letters, — giving variety to the exercises, — 
 familiarizing the ear to the sound, — giving facility to the 
 organs of utterance, — and securing great distinctness and 
 grace of intonation. Here are exhibited nearly all the diffi- 
 cult combinations, in a great variety of words, presenting 
 those elements only, which are to be heard in a proper pro- 
 nunciation of them. Following the tables, are select sentences, 
 in which are contained some of the most difficult combinations 
 in successive words, that can well be found in our language. 
 And, by frequently exercising on them, (pronouncing, explo- 
 ding, and reading them,) a fulness and force, a definiteneSs of out- 
 line, and a grace, facility, and elegance, such as never before 
 was thought of, will be engendered, that must be highly capti- 
 vating and fascinating in the possessor. 
 
 The teacher must insist on the exact intonation of every 
 element, contained in these exercises, in the order in which 
 they are found; and attend to the frequent exercise on them. 
 The more frequently the pupils are drilled on them, the bet- 
 ter ; — persevere ! persevere ! ! persevere ! ! ! 
 
DIFFICULT COMBINATIONS. 55 
 
 TABLE OF COMBINATIONS OF CONSONANT ELEMENTS. 
 
 Spelled. Pronounced. Spelled. Pronounced. 
 
 and 
 
 and 
 
 ri&, ribs, ri 
 
 bbed rib, rlbz, rWd 
 
 barb 
 
 barb 
 
 ro&e, ro&es 
 
 rob, rbbz 
 
 hand 
 
 hand 
 
 ro&ed 
 
 r66'd 
 
 hands 
 
 hands: 
 
 candle 
 
 c an- dZ 
 
 barbed 
 
 bkrbd 
 
 candZes 
 
 can-dZs 
 
 end 
 
 end 
 
 hand/es 
 
 hkn-dlz 
 
 ends 
 
 ends 
 
 handZed 
 
 han-dZ'd 
 
 ended 
 
 ended 
 
 handledst 
 
 h kn-dPdst 
 
 h an dedst 
 
 han-dedsf 
 
 handiest 
 
 hkn-dl'st 
 
 bind 
 
 bind 
 
 fondles 
 
 fon-dZs 
 
 binds 
 
 binds 
 
 fondled 
 
 fon-dZ'd 
 
 probe 
 
 prob 
 
 fondledst 
 
 fon-dVdst 
 
 probes 
 
 prbbz 
 
 fondlest 
 
 fon-dPst 
 
 -probed 
 
 prbbd 
 
 dove 
 
 duv 
 
 probedst 
 
 prob'dst 
 
 doves 
 
 d\XVZ 
 
 probest 
 
 prbb'st 
 
 JJame 
 
 flame 
 
 orb 
 
 6rb 
 
 ^ames 
 
 flamz 
 
 orbed 
 
 orb'd 
 
 tri/Ze 
 
 tri-fl 
 
 orbs 
 
 orbz 
 
 trifles 
 
 tri-flz 
 
 band 
 
 bknd 
 
 trifled 
 
 tri-ftd 
 
 bands 
 
 bands 
 
 trifledst 
 
 tri-fVdst 
 
 trouble 
 
 trub-W 
 
 tr'iflest 
 
 tri-ftst 
 
 troubles 
 
 trub-blz 
 
 frame 
 
 fr am 
 
 troublest 
 
 trub-blst 
 
 frames 
 
 framz 
 
 troubled 
 
 trifo-bld 
 
 framed 
 
 framd 
 
 troubledst 
 
 tr Cib-bl'dst 
 
 \augk 
 
 w 
 
 pebble 
 
 ptb-bl 
 
 laughs 
 
 o 
 
 w* 
 
 pebbles 
 
 ptb-blz 
 
 laugAed 
 
 Wt 
 
 tremble 
 
 trem-bl 
 
 laughest 
 
 \hfst 
 
 trembles 
 
 tr&m-blz 
 
 waft 
 
 vrkft 
 
 trembled 
 
 trem-bVd 
 
 wafts 
 
 whfts 
 
 trembledst 
 
 tr hm-bPdst 
 
 waff est 
 
 whftst 
 
56 DIFFICULT COMBINATIONS. 
 
 Spelled. Pronounced. Spelled. Pronounced. 
 
 dij 
 
 dif 
 
 with 
 
 with (as in thou) 
 
 cliffs 
 
 clifs 
 
 bequeafA 
 
 be-kwith 
 
 glow 
 
 gl§ 
 
 bequeathed 
 
 he-kwtthd 
 
 glows 
 
 gloz 
 
 beneath 
 
 he-ntth 
 
 glowed 
 
 glo-d 
 
 this 
 
 this 
 
 mangles 
 
 mhng-glz 
 
 them 
 
 th&m 
 
 mangiest 
 
 mkng-glst 
 
 then 
 
 then 
 
 mangled 
 
 mkng-gld 
 
 truckles 
 
 tr uk-klz 
 
 mangledst 
 
 mkng-gldst 
 
 trucklest 
 
 tr iik-klst 
 
 haggled 
 
 hkg-gld 
 
 truckled 
 
 tr ixk-kld 
 
 haggles 
 
 hag-gfe 
 
 tru ckledst 
 
 tr\ik-kldst 
 
 bragged 
 
 bragd 
 
 uncle 
 
 ung-kl 
 
 braggedst 
 
 br kg dst 
 
 thinfo 
 
 th ingks 
 
 brags 
 
 brag2 
 
 thinkest 
 
 thjttgkst 
 
 hedge 
 
 htdzh-hhj 
 
 sacked 
 
 skkt 
 
 hprjorpf] 
 
 ( Mdzh-d 
 1 heja? 
 
 packed 
 
 ipkkt 
 
 XI *_ UitU 
 
 blacken 
 
 blkk-kn' 
 
 pig" 
 
 pis 
 
 blackens 
 
 blkk-knz 
 
 pigS 
 
 iplgz 
 
 blackenst 
 
 blkk-knst 
 
 waggest 
 
 wkgst 
 
 blackend 
 
 blkk-knd 
 
 wagged 
 
 wkgd 
 
 blackendst 
 
 blkk-kndst 
 
 wage 
 
 wkdzh or wkj 
 
 croney 
 
 kro-nt 
 
 waged 
 
 wkdzhd 
 
 elb 
 
 m 
 
 strange 
 
 strkn-dzh 
 
 bulbs 
 
 biilbz 
 
 fringe 
 
 frlndzh 
 
 bulbed 
 
 biilbd 
 
 fringes? 
 
 frindzhd 
 
 hold 
 
 hold 
 
 breafA 
 
 br kth, in thin 
 
 holds 
 
 hbldz 
 
 breadth 
 
 brkdth 
 
 *lf 
 
 w 
 
 breadths 
 
 brkdths 
 
 elfs 
 
 m 
 
 fifth 
 
 fifth 
 
 delft 
 
 mft 
 
 sixth 
 
 sixth 
 
 bulge 
 
 hiilj-ldzh ■ 
 
 thousandth 
 
 thow-zknth 
 
 milks 
 
 milks 
 
 mulct 
 
 mxdkt 
 
 milked 
 
 m]lkt 
 
 mulcts 
 
 m idkts 
 
 silks 
 
 silks 
 
DIFFICULT COMBINATIONS. 57 
 
 Spelled. Pronounced. Spelled. Pronounced. 
 
 elm 
 
 him 
 
 flinched 
 
 Qinsht 
 
 elms 
 
 elmz 
 
 evinced 
 
 evtnst 
 
 whelmed 
 
 whhlmd 
 
 hangs 
 
 hkngz 
 
 whelms 
 
 whelms 
 
 hanged 
 
 hkngd 
 
 Mien 
 
 f'Xll-n 
 
 songs 
 
 songz 
 
 false 
 
 flls 
 
 strength 
 
 str ttngkth 
 
 fullest 
 
 Wst 
 
 pluck 
 
 plixk 
 
 hats 
 
 h kts 
 
 rippled 
 
 rip-pld 
 
 halts 
 
 hilts 
 
 ripples 
 
 rip-plz 
 
 shelves 
 
 shtlvz 
 
 rippledst 
 
 rip-pldst 
 
 shelved 
 
 she Ivd 
 
 pray 
 
 prk 
 
 balls 
 
 h-dlz 
 
 prayed 
 
 prkd 
 
 filch 
 
 filsh 
 
 clips 
 
 klips 
 
 filched 
 
 filsht 
 
 clippest 
 
 klipst 
 
 wealth 
 
 welth (in thin) clipped 
 
 klipt 
 
 healths 
 
 htlths 
 
 clippedst 
 
 klip'p&dst 
 
 truth 
 
 truth 
 
 herbs 
 
 hrbz 
 
 truth's sake 
 
 truth's sake 
 
 harbed 
 
 hkrbd 
 
 humphry 
 
 hum-yre 
 
 barbest 
 
 hkrbst 
 
 attempt 
 
 ht-tempt 
 
 harbedst 
 
 hkrbdst 
 
 attempts 
 
 kt-tempts 
 
 hard 
 
 hkrd 
 
 tombs 
 
 tomz 
 
 hards 
 
 hkrdz 
 
 entombed 
 
 en-tomd 
 
 wharf ed 
 
 whkrft 
 
 entomb edst 
 
 en-tomdst 
 
 surf 
 
 surf 
 
 hands 
 
 hkndz 
 
 hurgh 
 
 hurg 
 
 send est 
 
 sendst 
 
 hurghs 
 
 hurgz 
 
 range 
 
 rknj-ndzh 
 
 harge 
 
 hkrj-dzh 
 
 ranged 
 
 rknjd 
 
 urged 
 
 ur ji-\xrdzhd 
 
 wan/s 
 
 wants 
 
 hark 
 
 hkrk 
 
 wentest 
 
 whntst 
 
 harked 
 
 hkrkt 
 
 fins 
 
 finz 
 
 arc 
 
 krk 
 
 findest 
 
 fin-dest 
 
 arcs 
 
 krks 
 
 &inch 
 
 f\\nsh 
 
 harked 
 
 barkt 
 
58 DIFFICULT COMBINATIONS. 
 
 Sentences in which there are difficult combinations of elements 
 in successive syllables and words. 
 
 The final elements in the words of a sentence, should be 
 particularly and distinctly uttered in the syllables, in which 
 they occur. 
 
 Every sound should be uttered in due proportion, and every 
 syllable and every letter in a word be distinctly heard, without 
 mouthing, slurring, whispering, or suppressing any of their 
 proper elements. Deliver the words slowly at first, and then 
 increase progressively in rapidity, taking care not to connect 
 them by a humming or drawling sound. It will give facility 
 and precision in articulation. 
 
 He spreads forth the great ocean; not gray tocean. 
 
 Our Priest and King; not Priest Ann King. 
 
 Then feed on thoughts; not feedon thoughts. 
 
 From the cheerful ways of men cut off; not cuttoff. 
 
 Wisdom at one entrance quite shut out; not shuttout. 
 
 Whatever a savage ferocity could add; not coodad. 
 
 Can animate their minds and ours; not andotvers. 
 
 Where'er they pause in' amity, not pawznamity. 
 
 Are but a handful ; not butter handful. 
 
 How I hate, how I abhor such hell hounds. 
 
 Hope, open thou his ear to Aear. 
 
 Guide thine eye to look on high; not onigh. 
 
 Teach thine heart the holy art of humbly hearing truth; not 
 
 thine art, the holy hart. 
 Bail, ye Aigh ministers of Aeaven ! Aow Aappy are we to Aear 
 
 these, your Aeavenly tidings. 
 This act, more than all other acts of the legislature, laid the 
 
 axe at the root of the evil. 
 It is false to say he had no faults. 
 j The magistrates ought to prove the charge. 
 { The magistrates sought to prove the charge. 
 Bach! to thy punishment, false fugitive. 
 And, to thy speed, add wings. 
 That last still night. That lasts till night. 
 The hosts still stand in strangest plight. 
 The host still stands in s/rangest plight. 
 His works demonstrate his existence. 
 On either side an ocean exists. 
 On neither side a notion exisfs. 
 Around the rugged rocks the restless rangers ran. 
 I said popular; not poplar. 
 
DIFFICULT COMBINATIONS. 59 
 
 I said omnip-otence; not omnipertunce. 
 
 I said prevail; not prevail. 
 
 I said behold; not bliold. 
 
 He per'-emptorily refused to enter the receptacle of the dead. 
 
 He acts from disinterested motives. 
 
 Think'st thou so meanly of P/iocian ? 
 
 O'rwhelmed with whirlwinds and tempestuous fires. 
 
 Henceforth look to your hearths. 
 
 Can'st thou minister to a mind diseased ? 
 
 My lords, this is a tremendous and awful crisis! 
 
 A thousand shrieks for hopeless mercy call. 
 
 A partridge and a quail on an aged oak. 
 
 He was capable. 
 
 He was incapable of a mean or questionable action. 
 
 He was branded as a traitor. 
 
 But .Rt^/i clave unto her. 
 
 Gentlemen may criy peace. 
 
 The ribs of the animal, are seen through the skin. 
 
 Now set the teeth, and stretch the nostril wide. 
 
 Thou prob'dst the wound too deep. 
 
 Thou prob'st the wound, instead of healing it. 
 
 He was amiable* respectable, formidable, unbearable, inioler 
 able, unmanageable, terrible. 
 
 Can you say cream, crackers, crime, cruelly, crutches, crimson. 
 
 It was an affair of pic-nics. 
 
 It was the act of all the acts of government the most objec- 
 tionable. 
 
 The government of England is a mixed government. 
 
 The spindle and the loom. 
 
 We saw on the road, large droves of cattle. 
 
 His deeds speak his praise. 
 
 The breadth thereof was ten cubits. 
 
 That thou wouWst harm. 
 
 They reefed the top-sails. 
 
 If I quench thee, thou flaming minister. 
 
 He laughs at me. 
 
 Thou loolcst from thy throne in the clouds, and laugh'st at the 
 storm. 
 
 He begged pardon for having troubled the house so long. 
 
 The table groans beneath its burthen. 
 
 ^ The syllables lie, die, pie, de, tie, have the e silent, as able, (a~bl,) 
 spindle, (spin-dl,) &c, and therefore, are not heard distinctly over an extensive 
 space. 
 
GO DIFFICULT COMBINATIONS. 
 
 Arm it with rags, a pigmy straw will pierce it. 
 
 Thou wagg'st thy tongue in vain. 
 
 A frame of adamant — a soul of fire. 
 
 He was hedged in on every side. 
 
 Racked with whirlwinds. 
 
 Well done, said my uncle Toby. 
 
 Victory will weaken the enemy. 
 
 Think'st thou so meanly of my Phocian. 
 
 Where does the river Elbe arise ? 
 
 We frequently saw the Elk in our journey. 
 
 Cry hold, hold. 
 
 The wolf, whose howPs his watch. 
 
 I prefer the elm to the oak. 
 
 All over the realm. 
 
 Fall'n, fall'n, fall'n, fall'n, fall'n from his high estate. 
 
 He watched, and wept, he felt and prayed for all. 
 
 If this were a, false account of Mr. Hastings, the author deserves 
 
 the severed punishment. 
 It was a species of C&lx which he showed me. 
 Halls of assembly. 
 
 The word finch is of doubtful derivation. 
 Then if thou falPst, 0! Cromwell, thou falPst a blessed 
 
 martyr- 
 Health is indispensable to the soldier, (sol-dyur.) 
 Those who lie entombed in the public monuments. 
 The attempt, and not the deed, confounds us. 
 The tombs of our ancestors. 
 
 But truth, and liberty, and virtue, would fall with him. 
 The song began from Jove. 
 Do you mean plain or playing cards. 
 The range of the vallies is his pasture. 
 He was the first ambassador sent from Columbia. 
 Swords and pens were eagerly employed in its defence. 
 I do not flinch from the argument. 
 He never winced, for it hurt not him. 
 Mind you, do not singe your gown. 
 Pluck from the memory a rooted sorrow. 
 Nipt in the bud. 
 The green herb was his food. 
 Thou found? st me poor at first, and keep'st me so. 
 We constructed an ark, and began our voyage without delay. 
 The surf beat heavily. 
 Arms, warriors, arms. 
 
DIFFICULT COMBINATIONS. 61 
 
 The word burgh, signifies a town or city that sends a member 
 
 or members to parliament. 
 The admiral's barge appeared first. 
 
 The word earl, originally was eorl, the Saxon word for noble- 
 man. 
 Return to thy dwelling, all lonely, return. 
 Weave the warp, and weave the woof. 
 Have you a copy of Smith's Thucydidesl 
 He was to be stretched upon a bed of Procrustes. 
 The heights, depths, and breadths of the subject. 
 That tear'st the bowels of thy mangled mate. 
 I give my hand and my heart to this vote. 
 Go starve, and be forgotten. 
 The road jfor&s about a mile hence. 
 He errs in his estimation. 
 Search the scriptures, (scrip-tshurz.) 
 He was a harsh overseer. 
 What, /ear's* thou ? 
 And he slew him. 
 
 He never swerved from his purpose. 
 We lost our best swivel-gun. 
 
 Thou livht — liv'st did I say ? appeals/ in the Senate. 
 The muzzles of their pieces were within a few feet of his 
 
 breast. 
 He was attacked with spasm of the heart. 
 The bells tinkled on the ear. 
 He truckles into power. 
 Is this delft ware ? 
 
 Thou truckVdst over thy gain too soon. 
 One extremity was pointed, the other bulbed. 
 The bulbs should be immersed in rain water. 
 The policy of this prince was, to mulct the rich Jews. 
 He mulcts his subjects. 
 He holds his trust from the people. 
 Overwhelmed with ivhirlivinds and tempestuous fire. 
 His kindness overwhelms me. 
 He halts between two opinions. 
 Your hearths, gentlemen, (harths.) 
 What wanVst thou? 
 
 And drowsy tinklings lull the dist ant folds. 
 Earth, that entomb' st all that my heart holds dear. 
 His attends were fruitless. 
 Hold hands off, gentlemen. 
 The sounds, of horses hoofs, were heard, at a distance. 
 
62 DIFFICULT COMBINATIONS. 
 
 For them no more the blazing hearth shall burn. 
 
 At the stern of the ship, we saw a large dead fish floating. 
 
 By the British Constitution, every man's house is his castle. 
 
 This meteorous vapor is called, Will-OMhe- JFisp. 
 
 I thrust three thousand thistles through the thick of my thumb. 
 
 Man wants but little here below, nor wants that little long. 
 
 Foreign travel enlarges and liberalizes the mind. 
 
 They were wrenched by the hand of violence. • 
 
 Their singed tops, though bare, stand on the blasted heath. 
 
 The strength of his nostrils is terrible. 
 
 A gentle current rippled by. 
 
 Do you like herbs in your broth ? 
 
 Thou barb'st the dart that ivounds thee. 
 
 Thou barVd'st the dart by which he fell. 
 
 Many arks were seen floating down the stream. 
 
 There barked and howled, within, unseen. 
 
 The culprit was hurled from the tarpeian rock. 
 
 Words, words, words! 
 
 Are the goods wharf ed? 
 
 It was strongly urged upon him. 
 
 Remarked' st thou that? 
 
 Mark' st thou? 
 
 He snarls but dares not bite. 
 
 Arm?d, say ye? arm?d, my lord/ 
 
 They have arms in their hands. 
 
 The delinquent was burned in the hand. 
 
 Wellington learn'd the art of war under his brother in India. 
 
 A boundless song bursts from the grove. 
 
 It was union of hearts as well as hands. 
 
 Earth's ample breast. 
 
 He searched the house for it. 
 
 It hurts me. 
 
 Thou hurVsi his feelings. 
 
 Theophilus Thistle, the successful thistle sifter, in sifting a 
 
 seive full of unsifted thistles, thrust three //&ousand 
 
 thistles trough the thick of his thumb. 
 PercivaZ's ac/s and extracts. 
 
 He boasts, he twisfs the texts to suit the several sects. 
 Amidst the mists, he thrusts his fists against the pos/s. 
 The swan swam over the sea, well swum swan ; the swan 
 
 swam back again, well swum swan. 
 He sawed six sleek slim saplings. 
 Thou wreath'd'st and muzzled'st the far-fetched ox, and im- 
 
DIFFICULT COMBINATIONS. 63 
 
 prisonel'st him in the volcanic Mexican mountain, 
 Popocatapetl. 
 
 Thou trifledst with his acts, that thou blackenedst and con- 
 taminatedst even his filched character. 
 
 Peter Prickle Prandle picked three pecks of prickly pears from 
 three prickly prangly pear trees : if then, Peter 
 Prickle Prandle picked three pecks of prickly pears 
 from three prickly prangly pear trees, where are the 
 three pecks of prickly pears that Peter Prickle Prandle 
 picked from the three prickly prangly pear trees. 
 
 I like white toine vinegar, toith veal, very well. 
 
 Feal, wine, and vinegar, will make good sowens. 
 
RADICAL AND VANISHING MOVEMENT OF THE 
 VOICE. 
 
 When the letter c if as heard in the word eye, is pronounced 
 as an alphabetic letter, without emotion, there will be two 
 sounds heard in close succession. The first has the sound of 
 c a,' in at, (which is the third vocal element,) and the second, 
 of c e, ? in he; a-e-ae-ae-ay-i. The first element is made to issue 
 from the organs with a degree of fulness and force, while the 
 second is made by a gradually diminishing sound, vanishing 
 into silence. During the pronunciation, the voice gradually 
 rises or slides upward through the interval of a tone : the 
 beginning of the ' a ? and the termination of the c e,' being, 
 severally, the inferior and superior extremes of this tone. 
 This may be proven by any one who is able to sound the 
 diatonic scale discretely. Let him commence with ' a,' and 
 strike the several points of this scale, by the alternate use of 
 6 a' and ' e,' drawing out each as a note, and making a palpa- 
 ble pause between the sounds. This will make him familiar 
 with the effect of these letters, when heard on the extremes of 
 a tone. Then let him rise, by a slide of the voice, (or con- 
 cretely,) through the several places of the scale, making the 
 several points of c a' strongly, and the * e 5 faintly, by the 
 alternate use of ' a' and ' e. ? This movement will make him 
 familiar with the concrete rise of a tone. Now, in repeating 
 the ' a 5 and ' e 3 on the two first points of the scale, let the 
 sound of the 6 a' be continued up till the voice reaches the 
 ' e,' and the stress on the i e> be gradually diminished into 
 silence, and he will perceive this diminishing ' e' to be the 
 end of the sound, and also one tone in pitch higher than the 
 commencing ' a.' This movement of the voice is called a 
 concrete rise of a second or tone. 
 
 This diphthongal sound of ' i,' does, then, in this case, 
 pass through the concrete interval of a tone ; that is, the 
 sound of ' e ? seems to grow out of that of the ' a,' as a twig 
 grows out of a root or stump, and as the sound thus rises in 
 pitch, it gradually diminishes into silence by the time it has 
 passed through the interval of a tone. This rise of the voice 
 on the c e' is called a Concrete, or a concrete rise ; and it is 
 
RADICAL AND VANISH. 65 
 
 also applicable to the falling movement of the voice, called a 
 falling concrete, or a concrete fall. 
 
 With a view to distinguish more definitely this movement 
 of the voice, the first position, or that heard on the \ a,' in the 
 above instance, is called the Radical, or the Radical Movement, 
 or the radical part of the movement, because it opens or begins 
 with a sudden fulness, on some given place of the scale, as 
 from a base or root. That portion which follows or rises 
 from the radical, or extends upward into the c e,' is called 
 the Vanish, or the Vanishing Movement, or the vanishing part 
 of the movement, from its becoming gradually weaker and 
 weaker, and finally vanishing away into silence, in the upper 
 extreme of the tone. 
 
 This important movement of the voice is equally applicable 
 to the simple vocal elements, as well as to the diphthongs and 
 triphthongs, as also to the elements of all the consonants, 
 excepting the aspirs. When any one of the alphabetic ele- 
 ments (except the aspirs) is uttered with propriety and 
 smoothness, and without any emotion, it commences with an 
 abrupt fulness, and gradually decreases in its upward move- 
 ment, through the interval of a tone, having the increments of 
 time and rise, and the decrements of fulness and force, equably 
 progressive. 
 
 The following diagram may illustrate this important func- 
 tion of the voice — the radical and vanishing movement ; also 
 called the equable concrete. 
 
 1 2 3 4 
 
 rr^x 
 
 The thick or heavy end represents the radical, and the thin, 
 terminating point, the vanish ; and from the commencing ful- 
 ness to the end of the point, may be called the equable con- 
 crete, or the rising or falling concrete. No. 1 and 2, in the 
 above diagram, represent the rising, and No. 3 and 4 the 
 falling concrete of the voice ; or the upward and downward 
 vanish. 
 
 The falling concrete is produced by the voice in the same 
 manner as the rising, only the direction is dovmward ; com- 
 mencing with the radical fulness on the upper line, or higher 
 pitch, and equably diminishing downward into silence, 
 through the interval of a tone on the lower line, or on a 
 lower degree of pitch. 
 
66 RADICAL AND VANISH. 
 
 This important function of the voice is not applicable to 
 the interval of a tone only, but is equally applicable to every 
 interval of the scale, from a semitone to an octave, or more, if 
 necessary. But a semitone, a tone or second, a third, a fourth, 
 a fifth, or an octave, will generally answer all practicable 
 purposes in elocution. 
 
SYLLABICATION. 
 
 This concrete function of the voice is not only applicable 
 to the simple elements of speech, but also to every syllable. 
 For the uttering of any syllable is but the performance of this 
 concrete function on that syllable. It is the performance of 
 the radical and vanish, or concrete function, on any number 
 of alphabetic elements, that unites these elements, by one 
 effort of the voice, into syllables. For any number of letters 
 which can be sounded by the use of this concrete function, 
 constitutes a syllable. Words may, then, be divided into syl- 
 lables, by the application of the radical and vanishing move- 
 ment of the voice on them : as manfully, man-ful-ly. Here, 
 the concrete function may be employed on man, on fid, and 
 only. 'But on ' manful,' as one syllable, it cannot be thus 
 applied; because, in sounding the elements of these letters, 
 the voice is compelled to repeat the concrete function on u : 
 and therefore these letters must be divided into two syllables; 
 as i manful The two last letters, i lyj are made a syllable, 
 because they cannot be made to coalesce with the preceding 
 letters, c ful, 5 in the performance of the concrete on them: 
 but they, also, require the same function on them in order to 
 pronounce them; as ly, (ley) fully, (ful-le). 
 
 The vowel elements are those best adapted to display the 
 radical and concrete movement of the voice, on every inter- 
 val, from the semitone to the octave. Therefore, the opening 
 fulness of the radical is uniformly heard on the vowel ele- 
 ment of a syllable. The proper method by which we can 
 ascertain which of the consonants belong to a giveo vowel, is 
 this ; all those consonant elements preceding and following 
 the vowels, which coalesce very readily with each other and 
 the vowel, allowing the concrete function on them, are taken 
 together for one syllable, which may be seen in the word 
 c draughts-man.' The ' d? and ' r 5 before, and the ( g,' < A,' t f, ? 
 and ' s,' after the vowel i a,' (the u being silent,) very readily 
 coalesce with each other, and with the vowel element of 'a,' 
 or the radical and vanishing function can be performed on 
 them ; therefore, they are all taken together for one syllable ; 
 as 6 draughts.' And this, also, is the case with the ; m? and <ti, 5 
 in the other syllable, readily uniting, or running into the sound 
 of the vo\v°l ' a :' as < man :' — draughtsman. 
 
68 SYLLABICATION. 
 
 If the concrete movement of the voice through a tone or 
 other interval, be the essential measure and function of a syl- 
 lable, it follows, then, that each of the vowel elements may, 
 by itself, make a syllable ; since these cannot be pronounced 
 singly, without going through the radical and vanishing move- 
 ment. A vowel element may, then, make a syllable, and 
 frequently does. 
 
 It follows, from the preceding account of the causation of 
 syllables, that two vowel elements cannot be united into one 
 vocal impulse : for each having by nature its own radical and 
 vanish, they must produce two syllables — consequently, when- 
 ever two vowels stand together, they always belong to separate 
 syllables in pronunciation, or one of them is silent, or has the 
 sound of the per-voco-aspir c w' or c y, 9 as the case may be : as 
 eqwal, qwick, quote, queen, (pronounced ekteal, kwiek, kwote, 
 ku?en.) Here the V has the sound of the 'w.> In spaniel, 
 Daniel, minion, pinion, the 'i' has the sound of 6 yf as sfcan-y^l, 
 Dan-^/el, mln-yun, pin-jun. This is also the case in all the 
 other instances of diphthongs and triphthongs. 
 
 If the radical and vanishing function of the voice alone con- 
 stitutes a syllable, it follows that the aspirs from their being 
 incapable of this function, cannot make a new and distinct 
 syllable, when not joined with a vowel element. The word 
 6 stitch' is an illustration. For the syllabic function is here 
 made on the vowel element Hj whilst 's, 5 %' % 9 <ch, ? or 'sh, J 
 add to the time, but do not destroy the monosyllabic character 
 of the word. The sound is not, indeed, so gliding and plea- 
 sant as on a single vowel element, which latter exhibits a syl- 
 lable in its purest form; yet the slight obstruction to the sin- 
 gleness of impulse, is very different from the three-fold emphatic 
 division, heard on the word ' Ohio? For, if this be properly 
 pronounced, that is, if each of the three vowel elements 
 receives its radical and vanish, it will be impossible to con- 
 dense them into one impulse or syllable. It is, then, the 
 concrete movement on the elementary sounds, or the radical 
 and vanishing function of the voice, which produces those 
 successive impulses of speech, called syllables ; as in-di-vid-u- 
 al-i-ty, (pronounced en-dt-ved-yu-al-e-te.) 
 
 A consonant or consonants coming before a vowel in the 
 same syllable, add scarcely any thing to the length of that syl- 
 
SYLLABICATION. 69 
 
 lable ; because the fulness of the radical function of the voice, 
 is heard only on the vowel element of the syllable, though the 
 consonant element or elements are heard anterior to that ful- 
 ness; they are passed over by the voice with so much quickness, 
 as not to add any appreciable time to the syllable ; the time 
 occupied in the sound of the consonants, is taken from the 
 vowel. The quantity of knge is as long as that of strknge, yet 
 three consonant elements precede the vowel <a,' as ange, 
 Grange ; so in 'a,' ' ra,' 6 tra, ? s stra.,' &c. The consonant ele- 
 ments coming after a vowel, considerably affect the length or 
 the quantity of syllables. 
 
 A single consonant element coming after a vowel in the 
 same syllable, shortens the vowel • as \r, in, \m, e/, big, ksh, 
 a/ft, lis, if, kb, it, \c, kp, up. 
 
 A silent e following a single consonant element which pre- 
 cedes a vowel, has a lengthening effect on the vowel, notwith- 
 standing the shortening influence of the consonant in this 
 situation ; as jr, ire ; in, ine ; jm, ime • el, ele ; bath, bathe ; 
 us, use ; if, ifc ; ag 3 age ; 6d, ode ; it, ite ; ic, ice ; ap, ape, 
 &c. 
 
 The sub-aspirs p, t, k, are the most abrupt of all the ele- 
 ments, and are, therefore, inapplicable to long quantity. They 
 are the materials for short quantity, as tap, rap, lip, top, ea£, 
 ac/, {<id, nut, wet, wit, not, coa£, lieft ; neck, peck, tick, sick, 
 dock. 
 
 Notwithstanding the vowels being shortened by a single 
 consonant element after them, the quantity of the syllable may, 
 however, still be increased by adding other consonant elements, 
 as cap, caps; tub, tubs; hat, hats; nib, nibs; cup, cups; fog, 
 fogs; deed, deeds; sea, seam, seams; plea, pleas; ba, bin, 
 bknd, bknds; fa, far, farm, farms; ba, bar, barcZ, bards; carve, 
 carves; sta, star, start, starts; &c. 
 
 The semi-vocos and per-vocos, are best adapted to the 
 display of long quantity, as may be seen in the above 
 examples. 
 
70 POSITION OF CONSONANTS. 
 
 POSITION OF CONSONANTS. 
 
 In syllables, the consonants are counted, or take precedence 
 
 321 123 
 
 from the vowel backwards and forwards, as strands. The 'r' 
 has the 1st place, t the 2d place, and s the 3d place back- 
 wards from the vowel; and n has the 1st place, d the 2d 
 place, and s the 3d place forwards. 
 
 A semi-voco-aspir has always the 1st place, or the preced- 
 
 321 12 321 123 321^ 1*2 
 
 ence of any other consonants; as spraw/s, strands, strings, 
 
 21 123 2 11 2 21 12 3 321 123 32 12 321 123 
 
 trumps, shrines, starv'd, sp/ints, strange, (strandzh.) 
 
 The per and sub-vocos have no precedence of each other, 
 but take the 2d or 3d place indiscriminately when a semi-voco 
 
 12 3 123 321 12 321 123 
 
 is used, as stared, fields, strange, (strandzh ;) or, if no semi- 
 
 1 2 12 
 
 voco is used, they take the 1st or 2d place, as saiTcZ, feeds, 
 
 12 12 
 
 sta&s fogs. 
 
 The per and sub-vocos take the precedence of all aspirs, and 
 have a middle rank or place between semi-vocos and aspirs. 
 
 Aspirs, therefore, have the last place, and when used, are 
 
 21 12 21 123 21 1 2 
 
 always on the extremes of syllables ; as slink, stumps, flinch, 
 
 3 2 1 1 23 1 123 2112 21 12 
 
 splints, shirts, skimp, /laiis. 
 
 R and ng are never separated from their vowel with which 
 they form a syllable ; as sor-ry, tar-ry, far-thing, roar-iwg, 
 struc-ture, script, scorch, large, from, yarn, barn, corn; — ng, 
 sing, things, thongs, wrongs. N sounds like ng in bank, thank, 
 thi?zk. 
 
 L and n are separated only by r; as ear/, pear/, cur/, girl, 
 whirl, Char/es ; yarn, worn, shorn, scorn. 
 
 M is separated from its vowel by r and / only ; as arm, 
 harm, storm, firm; film, helm, elm, rea/m. 
 
 M is sometimes separated by the per-voco s, and per-aspir 
 ih, as spasm, chasm, deism, atheism, rheumatis?n, rithm, loga- 
 rithms, &c; but it will be observed that the element of m can- 
 
POSITION OF CONSONANTS. 71 
 
 not be made to glide into, or coalesce with, the element of the 
 preceding s and i or a, by the performance of the concrete 
 function of the voice on them ; hence, we hear the radical and 
 vanish on the element of i m > alone, or on £ zm, ? as spaz-zm, 
 schiz-zm, Tith-thm, log-a-rith-fAmz. The reason of this is very 
 obvious, namely ; we cannot make a full effort of the voice 
 (a radical and vanish) by a full opening, then closing it in part, 
 and then again opening it a little, on the same syllable. This 
 constitutes two radicals, and consequently two vanishes, there- 
 fore two syllables. 
 
PHILOSOPHY OF SYLLABICATION. 
 
 In the coalescence of Sounds or Elements. 
 
 In the production of the elements of speech, the degree of 
 opening and occlusion of the mouth, is that which regulates the 
 succession of elements in syllables, and consequently, the radi- 
 cal and vanishing movement of the voice. In the production 
 of a single effort of the voice, (which is nothing more or less 
 than a radical and vanish,) the mouth opens, either gradually or 
 abruptly, from a state of previous occlusion, and gradually 
 closes again into a subsequent state of occlusion. This ante- 
 cedent occlusion may be called the preparative for an effort of 
 the voice. The radical function cannot be produced by the 
 voice, without this previous occlusion or preparative, from 
 which alone, the voice can suddenly open or burst into or on 
 its radical fulness. By the opening of the mouth, or opening 
 of the organs of speech, is meant, that degree of separation of 
 the organs, necessary to effect this radical, on any of the ele- 
 ments of speech, susceptible of it. 
 
 In the intonation of the following words, 
 
 1, at — 2, rat — 3, vat — 4, brat — 5, trap — 6, strap, 
 
 the radical is always heard on the vowel element. But it will 
 be observed in pronouncing these words slowly and distinctly, 
 and, at the same time, directing special attention to the posi- 
 tion and change of position of the organs of speech, that there 
 is, in every one, a previous occlusion of these organs, necessary 
 to produce this radical on the vowel. This occlusion is the 
 antecedent state of the organs to that degree of opening, neces- 
 sary to display the radical. The opening of the organs, necessary 
 to give the radical in these examples, is the same; but the 
 state of the preparative, or antecedent occlusion, is different in 
 every word of the examples. 
 
 In the first word, ' at,' the occlusion is made by closing the 
 glottis, which being suddenly opened to that degree, and the 
 ieeth and tongue also. in that relative position, necessary to 
 sound the ' a.' This gives the radical on this vowel ; as, a, 
 at; a, arm, an. The second word, 'rat/ has its preparation 
 
IN THE COALESCENCE OF ELEMENTS. 73 
 
 made by elevating the point of the tongue toward the roof of 
 the mouth, and sounding the semi-voco 'r;' then suddenly de- 
 pressing the point, and assuming the position necessary to 
 sound the ' a, 5 the radical is again heard on the ' a ;' as, ra, 
 rat ; ra, rap. The third word, ' vat,' has its preparative made 
 by bringing the under lip slightly in contact w r ith the upper 
 front teeth, and giving the element of ' v ;' then suddenly 
 separating them, and assuming that position again necessary to 
 sound 'a,' gives again the radical display on the vowel ' a, 5 
 as, va, vkt ; i?a, vkn. The fourth word, 6 brat,' has its pre- 
 parative made by closing the lips, and, on producing the 
 vocality of ' b' and continuing it until the organs suddenly 
 assume successively, the positions necessary for the ; r,' and 
 6 a,' the radical is again heard on the element of the last. In 
 this syllable, ' bratf the antecedent occlusion or preparative, 
 is that closed position of the lips, which is necessary to give 
 the vocality of the ' b ;' the organs then opening a little assum- 
 ing the position for the ' r,' and then again opening a little 
 wider, to give that position necessary for the sound of the ' a f 
 all which is effected with great rapidity and ease ; as, 6ra, 
 brht ; brh, brkd, brkds. The fifth word, ' trap,' has its pre- 
 parative made by pressing the tongue against the upper front 
 teeth, which is necessary to give the vocule of the ' t ;' then 
 drawing the point of the tongue backward, into that position 
 necessary for the sound of the ' r,' which opens the organs a 
 little, then again depressing it a little, which opens the organs 
 still more, and gives the radical on the ' a,' as before ; as, 
 trh, /rap ; trk, trkck, trhcks. The sixth word, ' strap,' has its 
 preparative made on the i t,' as the preceding word, i trap,' by 
 bringing the tongue, at first, slightly in contact with the upper 
 front teeth, letting the air pass out between them with a hissing 
 sound, which is the element of the commencing '.$,' and then 
 pressing the tongue firmly against the teeth to interrupt this 
 hissing sound of the ' 5,' produce a complete momentary occlu- 
 sion, which is, in this case, the real preparative ; from this 
 position of the organs, they open successively into the positions 
 necessary for the sound of the ' r 5 and the c a,' which latter 
 again exhibits the full radical function of the voice • as, strk, 
 strkp : s/ra, s/rand, strands. 
 
 In the word l pout,' the organs of speech will open suddenly, 
 from the occlusion necessary for the sound of the ' /?,' on the 
 vowel ' o ;' then contracting a little into the 'w' (which has, 
 in this case, the element of ' w') and closing again on the con- 
 sonant ' /.' The voice will make the voccule of the ' p* run 
 4 
 
74 PHILOSOPHY OF SYLLABICATION, 
 
 into the radical fulness, heard on the i 6,' which in turn coa- 
 lesces with the sound of ' uf (but diminishing in volume and 
 force,) and this again glides into that of the ' i, ? and vanishes 
 into silence on it. The voice has finished the radical, when it 
 moves from the ' 6,' to the c u ;' or the radical is performed 
 on the 'jo' and <6 ;' and the vanish, on the 'u' and ' i ;' as, 
 pout, po-ut. 
 
 The word i strange,' has its radical made on the first four 
 letters, c strk.' From this full opening on the < a,' the organs 
 of speech gradually closing a little on the ' nf are sufficiently 
 compressed on the ' g ? to enable the voice to effect the vanish 
 on it. The ' g? in this word is a compound, composed of i d? 
 and c zh ;' the final ? e> being silent. The word, then, stands 
 elementally thus, c strkndzhS The radical movement is made 
 on, c strhj and the vanishing on the 6 ndzh? — stra-ndzh. 
 
 From this condition of the movement of the organs of 
 speech, it is very manifest, that in the production of any and 
 every element of speech, there is a certain degree of opening 
 of the organs of the voice, necessary to the production of the 
 elements. 
 
 Some of these elements require a very small opening of the 
 organs of speech ; as, the sub and per-aspirs p, t, k, — f, wh, 
 sh, th, h ; others require an opening a little larger; as the sub, 
 and per-vocos; as, b, d, g — v, w, z, zh, th, y ; others, again, 
 must have an opening still a little larger; as the semi-vocos, 
 m, n, 1, r, ng. Whilst the vowel elements require the largest 
 opening; as, e, a, ah, aw. 
 
 From this, there are four degrees of opening necessar}' to 
 produce the different elements. 
 
 No.l may indicate the vowels, and be represented by this 
 No. 2 may indicate the semi-vocos, and be u " 
 No. 3 may indicate the sub and per-vocos " " 
 No. 4 may indicate the sub and per-aspirs " " 
 
 From this it may very readily be seen, that the voice may 
 freely glide or slide from No. 4 to any of the lower Nos.; and 
 from No. 1, to any of the higher ones ; or from any of the 
 higher Nos. to a lower one, in the radical function; and from 
 any of the lower to a higher one, in the vanishing function of 
 
 41 41 
 
 the voice ; as for instance from 4 to 1, as, so, to ; from 4 to 2 
 
IN THE COALESCENCE OF ELEMENTS. 75 
 
 4 21 4 2 1 4 21 4 2 1 
 
 and 1, as fly, smoke, throw: from 4 to 3 and 1, as swell, 
 
 43 1 4 4 21 4421 
 
 swoon; from 4 to 4, 2, and 1, as, squire, split. These are 
 examples of the commencing or radical movement of the voice 
 on syllables. The following are instances of the vanishing 
 movements, on the terminating elements of syllables. From 
 
 14 14 14 134 134 
 
 1 to 4, as, if, it, tip ; from 1 to 3 and 4, as, brads, bags ; from 
 
 1234 123 4 12 3 4 
 
 1 to 2, 3 and 4, as, bards, nalves, grinds ; from 1 to* 4 and 
 
 144 144 1 2 3 44 1 2 3 44 
 
 4, as, left, hits; from 1 to 2, 3, 4, 4, as, entomb'st, swervest ; 
 
 1 22 344 1 22 344 
 
 from 1 to 2, 2, 3,4, 4, as hurl'dst, earnMst. 
 
 Thus it may be seen, that the voice may easily glide from a 
 vowel to any consonant, and from any consonant to a vowel ; 
 but it cannot slide from a semi-voco to a sub or per-voco, and 
 then to a vowel in the radical part of a syllable ; as, ldo^m. 
 These letters will make three syllables, as, l-doz-m, or l~do-zm. 
 Neither will the voice move smoothly from any of the semi or 
 
 2 4 142 2 414 2 
 
 per-vocos, to an aspir, and then to a vowel : as, rfotl, msapn* 
 These letters cannot be sounded by a single concrete function 
 of the voice. Three concretes will be heard by endeavoring 
 to sound either collection, as rf-o-tl, ms-a-pn. 
 
 Hence, the aspirs must always be on the extremes of sylla« 
 bles. If there are no aspirs in the syllable, the sub or per- 
 vocos form the boundaries of syllables. If no aspirs, or sub or 
 per-vocos, the semi-vocos form the extremes of syllables. And 
 if none of either, the vowels alone will constitute the syl- 
 lable. 
 
 The vowels and vocos have an antecedent occlusion, when 
 pronounced alone or at the commencement of a syllable ; being 
 made by closing the glottis, as a preparative for a full display 
 of the body of the radical of the element. From this circum- 
 stance, the radical and vanishing function of the voice, can be 
 performed on all these elements ; and which may be demon- 
 strated by the voice ; as, e, a, ah, aw, o, oo, uh — b, d, g, — v, 
 w, z, zh, th, y— m, n, 1, r, ng. 
 
 Observe, in sounding these elements, the motion of the 
 parts concerned. It will be found that the glottis is com- 
 pletely occluded immediately antecedent to the bursting forth 
 of the radical of these elements. The radical and vanish 
 may, then, be performed on each of these elements. The 
 
76 PHILOSOPHY OF SYLLABICATION, 
 
 vowel sounds are produced without any obstruction after the 
 antecedent occlusion ; the cavity and form of the mouth, how- 
 ever, being of a different shape, for the production of every 
 different vowel element. The sound of the voco-aspirs, are 
 produced, by partially obstructing the free passage of the voice 
 or air through the mouth, though the sound is produced in the 
 glottis. When the elements of the sub-vocos, b, d, g, are 
 made alone, the occlusion necessary for the display of their 
 radicals is made by and in the glottis. But when these letters 
 commence a syllable the occlusion is made, partly, in the 
 mouth, and partly in the glottis, as may be observed by sound- 
 ing them alternately alone, and then in a syllable ; as, b, be, d, 
 do, g, go. 
 
 The sound of the aspirs being made in the mouth alone, the 
 occlusion, if any, must therefore, also be made there. There 
 are but three which have a preparative, and these are the sub- 
 aspirs, c p, ? ' t,' 6 k.' The preparative of ' p' is made by pres- 
 sing the lips together ; — of ' t,' by bringing the tongue against 
 the gums of the upper front teeth •— of ' k,' by elevating the 
 body of the tongue against the roof of the mouth ; whereas 
 the per-aspirs have no preparative, being themselves the 
 preparatives to the subsequent vowel elements ; as f, wh, s, sh, 
 th ? h — fi, who, so, she, thin, he. 
 
 The opening of the organs of speech for the display of the 
 body of these elements being so small, and having no laryngial 
 sound, the radical function cannot be performed on them. 
 They, consequently, become preparatives to radicals, and 
 used as vanishing materials of syllables. 
 
 In any series of consonants and vowels as a syllable, the 
 antecedent occlusion requisite to sound them singly, is prevented 
 in all except the one commencing the series, by their sounds 
 running into each other, when they are sounded together in a 
 syllable ; as left, cleft. Here, in the first example, the occlu- 
 sion is made on the c 1, ? whose sound coalesces with that of 
 the i e,' which latter has its occlusion superceded by being 
 intimately connected with the element of the ' 1 ;' the prepa- 
 rative for the radical on ' e' is, then, made on the c 1.' In the 
 word ' cleft' the preparative is made on the c c, ? whose ele- 
 ment opens into that of the c 1/ and the 6 P into the ' e,' upon 
 which last the radical is again made. The vanish is effected 
 on the i P and < t,' as already explained. 
 
 ON THE SUCCESSION OF ELEMENTARY SOUNDS. 
 
 The successive sounds of speech are pleasing to the ear 
 only, when they can be made in such an order of succession, 
 
PHILOSOPHY OF SYLLABICATION. 77 
 
 in which they severally run or glide into each other, in a 
 natural, smooth, and easy manner. The thirty-seven ele- 
 mentary sounds of which the English language consists, will 
 not all thus run into each other indiscriminately. There seems 
 to be a want of affinity between some of the elements, and 
 this, no doubt, is the reason why there are so many silent let- 
 ters in many of our words ; as fezg*n, (fen,) dracAm, (dram,) 
 might, (mit,) know, (no.) 
 
 When we attempt to give, in these examples, each letter its 
 proper element in pronouncing them, we shall have a very 
 different sound from that we have on them, when properly 
 pronounced, and a very awkward one, too, as may be heard 
 on trial, as well as a very difficult one to make. 
 
 This difficulty and difference arises from the imperfection of 
 our organs of speech, not being able to make all possible com- 
 binations unite and glide into each other, by executing the 
 radical and vanish on them. Every element requires a cer- 
 tain and particular position of the vocal organs. This posi- 
 tion is such, as will produce the elements, sometimes in one, 
 and sometimes in another part of the mouth, throat, or glottis. 
 
 There are some that are made principally by the lips, called 
 labials ; others are principally made by the agency of the 
 teeth, called dentals ; some again are made by the root of the 
 tongue and the roof of the mouth or palate, called palatals : 
 while others again are made in the glottis, called vowel 
 sounds, or pure vocal elements. From these several circum- 
 stances, arises the ability or inability of making smooth and 
 agreeable sounds in certain orders of succession. 
 
 From the foregoing, then, it will appear that two laws will 
 regulate the order of succession of the elements of the letters 
 in a syllable. 
 
 First. — Such letters, whose elements may be made easily 
 and smoothly to coalesce with each other, the preceding 
 gliding into the subsequent one, without giving the appearance 
 of affectation, harshness, or difficulty of execution, may have 
 their elements heard on them in the order in which they stand 
 in a syllable. 
 
 Second. — Where this cannot be done, in cases in which the 
 sound and orthography of the word is fixed and settled, some 
 letter or letters must be made silent, or their elements changed, 
 in order to give the required sound to the awkward orthography, 
 perhaps imposed upon us by a foreign language. 
 
 From these two rules, the sound of every letter, and conse- 
 
78 PHILOSOPHY OF SYLLABICATON, 
 
 quently, of every syllable and word, may be regulated and 
 adjusted. 
 
 The coalescence of elements depends upon the places in 
 the mouth, at or in which they are made : or upon the quick- 
 ness and facility with which the organs of speech can assume 
 the different successive positions, necessary to the rapid pro- 
 duction of the elements, in the display of the radical and 
 vanish. Whenever, therefore, there is a difficulty in the rapid 
 and easy production of the successive elements in a syllable, 
 we may, very reasonably infer, that the places in the mouth 
 at which the several elements are made, are too distant from 
 each other, and cannot be made to assume rapidly and easily 
 the several positions necessary. The natural conclusion, then, 
 is, when this cannot be done, that a letter or letters must be 
 made silent, or some element or elements changed, or else we 
 shall appear affected or awkward, by sacrificing the euphony 
 of our language. In the following examples, it was thought 
 better to make some letter or letters silent, than to change 
 their elements • as knob 7 nob ; jfcnit, nit ; listen, lis-s'n ; 
 bristle, bris-sl • episZle, e-pis-si ; apostle, a-pos-sl. Here, the 
 italic letters are silent, in order to enable the vocal organs to 
 take the several successive positions necessary, with ease and 
 quickness, uniting the several elements in a syllable in an 
 agreeable and euphonical radical and vanish. It would be 
 very unpleasant, indeed, as well as more difficult, to give every 
 letter its own element in the pronunciation of these words ; 
 as knob, knot, Ms-ten, bris-tle, a-pos-tle, &c. This rule is 
 extensively in use in our language and the French j though it 
 obtains to a greater or less degree in almost all languages. In 
 reference to the change of an element in a syllable, we find 
 it obtaining pretty generally ; and this change is dependent 
 upon the principles contained in the above rules. Where the 
 elements of approximate letters will not readily coalesce, or 
 are made with difficulty in succession, one or the other of the 
 letters must have its element changed, to effect the desired 
 elemental coalescence. Hence, then, the u should never have 
 its diphthongal elements where it follows the element either 
 of r or I ; s or z ; th aspir, or th voco ; sh or zh ; wh, w, or 
 i/, even should the vowel be long or short j accented or unac- 
 cented. Examples of ther and Z; as rule, rool ; ruin, roo-iny 
 rumor, r6o-mur ; — Zure, lobv ; alZure, al-Zoor ; Zunacy; Zoo-na- 
 s£, Zurid, Zoo-rid , ilZuminate, il-oo-min-at ; illusion, 11-Zoo- 
 zhOn. 
 
 Examples of s andz: as suet, 560-tt; sue, s6o ; swpreme, 
 
IN THE SUCCESSION OF ELEMENTS. 79 
 
 560-prem; assume, as-soom ; consume, con-soom ; — zumic, 
 zbo-mik] zumology, ^oa-mol-o-je ; presume, pre-zoom ; pre- 
 sumable, pre-soo-ma-bl. Here the element of s is changed 
 into that of z. 
 
 Examples of th : as Murible, £A6o-rj-bl : £A6riferous, thoo- 
 rif-er-As. 
 
 Examples of sh and zh: as sure, sAoor ; pressure, presli- 
 sAoor ; fissure, f jsh-sA6or ; sugar, sAoo-gur ; azure, k-zhoor ; 
 pleasure, plezh-zAoor ; treasure, trezh-zAoor. Here, the ele- 
 ment of s is changed into that of sh ; and s and z sometimes 
 into that of zh. 
 
 To give the diphthongal elements to the u, in the above 
 situation, savors very strongly of affectation or pedantry ; and 
 manifests a want of reflection on the cause of the coalescence 
 of sounds. 
 
 The vowel u may be diphthongal, after the elements of the 
 sub-vocos b, d, g ; the sub-aspirs p, t, k ; the per-voco v ; the 
 per-aspirs f, h ; and the semi-vocos m, n, either accented or 
 unaccented, long or short. 
 
 Examples of the aspirs, as, 
 
 Sub-aspirs. P, — impute, compute, depute, dispute, depurate. 
 
 T, — tube, tune, tumor, tulip, con/wmelious. 
 
 K, — kufic, (Arabic letters, from Kufa a city.) 
 Per-aspirs. F, — fuse, fume, future, diffuse. 
 
 H, — Hume, Aw mid, Hugh. 
 Semi-vocos. M, — muse, mute, immure, commune. 
 
 JS f , — numerate, innumerable, nugatory. 
 Sub-vocos. B, — abuse, rebuke, imbue, ta&wlar, fabulous. 
 
 D, — dupe, duke, duty, duly, during, due, dew. 
 
 G, — gula, (a heavy timber in a building,) regular. 
 Per-voco. V, — val^lar, rivulet, volvular, or vobwlus. 
 
 The vowels A and I, when preceded by the element K or 
 G, it is stated by Mr. Walker and other great authorities, must 
 have the element of e interposed between the consonant and 
 vowel elements, in order to unite them the better, and soften 
 the consonant. Now, this seems to be directly the very re- 
 verse of truth. The elements of K and G, are much more 
 easily united to that of A or I, without the intervention of the 
 e, or more properly y. In confirmation of which, Mr. Walker 
 may be cited ; for he has himself lost sight of the principle 
 (which he stated and endeavored to establish,) in the notation 
 of those words, in the body of his work, which he had pre- 
 
80 PHILOSOPHY OF SYLLABICATION, 
 
 viously given as examples in the discussion of the subject. 
 This,I have no doubt, he did unintentionally, being led uncon- 
 sciously by the truth; or, in so far as the A is concerned, he 
 has recanted the principle, for he has noted the word, card, 
 cart, regard, without the intervening e or y, contrary to his 
 principle ; though the word ' guard, 9 he has noted (gyard,) in 
 accordance with his principle. Now, with all this authority 
 and inconsistency, it must be very obvious to every unpreju- 
 diced ear, that card, cart, guard, regard, noted kard, kart, gard, 
 and regard are much more easy, natural, and euphonic, than 
 when the notation is kyard, kyart, gyard, regyard, because the 
 elements coalesce more easily and smoothly without the inter- 
 position of either e or y, which latter makes the sound affected 
 unpleasant, and difficult of production. This intended medium 
 of coalescence constitutes, in truth, an obstacle to that easy, 
 natural, and agreeable coalescence which is so much desired 
 in all cases. 
 
 Inasmuch as the c P is concerned, the same principle ob- 
 tains in its regulation, because the first constituent of the c i 9 
 is the same element that a has (in card) : and the second is 
 that of y, as, k~y ; ky-i. 
 
 Now, I would ask the reader, which is the most easy, 
 natural, and euphonic ? To say, A: a or kyk ; — gk or gyk ; — kky 
 or kyky ; — sky or skyky ; — kind or kyind ; — guide or gtjuide ; — 
 catechise (Mt-e-kise, or kyat-e-kyise,) &c. the answer is very 
 obvious. The last of the pairs cannot be pronounced without 
 suggesting the idea of affectation which is always disgusting; 
 besides, they are much more difficult to make. 
 
 The truth, in this matter, is settled by observing nature in 
 the formation of the elements concerned. There are but four 
 elements concerned : the i kj < g 9 ' a, 9 and the interposed l y 9 
 When we direct our attention to the place in the mouth, at 
 which the 6 k 9 and ' g 9 are made, and then to that of c a,' pro- 
 nouncing the elements only ; — first alone or separately and dis- 
 tinctly, as, < k? < k 9 ' k ; 9 and then c g, 9 6 g, 9 ' g ; 9 and the < a,' 
 < a,' ' a ; 9 then uniting the element of < k 9 to that of i k, 9 and 
 repeating them frequently, as, kk, kk, kk ; and then do the 
 same with ' g 9 and ' a,' observing the manner and facility with 
 which they unite, then consider, too, how natural and easy it 
 is for them thus to unite. 
 
 Now, sound the element of f y, 9 and repeat it until it is dis- 
 tinctly perceived ; then place it between that of ' k 9 and ' a," 
 as, kyk, kyti \ and then again between i g 9 and ' k, 9 as, gyk, 
 gyk; after this, contrast them thus, kk, M ; kyk, kyk>—gk> 
 
IN THE SUCCESSION OF ELEMENTS. 81 
 
 gk ; gyh, gyk. You will, at once, perceive that the element 
 of ' if interposed in this way, produces an unpleasant and 
 affected pronunciation of the words thus sounded with the ' y. ? 
 
 Now, ask yourself which sounds are the least affected, the 
 most easily produced, and the most euphonic, of these com- 
 pound sounds? You, then, will very readily conclude that, 
 the philosophy of sound and the production of it, require that 
 the 'tf should not be interposed in this situation for the pur- 
 pose proposed. Hence, then, the following words should 
 have the notation as follows : 
 
 We shall give both notations for contrast — 
 
 Incorrect or Affected 
 Pronunciation. 
 
 ky|rd* 
 
 kyart* 
 
 gyard 
 
 re-gyard 
 
 kyan-dl* 
 
 gyar-re-sun 
 
 kyar-rjdzh 
 
 gy id 
 gy| s 
 
 gyil 
 
 bt-.gyil 
 
 skyi 
 
 kyind 
 
 man-kyincl 
 
 kyat-t-kyis" 
 
 Where the monothongal 6 v? is preceded by ' x J and has the 
 accent on it, the 'a?' should have the elements of 6 gz f first, 
 because the elements of ' z ? can be made more easily to run into 
 the monothongal c u,' as ^umic, zumate ; second, because it is 
 unpleasant and disagreeable to hear the aspir elements of c xj 
 namely 'ksj immediately before the accented monothongal <u, ? 
 as, exult, tks-ult, than the vocos ' gzj as, ea?wlt, eg-zult ; and 
 because the vocos i gz' do more naturally and pleasantly coa- 
 lesce with the pure vocality of the i uf where it has the stress 
 required for the accent. 
 
 * C has the sound of k in these cases. 
 
 Orthography. 
 
 Correct 
 
 Pronunciation. 
 
 card 
 
 
 kard 
 
 cart 
 
 
 kart 
 
 guard 
 
 
 gard 
 
 regard 
 
 
 re-gard 
 
 candle 
 
 
 kan-dl 
 
 garrison 
 
 
 gar-re-sun 
 
 carriage 
 
 
 kar-ridzh 
 
 guide 
 
 
 gid 
 
 guise 
 
 
 gis 
 
 guile 
 beguile 
 
 
 bj-gil 
 
 sky 
 kind 
 
 
 ski 
 
 kind 
 
 mankind 
 
 
 man-kind 
 
 catechise 
 
 
 kat-t-kis 
 
82 
 
 PHILOSOPHY OF SYLLABICATION. 
 
 exult 
 
 exultance 
 
 exultation 
 
 exundate 
 
 exundation 
 
 exuperate 
 
 exuperant 
 
 exist 
 
 exuvia 
 
 eg-zult 
 
 eg-zi)l-tans 
 
 eg-ztil-ta-shun 
 
 eg-zun-dat 
 
 eg-zun-da-shun 
 
 eg-zu-pur-at 
 
 eg-zu-pur-ant 
 
 eg-zlst 
 
 e^-zu-ve-a 
 
 exuberance 
 
 exuberate 
 
 exuberant 
 
 exude 
 
 luxuriant 
 
 luxuriate 
 
 luxurious 
 
 luxuriance 
 
 luxuriously 
 
 eg-zu-by-uns 
 
 eg— zu-bur-at 
 
 eg-zu-bir-ant 
 
 eg-zud 
 
 llig-zu-rt-ant 
 
 liig-zii-re-at 
 
 Kig-zu-re-tis 
 
 lug-zu-re-ans 
 
 lug-zu-re-lis-le 
 
 Where 6 x' is initial, it has always the element of ' z ;' as 
 xyphoid, zy-foyd; a?erxes, ^erks-es ; oyster, z is-ter. 
 
 All the pure vocal elements, except the diphthongal c w,' 
 where accented and immediately preceded by ' ex? or c lux? 
 require the ' x' to have the elements of ' gz ;' as, exist, eg-z;st, 
 exert, eg-zert ; examine, eg-zam-in ; exalt, eg-zalt ; exode, 
 eg-zod ; exude, eg-zud ; exuvia, eg-zu-vj-a ; exaggerate, 
 eg-zaj-er-at. 
 
 According to the euphony of our language, the aspir 'A' 
 coming between the c x 9 and an accented vowel, should always 
 be silent, as, 
 
 exhaust 
 
 exhausted 
 
 exhaustless 
 
 exhort 
 
 exhortation 
 
 exhorting 
 
 exhibit 
 
 exhibiting 
 
 eg-zast 
 
 £g-zast-ed 
 
 ag-zast-less 
 
 eg-zort 
 
 eg-zor-ta-shun 
 
 eg-zort-jng 
 
 eg-zlb-lt 
 
 eg-zjb-it-ing 
 
 exhibition £g-zib-bi-shun 
 
 exhale eg-za.1 
 
 exhalable eg-za-la-bl 
 
 exhalation e£-za-la-shun 
 
 exhilerate ag-zil-er-at 
 
 exhileration ag-zjl-er-a-shiin 
 
 exhilerating ag-zil-er-a-tjng 
 
 S, in 'mis,' has its aspir element in all circumstances, except 
 where followed by the seventh vowel element, (as <u' in 'up,') 
 as misery, miser, miserable, miserly 5 pronounced miz-iir-e, 
 mi-zur, miz-er-a-bl, mi-zur-le. 
 
 S, preceded by # 'de,' has the voco sound in the following 
 families of words ; in all other situations it is aspir. 
 
 desert 
 
 dez'-ert 
 
 designing 
 
 de-zi'-ning 
 
 desert 
 
 de-zert' 
 
 desire 
 
 de-zir' 
 
 deserter 
 
 de-zert'-ur 
 
 desirous 
 
 de-zi'-rous 
 
 desertion 
 
 de-zer'-shun 
 
 desist 
 
 de-zjst' 
 
 design 
 
 de-zin' 
 
 desistive 
 
 de-zjs'-tiv 
 
 designer 
 
 de-zi'-ner 
 
 desistance 
 
 dt-zis'-tans 
 
IN THE SUCCESSION OF ELEMENTS. 
 
 83 
 
 S, in the preposition 'dis,' tias the element of %' where it 
 is followed by either of the following accented vowel elements, 
 e, a, ah, aw, oh, uh ; as 
 
 disease 
 
 djz-ez, 
 
 disorder 
 
 diz-6r-dur. 
 
 diseased 
 
 diz-ezd, 
 
 disordered 
 
 diz-or-durd. 
 
 disable 
 
 diz-a-bl, 
 
 disorganized 
 
 diz-or-gan-izd. 
 
 disabled 
 
 djz-a-bld, 
 
 discern 
 
 diz-zern. 
 
 disarm 
 
 djz-arm, 
 
 discerning 
 
 diz-zern-Ing. 
 
 disarmed 
 
 djz-armd, 
 
 discerner 
 
 djz-zern-iir. 
 
 disaster 
 
 djz-as-tur, 
 
 dissolve 
 
 diz-zMv. 
 
 disastrous 
 
 djz-as-trus, 
 
 dissolvable 
 
 djz-zolv-a-bl. 
 
 dishonor 
 
 djz-on-ur, 
 
 disown 
 
 diz-on. 
 
 dishonorable 
 
 diz-on-Ur-a-bl, 
 
 disowning 
 
 djz-6n-ing. 
 
 dishonest 
 
 diz-6n-est, 
 
 
 
 S, preceded by 'pre 5 or 're,' and followed by either of the 
 pure vocal sounds, or any of the vocos, must have the element 
 of 'z,' let the accent be before or after it ; but where the ' pre 
 or 're' has its prepositional meaning in the words of which it 
 forms a part, the 's' must have its own aspir element, as 
 
 preside pre-zid', present prez'-zent 
 
 reside re-zid', present pre-z£nt' 
 
 resign re-zin', president prez'-zt-dent 
 
 resin rez'-in, presume pre-zum' 
 
 Under the latter part of the rule we find, 
 
 research re-sertsh', resite rc-sit' 
 
 presage pre-sadzh', respond re-spond' 
 
 S, preceded by 'pre' or 're,' and followed by an aspir, must 
 have its aspir element ; as, 
 
 prescribe pre-skrib', pressure presh'-shur 
 
 prescience pre-shens, presto pres'-to 
 
 respire re-spir', rescue res'-kyu 
 
 restive res'-tiv, respective re-sp£k'-tjv 
 
 S, at the end of a syllable, and preceded by any of the aspirs, 
 has its own aspir element; as, 
 
 tips, lips ; lots, its ; ticks, bricks ; chiefs, fieffs ; loss, toss ; 
 births, friths. 
 
 Where S is at the end of a syllable and preceded by a voco, 
 it has the voco element of 'z;' as bulbs, bar&s; hands, deeds; 
 logs, bogs; halves, shelves; blows, throws; smooths, bathes; 
 
84 PHILOSOPHY OF SYLLABICATION, 
 
 arms, sims, sins, mens; tools, trembles, humbles; theirs, ours; 
 brings, songs; ways, says; transfuse, (tra7i2>fuz,) transmit, 
 (trhnz-mit.) 
 
 S, is always aspir where it begins a word ; as so, such, sit, 
 sap, sop, sup, saw, sell, sold, smile. 
 
 S, at the end of words, and preceded by any vowel, has its 
 aspir element ;* as us, thus, gas, this, yes, bias, atlas, basis, pus, 
 puss, phebus, chaos, crocus, pious. 
 
 Where <es' form a distinct syllable, the <s ? is voco, and the <e' 
 has the sound of the first vowel element short ; as edges, 
 badges, urges, prizes, assizes, baptizes, rises, verses, roses, uses, 
 prices, graces ; pronounced edg-lz, badg-iz, pri-zlz, ri-ziz, 
 vers-siz, gra-siz ; as also boxes, churches. 
 
 Where 'es 5 are preceded by a sub-aspir, the 'e ? is silent, and 
 the c s' has its aspir element, and is sounded with the preceding 
 syllable ; as strides pipes, rites, notes, Hakes, cakes. 
 
 Where c es ? are preceded by a voco, and the 'e ? silent, the c s' 
 has its voco element ; cubes, tubes, lives f halves, breathes, 
 loathes, fumes, plumes, prunes, pines, ru^es, smiles, cures, 
 caves. 
 
 Where 'S' ends a syllable and is followed by an aspir, it has 
 its aspir element- as mishap, distinct, disfigure, descant, re- 
 spect, respire, despoil. 
 
 Bides in reference to the ending of the Past Tense and 
 Perfect Participle of Regular Verbs, 
 
 Rule I. Where the 'ed' termination of the past tense and 
 past participle, is immediately preceded by any of the aspirs, 
 except % 9 the 'e ? is silent, and the 'd ? has the sound of %' and 
 is added to the preceding syllable ;f as tripped, cracked, stuffed, 
 faced, traced, passed, suppressed, flushed, vouched, vexed, 
 -piqued, laughed, marked, scraped, toothed; pronounced strip't, 
 crack't, stuf 5 t, fas't, &c. 
 
 Rule II. Where <ed, 5 in verbs and participles, as above, are 
 
 * The following are the only exceptions to this rule, viz : is, was, his, has, 
 as, whereas. 
 
 I Where the participle is used as an adjective, the <ed* are sometimes dis- 
 tinctly heard ; as, a crooked stick. But this adjective is generally governed 
 by the first, second, or third rules. Under the first rule ; as, a cracked glass, a 
 vexed question, a traced line. Under second rule; as, a ruined man, the (used 
 metal, a learned man, a val?^ friend Under third rule ; as, a branded barrel, 
 a departed friend, a da/ed letter. 
 
IN THE SUCCESSION OF ELEMENTS. 85 
 
 preceded by a vowel or any of the vocos, except <d,' the <e' is 
 suppressed, but the 'd 5 retains its own voco sound, and is added 
 to the preceding syllable ; as fused, sued, defied, enjoi/ed, 
 showed, learned, ascribed, bribed, begged, moved, loved, 
 clothed, called, fired, razed, winged, seemed, imbwed, ap- 
 praised; pronounced fuz'd, su'd, defi'd, enjo?/'d, show'd, 
 leam'd, &c. 
 
 Rule III. But where the termination <ed' is immediately 
 preceded by 'd' or '£,' the 'ed' should be distinctly heard in an 
 additional syllable ; as bounded, branded, handed, pretended, 
 commended; poinfed, cifed, dated, acted, departed; pronounced 
 boun-ded, bran-ded, han-ded, &x. 
 
PART II. 
 
 ON THE ELEMENTS OF EXPRESSION. 
 
 Elocution has two kinds of elements to treat of ; and they 
 are very different from each other in their nature and applica- 
 tion. 'The first are those by the use of which, articulation is 
 made clear, smooth, and distinct. They are more properly 
 called Alphabetic Elements, or elements of simple utterance. 
 They are the sounds made by the voice, on the letters of the 
 alphabet, in a cool and dispassionate manner. Of these, there 
 are, as has been shown, thirty, (excluding the short vowels;) 
 seven vowel elements, and twenty-three consonant elements. 
 This is the ground-work upon which, and with which, the 
 superstructure of our language is reared — the diphthongs 6 i, u, 
 ou, oi, ie/ and others, and the compound consonant elements, 
 represented by the following characters, i a?, g, j, cA, 5 and 
 some others — being composed of two or more of the thirty- 
 seven simple vowel elements, (including the seven short 
 vowels.) All the words of the English language are composed 
 of one, two, or more, of these simple vocal elements, com- 
 bined in the various forms necessary to produce them. Words 
 are used to communicate or convey our thoughts, sentiments, 
 opinions, and reasonings, to each other, to produce a desired 
 and specific impression. But our meaning may not always be 
 comprehended fully, clearly, and easily, and our feelings can- 
 not be communicated by simple utterance ; therefore, a second 
 class, or kind of elements, are necessary, in order to produce 
 these desired and specific impressions. These elements are, in 
 contradistinction to the elements of simple utterance, called 
 ' Elements of Expression.' We may, by the use of these 
 elements, give very different meanings to our words, or to any 
 given sentence, according to the application of any one. or 
 
05 ELEMENTS OF EXPRESSION. 
 
 any number of them, on any one of its words, or on any 
 number, or all of them. 
 
 Take the sentence; 6 Thou art a man. 5 When delivered in 
 a cool and deliberate manner, it is a very plain sentence, con- 
 veying no emotion, nor emphasis, nor interrogation. But 
 when one of the words is emphasized, the sense will be very 
 different from what it was in the first instance ; and very 
 different, again, when another word is made emphatic ; and so, 
 again, whenever the emphasis is changed, the meaning is also 
 changed : as, < Thou art a man. 5 That is, thou in opposition 
 to another, or because thou hast proved thyself to be one. 
 
 6 Thou art a man. 5 That is, a gentleman. ' Thou art a man. 5 
 That is, in opposition to c thou has been a man, 5 or ' thou wilt 
 be one. 5 6 Thou art a man. 5 That is, in opposition to the 
 man, or a 'particular man. 
 
 Then, again the sentence may be pronounced in a very low 
 tone of voice, and with force or without force. It may be 
 raised to a fifth above the low tone, uniting a good deal of 
 stress, or without stress ; and then, again, it may be heard on 
 an octave, with the greatest force, or with moderate force. 
 Each of these latter modes of intonation will make a very 
 different impression on an audience, according to the employ- 
 ment of other elements of expression, with that of the gene- 
 ral pitch. 
 
 In addition to these, the sentence may be pronounced in a 
 very low and soft tone, implying kindness of feeling. Then, 
 in a whisper, intimating secrecy or mystery. It may be heard 
 on the semitone, high or low, to communicate different degrees - 
 of Pathos. And then, again, the tremor may be heard on 
 one or all of the words, to give greater intensity to other ele- 
 ments of expression, which may be employed. As, also, a 
 guttural emphasis may be applied, to express anger, scorn, 
 or loathing. These are some, only, of the different meanings 
 which may be given to this sentence of four words by the 
 voice. A good reader or speaker, then, ought not only to be 
 able to sound every word correctly ; he ought to know, always, 
 the exact meaning of what he reads, and feel the sentiment 
 he utters, and also to know now to give the intended meaning 
 and emotion, when he knows them. 
 
 It is designed, in the following pages, to show, how the 
 different ways of using the voice will give the different mean- 
 ings to our words, according to our intentions. With a view 
 to do this, it will be necessary to explain very particularly the 
 Elements of Expression, by which we are enabled to give any 
 
ELEMENTS OF EXPRESSION. 
 
 89 
 
 designed and specific importance to any word or words, or 
 part of a sentence, or a whole sentence, as the occasion may 
 require. 
 
 Elements of Expression. 
 
 The elements of expression are the following, in a generic 
 signification. 
 
 Pitch. 
 
 Time. 
 
 Force. Quality. 
 
 The following are the specific modes of the Elements of 
 Expression, arranged under each genus. 
 I. Pitch — Includes the, 
 
 Semitone, 
 
 Tone or Second. 
 
 Third 
 
 Fourth. 
 
 Fifth. 
 
 Sixth. 
 
 Seventh. 
 
 Eighth or Octave. 
 
 The 
 
 ( The > 
 
 The 
 
 Phases 1 
 
 Concrete 
 
 Rising 
 
 Different 
 
 ] 
 
 and 
 
 and 
 
 Kinds of 
 
 
 ■ Discrete ^ 
 
 Falling 
 
 ► Waves < 
 
 of 
 
 of the 
 
 of the 
 
 of the 
 
 
 Several 
 
 Several 
 
 Several 
 
 
 Intervals. 
 
 Intervals. , 
 
 Intervals. 
 
 , Melody, j 
 
 Diatonic 
 Melody. 
 
 Compound 
 
 Melody. 
 
 Chromatic 
 Melody. 
 
 II. Time — Includes Long and Short Quantity of Syllables ; — 
 
 Quick and Rapid Movement of the Voice ; — the 
 Measures of Speech ; — Immutable, Mutable, and 
 Indefinite Syllables ;— and Pauses. 
 
 III. Force — Includes General Loudness, and the different 
 
 kinds of stress ; as Radical, Vanishing, Median, 
 Loud, Compound, Thorough, Guttural, and the Em- 
 phatic Vocule. 
 
 IV. Quality — Includes the Whisper, the Natural, the Common 
 
 or Unimpassioned, the Falsette, and the Orotund ; — 
 Aspiration and Tremor may be added. Another 
 modification of quality may be the following: — 
 
 Loud Mild Acute | Tender Smooth j Weak I Thin J Firm 
 
 or or | or or or or or or 
 
 Soft. Harsh. Grave. Austere. Rough. ^StrongiThick. Faultering. 
 
PITCH. 
 
 Pitch is that place or degree of elevation, which any note or 
 sound has, in a scale of music, or in a scale of the compass of 
 the voice. 
 
 The variations of pitch, are denoted by the words high and 
 low* referring to their acuteness and gravity. High and low, 
 however,' are relative terms, and always relate to another place 
 or pitch in the scale. There is always a note previously agreed 
 upon, or understood, as the natural pitch; in regard to which, 
 all other notes or sounds are said to be higher or lower. 
 
 These terms, however, are too indefinite for practical pur- 
 poses. We have a more definite nomenclature of pitch, in the 
 division of what is called the Diatonic scale. 
 
 In music as in elocution, there are but seven distinctive, pure, 
 simple sounds, and the common or natural succession of thesp, 
 to which is usually added the octave or a repetition of the first, 
 is called the Diatonic Scale, or the Natural Scale. This scale 
 consists of eight notes and seven intervals. Five of these in- 
 tervals are tones, and two semi-tones. The semi-tones are 
 between the third and fourth, and between the seventh and 
 eighth degrees or notes of the scale* Every note may be called 
 a degree, and these degrees are numbered from below upward. 
 
 The distance between any two notes or points in this scale, 
 whether proximate or remote, is called an interval. 
 
 The distance between the first and second degrees is an in- 
 terval of a tone, (sometimes called a second,) — that between 
 the second and third is also a tone ; that between the third and 
 fourth, being about half that of a tone, is called a semi-tone; 
 that between the fourth and fifth a tone ; that between the 
 fifth and sixth, a tone ; that between the sixth and seventh, a 
 tone ; and that between the seventh and eighth, being only half 
 
 ^ Pitch is also applied in another sense. It refers to the regulating note to 
 which instruments are brought by the act of tuning. And in this, it may be 
 called the concert-pitch. This note, which has been adopted by common con- 
 sent as the concert-pit ch-note, is A, the open note of the second string of the 
 violin, and is written in the second space of the treble cliff. 
 
 The term pitch is again applied in a sense indicating the degree of elevation 
 of the key, or key-note, or tonic, fundamental note, or base, to which all the 
 other notes of a scale or melody, bear a certain interval relation ; that is, all 
 other notes of the scale must form certain determined intervals with it. 
 
DIATONIC SCALE. 
 
 91 
 
 that of a tone, is again a semi-tone. The semi-tones are also, 
 always between B and C, and E and F. (See diagram.) 
 
 W 
 
 o 
 
 dd 
 
 Q 
 
 W 
 
 p 
 
 GO 
 O 
 
 GO 
 
 O 
 
 -o -a 
 
 -o 
 
 >\ 
 
 O Q 
 
 "1 z 
 5' T 
 
 CD 
 
 thro' 
 
 scale, 
 the 
 
 oil 
 
 the 
 scale. 
 
 c 
 
 
 — CD O 
 4 
 
 Now 
 
 3 
 
 CD 
 
 CO 
 
 CD 
 
 
 7 
 
 down. 
 
 P 
 
 3 
 
 CD 
 
 
 Now 
 
 i 
 
 U 
 
 o 
 
 i 
 
 1 
 
 m 
 
 CD 
 
 1 
 
 GO 
 O 
 
 1 6 
 
 1 ? 
 
 f I 
 
 S° 
 
 ¥ 
 
 1 <j° 
 
 _9 9 
 
 i 
 
 ■a o t 
 
 > CO Q 
 
 i 
 
 i 
 
 
 qs= i i 
 
 lllllllllllll 
 
 o u b 
 
 i 
 
 i i i 
 
 *a o o t> i 
 
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 ►7* K> CO 
 
 ^ Cn C 
 
 n> <? GO CD C 
 
 D h-» to co 
 
 H 
 O 
 
 o 
 
 GO 
 
 o 
 > 
 
 o 
 a 
 w 
 o 
 S 
 
 H 
 
 l-H 
 
 Q 
 
 GO 
 
 o 
 l> 
 t* 
 w 
 
92 DIATONIC SCALE. 
 
 The heavy, horizontal, parallel lines represent the notes; 
 and the spaces between them, the successive intervals of the 
 diatonic scale. 
 
 The order of succession in the Diatonic scale, is by skips of 
 tones and semi-tones. The Chromatic or Semi-tonic scale, 
 rises or falls by skips of semi-tones only, as it is illustrated in 
 the foregoing diagram.* 
 
 The chromatic scale is used in elocution only for the ex- 
 pression of Plaintiveness. 
 
 The diatonic scale is that which should be more especially 
 understood in its various particulars. 
 
 This scale may be divided into two portions ; the low r er 
 portion consists of two tones and a semi-tone ; the upper, of 
 three tones and a semi-tone. The lower portion is called a 
 minor fourth, (from C to F, or from Do to Fa, containing five 
 semi-tones ;) and the upper, d. major fifth, (from F to C,or from 
 Fa to Do, containing seven semi-tones.) 
 
 It may again be divided into three portions, two are thirds, 
 and one a fourth. The lower portion is a major thwd, (con- 
 taining four semi-tones, from C toE;) the middle portion, a 
 minor third, (containing three semi-tones, from E to G;) and 
 the upper portion, a minor fourth, (containing five semi-tones, 
 from G to C.) These are the most important intervals in 
 music, being the more perfect chords. Harmony is dependent 
 upon the agreeable effect of these intervals. They are called 
 thirds, fourths, fifths, and octaves. 
 
 The diatonic scale is again divided into the following; inter- 
 vals. From the first or key-note, C, to the second, or D, is 
 called a second, because it includes two notes. From the first 
 to the third degree, or E, is called a third, because this interval 
 includes three notes. From the first to the fourth degree, or 
 F, is called a fourth, because it includes four notes or degrees. 
 From the first to the fifth degree, or G, is called a fifth, be- 
 cause it includes five degrees. From the first to the sixth 
 degree, or A, is called a sixth. From the first to the seventh, 
 or B, is a seventh. And from the first to the eighth, or C, is an 
 eighth or an octave. From the first, as a Root or Funda- 
 mental Base, must grow the third, fifth, and octave, in their 
 harmonious relations, the result of the several intervals which 
 they form with the said root or base. This root or fundamental 
 
 * The Enharmonic scale is a progression of quarter tones, as the chromatic 
 is of semi-tones, and is of very little use in vocal music, and of none in Elo- 
 cution. 
 
DIATONIC SCALE. 93 
 
 note is called the key-note or ionic ; and the intervals of the 
 third, fourth, fifth, and octave from this tonic, are called the 
 common chords of the key-note. This note, as it is the regu- 
 lating note of all others in the scale, is properly called the 
 governing or key-note. 
 
 As each note of the diatonic scale of C, as well as the sharps 
 or flats contained in it, may be assumed as a key-note, it fol- 
 lows that there are twelve keys, or thirteen including the octave ; 
 because there are twelve semi-tones, and thirteen notes includ- 
 ing the octave in the scale. 
 
 Intonation signifies the sounding of the different notes of a 
 scale or melody, discretely and concretely, with the voice, or 
 with an instrument. When the discrete skips and concrete 
 slides are made with exactness, the intonation may be said to 
 be correct or true. When they are not thus made, the intona- 
 tion is false It is very highly important in speech, to make 
 the intonation correct ; in song and instrumental music, it is 
 indispensable. The charms of melody will be lost, and the 
 concord of harmony will be discord, if the intonation is 
 false. 
 
 When the bow is drawn across the open string of the one- 
 stringed instrument, represented below, a sound is produced of 
 a uniform pitch, from the beginning to the end. This sound 
 is a ptire note of music, and is identical with the note of song. 
 When the bow is drawn across the same string, while the 
 centre of it, at figure 8, is pressed down with the finger, a 
 sound is heard similar to the first, or similar to that produced 
 by the open string, but an octave higher in pitch. The succes- 
 sive notes of the diatonic scale may be produced by pressing 
 down the string at the several mathematical points indicated 
 by th# figures 1,2, 3, 4, &c. in the diagram, while drawing the 
 bow across it. 
 
 It will be particularly observed that the distances between 
 the points, 1, 2, 3, &c. are all equal, excepting those between 
 3 and 4, and between 7 and 8, which are but half that of any 
 of the others. 
 
 When the sounds of the scale are produced by drawing the 
 bow, while the finger is held stationary for a moment, and then 
 skips on the different points marked 1,2, 3, 4, &c, we have 
 the notes or sounds made discretely, and are called discrete 
 sounds or notes, because they are separate and disjoined from 
 each other, by having no intermediate pitch sounded. 
 
 If, however, the finger is made to slide either upward or 
 downward during the motion of the bow, we will hear a mew- 
 
94 
 
 CONCRETE PITCH. 
 
 ino- sound, which, from the momemtary changes in ascent or 
 descent of pitch, preventing any apparent break in its course, 
 is a continuous or moving sound, very different from that of 
 the discrete sounds. This continuous sound is called a slide, 
 because the sound is made to slide, as it were, from one pitch 
 to another. It is also called a concrete* sound, because the 
 
 ^ A slide, a concrete, and the vanishing movement, are nearly synonymous 
 terms; yet the concrete may imply the radical and vanish, or the whole move- 
 ment of the voice, in the production of a note of speech. 
 
CONCRETE PITCH. 95 
 
 sound made by the movement of the finger, seems to grow out 
 of that made before the finger moves, or out of that note from 
 which the concrete sets out or starts. 
 
 The sound heard, when any of the 8 points of the string is 
 pressed, and the bow drawn across it, is called a note. This 
 note must, however, be distinguished from a tone, which is 
 that portion of the concrete between two proximate notes dif- 
 fering one degree in pitch. This is also called an interval of a 
 tone, or of a second. 
 
 When the finger moves on the string from 1 to 2 on the 
 diagram, and the bow at the same time drawn across, a rising 
 slide, or concrete of a second is heard ; if the finger moves 
 from 2 to 1, a. falling concrete is produced ; if the finger moves 
 from 1 to 3, a rising third is heard; if from 3 to 1, a. falling 
 one, or a falling concrete of a third, is produced ; and likewise, 
 if the finger moves from 1 to 4, 1 to 5, 1 to 6, 1 to 7, or 1 to 8, 
 a rising concrete or slide of a fourth, fifth, sixth, seventh, or 
 eighth, will be heard ; and when the finger moves in the con- 
 trary direction, falling concretes of corresponding intervals, are 
 produced. (See diagram.) 
 
 It is evident, then, that the scale may be sounded concretely 
 and discretely ; — concretely, when the finger moves gradually 
 and continuously from one place, note, sound, or pitch to any 
 other, either upward or downward ; — and discretely, when 
 the finger skips or jumps from one place, note, sound, or pitch, 
 to any other either upward or downward. 
 
 The human voice is capable of executing all these move- 
 ments of sound, both discretely and concretely. 
 
 The pupil, in acquiring the power of intonating the eight 
 notes of the diatonic scale, upward or downward, will use the 
 monosyllables, Do, Ee, Me, Fa, Sol, La., Si, Do. He will rise 
 and fall by the regular intervals of the diatonic scale, until he 
 can sound it with ease and accuracy. He will then rise and 
 fall by thirds, (as it is called) ; as, Do, Me, Sol, Do, — Do, Sol, 
 Me, Do. He will afterward sound every interval of the scale, 
 from a semi-tone to the octave, upward and downward. Thus 
 he will acquire a more definite idea of the different intervals, 
 when he hears them intonated, or when he intonates them 
 himself; or he will have a guide for himself, in the endeavor 
 to intonate any given or designed interval. 
 
96 
 
 DISCRETE PITCH. 
 
 The following table will aid him in training his voice, 
 and obtaining accurate notions of the different intervals of 
 concretes, 
 
 -S- 
 
 ■ 7_ 
 -(>- 
 
 -5- 
 .4 T 
 
 -3- 
 -2- 
 
 -1- 
 
 -C- 
 -B- 
 
 -A- 
 
 -G- 
 
 -F- 
 -E- 
 
 -D- 
 
 -C- 
 
 -Do- 
 
 -Si- 
 
 -La- 
 
 -Sol- 
 
 •Fa- 
 -Me- 
 
 7 
 
 -Do- 
 
 -Do_ 
 
 -Sol 
 -Me 
 
 -Do- 
 
 -Do- 
 
 *Fa- 
 -Do- 
 
 -Do- 
 
 -Me 
 -Re- 
 -Do- 
 
 Do- 
 
 -Me 
 -Do- 
 
 -Do- 
 
 -Fa- 
 -Me 
 
 -Re- 
 
 -Do- 
 
 -Do- 
 
 Fa- 
 Do- 
 
 -Do- 
 
 -Sol 
 
 -Fa- 
 -Me 
 
 -R, 
 
 -Do- 
 
 -Do- 
 
 -Sol 
 
 -Do- 
 
 -Do- 
 
 -La- 
 -Sol 
 
 -Fa- 
 
 ■Me 
 
 -Re- 
 -Do- 
 
 -Do- 
 -Ea- 
 
 -Do 
 
 -Si- 
 •La- 
 
 -Sol 
 
 -Fa- 
 
 •Me 
 
 -Re- 
 -Do- 
 
 •Si- 
 -Do 
 
 -Do 
 
 -Si- 
 
 -La- 
 
 -Sol 
 
 -Fa- 
 -Me 
 
 -Re- 
 
 -Do- 
 
 -Do- 
 -Do- 
 
 When one octave or a simple diatonic scale, can be thus in- 
 tonated, it will be very easy to add another, and intonate it, in 
 connection with the first one ; for the second is, in every par- 
 ticular, similar to the first; since that every note in the second, 
 is respectively an octave higher or lower, than its correspond- 
 ing one in the first. Hence, one octave may be added to 
 another, so long as the respective notes can be made to have 
 the octave relation with their corresponding notes in the ad- 
 joining octave. Thus, in our modern pianos, we have six 
 octaves in one scale. It is said, that the human ear is capable 
 of perceiving nine octaves. 
 
 Vocal expression may be heard under four different kinds or 
 sorts of voice. The Natural, — the Falsette, — the Whisper- 
 in£, — and the Orotund. To which might be added the Semi- 
 tonic and the Tremulous movement of the voice. The Orotund 
 is an improved quality of voice, which we will describe under 
 a separate head. 
 
 The compass of many voices unimproved, will reach, with 
 difficulty, two octaves. But the medium compass of those, 
 who have properly cultivated their voices, will extend to 
 three, some to three and a half, and a few to four octaves. 
 
 The Natural voice is that which is employed in ordinary 
 speaking. It includes a range of discrete pitches, 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 
 higber parts of the scale, are made in a shriller kind, called 
 the Falsette. 
 
 The Natural voice is capable of the concrete, discrete, and 
 tremulous progression. By the concrete and tremulous move- 
 ment, the natural may be continued into the falsette, without 
 
PRODUCTION OF SOUND AND PITCH. 97 
 
 a perceptible point of union. Thus the concrete rise, in a 
 vehement interrogation, sometimes passes far above the limit 
 of the natural discrete scale, without exhibiting that unpleasant 
 break in the transition to the falsette, which, in the discrete 
 movement, is remarkable both as to quality of sound, and 
 effectual execution, except with persons of great vocal 
 skill. 
 
 The point at which, in a majority of persons, the voice 
 breaks into the falsette, is about two octaves above the lowest 
 note of the voice. Hence, the natural voice embraces about 
 two octaves. 
 
 The Falsette is that peculiar kind of voice in which the 
 higher degrees of pitch are made, after the natural voice breaks 
 or runs out. The cry, scream, yell, and all shrillness of sound, 
 are but modifications of the falsette. It must not be under- 
 stood that its compass lies, restrictively, between the point at 
 which the natural scale ends, and the highest practicable note 
 of the voice. This point may be varied or raised higher, or 
 brought lower in the whole scale of the voice, by designed 
 effort. By descending from the highest note of the falsette, 
 we can carry it down ten or twelve degrees, before it breaks 
 into the natural. And by ascending ihvough. the natural scale, 
 we can carry it higher, before it breaks into the falsette, than 
 the point at which it breaks when descending. 
 
 Vocality is a sine qua non of the falsette ; therefore all the 
 elements may be made in the falsette, except the aspirs, for 
 there is no vocality in these. 
 
 .Production of Sound and Pitch. 
 
 The voice, or the sound of the voice, is produced in the 
 larynx. The glottis, being the upper opening of the larynx, is 
 the particular part in which sound is made. 
 
 The larynx, by the muscles attached to it, can be elevated 
 or depressed at will. The glottis, by another set of muscles, 
 can be enlarged or diminished in size, at pleasure. That open- 
 ing immediately above the glottis, called the Fauces, is sus- 
 ceptible of dilatation and contraction, and is the 5 general 
 regulator of pitch. It is also called throat, or posterior part 
 of the throat. 
 
 Sound is produced in the glottis, by contracting its diameter 
 
98 PRODUCTION OF SOUND AND PITCH. 
 
 a little from that in ordinary breathing, and forcibly expelling 
 air or breath through it. 
 
 Pitch is produced by a more or less forcible expulsion of air 
 through the glottis, aided by the contraction or dilatation of its 
 diameter, by the elevation or depression of the larynx, and by 
 the increased or diminished size or capacity of the fauces or 
 throat. 
 
 Gravity of sounds, or a grave sound, depends on the degree 
 of depression of the larynx, and the degree of dilatation of the 
 glottis and fauces. Acuteness of sounds, or an acute sound, is 
 dependent on the degree of elevation of the larynx, and the 
 degree of contraction of the glottis and fauces. Thus, Pitch, 
 is the result of the combined action or condition of the Larynx, 
 Glottis,, and Fauces. Hence, also, grave sounds appear to come 
 from the chest, arising from the depression of the larynx — and 
 acute ones,, from the head, arising from the elevated position 
 of the larynx. It is from these circumstances, no doubt, that 
 the error has arisen of calling the natural voice, " voce di 
 petto," and the falsette, " Voce di testa," as we find in some of 
 the Italian authors. 
 
 The sound of the voice is produced, by the air passing 
 through the glottis, in like manner, as sounds are produced in 
 the aperture of the lips in whistling ; — the aperture of the lips, 
 answering to the aperture of the larynx, called glottis. The 
 lips, in whistling, are more or less protruded, corresponding to 
 the elevation or depression of the larynx,— the aperture of them, 
 is larger or smaller, answering to the difference in the size of 
 the glottis,— and the cavity of the mouth more or less enlarged, 
 agreeing to a similar movement or condition of the fauces. 
 
 The reason that pitch in whistling cannot be produced much 
 over an octave, is this,— the aperture of the lips, is a very 
 irregular and imperfect opening, made only by contracting, or, 
 as it were, puckering them into a smaller opening, and the 
 cavity of the mouth is not susceptible of much variation in 
 size. The glottis and fauces are much more flexible and exten- 
 sible in their movements, as well as more complete in their 
 structure, and much better adapted to the production of sound 
 and pitch. Therefore the voice is susceptible of a much 
 greater extent of pitch, than can be produced in the act of 
 whistling. 
 
PRODUCTION OF SOUND AND PITCH. 
 
 99 
 
 COMPASS OF THE VOICE. 
 
 
 
 
 
 — 8- 
 
 —29- 
 
 — C — 
 
 — Do- 
 
 
 
 
 
 
 _7_ 
 
 —23— 
 
 — B— 
 
 — Si— 
 
 
 
 
 m 
 
 
 
 
 
 
 
 
 
 H 
 
 
 
 
 
 
 
 
 
 H 
 
 « 
 
 > 
 
 — 6- 
 
 —27— 
 
 — A — 
 
 — La- 
 
 
 
 
 CO 
 
 « 
 
 
 
 
 
 Tfl 
 
 
 
 fa 
 
 o 
 O 
 
 -5— 
 
 -26— 
 
 — G — 
 
 — Sol- 
 
 o 
 
 
 
 H 
 
 ^ 
 
 rg 
 
 — 4— 
 
 —25— 
 
 _F — 
 
 — Fa- 
 
 M 
 
 
 
 ■< 
 
 3 
 
 
 
 
 
 PS 
 
 
 
 
 o 
 
 fa 
 
 — 3— 
 
 —24— 
 
 — E— 
 
 — Mi- 
 
 O 
 
 
 
 fa 
 
 
 
 
 
 
 w 
 
 
 
 
 
 — 2— 
 
 -23— 
 
 — D— 
 
 — Re- 
 
 y 
 
 o 
 
 
 
 
 
 -1— 
 
 — 7— 
 
 —22— 
 -21— 
 
 Q . 
 
 — Do- 
 
 > 
 
 
 
 
 
 — B— 
 
 — Si— 
 
 
 
 
 
 
 
 
 
 
 < 
 
 
 
 
 . 
 
 — 6— 
 
 —20— 
 
 — A — 
 
 — La- 
 
 § 
 
 
 
 
 t> 
 
 
 
 
 
 a 
 
 
 H 
 
 h 
 
 
 O 
 
 —5— 
 
 —19— 
 
 -G — 
 
 — Sol- 
 
 fa 
 
 
 
 lO 
 
 O 
 
 
 
 
 
 fa 
 
 fa 
 
 o 
 
 .-1 
 
 fa 
 
 QJ 
 
 A 
 
 T3 
 
 _4_ 
 — 3— 
 
 —18- 
 —17— 
 
 _F — 
 
 — E — 
 
 — Fa- 
 — Mi- 
 
 fa 
 
 O 
 > 
 
 
 
 
 -2— 
 
 —16— 
 
 — D — 
 
 —Re- 
 
 o 
 
 w 
 
 Xfl 
 
 < 
 
 
 
 
 
 _1_ 
 
 —15— 
 —14— 
 
 — C — 
 — B-— 
 
 — Do- 
 
 — Si- 
 
 < 
 o 
 
 
 
 
 
 
 
 
 
 
 
 o 
 
 2 
 
 
 
 CD 
 > 
 
 — 6- 
 
 -13- 
 
 — A — 
 
 -La- 
 
 § 
 
 H 
 
 
 
 2 
 
 
 
 
 
 p 
 
 fa 
 
 
 
 O 
 
 — 5— 
 
 —12— 
 
 — G~- 
 
 -Sol- 
 
 S 
 
 O 
 
 
 
 13 
 
 
 
 
 
 fa 
 
 V2 
 
 
 bi 
 
 o 
 
 —4- 
 
 —11— 
 
 _F — 
 
 ^Fa- 
 
 s 
 
 < 
 
 fa 
 
 
 
 CJ 
 0) 
 
 —3— 
 
 —10— 
 
 — E — 
 
 — Mi- 
 
 
 § 
 
 o 
 
 
 
 2 
 
 g 
 
 T) 
 
 — Re- 
 
 
 o 
 u 
 
 > 
 
 
 
 
 — 8- 
 
 r c~ 
 
 — Do- 
 
 
 
 
 
 
 
 
 
 -7— 
 
 — 7 — 
 
 _B— 
 
 -Si— 
 
 
 s 
 
 < 
 
 
 
 
 
 
 
 
 Ed 
 
 £ 
 
 
 
 -6— 
 
 — 6— 
 
 — A — 
 
 — La- 
 
 
 
 
 
 d 
 
 
 
 
 
 
 *^ 
 
 
 
 
 
 
 
 
 
 
 
 g 
 
 a 
 
 — 5 — 
 
 — 5— 
 
 — G — 
 
 — Sol-- 
 
 
 
 
 
 o 
 
 02 
 
 —4— 
 
 — 4— 
 
 _ F - 
 
 — Fa- 
 
 
 
 
 
 fa 
 
 -3- 
 
 2 
 
 _1_ 
 
 — 3- 
 
 2— 
 
 — 1_ 
 
 -E- 
 -D — 
 
 _c 
 
 —Mi- 
 
 
 
 
 
 
 
 
 The voice should be made frequently, to run over three 
 octaves,— the medium compass of an improved voice, upward 
 and downward, in the regular order of the diatonic discrete 
 
ICO WHISPERING. 
 
 intervals, and also by discrete thirds, fourths, and fifths, as 
 well as by octaves, making the sounds as full and distinct as 
 possible, and with a fine delicate vanish, for the purpose of 
 improving the tone* or quality of the voice. 
 
 The whispering voice owes its peculiarity to the absence of 
 vocality. Whisper is the proper constituent of the Aspir ele- 
 ments. All the vowels and vocos, however, may be whispered. 
 
 The cause of the whispering sound is, the less forcible ex- 
 pulsion of air through the glottis, with a wider opening of it, 
 than for distinct vocality. 
 
 The compass of the voice, in whispering, is about an 
 octave, perhaps a little more in some persons. 
 
 The whispering v6ice is the symbol of secrecy or mystery — 
 of sorrow or sighing. 
 
 The natural pitch of the female voice, being the same as 
 that of boys, is about an octave higher in pitch than the male 
 voice. The pitch of the female voice corresponds to the 
 violin, and that of the male to the violuncello. The voice of 
 boys undergoes a remarkable change at the age of about four- 
 teen, and sinks to that of an ordinary man. 
 
 The lower octave of the natural voice is called Bass, the 
 upper, Tenor , and the falsette constitutes the Treble. (See 
 Diagram.) 
 
 The lower notes of a female voice are the notes of the 
 middle octave of the male voice ; — the second octave of the 
 female corresponds to the falsette of the male ; — the third 
 octave of the female voice would be the fourth of the male 
 compass scale — continued. 
 
 Notes in music are named after the first seven letters of the 
 alphabet, and are represented by certain written characters 
 called notes, and placed on five horizontal, parallel lines, and 
 four spaces. These lines and spaces are called the staff, on 
 which music is written, and always counted from below 
 upward. Each line and space is called a degree. Hence, the 
 staff contains nine degrees, five lines and four spaces. 
 
 The situation of the letters on the staff is determined by 
 given characters, called Clefs. They are three n number. 
 
 "vy r— jf T ~l^r~i~ 
 
 The F ~^7~. •" Clef... .GETS J"~ Clef C "■• |~~ !•""" Clef. 
 
 zzizzl: W.—zz 1 — 
 
 * The word tone, is sometimes employed to import sound., or note, or 
 quality of sound; as, the tone of his voice is very musical or pleasant; — that 
 is, the sounds are musical and pleasant. Although, in general, it denotes the 
 interval of a second. 
 
STAFF AND CLEFS. 
 
 101 
 
 The F Clef is used in the Bass, and stands on the fourlh 
 line. 
 
 The G Clef is used for the Tenor, Treble, and Alto, and 
 stands on the second line. The Second Treble is an octave 
 above the First Treble, or Tenor- 
 
 The C Clef is used for the Counter, and stands on the third 
 line, and is very seldom used in modern music. 
 
 The pitch of the F, or Bass Clef, is one degree below that 
 of the First Treble, and nine degrees below the Second Treble 
 clef note G, and an octave above the lowest note of a properly 
 cultivated voice, and is also the lower line of the Counter-staff. 
 
 The Air or First Treble or Tenor, is six degrees, or a sixth 
 above the Bass, and an octave below the Treble proper, or the 
 Second Treble or Alto. 
 
 The Counter Clef note, C, is the middle C, or the ledger 
 line below the Treble, and the ledger line above the Bass Staff. 
 The Counter-Staff is one degree above the Air. (See Diagram.) 
 
 Relation and Connection of the Different Parts in Music. 
 
 12 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 13 19 20 21 22 
 
 F G A B CDEF GAB CDEFGABCDEF 
 
 F G A B 
 
 C D 
 
 I I 
 
 -r-r-rT-r-r-r-r-r-r-r-r-rTT 
 
 F GABCDEFGABCDEF 
 
 I I I I I I I I I I I I I I . 
 (4 ) 2d Treble or Alto A 
 
 -»-»-r~r T"r"r~r-r— r*i i ! i i j i r~r~ f— tt~~ 
 
 FG AB CDEF GABCDEFGAB CDEF 
 
 (1) Represents the Bass Staff. (2) Represents the Tenor Staff, or first 
 Treble or Air. (3) The Counter Staff. (4) The Treble, or sometimes 
 called the second Treble or Alto, or Soprano— the higher voice part. 
 
102 CHORDS. 
 
 This table represnts three octaves of the finger-board of 
 a Piano Forte, and two staffs with their clefs. Each note 
 is placed opposite the key of the Piano, which is named by 
 the same letter of the note. 
 
 The C note on the ledger line between the two staffs is 
 called the middle C — those keys on the left of this middle C 
 are for the left hand, and correspond to the F, or Bass Clef — 
 those on the right of it, are played with the right hand, and 
 answer to the G, or Treble Clef. 
 
 The compass of modern Pianos is six octaves, and extends 
 one octave lower and two higher than the finger-board here 
 represented. 
 
 The construction of the finger-board of Pianos is such, that 
 the diatonic scale is produced by touching the white keys in 
 their regular order, and the chromatic scale, by touching all 
 the keys, white and black, in regular succession. 
 
 Those notes which, when sounded together, are pleas- 
 ing to the ear, produce harmony; and are called con- 
 cords, and their intervals are consonant intervals. Those 
 which are disagreeable to the ear, are called discords, and 
 their intervals dissonant intervals. 
 
 The Perfect Chords are Unisons, Major Fifth, Minor 
 Fourth, and Octaves. 
 
 The Imperfect Chords are Thirds and Sixths, Major and 
 Minor. 
 
 The Discords* are Seconds, Major Fourths, Minor Fifths, 
 and Sevenths. 
 
 There are two varieties in the Diatonic Scale. The one is 
 called the Major Mode, or Major Key. The other is called 
 the Minor Mode, or Minor Key. 
 
 The Natural, or Diatonic Scale, exhibits the Major Mode 
 or Key — the semi-tones being between the third and fourth, 
 and seventh and eighth degrees of the scale. 
 
 The Minor Mode, or Key, differs from the Major in two 
 particulars. The Minor Key is always a Minor third, or three 
 semi-tones lower than that of the Major. And the semi-tones 
 are found, in ascending, between the second and third, and 
 seventh and eighth degrees, and, in descending, between the 
 second and third, and fifth and sixth. (See Diagram.) 
 
 A Major Key signifies that the first third of the scale is a 
 Major Third from the Tonic or Key-note — and a Minor Key 
 
 # Discords are sometimes admissible in music. When they precede perfect 
 chords they greatly increase the power, beauty, and effect ; but they should be 
 seldom used. 
 
MAJOR AND MINOR MODES. 
 
 103 
 
 signifies that the first third is a Minor Third from the Tonic, 
 always counting upward. 
 
 Major Mode. 
 No. 1. 
 
 Diatonic or Natural Scale. 
 
 Minor Mode. 
 No. 2. 
 
 No. 3. 
 
 -C- 
 -B- 
 
 -A- 
 
 -F 
 
 -E-! 
 
 -D-. 
 -C— 
 
 -Do- 1 
 
 —Si—' 
 
 - La -I 
 
 —Sol-' 
 -Fa-. 
 --Mi- 
 -Re- 
 -Do- 
 
 
 -5- -A- 
 
 l # 
 
 x 
 
 4--D- 
 
 -3-;-c- 
 
 -B- 1 , 
 
 ~La~ 
 — Sol- 
 
 «Fa- 
 
 -Mi- 
 --Re- 
 
 -Do- 
 
 — Si— 
 
 --6- 
 
 :: 
 
 i 
 t 
 
 -La~ 
 
 -Sol- 
 
 -Fa- 
 -Mi~ 
 
 -Re- 
 
 -Do- 
 
 -Si— 
 
 -La- 
 
 Nos. 1,2, 3, represent the diatonic scale. No. 1 exhibits 
 the Major mode progression, ascending and descending. No. 
 2 and 3 the Minor mode. No. 2 the ascending, and No. 3 
 the descending. 
 
 The Key-note, or Tonic, is that note with which all the 
 others of the scale bear a certain and definite relation. It is 
 called the Key, the Base, the Fundamental note, or Tonic ; be- 
 cause ail the other notes grow, as it were, out of it. Every 
 note or sound in the scale must have its particular and definite 
 interval with this Key-note, as exhibited and illustrated in the 
 diatonic scale of C. (See page 91.) 
 
 Each note of the diatonic scale of C may be taken as a Key- 
 note, as well as the sharps or flats ; it follows, therefore, that 
 there may be twelve Major Keys, with their related Minors. 
 The Minor Key is always a Minor Third below its Major — 
 and the Major is a Minor Third above its Minor. 
 
 The following diagram exhibits the diatonic scale of the Major 
 Key or Mode, of every Semi-tonic degree of the Scale, extending 
 from one octave up to another. The columns marked at the 
 bottom with the figures 1,2, 3, 4, &x. show the scales of the 
 Major Key on every semi-tonic degree, note, or letter, of the 
 diatonic scale ; each rising successively one degree above the 
 preceding one. Hence we see that the Major Key of C has 
 neither flat nor sharp. The Mojor Key of D, being one note 
 above that of C, has two sharps, namely, F and C. The Major 
 Key of E, being two notes above C, has four sharps, namely, 
 
104 
 
 MAJOR MODES. 
 
 F, G, C, and D. The Major Key of F, being three notes 
 higher than C, has one flat, which is B. 
 
 mo! 
 
 - ! 
 
 I §W^ ! 
 
 » -C . .J 
 jBD.SSd 
 
 pUm 
 
 
 "G 
 
 ^ 
 
 £ 
 
 I I I 
 
 •SJBI^ I 
 
 
 md a a 
 
 a a a v 
 
 9 io 'sdjuqg 9 
 
 •i^ia a -v a 
 
 9 jo 'sdnsqs i 
 
 9 s ? 
 
 •aABJOQ 
 
 sjBi^^io'djBqg I 
 
 v o -a a o I 
 
 ! I 
 
 P^ 
 
 <u p 
 
 tfOI ' 
 
 
 £g 
 
 Pec 
 
 kftao • h-3 
 
 ^ =* 
 
 ; : . «w ■ 
 
 re t_j <u 
 
 •d^qs'-o \**o 
 
 flic M 
 
 3t 
 
 Qoo 
 
 ■di^g ■£ 
 
 Qbo 
 
 •i^ia 'a 
 
 P</2 h3 
 
 daises 
 'CT f) VT I 
 
 b * 
 J 
 
 fcS tf P 
 
 •d«qS '0 *d 
 
 Ptfi J 
 
 « P 
 
 5 U 
 
 •sdj^qs 
 iou sjbu ov I 
 
 s^ a £s £ « g< 
 
 ocq < O feW p oaq < O fcpq p 
 
 CO O* 00 1^ 
 
 When G is the key-note, it is a fifth above C, or four notes 
 higher than C, and has F sharp. When B is made the key- 
 note, it is six diatonic degrees above the C scale, and has Jive 
 sharps, C, D, F, G, A. Or when C is considered as flat, (or 
 Cfr), every note in the scale is flat. (See column or scale over 
 figure 6 or 13. 
 
MINOR MODES. 105 
 
 The column over figure 7, presents the scale of major-key 
 of C again, only an octave higher than the first. 
 
 The columns on the right side of the diagram, represents the 
 major-keys of the intermediate flats and sharps, and they give 
 a tine display of the semi-tonic or chromatic scale. The stu- 
 dent should study them carefully, and then intonate them 
 ascending and descending. 
 
 The student should frequently practice on these scales, 
 sounding them upward and downward, from the lowest to the 
 highest. It would do very well to accompany the piano or 
 violin with the voice, in order to make it more accurate — spare 
 no pains nor time. 
 
 The following diagram, (page 106,) represents the minor- 
 keys, from A up through the whole scale or octave. No. 1 
 column represents the ascending scale, and No. 2 the de- 
 scending. 
 
 The student should make himself acquainted with the sounds 
 of the major and minor-keys, and should be able to execute 
 with accuracy and facility. 
 
106 
 
 MINOR MODES. 
 
 i— ■ K1 W 
 
 K> 
 
 to 
 
 oo to <w 
 
 1 1 1 1 1 
 ! •, : •, | 
 
 i • ii i ii i i 
 : ! : i : ' i ■ i 
 
 Notes. 
 
 1 II 1 1 
 1 1 : | : 
 
 1 
 
 pj 
 1 
 
 i I 
 
 
 
 
 
 
 
 Ascending. 
 
 I I * ill i 1 
 
 r 1 U2& so g^ cc £-• 
 i 1 '< i J i T i 
 
 
 
 
 
 
 
 Descending. 
 
 «?o JO 
 
 I I I I 
 
 tr 1 I 2?o 
 
 &G t" 1 
 
 S^ 
 
 I I 
 
 £0 
 
 I I I 
 
 I I 
 
 wo 
 
 2? S3 
 
 Ascending. 
 
 Descending 
 
 Ascending. 
 
 Descending. 
 
 i i 
 
 i i 
 
 ma 
 
 r? 
 
 i i 
 
 1 1 
 
 tr 1 ^?d w 
 
 I I 
 
 I 
 
 t- 
 
 Ascending. 
 
 Descending. 
 
 *o 
 
 *o 
 
 I I I I 
 
 I I 
 
 I I 
 
 I I 
 
 WO 
 
 I I 
 
 r i 
 
 I I 
 
 Ascending. 
 
 Descending. 
 
 Ascending. 
 
 Descending. 
 
 to 
 
 I I 
 
 I I I II I 
 
 I I I 
 
 I I I I 
 
 I I 
 
 . I I 
 
 wo fd 
 T' ? i? 
 
 t" 1 65 
 
 50 f* 
 
 O to 
 
 Ascending. 
 
 Descending. 
 
 io 
 
 I I 
 
 » g 
 
 Ascending. 
 
 I I I 
 
 wo P3 g"^ 
 
 7' o a> rr 
 
 i i 
 
 Descending. 
 
KEYS OF THE SPEAKING VOICE, 
 
 107 
 
 The speaking voice, in good elocution, seldom rises higher 
 than a sixth above the lowest note of its compass. Supposing 
 the lowest note which can be made with a full intonation, to 
 be F, the following scheme will show the relative pitch of keys, 
 adapted to the expression of different kinds of sentiments. 
 
 KEYS OF THE SFEAKING VOICE. 
 
 -A- 
 
 I 
 • -G- 
 
 _F- 
 . -E- 
 
 -D- 
 
 C- 
 
 2 — 
 
 ! Bb 
 
 -Mi L. 
 
 -Re L_ 
 
 -Do 1 -. 
 
 -Si- — 
 
 -La L 
 
 -Sol - 
 
 I 
 -Fa- 
 -Mi 
 
 -Re 
 
 -Do 
 
 , Vociferation. 
 I 
 
 Very spirited declamation. 
 
 \ 
 Spirited declamation. 
 
 Animated discourse. 
 
 - Ordinary discourse. 
 -Moderate con versatioji. 
 
 ) Three millions of people, 
 
 [armed in the holy cause of 
 liberty, 
 | and in such a country as we 
 J possess, &c. 
 
 My brave associates, &c. 
 Friends, Romans, Countrymen, 
 
 &c. 
 He scarce had ceased, &c. 
 
 — Dignified narrative. 
 
 — Solemn or sublime description. — I had a dream which was not 
 
 all a dream. 
 
 Many persons speak on a key which is too high, not only 
 when they read, or speak in colloquial intercourse, but more 
 especially in public. We not unfrequently meet with persons 
 who always speak on the highest key of the natural voice, and 
 some who speak even in the falsette. In general, a high pitch, 
 in speech, is unpleasant to the ear, and especially to a culti- 
 vated one ; and yet there are a few who speak on so low a 
 key, and with so little force, that they become inaudible. 
 Both extremes are faults. 
 
 The third or fourth degree is that which should generally 
 be employed to begin with ; and the voice should be made to 
 play a little above and below these. But all the keys of the 
 speaking scale, and all the intervals of the upward and down- 
 ward concretes, either single or compound, (waves,) should be 
 brought into requisition, in order to give a clear and strong 
 expression of the sentiments of respect, veneration, dignity, 
 sublimity, and sarcasm, and to shine in the splendor of oratory, 
 as well as to be impressive in reading and ordinary speaking. 
 
CONCRETES OF SPEECH. 
 
 Concretes, or concrete sounds in the science of elocution, 
 are always notes of speech. These notes, in regard to pitch 
 and force, are continually undergoing a change during the 
 time of their intonation. They are continually either rising 
 or falling in reference to pitch, and increasing or diminishing 
 in reference to force and volume of sound; whereas a note of 
 song is continued on the same line of pitch during the continu- 
 ance of its sound. 
 
 In giving a description of the radical and vanishing move- 
 ment of the voice, which is really and truly the concrete func- 
 tion of speech, it was said that the radical was a commencing 
 fulness, and the vanish a regular diminution into silence ; as 
 may be illustrated by the sound of < I,' i I,' ' I, 5 ' I,' which 
 should be intonated with a commencing fulness, and an upward 
 equable terminating vanish, distinctly formed. 
 
 This movement of the voice, called the concrete, may be, 
 yes, must be, executed by the voice, through all and every 
 interval of the scale. The semi-tone, the second or tone, the 
 third, the fourth, the fifth, the sixth, the seventh, and the 
 eighth or octave, or even higher if necessary, — but the semi- 
 tone, the second, third, fourth, fifth, and octave, are all that 
 are necessary for elocutional purposes. And thus we have a 
 definite mode of denoting the pitch or interval of any concrete 
 or note of speech, by adding either of the following words : 
 rising or falling; upward or downward; ascending or de- 
 scending. 
 
 Hence, then, we have a complete nomenclature in reference 
 to pitch. We have a rising and falling semi-tone, tone or 
 second, third, fourth, fifth, sixth, seventh, and eighth or octave : 
 by this, we mean that the terminating vanish of any concrete 
 or slide, is a semi-tone, tone, third, fifth, or octave higher or 
 lower, than its own radical; or that the radical of any con- 
 crete or note, is a semi-tone, second, third, fourth, fifth, or 
 octave higher or lower, than any other given one. 
 
 The extent of the concrete intervals does greatly vary, 
 according to circumstances. They may be carried through 
 the whole extent of the compass of the voice ; but the most 
 energetic and piercing interrogations, do seldom rise higher 
 
CONCRETES OF SPEECH. 
 
 
 
 109 
 
 than an octave, although sometimes they may extend to a tenth 
 or twelfth, or even higher. 
 
 Much exercise on the following table should be taken, in 
 order to familiarize the ear and the organs of voice, in this 
 most important function. Great facility should be attained in 
 the execution of the concretes, with a particular attention to 
 give them a fine and delicate vanish. They should also be 
 made on the different ranges of pitch, as indicated by the upper 
 table. 
 
 PTTCH OF SPEECH. 
 
 CO 
 
 10 Mi 
 8Do 
 
 e e 
 e e 
 
 a a 
 a a 
 
 ah ah 
 ah ah 
 
 aw 
 aw 
 
 oh 
 oh 
 
 00 
 00 
 
 u-rn 
 u-rn 
 
 Mr. President. 
 Mr. President. 
 
 S 
 
 5 Sol 
 
 e e 
 
 a a 
 
 ah ah 
 
 aw 
 
 oh 
 
 00 
 
 u-rn 
 
 Mr. President. 
 
 
 3 Mi 
 
 e e 
 
 a a 
 
 ah ah 
 
 aw 
 
 oh 
 
 00 
 
 u-rn 
 
 Mr. President. 
 
 « 
 
 IDo 
 
 e e 
 
 a a 
 
 ah ah 
 
 aw 
 
 oh 
 
 00 
 
 u-rn 
 
 Mr. President. 
 
 2d. 
 
 3d. 
 
 4th. 5th. 6th. 
 
 7th. 8th. 
 
 mmm 
 
 trttt 
 
 4-4 
 
 e, in eel, ear, hear, eve, deed, give. 
 
 a, " age, page, air, their, aim. 
 
 ak, " arm, harm, arch, bard, card, guard. 
 
 aw, " awe, all, call, or, for, Pawl, thaw. 
 
 oh, " ode, ore, sore, load, goad, more. 
 
 oo, " ooze, loose, coo, woo, move. 
 
 uh, a urn, turn, burn, urr, her, sir. 
 
 ou, " our, sour, pour, now, thou- 
 
 oi, " oil, toil, coin, join, jozce. 
 
 u, " use, ure, fume, tune, tube. 
 
 i, " ice, ire, fire, quire, isle, style. 
 
110 CONCRETES OF SPEECH. 
 
 The student should intonate every element, and afterward 
 every word, through the different intervals of the concrete 
 upward and downward, and on the different pitches indicated 
 by the upper diagram; and should make himself expert in it; 
 so that it may become natural to him : thus art may be said to 
 run into nature. 
 
 Concretes of the higher intervals may be exemplified in the 
 following sentences on the word 'you* and *Jf giving the rising 
 concrete to the interrogative, and the falling to the affirmative 
 sentence. The intervals of a third, fifth, or octave, may be 
 placed on them, according to the intensity of the feeling. 
 
 Did he think it was you J: yes, but I told him 
 it was 1\. 
 
 The word Hell, in the following lines, requires an octave 
 downward concrete. 
 
 So frown'd^ the mighty combatants, that Hell\ 
 Grew darker at their frown\. 
 
 The rising and falling concretes will be further illustrated 
 in the sections treating on the intonation of the different con- 
 crete intervals. 
 
 Waves, or Compound Concretes. 
 
 A wave is the union of two or more concretes executed on 
 the same element or syllable ; or it is the junction of upward 
 and downward concretes.* As the waves are composed of 
 two or more flexures of the voice, each of which has its inter- 
 val ; and as the direction of the outset, and the number of 
 constituents or flexurs may vary ; it will be seen, that the num- 
 ber of waves, is very considerable. 
 
 If the intervals of the constituents or concretes of the wave, 
 are equal, it is called an equal wave ; if they are not equal, it 
 is called an unequal wave. 
 
 If there are only two parts to a wave, it is called a single 
 wave; if there are three parts, it is called a double wave; if 
 more than three, a continued wave. 
 
 * This function of the voice was known by the Greeks anil Romans; and it 
 is called, by Mr. Steele, and Mr. Walker, the Circuwjlrx Accent. 
 
OF THE WAVES. 
 
 Ill 
 
 Tf the direction of theirs/ constituent of a wave is upward, 
 the wave is called Direct ; if it is downward, it is called In- 
 verted. 
 
 Hence, then, there may be 
 
 A Direct Wave; equal or unequal; single, double, or con- 
 tinued : and of any interval. 
 
 An Inverted Wave ; equal or unequal ; single, double, or 
 continued ; and of any interval. 
 
 DIAGRAM EXHIBITION OF THE WAVES. 
 
 Direct Equal Single Wave. Inverted Equal Single Wave. 
 
 Semitone. Tone. Third. Fifth. Octave. Semitone. Tone. Third. Fifth. Octave. 
 
 m 
 
 gg 
 
 «^i<-\ 
 
 e 
 
 Ky 
 
 k± 
 
 Direct Equal Double WavB\ Continued. 
 
 Semitone. Tone. Third. Fifth. Octave. 
 
 ass 
 
 4T\ A f\ 
 
 Inverted Equal Double Wave, Continued. 
 
 Semitone. Tone. Third. Fifth. Octave. 
 
 CT 
 
 T 
 
 t7\ 
 
 ONI / 5 
 
 Unequal Direct Si?igle Wave. Unequal Inverted Single Wave. 
 
 Semitone. Tone. Third. Fifth. Octave. Semitone. Tone. Third. Fifth. Octave. 
 
 J^L 
 
 *3 
 
112 OF THE WAVES. 
 
 Table of Elements and Words. 
 
 e, in e, eel, eve, ear, hear, deed, give. 
 
 a, " age, air, aim, their, page. 
 
 ah, " arm, arc, arch, harm, far, has. 
 
 aw, " all, awe, call, or, for, thaw, Pawl. 
 
 o/i, " ode, ore, own, load, sore, goad, more, roam. 
 
 oo, " ooze, loose, coo, woo, move, food. 
 
 uh. " wrn, tarn, barn, her, sir, &r, fwr, err. 
 
 ou, " our, sour, pozzr, now, thou, growl. 
 
 oi, " oil, toil, coin, join, joice, voice. 
 
 i, " ice, isle, ire, lie, quire, style. 
 
 u, " use, ure, fume, tune, tube, tw-lip. 
 
 The student should exercise frequently on the diagram and 
 table above, and place the different waves at his ready com- 
 mand. 
 
 In the interrogative sentence below, the word Hail, should 
 have the inverted, equal, single wave ; and the interval of the 
 Third, Fifth, or Octave may be placed upon it, according to 
 the intensity or earnestness of the question. It may be read 
 with all the different intervals for the sake of practice. Prac- 
 tice them until they become natural. 
 
 Did you say Hail ? 
 
 The answer to the question may have the Direct, equal, 
 single wave, on the same word, and the same interval it has in 
 the question. We give the question, and answer below for 
 contrast and exercise. 
 
 Did you say Bail?— Yes, I said Hail. 
 
 This question and answer may be read with a single con- 
 crete on the word Aai7, of either a third, fourth, fifth, or 
 octave. 
 
 Did you say Hail J ? Yes, I said Hail\. 
 
MELODY OF SPEECH. 
 
 Melody is a succession of simple sounds, so varied in pitch, 
 as to produce an agreeable impression on the ear.* A series 
 of graphic notes, representing these sounds, may also be called 
 a melody. 
 
 There are, in speech, three kinds of melodies ; namely, the 
 Simple Diatonic, the Compound or Emphatic, and the Chro- 
 matic or Semitonic. 
 
 The Simple Diatonic melody consists of a series of notes or 
 sounds, whose radical and concrete pitches or intervals never 
 exceed a single tone. This melody is used in plain, unim- 
 passioned, or unemphatic utterance. 
 
 The Compound melody is the diatonic melody interrupted 
 by any or all of the different elements of expression. This 
 melody is used in impassioned or emphatic utterance. 
 
 The Chromatic melody consists of a succession of sounds, 
 whose concrete pitches or intervals never extend beyond a 
 semi-tone. This melody is used in pitiful or plaintive utter- 
 ance. 
 
 We say, in plain narrative and description, the concrete 
 utterance of each syllable is made through the interval of a 
 tone • and the discrete pitch is never allowed to exceed the 
 same. The appropriation of the equable concrete to sylla- 
 bles, and the manner in which the succession of the radical 
 pitch is varied, may be exemplified by this notation. 
 
 He 
 
 reads 
 
 in 
 
 net 
 
 ture's 
 
 i?i 
 
 - fi ■ 
 
 7ii te 
 
 book 
 
 of 
 
 se 
 
 - ere 
 
 - cy. 
 
 
 A , 
 
 4 
 
 4 
 
 A 
 
 4 
 
 A 
 
 A 
 
 A 
 
 * 
 
 A 
 
 A 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 V 
 
 These four lines and the included spaces, may be supposed, 
 each in proximate order, to denote the difference of a tone in 
 pitch, and the succession of the radical points with their issu- 
 ing vanishes, will show the places of the syllables of the super- 
 
 * Harmony is a compound series of sounds, so varied in pitch, as to produce 
 an agreeable and concordant impression on the ear ; — or it may be said to be 
 two or more concordant melodies intonated together. 
 
114 MELODY OF SPEECH. 
 
 scribed sentences, in easy and unimpassioned utterance. The 
 notation of the succession here exemplified, is called the 
 Phonographic Melody of Speech ; and the intonation of this 
 succession, may be called the Phonologic Melody. 
 
 A more particular description of the melody of speech, 
 would embrace the doctrine of Pitch, Force, Time, and 
 Pauses ; — but as the nature of these constituents will be sepa- 
 rately considered hereafter, the subject now to be discussed is 
 limited to the development of the principles of pitch, when 
 the melody is made exclusively on the interval of a radical 
 and vanishing tone. 
 
 In order to render the system of melody more intelligible, 
 we may consider it as divided into that which is placed on a 
 sentence generally * and that which occurs on a short portion 
 at its termination. These divisions may be termed, the Cur- 
 rent Melody, and the Cadent Melody. 
 
 The Current Melody is that succession of rise and fall which 
 is made on all the syllables of a sentence, except those on 
 which the cadence is made. 
 
 The Cadent Melody consists of those syllables on which the 
 cadence alone is effected. 
 
 With a view, still further to render the melody of speech 
 more comprehensive, and to make it more definite and tangi- 
 ble, as it were, it will be necessary to regard the variations of 
 the succession of concretes on syllables, and to reduce them 
 into certain forms of aggregation, and give them names. 
 These may not improperly be called Phrases of Melody, and 
 are thus described. 
 
 Two or more concretes, occurring successively on the same 
 line of pitch, may be called the phrase of the Monotone. 
 
 A succession of two concretes, having the second, a tone in 
 radical pitch above the first, may be called a Rising Ditone ; — 
 when the radical of the second is a tone below that of the first, 
 it is called a Falling Ditone. 
 
 A series of three or more, alternately rising and falling a 
 tone in radical pitch, may be called an Alternation, or the 
 Alternate Phrase. 
 
 A series of three concretes, successively rising a tone, is 
 called a Rising Tritone; when successively falling, a Falling 
 Tritone. 
 
 The Falling Tritone is called the Triad of the Cadence, 
 when it has the vanish of the last radical downward. There 
 is a second and third form of the Triad which are distinguished 
 by the downward vanish ; the second, has the vanish of the 
 
MELODY OF SPEECH. 115 
 
 last two radicals downward; and the third, has them all down- 
 ward. 
 
 The following lines exhibit all the forms of the different 
 phrases of melody, and also applies them graphically to the 
 syllables of a sentence. 
 
 But from the tomb the voice of na-ture cries. And in our ash-es lives their want-ed fires. 
 
 -*-4-4 
 
 A-4 
 
 * 4 
 
 AT A 
 
 -^t 
 
 Monotone. Falling Rising Rising Falling Alternate Triad of the 
 
 Ditone. Ditone. Tritone. Tritone. Phrase. Cadence 
 
 It would seem a part of the nature of the Simple Diatonic 
 Melody, that there should not be a rise or fall of any great ex- 
 tent by proximate degrees. It is limited to the tritone in both 
 directions ; because it appears that a further progression is not 
 agreeable. 
 
 The melody of speech is made by the movement of the 
 voice, partly in the concrete, and partly in the discrete scale. 
 The radical and vanish of each syllable is strictly concrete ; 
 and it is this equable concrete which distinguishes speech from 
 son g. 
 
 The transition from one syllable to another partakes, in 
 some instances, of the nature of a concrete junction. Thus, 
 in the first diagram of this section on melody, the vanish of the 
 syllable * he 5 rises through the interval of a tone. The radi- 
 cal of c reads' begins on the place at which the preceding 
 vanish ends; yet the fulness of the radical clearly distin- 
 guishes it from the fine termination of the preceding vanish, 
 notwithstanding the momentary interruption of the line of 
 sound ; yet there is an appearance of one kind of continuity 
 between them. 
 
 The voice also falls from the vanish of c reads' to the radical 
 of 'in,' as much as it rises concretely on c reads,' though there 
 is no radical change, for the radicals of both are on the same 
 line of pitch ; yet there is a discrete fall of a tone from the 
 vanish to the radical of successive syllables on the same 
 pitch. 
 
 The transition of the melody from the syllable ' in' to 'na,' 
 is by the discrete scale ; for the radical of ' na' begins a whole 
 tone below the radical of ' in,' and the change from the vanish 
 of c in' to the radical of ' na' is a third, and is here made 
 without the downward continuity of the concrete. In a 
 
116 MELODY OF SPEECH. 
 
 general view of this subject, it may be stated, that the con- 
 stituents of the phrases of the rising ditone and tritone, are 
 joined by the imperfect kind of concrete spoken of above. In 
 the monotone and the falling phrases, the transition is made by 
 the discrete scale. 
 
 By a judicious use of these phrases of melody, a sufficiently 
 extensive variety may be produced to answer all the purposes 
 of agreeable and plain narrative and unimpassioned utterance, 
 without running into monotony. Although the necessary con- 
 dition for the expression of plain, simple thought, is, that the 
 vanish is restricted to the interval of a tone, and the radical of 
 any two proximate concretes, should not differ more than a 
 tone in pitch ; yet the voice may be allowed to play from its 
 lowest sound to the highest extent of its compass, without vio- 
 lating the condition of this melody. 
 
 The beauty of melody consists, not only in varying the 
 order of the phrases, as they succeed each other, but likewise 
 in correctly managing the rise and fall of the voice, through 
 the whole compass of pitch. 
 
 The following notation shows the progress of the voice, 
 through a compass of nine diatonic degrees ; the rule of rise 
 and fall being observed, and the melody therein agreeably 
 diversified. 
 
 • If thou dost slan - der her, and tor - ture me, Nev - er pray more : 
 
 4 4 4 4 
 
 A -k-A**~ A ~~~ 
 
 T 
 
 ft ft " ft * ° 
 
 a - ban 
 
 - rlon all re-morse ; On hor-ror's 
 
 head, 
 
 hnr 
 
 rors 
 
 ac - cu 
 
 - mu 
 
 late ; 
 
 A 
 
 ft ft 
 
 ft ft 9 A ft ft 
 
 ft 
 
 A 
 
 ft 
 
 ft A 
 
 ▲ 
 
 
 ~ ~ f 
 
 Do 
 
 deeds 
 
 to 
 
 make 
 
 heav 
 
 - en 
 
 weep, 
 * 
 
 all 
 
 A 
 
 earth 
 
 a 
 A 
 
 mazed : 
 
 
 
 A 
 
 ft 
 
 ft 
 
 — tir— 
 
 
 
 ft 
 
 w 
 
 f 
 
 A 
 
 ft 
 
 
 
 
 
 
 
 
 
 
 
 For 
 
 nolh 
 
 - i«? 
 
 canst thou to 
 
 dam- na - 
 
 tion 
 
 add, 
 
 Great-er 
 
 than that. 
 
 A 
 
 
 
 A ft 
 
 4 4 
 
 A 
 
 
 
 
 
 ft 
 
 ft 
 
 ft * 
 
 <p ■ W - 
 
 w 
 
 4 
 
 ▲ A 
 
 
 
 
 
 
 
 
 
 
 
 T 
 
 The above notation is designed to exemplify exclusively the 
 
MELODY OF SPEECH. 117 
 
 means of moving through the compass of the voice. At the 
 two colon pauses, which will not bear a full close, in good 
 reading, there is set the less conspicuous interruption of a 
 feeble cadence. The melody of the speaking voice, may be 
 led, ascending and descending, through its whole compass, by 
 a certain mode of diatonic succession ; and may be brought to 
 the satisfactory close, heard at a full period of discourse, by 
 the descent of radical pitch through three conjoint degrees 
 with a final downward concrete, from any point vrithin the 
 compass, except the two lowest. 
 
 Monotony may be produced by the continued use of any 
 one of the phrases of melody, or the regular use of any two of 
 them, or by the regular recurrence of the same pitch. It will 
 be necessary, therefore, with a view to avoid either of these, 
 to emplov the different phrases of melody in such a way as 
 to give an agreeable and pleasing variety, yet notwith- 
 standing, having a particular regard to the sense of the sen- 
 tence. 
 
 To exemplify this, four different notations of the same sen- 
 tence, are here given, in each of which, the melody is pre- 
 served inviolate. 
 
 He 
 
 nev - er 
 
 drinks, but Ti-mon's 
 
 sil 
 
 ■ ver 
 
 treads 
 
 up 
 
 - on 
 
 his 
 
 np. 
 
 
 A 
 
 4 4 
 
 4 4 
 
 A 
 
 4 
 
 4 
 
 A 
 
 A 
 
 
 
 
 ■■ W 
 
 * 4 • 4 
 
 
 
 
 
 
 4 
 
 -a — 
 
 lie 
 
 nev 
 
 - er drinks, 
 
 but 
 
 Ti-mon's 
 
 si!-ver treads 
 
 up-on 
 
 his 
 
 lip. 
 
 A 
 
 4 
 
 4 
 
 4 " 
 
 4 
 
 4 A 
 
 4 A A 
 
 4 
 
 A 
 
 
 • - - ■ - .:- - m 
 
 He 
 
 nev 
 
 - er 
 
 drink 
 
 5. bin 
 
 Ti-mon's 
 
 sil- ver 
 
 trends 
 
 up 
 
 on 
 
 his 
 
 up. 
 
 A 
 
 A 
 
 
 A 
 
 4 
 
 4 
 
 " 4 
 
 * 4 
 
 4< 
 
 A 
 
 A 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 4 
 
 -m 
 
 He 
 
 nev 
 
 - er drinks, but 
 
 Ti- 
 
 mon's sil 
 
 - ver treads 
 
 up - 
 
 on 
 
 his 
 
 iip. 
 
 
 4 
 
 4 
 
 4 4 
 
 4 
 
 4 4 
 
 4 4 
 
 A 
 
 A 
 
 
 
 
 
 4 * " 
 
 
 
 
 
 
 4 
 
 
 
 
 
 
 
 
 
 
 
 f 
 
 There are other modes of agreeable melody, which might 
 be framed by the varied use of the phrases of melody on this 
 
118 MELODY OF SPEECH. 
 
 sentence ; but this may be sufficient to illustrate the principle. 
 It is not so important to have a particular melody, as it is to 
 have a varied use of the different phrases. Hence, the use of 
 the phrases of melody, may be considered to be, to aid in the 
 prevention of monotony, and to give to the current melody a 
 pleasing variety ; as well as to assist in the production of the 
 different degrees of suspension of sense, at the different 
 pauses. 
 
CADENT MELODY. 
 
 By the cadence is meant the fall of the voice at the close of 
 a sentence. The completion or finishing* of the sense of a 
 sentence, is indicated by the downward movement of the voice. 
 And this downward movement, in order to produce a cadence, 
 must always be through the interval of a fourth, from the com- 
 mencing radical ; and may be made on either one, two, or three 
 syllables, always being- the last of a sentence. 
 
 The cadent melody may be said to be the movement of the 
 voice, in the appropriation of this falling interval, on one, two, 
 or three radicals, with at least one downward vanish. 
 
 The most ordinary form of the cadence, is that which con- 
 sists of three radicals, with a downward vanish of a tone on 
 the last, and is called the Triad, or the Triad of the Ca- 
 dence. 
 
 Heretofore we have considered the radicals of the current 
 melody, as terminating for the most part in a rising vanish ; 
 but we shall, hereafter, have occasion to see that the purposes 
 of variety and expression, often require the use of a downward 
 concrete. Now, one purpose of the downward movement is, 
 to bring the current of the voice to a close; and with this 
 intention, the last concrete of the Triad, is always made with 
 a downward vanish. It is this course of the concrete, in con- 
 nection with the series of three descending radicals, that con- 
 stitutes the indispensable characteristic of the triad of the 
 cadence, and proves it to consist of the interval of a fourth, 
 (three descending radicals, and one concrete interval.) This 
 is the most natural and agreeable form of the cadence, and 
 exhibits the essential characteristic, or sine qua non of it ; and 
 this interval of a fourth, is also indispensable in every other 
 form of the cadent melody. There are yet other forms of the 
 cadence, and variety may be further consulted in these different 
 forms, either of which maybe chosen, — according to the sense 
 or sentiment, — according to the suddenness of the emergency,— 
 or according to the quantity of the two last syllables. 
 
120 CADENT MELODY. 
 
 There are eight forms of the cadence : — 
 
 Three consisting of 3 radicals, called the Triad Forms. 
 
 Three " 2 radicals, called the Duad Forms. 
 
 One " I radical, called the Monad Form. 
 
 One " either of the above forms, preceded about 
 
 three or four syllables, by a radical fail 
 of a third or fourth, called the Pre- 
 pared or Full Form. 
 
 Each of these forms clearly indicate a completeness, or fin- 
 is lied state of the sense of the sentence. Yet the three first 
 forms seem to point out a more complete closure or resting of 
 the voice in silence, than the others. The sense of the sen- 
 tence is intimated to be complete in either of the forms; yet 
 the final repose of the voice, seems to be indicated in different 
 degrees by the different forms. 
 
 The different forms are exhibited in the notations below. 
 
 Form I. — A Triad, consisting of two rising and one falling 
 concretes. 
 
 Sweet is the breath of morn 
 
 * — r-* *.__ « _♦ 
 
 Form II. — A Triad, consisting of one rising and two falling 
 concretes. 
 
 Well, hon - or is the sub - ject of my sto - ry. 
 
 A 
 
 ■ * 
 
 A * 
 
 ▲ ▲ 
 
 a A " A 
 
 A _ 
 
 
 f 
 
 f 
 
 Form III. — A Triad, composed of three falling concretes. 
 
 The air was fanned by un - num - ber'd plumes. 
 
 A_A A A a A * 
 
CADENT MELODY. 
 
 121 
 
 Form IV. — A Duad, consisting of two concretes, the first 
 a rising tone, the last a falling one, with a radical skip of a 
 third. 
 
 Of wiles, more in - ex - pert, I 
 
 boast not. 
 
 , ♦ » ' * * ♦ *-» 
 
 Form V. — A Duad, consisting of two falling concretes, the 
 first a third, and the last a second or tone. 
 
 Bear on your wings, and in your 
 
 notes 
 
 his praise. 
 
 * 
 
 -*-*- 
 
 _4 A_ 
 
 -A— 4- 
 
 Form VI. — A Duad, consisting of two concretes, the first a 
 rising tone, the last a falling third. 
 
 The mean - ing, not the name 
 
 I call. 
 
 Form VII. — A Monad, consisting of one falling concrete 
 fourth. 
 
 They brought to the Pha - ri - sees, him that was 
 
 blind. 
 
 ■',*♦- 
 
 '« -i *'*■■*. 
 
 4 * 
 
 f 
 
 It will be observed that the concretes of the 1st, 2d, 3d, and 
 4th forms, have each a concrete interval of a tone. The 5th 
 and 6th have each a concrete third ; and the 7th has a con- 
 crete fourth. 
 
 The 1st, 2d, and 3d forms, may be placed on either long or 
 short quantities : the 5th requires long quantity in the penul- 
 timate syllable ; and the 6th requires long quantity in the last 
 syllable of a sentence. 
 
 The 1st, 2d, and 3d forms proceed by an equal number of 
 concretes and syllables, and are of very easy execution. The 
 6 
 
122 CADENT MELODY. 
 
 5th, 6th, and 7th, uniting three or four tones in one of 
 their concretes, require a facility in the management of quan- 
 tity, rarely possessed by common readers or speakers. Skill 
 in commanding the time of utterance, enables an accomplished 
 reader or speaker, to perform with equal ease and elegance, 
 the eight varieties of cadence, and gives a faultless close, how- 
 ever unexpectedly he may meet with a period in discourse ; 
 whilst the ordinary reader frequently fails in his final melody, 
 from being confined or limited to the use of the Triad form : 
 for should his current melody be so continued, that a mono- 
 tone or rising ditone reaches to the penultimate syllable, his 
 cadence, if the last two syllables be short, must be made by the 
 4th form. If, however, either of these two syllables be long, 
 the cadence may be effected by the 5th, 6th, or 7th form, as 
 the case may be. 
 
 In the seventh form of the cadence, the voice passes down- 
 ward through the same extent of pitch, as when the cadence 
 is made in any of the tripartite forms, and by this continuous 
 descent, the radicals of the second and third constituents are 
 lost. The more pleasant cadence, however, is delineated in 
 the first, second, and third forms, noted above ; and when the 
 reader can follow the notation, he will perceive a difference 
 in the effect of these, and that of the seventh ; and he will 
 also admit, that the third of the triad forms, procures the most 
 satisfactory feeling of repose. Examine the diagrams and prac- 
 tice on them. 
 
 The sixth form requires a downward concrete third on the 
 last constituent, and a radical fall of a tone from the preceding 
 one ; thus constituting a downward movement of a fourth. 
 
 The fifth form of the cadence, requires a falling concrete 
 third on the penultimate syllable of a sentence, and therefore 
 demands long quantity in that syllable. The last syllable of 
 this form having a downward concrete tone, gives to the whole 
 cadence a falling fourth. 
 
 The fourih form has a descending radical skip of a third 
 from the penultimate syllable to the ultimate, and a concrete 
 fall on the last, giving to the cadence again a falling interval 
 of a fourth. The proper cadence in this fourth form, should 
 be'made by the successive descent of three radicals. If, how- 
 ever, from unskilful management of the voice, a reader should 
 neglect to set the penultimate syllable with the radical pitch 
 of a tone below the ultimate, he will be unable to complete 
 the cadence by the downward prolongation of the short syl- 
 
CADENT MELODY. 123 
 
 lable l noV through the interval of three tones, as is done on a 
 long syllable in the sixth form of the cadence. A satisfactory 
 close cannot be made by the fourth form, without a radical 
 skip of a third, when the two last syllables of a sentence are 
 short ; and as the words c boast not,' in this case, are short, 
 they are incapable of prolongation to the extent of a concrete 
 third ; therefore a radical skip of a third must be made from 
 the word 'boast ' to the word 6 notf in order to comply with 
 the proper requisition of a cadence, or the fourth form of it. 
 
 In the representation of the cadence, it appears, by measur- 
 ing to the extreme of the downward vanish of the last con- 
 stituent, that all the forms embrace the interval of a fourth. 
 Although this is the necessary condition of a cadence, yet a 
 feeble cadence maybe made by a downward extension of a con- 
 crete thirl only, on the last syllable, which has, in its place, 
 the effect of a close ; and the nature of it is such, that the ear 
 allows the speaker to pause, or to proceed from it. Yet the 
 seventh form may be made by an extension of a downward 
 concrete, even to a fifth in some cases. Nor need we assert, 
 that the downward concrete of the last constituent of the 
 other forms, may not, occasionally, reach a tone beyond that 
 which is ordinarily allotted to them, especially the triad forms, 
 which may frequently have a concrete third on the last con- 
 stituent in place of a second. 
 
 There is still another form of the cadence, here called the 
 eighth form, which marks the close of a subject more completely 
 than any of the preceding. It gives a more completely satis- 
 factory feeling of repose. It is effected by a fall of a radical 
 third or fourth, upon some syllable preceding the common 
 cadence, and yet near enough to it, to be connected with it by 
 the ear. 
 
 The following diagram exemplifies it : 
 
 Form VIII. of the Cadence, or the 
 PREPARED OR FULL CADENCE. 
 
 And peace - ful slept the migh - ty Hec - tor's sharle. 
 
 A A 
 
 A 
 
 A * * A A A A 
 * 
 
 f f # 
 
 
 T 
 
 It will be noticed in the above notation, that the voice falls 
 
124 CADENT MELODY. 
 
 a radical third (it might be a fourth,) on the word i slept? 
 which occasions a more satisfactory feeling of a close, than if 
 the word were retained within the range of the simple melody. 
 This cadence should frequently be employed at the end of a 
 paragraph, and ALWAYS at the close of a discourse, or a 
 chapter. 
 
 The distinguishing mark of this eighth form is evidently, the 
 discrete fall of a third or fourth preceding the close. And it 
 should be remembered, that this falling skip may be made to 
 precede any of the seven forms of the cadence above enume- 
 rated. It is, in effect, but the giving of notice, that the voice 
 is about to fall into some form of the cadence. 
 
 Faults to be avoided in the use of the Cadence. 
 
 The principal faults in the intonation of the cadence, may 
 be enumerated as in the following : — First, its total omission: 
 for repose of the cadence at the termination of a conspicuous 
 train of thoughts, is in the highest degree grateful to the ear, 
 and should, therefore, never be omitted. Second, a descent of 
 the voice below the current melody to that extent, which renders 
 the last constituent of the cadence inaudible. Care should be 
 taken that, in lowering the voice to form the cadence, its force 
 may be kept sufficiently up, to render the close of the sentence 
 perfectly audible. If the general pitch of the voice be so 
 regulated, as not to fall too low in effecting the close, there 
 will be no difficulty in making it sufficiently loud and forcible. 
 Third ; a repetition of the same form of cadence at every pause 
 greater than that indicated by a comma. This monotony of 
 the cadence may be avoided by the use of the suspending 
 effect of the falling dilone, or be changed to some other form 
 of the cadence. Fourth, a want of variety, in not using a suf- 
 ficient number of the different forms described in this section. 
 
 There is an ample source for variety in the eight forms of 
 the cadence, suited to all kinds of sentiment, and all forms of 
 quantity, in the terminating syllables of sentences- Careful 
 study, combined with suitable practice, cannot fail to correct 
 all these defects above enumerated. 
 
 The question may be reasonably put, Where should the ca- 
 dence be placed? Some form of the cadence, we would 
 answer, should always be placed at every period, except it be 
 overruled by the expression of interrogation. It should also 
 
CADENT MELODY. 125 
 
 be placed at the end of the partial expression of interrogative 
 sentences, as well as at exclamatory ones. The shorter pauses 
 usually marked by the dash, and the colon, or even the semi- 
 colon, may be sometimes accompanied with some form of the 
 cadence. 
 
 A careful study of the cadent melody, combined with much 
 and suitable practice, cannot fail to correct the faults so fre- 
 quently observed. Attention to the cadence is the more neces- 
 sary and important, because it always occurs at the close of a 
 sentence or paragraph, when the mind of the hearer is most 
 at liberty, and thus inclined, to observe the defects that may 
 appear in the speaker or reader. 
 
 The following examples will show, to some extent, the ap- 
 plication, in practice, of the principles set forth in this sec- 
 tion. The numerals marking the form of the cadence, are put 
 after the words which require a cadence ; those marking the 
 pitch of the voice, are placed at the begimiing of lines, or 
 before words. The forms selected in these cases, are believed 
 to be the most appropriate, yet in some of these, a different 
 taste may be gratified by the liberty of a different form. 
 
 YOUNG S NIGHT THOUGHTS, 
 
 4 The bell strikes one. 6 We take no note of time 
 But from its loss i 1 to give it then a tongue 
 Is wise\ in man. 3 As if an angel spoke 
 I feel the solemn sound. 3 If heard aright 
 It is the knell of my departed hours. 6 
 Where/ are> they ? 5 3 With the years beyond the 
 
 flood. 3 
 4 It is the signal that demands despatch : 6 
 How much\ is to be done I 1 3 Mj hopes and 
 
 fears 
 4 Start up alarm'd, 5 and o'er life's narrow verge 
 Look down. 6 On what/? 3 A fathomless abyss. 
 
126 CADENT MELODY. 
 
 A dread eter\nity. 3 2 How surely mine ! 6 
 
 3 And can eternity belong to me', 
 
 4 Poor pensioner on the bounties of an hour/? 
 
 4 How poor^, how rich% how ab\ject, how 
 augustv; 
 5 How complicate, how wonMerful is man I 1 
 4 How passing wonder HE/, who made him 
 
 such ! 3 
 Who center'd in our make, such strange ex- 
 tremes ! 6 
 From different natures, marvellously mix'd, 1 
 Connexion exquisite of distant worlds ! 6 
 Distinguished link in beings endless chain ! 6 
 Midway from noth/ing' to the De\ity ! 3 
 A beam ethe^rial, 3 sullied, and absorb'd I 1 
 Though sullied, and dishonor'd, 5 still divine! 6 
 Dim miniature of greatness absolute ! 3 
 An heir of glo\ry ! 5 a frail child of dust I 1 
 Helpless immorHtal ! insect in\finite ! 3 
 6 A worn^ ! 7 5 a God\ !* 4 I tremble at myself, 
 3 And in myself am lost. 4 
 
 At home, a stranger, 
 Thought wanders up, and down, surprised*, 
 
 aghast\ 
 And wandering at her own. 1 How reason reels! 1 
 Oh what a miracle to man/ is man ! 7 
 Triumphantly distressed ! 6 what joy/ ! 7 what 
 
 dread\ ! 6 
 
CADENT MELODY. 127 
 
 Alternately transported and alarmedy! 8 
 What/ can preserve my life ? 6 or what/ destroy ? 7 
 An an\gel's arm\ can't snatch me from the grave/; 
 Le^gions of angels can't/ confine\ me there v 8 
 
 ON THE DEATH OF JEFFERSON AND ADAMS. 
 
 This is a spectacle of which we may be per- 
 mitted to be proud. 7 It honors our country no 
 less, than the illustrious dead. 6 And should 
 these great patriots speak to us from the tomb, 
 they w r ould tell us, that they have more pleasure 
 in the testimony, which these honors bear to the 
 character of their country, than in that, which 
 they bear to their individual services. 3 
 
 They now see as they were seen, while in the 
 body, and know the nature of the feeling from 
 which these honors flow. 6 It is love/ for loveV 
 It is the gratitude of an enlightened nation to 
 the noblest order of benefactors. 2 It is the only 
 glory worth the aspiration of a generous spirit, 2 
 Who/ would not prefer this living tomb in the 
 hearts of his countrymen, to the proudest Mau- 
 soMeum, that the genius of sculpture could 
 erect? 8 
 
 Jefferson and Adams were great men by 
 nature. 2 Not great and eccentric minds, shot 
 madly from their spheres, to affright the world, 
 and scatter pestilence in their course v - but minds 
 
128 CADENT MELODY. 
 
 whose strong and steady lights, restrained within 
 their proper orbits by the happy poise of their 
 characters, came to cheer and gladden a world, 
 that had been buried for ages in political 
 night v 8 
 
CURRENT MELODY. 
 
 The Current Melody is that succession of rise and fall which 
 is made on the consecutive syllables of a sentence, except 
 those, of which we have been treating under the Cadent 
 Melody. 
 
 There are two kinds of succession in speech, as in song ; 
 the first, by conjoint degrees of one tone only, from one place 
 of the scale to another immediately above or below it; the 
 second, by skips and slides, or transitions from any given place 
 to any other of greater extent. 
 
 In treating hereafter of the nature of emphasis, emotion, and 
 interrogation, the occasions and manner of using these wider 
 changes of radical and concrete pitches, will be shown. The 
 melody of unimpassioned or inexpressive speech, or simple 
 narration, now before us, always moves by conjoint decrees of 
 a tone ; and its satisfactory close at a period of discourse, is 
 effected by a descent of the radical pitch through three con- 
 joint degrees of a tone, with a downward vanish on the last at 
 least. 
 
 The scale of the speaking voice has no semi-tone interspersed 
 through it, as has the diatonic scale in music; nor is it limited 
 to a peculiar arrangement of seven constituent intervals. A 
 person may be supposed to possess the ability of speaking 
 distinctly through a compass of ten degrees, including the 
 lowest pitch of articulate utterance, and the highest point of 
 the natural voice ; the melody may, by the use of appropriate 
 phrases, be carried through any varied course of ascent and 
 descent, within these boundaries. Let the speaker take the 
 first syllable of a sentence, on the first place of his supposed 
 range. A ditone will raise the melody to the second; one or 
 two syllables on this second place, will give the phrase of the 
 monotone. From this, a ditone will lead him upward to the 
 third place ; and in like manner ascending, the melody may 
 be carried by the varied use of the ditone, tritone, and the 
 monotone to the tenth. Now from this utmost elevation, a 
 falling ditone will bring him to the ninth ; a monotone on this 
 will prepare for another descent of a ditone or tritone to the 
 seventh or sixth. Having by a similar progression reached the 
 third place, the Triad of the cadence will close the melody on 
 the first. 
 
 6* 
 
130 
 
 CURRENT MELODY. 
 
 It may not be improper to state, in this place, that a varied 
 succession of all the phrases, produces the plain, unobtrusive 
 effect of the Diatonic Melody. Yet it will appear that some 
 of these phrases may be employed as the appropriate signs of 
 certain sentiments. 
 
 A predominance of the Monotone in melody, is suited to the 
 feelings of dignity, solemnity, grief, tenderness, and serious 
 admonition. 
 
 The phrase of Alternation is expressive of the more active 
 sentiments of anger, joy, and facetiovsness, and to the earnest 
 strife of argumentation. It is, however, to be taken into 
 view, that the current melody must not consist altogether of 
 either of these phrases. This would produce a disagreeable 
 uniformity or monotony. The monotone must occasionally be 
 broken by a rising or falling ditone; and the alternate phrase 
 varied by a limited monotone. An illustration of the dignified 
 expression of the monotone may be given, on that magnificent 
 picture of Satan's imperial presence in Pandenomium, at the 
 opening of the Second Book of Paradise Lost. 
 
 High 
 
 on 
 
 a throne of ro} T 
 
 - al state, 
 
 which far 
 
 out-shone 
 
 the wealth of 
 
 
 
 
 
 A 4 
 
 A A 
 
 
 6 
 
 A 
 
 A A A A 
 
 A A 
 
 
 
 AAA 
 
 
 Or- 
 
 mus, and of 
 
 Ind 
 
 Or where the gor-geous 
 
 East, with rich- est hand 
 
 
 _4_4_A- 
 
 ~A~ 
 
 -A— A— A-A— A- 
 
 *-r*-* -*- 
 
 
 Showers on^her kings bar - bar - ic pearl and gold, Sa - tan ex - al - ted sat. 
 
 
 
 
 
 
 A 
 
 A 
 
 A 
 
 A 
 
 
 
 
 
 A 
 
 
 
 A 
 
 A 
 
 A 
 
 A 
 
 A 
 
 
 
 
 
 A 
 
 A 
 
 A 
 
 A 
 
 
 A 
 
 
 T 
 
 The greater part of this melody is monotone. We do not 
 say that the passage requires, exclusively, the order here given 
 to the variations from the predominant phrase, since that an 
 accomplished reader might alter the arrangement, with equal 
 or superior effect. But we would venture to say, that if an 
 equal amount of monotone, however disposed, be not allotted 
 to these lines, the utterance will be, according to the degree 
 of deviation, more or less at variance with the sentiment of 
 the poet, and the rapt dignity of the reader's contemplation. 
 
 The following notation of the description of AbdiePs En- 
 counter with Satan, from Milton's Sixth Book, exemplifies the 
 
CURRENT MELODY. 131 
 
 use of the alternate phrase, in the expression of the earnest 
 excitement necessarily produced by the eventful scene. 
 
 So 
 
 say - 
 
 in?, 
 
 a no 
 
 - ble stroke he lift - 
 
 ed hi 
 
 jh, w 
 
 lich hung not 
 
 y 
 
 
 ▲ 
 
 
 A 
 
 4 
 
 4 
 
 
 4 
 
 A 
 
 
 6 
 
 
 4 4 
 
 
 4 
 
 
 # A 
 
 
 4 4 
 
 
 ^ 
 
 4 
 
 
 
 
 
 But 
 
 so 
 
 swift 
 
 with 
 
 tern - 
 
 pest 
 
 fell, 
 
 On 
 
 the 
 
 prouc 
 
 crest 
 
 
 
 A 
 
 4 
 
 
 4 
 
 4 
 
 4 
 
 
 4 
 
 4 
 
 4 
 
 * 
 
 
 
 4 
 
 
 
 
 4 
 
 
 
 
 Of 
 
 Sa - 
 
 tan, 
 
 that 
 
 no 
 
 sight 
 
 nor 
 
 mo - 
 
 tion 
 
 of 
 
 quick 
 
 
 A 
 
 4 
 
 
 4 
 
 
 
 4 
 
 
 
 4 
 
 4 
 
 
 
 4 
 
 
 4 
 
 4 
 
 
 4 
 
 4 
 
 
 
 Thought, 
 
 less 
 
 could his 
 
 shield 
 
 Such 
 
 ru - 
 
 in 
 
 in 
 
 - ter 
 
 - rupt. 
 
 
 A 
 
 * 
 
 A 
 
 A 
 
 
 A 
 
 A 
 
 4 
 
 4 
 
 4 
 
 
 © 
 
 
 V 
 
 
 4 
 
 
 
 
 
 
 V 
 
 In this scheme, we have used a limited variation of radical 
 pitch, with the design to show plainly the alternation. Good 
 recitation would require a wider range : still the alternate 
 phrase should predominate. A prevalence of the monotone 
 might represent the dignified courage and calm security of an 
 aggressor confident of success ; but it would be misplaced 
 coloring, for the hurried mingling of watchfulness and dread- 
 ful expectation, which the description of the huge impetus is 
 calculated to excite. 
 
INTONATION AT PAUSES. 
 
 Pauses, in elocution, are those occasional interruptions in 
 discourse, which are greater than the momentary rests between 
 syllables. They are used for the more conspicuous display of 
 sense and sentiment, by separating certain words or aggregates 
 of words, from each other. 
 
 It may not be necessary to enter into a very particular 
 account of the circumstantial exposition of the philosophy of 
 Grammar ; yet it may be well to say that, every sentence 
 may, in a most general view, be regarded as resolvable into 
 two constituent generic parts of speech; the noun, with all its 
 accidents of being ; and the verb, with all its various modes of 
 action. All other symbols of thought are only specifications 
 of the attributes of that being and that action, through the 
 modes of time, place, manner, degree, and all other possible 
 relationships of things. Now, the pauses separate the aggre- 
 gates of words, which describe those existences and agencies, 
 with their qualifications : and whilst the continuity of utter- 
 ance within these aggregations or sections, gives unity to the 
 impression on the ear, the understanding remains undistracted 
 through the temporary suspension of the voice by the pauses. 
 The division of discourse, by means of motion and rest, pre- 
 vents the feebleness or confusion of impression, which 
 would result from an unbroken succession of speech, no less 
 remarkable, than the skilful disposition of color, light, and 
 space, disentangle the objects and figures on the canvass from 
 the unmeaning positions and actions of a chaos, or a crowd. 
 The extent of the sections of discourse, thus separated by 
 pauses, varies through all increasing degrees, from the limits 
 of a single word to the full member of a sentence. 
 
 There are, indeed, some purposes of expression which 
 require a pause, even between syllables. It was shown, in 
 treating of Syllabication, that the full opening of the radical 
 cannot be completely made, except it is preceded by an occlu- 
 sion of the voice. Now, the accented syllable of the word 
 ' &t~tack, y being an immutable quantity, can receive a marked 
 emphatic distinction, only by means of 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 successive para- 
 
INTONATION AT PAUSES. 133 
 
 graphs ; the degrees being accommodated to the requisitions 
 of the greater or less connection of the sense, and to the 
 peculiar demands of the sentiment. All the parts of a con- 
 tinued discourse, which has the least unity of purpose, should 
 bear some relation to each other. But these relations being, 
 severally, more or less close, grammatical points were invented 
 to mark their varying degrees. 
 
 The common points are, however, indefinitely effective of 
 their purposes in the art of reading. They are described in 
 books of elementary instruction, principally with reference to 
 the time of pausing ; and are addressed to the eye as indices 
 of grammatical structure. 
 
 The symbols of interrogation and of exclamation, are said 
 to denote peculiarity of intonation ; yet even with this vague 
 reference to a rule, the ear is still without a guide in this 
 important branch of elocution. The efficacy of punctuation 
 should consist not more in the ordering of the measure of time, 
 than in the directing of an appropriate intonation. A just 
 definition of Pause would, perhaps, be as properly founded 
 on the variations and distinctions, produced by the phrases of 
 melody, as on the different duration of the time of rests. 
 
 To apply proper intonation at pauses, is of very great im- 
 portance in speech. The pauses in melody have here a 
 positive meaning, and often marks a continuation or comple- 
 tion of the sense, when the style and the temporal rest alone, 
 would not, to an auditor, be decisive of its nature. But the 
 purposes of pauses being varied, an appropriate intonation 
 must, by its changes, prevent that monotony, which is so 
 common with most readers, at the grammatical divisions of 
 discourse. 
 
 With a view to describe the successions of pitch, to be used 
 at the different places of pauses, we would here [state the 
 general powers or indications of the different Phrases of 
 Melody. 
 
 The Triad of the Cadence denotes a finishing or completion 
 of the preceding sense, and is, therefore, admissible only at a 
 proper grammatical period. But it does not, however, follow 
 that it must always be applicable at the close of the preceding 
 sense ; ■ for in those forms of loose sentences and inverted 
 periods, which frequently occur in composition, there are 
 members with this complete and insulated meaning, which 
 nevertheless do not admit of this downward closing phrase. 
 The Rising Tritone denotes the most immediate connection of 
 parts separated by a pause. 
 
134 INTONATION AT PAUSES. 
 
 The Rising Ditone carries on the sense in the next degree. 
 The Monotone indicates a diminished relationship to that of 
 the ditone. 
 
 The Falling Ditone denotes still less of a relationship. 
 
 The Downward Tritone, produces the fullest suspension of 
 sense, without obstructing its further progression.* 
 
 The Triad of the Cadence being the maximum of separation 
 between the parts of discourse; the comparison of its 
 downward intonation with the courses of the other phra- 
 ses, may serve to explain the causes or reason of the 
 varying indication of each, by showing the degrees of 
 departure from the form and direction of the descending 
 cadence. 
 
 The degrees of connection between the members of sen- 
 tences, are so various, and the acceptation of them by readers, 
 maybe so different, that it would not be safe to propose a 
 scheme, for appropriating definitely the kind of phrase, to 
 every instance of pause. From the present knowledge on this 
 subject, it may be said, generally, that the intonation at some 
 pauses, may be varied without exceptionably affecting either 
 sense or elocution : but it may be confidently asserted, that 
 there are cases in which the kind of phrase is absolutely un- 
 alterable. 
 
 It is not expected that the varied phrases of melody, can 
 be intermingled in regular order, or by special choice, at the 
 ordinary rate of reading and speaking : but this direction may 
 be given, viz : 
 
 If very small sentences or sections of sentences, are slowly 
 read, subject to the correction of the student's own ear or some 
 teacher, with a view expressly to the employment of a varied 
 melody, in time and by perseverance, the delivery will become 
 free and flowing ; disagreeable monotony prevented, and an 
 agreeable variety secured. 
 
 With a view to attain this object, the student should acquire 
 a dear perception of the effect of the different phrases of melody, 
 and especially the Falling and Rising Ditones, and a free 
 command over their use, so that they may be made to play fre- 
 quently among the syllables' of discourse. Such a use of the 
 phrases, with a careful observance of emphasis, will diversify 
 
 * The Falling Tritone differs from the Triad of the Cadence, in this, that 
 the former has the vanish of its last constituent upward, and the latter (or 
 Triad), has it downward. 
 
INTONATION AT PAUSES. 135 
 
 the melody of speech sufficiently, to render it smooth and 
 agreeable. Frequent and careful practice on the diagrams, 
 will enable the student to discern and employ, with good effect, 
 the phrases of melody, 
 
 A lively and wakeful anticipation of the effects of style on 
 the ear, in actual delivery, is necessary, or, at least, is greatly 
 assistant, to the art of harmonious writing. If this is true, a 
 person who understands elocution must possess a great advan- 
 tage over one who is ignorant of its principles. 
 
 A general and popular direction for the management of the 
 voice, may be given in some such terms as these, namely ; — 
 
 A Period requires some form of the Cadence. 
 
 A Colon may have a Cadence, or a Falling Tritone, or 
 Ditone, or a Monotone. 
 
 A Semicolon may have a Falling Ditone, Monotone, or pos- 
 sibly a Rising Ditone. 
 
 A Comma may have a Rising Tritone or Ditone, a Mono- 
 tone, or a Falling Ditone. All these are more particularly 
 regulated by the sense, and the relation of thoughts or ideas. 
 
 The foregoing remarks on the phrases of melody, are not 
 exclusively applicable to the common grammatical punctua- 
 tion. The faults of readers, have, long since, been ascribed in 
 part to the vague nature of these points : and to the distracting 
 effect of the caprice of editors in using them. There are many 
 more pauses necessary in reading many sentences, than are 
 marked in ordinary punctuation. 
 
 In the notation of the following passage, the phrases of 
 melody shall be applied, with reference to the acceptation of 
 the sense of the author, and to the distinct and vivid picture, 
 producible by a proper intonation, without regard to its punc- 
 tuation. 
 
 The editor points it as follows : 
 
 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. 
 
 If the reader observes the pauses made in the punctuation of 
 these lines ; he will please to bear in mind, that whether his 
 
136 
 
 INTONATION AT PAUSES. 
 
 decision is favorable to it or otherwise, it may still serve to 
 illustrate the power and place of the phrases. If this be ac- 
 complished, there need be no dispute about the free will of 
 taste in the particular use of these phrases. The object here 
 is to explain the function of the voice, not to contend with 
 critics. 
 
 In speaking of the employment of a phrase of melody, at 
 a pause of discourse, it should be understood that the phrase is 
 to be applied to the last two syllables preceding a pause. 
 
 So spake the Ser - aph Ab - die], faith - ful found A - mong the 
 
 
 
 A 
 
 A 
 
 A 
 
 
 A 
 
 A 
 
 A 4 
 
 4 
 
 4 
 
 ® A 
 
 ..... Qp .. 
 
 .jp 
 
 4 
 
 9 
 
 # A 
 
 4 * * 
 
 
 faith - 
 
 less : 
 
 faith - ful 
 
 on 
 
 -ly 
 
 he. 
 
 A - mong in - nu 
 
 - me - ra - ble, 
 
 A 
 
 
 A 
 
 A 
 
 
 
 
 A 
 
 A A 
 
 ■© 
 
 ? 
 
 * * 
 
 & 
 
 & 
 
 
 & 4 
 
 * A 
 
 
 V 
 
 false, un-mov 
 
 'd, un - sha 
 
 - ken, 
 
 un 
 
 - se 
 
 - duced 
 
 un - ter - ri - fied, 
 
 A 
 
 
 A 
 
 & 
 
 
 A 
 
 A 
 
 A 
 
 
 # A 
 
 6 
 
 A * 
 
 
 * 
 
 
 
 9 • 
 
 4 a 
 
 
 His 
 
 loy 
 
 - al - ty 
 
 he 
 
 kept, 
 
 his 
 
 love, 
 
 his zeal. 
 
 Nor num - ber, 
 
 
 
 
 
 A 
 
 A 
 
 
 A 0ft 
 
 A A 
 
 6 
 
 A 
 
 A A 
 
 4 
 
 
 w 
 
 4 
 
 W MB 
 
 4 # • 
 
 
 nor 
 
 ex 
 
 - am - 
 
 pie, with 
 
 him 
 
 wroug 
 
 ht To swerve from truth, 
 
 
 
 A 
 
 A 
 
 
 
 A 
 
 A 
 
 A 
 
 A 
 
 A 
 
 - 3$ - 
 
 w 
 
 4 
 
 4 
 
 
 
 A * A 
 
 
 or 
 
 ch 
 
 ange his 
 
 con - 
 
 stant 
 
 mind, 
 
 Though 
 
 sin - gle. 
 
 
 
 A A 
 
 
 
 A 
 
 A 
 
 A 
 
 
 6 
 
 
 w 9 
 
 4 
 
 
 • 
 
 9 
 
 
 4 
 
 ▼ 
 
 The pause at Abdiel is marked with a falling ditone ; be- 
 cause the included member does not necessarily produce the 
 expectation of additional meaning or qualification ; and because 
 
INTONATION AT PAUSES. 13" 
 
 this phrase docs not dissolve the grammatical concord between 
 »n which it separates. The falling ditone with 
 
 the falling vanish on the last constituent, is placed on ifaith- 
 U^/ with a view to indicate the considerable separation of the 
 sense at this point, and to prepare for the eminent display of 
 the sentiment contained id the remainder of the line. The 
 editor has marked the pause with a comma, and thus made the 
 three succeeding words a very dependent clause ; whereas it is 
 very Utile dependent, and should therefore be marked with a 
 colon. The next clause may be regarded as an elliptical sec- 
 tion : and requires the cadence, not only because it might 
 justify a grammatical resolution of it, but because a cadent 
 melody on it, will promote the expressive effect of utterance. 
 These words reiterate the previous attribution of faithfulness 
 to Abdieh with the further affirmation of his singleness in this 
 virtue. 
 
 The next pause at "'false' is pr-c-ded by a rising ditone, be- 
 cause there is but a slight suspension of the voice and of sense. 
 - structure of this member evidently creates expectancy ; 
 and this species of melody indicates the continuation of the 
 sens- involving expectancy. 
 
 Of the four succeeding pauses, each rests on a single word. 
 The first three are noted with the m.onotone, to foretell the 
 continued progression of the sense. The fourth, at c (interlined,' 
 has the falling tritone to denote a change and a greater sus- 
 pension, but not a close of thought. Variety may be shown 
 in ordering these four pauses, without affecting the sense, by 
 giving to the two last syllables of ''unshaken,' a rising ditone. 
 phrase at • kept' is the rising ditone ; for since -'love' and 
 1 zeaP arr . with ; loyalty, 3 the objects of • kept :- not- 
 
 standing these objects being disjoined bv construction. 
 No other phrase at ; kept," would ;e sa much to the 
 
 lapment of the idea, which is completed by the full pause 
 placed at ' zeal'; thereby impressing on an audience, the true 
 syntax of the sentence. 
 
 The editor has placed a semicolon at 'zeal; 3 but the 
 fourth form of the cadence will aid in throwing back c love ; 
 and ; zeal, 5 as objects of •' kept,' and prevent their bearing 
 forward as nominatives to some expected verb: which might 
 not be effected by employing, at this place, sonae of the con- 
 tinuative phrases of melody with a semicolon. The true 
 grammatical construction of the sentence is altogether put out 
 of doubt, by the use of a cadence in this place. 
 
 The remaining part of the notation contains examples of 
 
138 INTONATION AT PAUSES. 
 
 the principles just elucidated, and therefore needs no explana- 
 tion. 
 
 Art 
 
 thou 
 
 that 
 
 trai 
 
 - tor 
 
 - an 
 
 ■ gel, 
 
 art 
 
 thou 
 
 he, 
 
 
 A 
 
 6 
 
 A 
 
 A 
 
 & 
 
 A 
 
 * 
 
 A 
 
 * 
 
 4 
 
 V •» «r vm %r 
 
 Who first broke peace in heav - en, and faith, till then, un - bro - ken. 
 
 -&-A— s— A— r—AT^r- *— A- 
 
 4 m & A & w **^A ~ » - 
 
 . ^_ 
 
 The phrase ' in heaven' is interposed between ' peace' 
 and c faith,' the two objects of i broke.' Now, in order that 
 the syntactic connection between these words may be impres- 
 singly shown, the slightest pause only is admissible after 
 ' heaven ;' to show its close connection, and a more conspic- 
 uous one must be placed after ' faith,' to indicate a less con- 
 nection. Yet the further expletive c till then unbroken,' is 
 immediately connected with ' faith ;' hence the only means 
 by which this close relationship can be represented in contra- 
 vention to the delay of the pause after ' faith,' which was 
 shown to be necessary for another point of perspicuity, is by 
 using the phrase of the rising ditone, or the monotone on 
 c faith.' Thus the pause at this word, represents clearly the 
 full government of the verb i broke,' whilst the rising ditone 
 or monotone counteracts, to some extent, the full effect of the 
 pause, and prevents it from dissolving the continuity of the 
 previous sense with the subsequent expletive. 
 
 The pages of Poetry are full of instances of phraseology, 
 that require the management of the voice, here described. 
 Milton and Shakspeare cannot be read well, without strict 
 attention to the apparent collision between the effect of the 
 pauses on the sense, with the reconciling power of the 
 phrases of melody. 
 
COMPOUND MELODY. 
 
 The Compound Melody, as has been stated, consists of an 
 intermixture of the elements of expression with the diatonic 
 melody : — or in other words, the intervals of the compound 
 melody, both concrete and discrete, are not confined to a sim- 
 ple tone ; but may extend from a tone to any and every 
 greater interval, discretely and concretely, within the compass 
 of the voice ; and may comprehend also, any degree and kind 
 of force, as well as any and every extent of quantity. The 
 radical and vanishing tone constitutes the basis and superstruc- 
 ture of the diatonic melody ; and in correct and agreeable 
 elocution is more frequently used than any other interval: 
 since it is appropriated to all those parts of discourse which 
 convey the plain thoughts of the speaker ; if these may be 
 contradistinguished from those emphatic meanings and senti- 
 ments, which are designed to be embraced under the head of 
 the compound melody. 
 
 Although the tone seems to be excluded, when used in its 
 simplest state, (that is, without long quantity, or the wave or 
 stress on it,) from among the special agents of expression • yet 
 it is, and may be extensively employed in the compound 
 melody, constituting even the greater part of it. It should be 
 kept in mind, that it may receive a concentrated stress on 
 different parts of its concrete course, (though short,) which 
 gives a marked coloring and inspiring influence to its intona- 
 tion. It has already been shown, in the section on time, that 
 an extension of the voice on syllables of long quantity, pro- 
 duces a deliberate enunciation, a dignity and smoothness, which 
 give the highest qualities of the diatonic melody, without a 
 departure from its characteristic simplicity. 
 
 It may be said, that the radical and vanish are necessary 
 functions of utterance : or in other words, no impulse of voice 
 can be given, without going through the concrete; yet, in 
 short syllables, the flight seems to be so sudden, that the ear 
 cannot clearly measure the fluent course of the transition. 
 But when the radical and vanish are extended on long quantity, 
 the interval of a tone may be very distinctly marked, and 
 even a semitone may be recognized by the ear, under the con- 
 dition of this prolongation. 
 
 The diatonic melody is, however, rarely found of long con- 
 
140 COMPOUND MELODY. 
 
 tinuation : the current of the tone being intersected by the 
 concretes of different ranges of pitch. It may be said, that 
 the higher upward intervals of the scale, are used for interro- 
 gative expression, as well as for the different modes of em- 
 phasis : and it should not be forgotten, that these intervals, as 
 well as other elements of expression, are introduced for the 
 display of exclamatory and conditionary modes of intonation. 
 Now, as the occasions for using these higher intervals occur 
 in most discourse, it will be found that the Compound Melody 
 will be used, and formed by detached portions of the diatonic 
 melody, the continuity of it in the tone or second being broken 
 by these higher intervals ; thus giving existence to the com- 
 pound melody ; and this interruption will be more or less fre- 
 quent, according to the prevalence of emphatic expression. 
 
 An advertisement in a Gazette, a legal instrument, and a 
 purely communicative style of plain narrative and description, 
 may be generally read in the thorough diatonic melody. But 
 there are few compositions which are addressed to taste, that 
 have not their melody varied by the more or less frequent 
 occurrence of the coloring with higher intervals, than the 
 tone or second. 
 
 According to the distinction we have been endeavoring to 
 draw, between mere thought and what are called senti- 
 ments or feelings, and consistently with their appropriate 
 intonation, it might be supposed that the demonstrations of 
 Euclid should be read in one continuous stream of diatonic 
 melody ; but even these are perpetually varied by the higher 
 intervals, introduced upon illative, absolute, and conditional 
 phrases. The fragments of the diatonic melody, occurring in 
 Prose declamation, in Poetry, and in the Drama, are generally 
 small : and conversation, when not didactic, nor designedly 
 solemn, nor unavoidably dull, almost always banishes the 
 melody of the tone, in the vivid coloring of the highly 
 inflected intonation of the Compound Melody. 
 
 The following are instances of the intonation of the com- 
 pound melody. 
 
 None but the brave ! None but the brave \! 
 None\ but the brave/ de-scrve the fairy 
 
 As the rising third is sometimes used for emphasis alone, 
 independently of its interrogative import : so the falling third 
 may be employed, as the means of emphatic distinction 
 
COMPOUND MELODY. ] 41 
 
 merely for the purpose of variety, or varying the effects of 
 intonation. This is illustrated by the notation above. There 
 is certainly no inquiry conveyed by these words ; yet there is 
 a rising third set on the last ' brave, 5 which is emphatic. The 
 upward third does, when it is properly considered, certainly 
 convey a feeling of admiration, when it is not used interro- 
 gatively. And it may also be observed, as a law of the rising 
 third and of all emphatic words, whatever other sentiments 
 they may happen to comprehend, they do absolutely carry 
 with them something of the admirable. On this ground, then, 
 all the emphatic repetitions of the word i brave, 5 might receive 
 the same concrete interval. The intonation is varied by 
 setting the plain rising tone to the first • brave ; 5 the falling 
 third to the second, and the rising third to the last— and this 
 appropriation, together with the falling third on the last 
 ' none, 5 does satisfy the ear by its agreeable effect. The last 
 syllable of the word c deserve, 5 and the word c fair, 5 might also 
 have a falling third. 
 
 Reiteration is the Rhetoric sign of a fulness of feeling, or a 
 rising energy ; and never of a change of sense ; and it should, 
 therefore, have that increasing energy expressed by a gradual 
 increase of stress, increase of radical pitch, or increase of 
 concrete, on every successive repetition of the emphatic sylla- 
 ble : stress being more suitable on short quantity, and a more 
 extended concrete, on long quantity, although they may be 
 united : and a radical elevation may be combined with either 
 of them. 
 
 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 replies — 
 
 Seems, Madam, nay it is ! I know not seems. 
 The intonation of the last line, may be delineated thus, 
 
 Seems,/Ma-dam 3 nay/it is\! I know not seems. 
 
 4- 
 
 The downward fifth on ' 2*s, 5 represents most perfectly the 
 positive affirmation and surprise of the speaker, at the mis- 
 conception of his real state. The solemn feeling of the 
 
142 
 
 COMPOUND MELODY. 
 
 Prince, which rejects, with indignation, the profanity 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. If the voice be made to swell to a greater 
 stress as it descends, the grave severity and dignified convic- 
 tion of the speaker, become at once conspicuous. But it will 
 be necessary to make a radical skip of a third from ' it' to ' is,' 
 as a preparative, in order to execute, with effect, the down- 
 ward concrete of a fifth on the word ' is? 
 
 The rising third, or the most moderate form of interrogative 
 expression, is placed on the words 'seems' and 'nay,' for 
 there is in them a slight sentiment of inquiry. The succeeding 
 clause, which contains a most positive affirmation, has the 
 downward fifth to express it : and the whole scheme is calcu- 
 lated to show the opposite, absolute powers of expression in 
 the rising and falling intervals. 
 
 Awake\, arise\, or be forev'er falKen. 
 
 It will be observed that there is a radical rising third from 
 the first syllable of c awake* and < arise? to the second of the 
 same words; and then again, a downward concrete fifth on 
 the last syllable of these words. The full and satisfactory 
 feeling of expression, cannot be conveyed without a con- 
 crete rising third or fifth on the last syllable but one of the 
 word 6 forever,' and a downward third on i fall? The strongly 
 inspiring and almost desperate encouragement, which this 
 line requires, could not be exhibited by any smaller intervals 
 on the emphatic words. 
 
 But Bru'tus, says', he was ambirious v 
 
 The discrete transition of a falling fifth, or the change of 
 radical pitch through that interval, has somewhat of the 
 expression of its concrete form. It is applied on those sylla- 
 bles which will not bear a prolongation, necessary for the 
 higher concretes ; and on the occasions of its employment, 
 the two extremes of the interval are made on two different 
 syllables; — as, on the word Brutus, and ambitious, in the 
 above line. 
 
 Give Feb - ius a tri • umph 
 
 tor 
 
 his de 
 
 lay! 
 
 ▲ A k 
 
 A 
 
 A 
 
 
 i i * 
 
 • 
 
 * A 
 
 i , 
 
 ^=k — — L— 
 
 
 
 
 M 
 
COMPOUND MELODY. 
 
 143 
 
 What, threat 
 
 you 
 
 me 
 
 with 
 
 tel 
 
 ■ ling* 
 
 of 
 
 the King. 
 
 
 A 
 
 6 
 
 A 
 
 
 4 
 
 
 
 1 1 
 
 IP 
 
 
 ^ 
 
 
 <■? 
 
 4 
 
 ▲ 1 
 
 8 1 s § 
 
 The above are two examples of piercing interrogation. 
 They have an interrogative construction, and when read 
 according to the above notation, the interrogative expression 
 will be strong and cuttino*. 
 
 Sub- 
 
 jec • 
 
 ted 
 
 thus, How 
 
 can 
 
 you say 
 
 to 
 
 me, 
 
 I 
 
 am a King ? 
 
 
 
 
 ▲ 1 
 
 A 
 
 4 
 
 
 
 -r 
 
 -T-T— f~ 
 
 1 
 
 ▲ 
 
 ▲ 
 
 
 
 A 
 
 J. 
 
 .K 
 
 * ' 
 
 The displeasure and surprising inquiry contained in the 
 above, cannot be given without the slow rising concrete of a 
 fifth on c How,' and a falling one on 'P and 'King 5 of the 
 same extent, and also a discrete fall from ' thus 5 to ' How, 5 and 
 a discrete rise from 'me 5 to ' I' of a third and fourth. in extent. 
 
CHROMATIC MELODY, AND THE SEMI-TONE. 
 
 The Semi-tone is the smallest, though not the least important 
 division of the scale, and requires the vanishing movement of 
 the concrete to be made through the interval of half a tone. 
 The illustration may be made in the following manner : — if 
 we ascend through the diatonic scale, by the repetition of the 
 word fire, sub-dividing it into two syllables, so that fi and yer 
 shall be alternately set on each degree of the scale, it will be 
 perceived, that the transition, from the third to the fourth, 
 and from the seventh to the eighth places, gives the same 
 expression to the word fire, as when it is heard in the streets 
 of our cities and villages, on the occasion of an alarm by fire. 
 Let the pupil here turn to the page on which is delineated 
 the diatonic t>cale ; and let him take the word fire, and, accord- 
 ing to the above directions, run over it upward and down- 
 ward, and note very particularly the interval of the semi-tone, 
 which he finds between the third and fourth, and between the 
 seventh and eighth degrees of it, and catch it (the semi-tone) 
 clearly and distinctly. 
 
 After he shall have caught a clear perception of its peculiar 
 intonation, let him practice on it, by taking all the vowel 
 elements, and also words and syllables, and exercise on them 
 until he can execute it on them with great ease and readiness, 
 or acquire a complete command over it. This will be best 
 effected by turning to the table of elements and words, and 
 sounding them with strenuous endeavor to give them an une- 
 quivocally plaintive character. 
 
 Be particular, also, to recognize the downivard concrete of 
 the semi-tone. The sound in the concrete passage from the 
 eighth to the seventh, and from the fourth to the third, will 
 have a plaintive character, whereas the concrete through a 
 whole tone, as from the second to the first degrees of the 
 scale, will not produce that plaintive effect. 
 
 In the above mode of exemplification of the scale, the 
 effect of the semi-tonic concrete, is very different from that of 
 the concrete passage of a word through the space of a whole 
 tone, as, for instance, between the first and second points of 
 the scale. Among the many voices, when an alarm is given 
 by the cry of 'fire,'' 'fire,' the utterance through the second 
 
OF THE SEMI-TONE. 145 
 
 is occasionally heard • and it is probable that some of my 
 readers may be able to call to mind the defect of this mode of 
 intonation, which arises from the misapplication of the tone 
 for the semi-tone. The intonation by the concrete semi-tone, 
 is, universally, the symbol of nature for distress, and we 
 never can hear the cry of fire, made through the interval of a 
 tone, without a persuasion of the deformity of that voice or 
 that ear, which can, in this particular, so far transgress the 
 ordination of nature. 
 
 In ascending the scale, it will be perceived that, if the 
 effect of the transition from the third to the fourth, and from 
 the seventh to the eighth, be compared with the syllabic 
 utterance of a plaintive sentiment, their identity will be ac- 
 knowledged. 
 
 Now the intervals referred to, on the Diatonic Scale, are 
 severally semi-tones; and therefore the semi-tonic interval is 
 the symbol of Plaintiveness, Pity, Love, Grief, Vexation, Sor- 
 row, Complaint, Disappointment, Pain, Penitential Supplica- 
 tion, and other sentiments congenial with these. All subjects 
 of Great Pathos and Tenderness, require the use of the semi- 
 tone. It is thenatural element of the plaintive emotions. The 
 semi-tone is also employed for the expression of Tenderness 
 and Gentleness of feelings and never for that of great Energy, 
 Harshness, or Impetuosity. It generally requires slow time, 
 or long drawn quantity in its intonation. But it may also be 
 employed or executed, on the short time of immutable sylla- 
 bles. 
 
 Now, as the emotions which indicate the semi-tone, usually 
 require slow time and extended quantity ; the expression of 
 this interval is generally made by the continuity of its upward 
 and downward concretes. This structure, called the vjave of 
 the semi-tone, answers two important purposes ; it creates a 
 stronger impression of the emotion; and by doubling the inter- 
 val, it allows a prolongation without endangering the integrity 
 of the equable concrete, which, in long quantity, is liable to 
 pass into the protracted radical or vanish of Song or Recita- 
 tive. 
 
 The emotions which are usually expressed by the semi-tone, 
 are sometimes restricted to individual words : sometimes, how- 
 ever, they extend over phrases and sentences, and even through 
 entire sections of discourse. The last of these, requiring the 
 semi-tone on every syllable, necessarily produces a Melody 
 consisting of a continued succession of this interval of the 
 vanish, and may be called the Semi-tonic Melody. 
 7 
 
146 OF THE SEMI-TONE. 
 
 Of the Nature of the Semi-tone. 
 
 We shall here make a few remarks, in reference to the 
 nature of the distinctive characteristic of the Semi-tone, and 
 consequently of the Chromatic Melody. 
 
 Now, if a sound be made in a very strongly marked plain- 
 tive character, indicative of great sorrow, or strong feeling of 
 distress ; this sound may be carried upward and downward by 
 a slide or concrete, through any and every interval within the 
 compass of the voice. This same sound of distress may also 
 be made to pass discretely through the several degrees of the 
 diatonic scale, both upward and downward ; but it will require 
 considerable effort at first, yet it can be done. 
 
 Try frequently, and practice much. 
 
 Now, if this voice of distress can be made to move upward 
 and downward both concretely and discretely through any 
 given interval ; or, if it is made to pass regularly and dis- 
 cretely through the successive intervals of the Diatonic Scale, 
 it must be evident that the voice moves, by radical skips 
 through the intervals of tones and higher intervals, as they 
 exist in the Diatonic Scale. 
 
 Hence, then, the Chromatic Melody progresses by radical 
 skips through the intervals of the Diatonic Scale; that is, by 
 tones and higher intervals, and not through the intervals of the 
 Chromatic Scale of music, or through Semi-tones okly, as its 
 name imports. Hence, also, the Simple Chromatic Melody of 
 Speech consists of, and progresses by, Radical Tones, and Con- 
 crete Semi-tones. 
 
 The Compound Chromatic Melody, like the Compound Dia- 
 tonic, consists of, or progresses b}', intermixing greater inter- 
 vals, with those of the simple Chromatic, for the purpose of 
 expressing interrogation and emphasis. 
 
 It must be particularly kept in mind, that, in making the 
 concrete intervals of the 3d, 4th, 5th, and 8th, in this Com- 
 pound Chromatic Melody, the same characteristic plaintive 
 and distressful sound, peculiar to the Semi-tone, must be pre- 
 served during the passage of it, through these higher or more 
 extended concretes. It must be a continuously plaintive 
 sound, during its upward and downward progression into 
 silence. 
 
 It may be satisfactory to examine a little, the physiological 
 function of the Larynx, in the production of this plaintive 
 
OF THE SEMI-TONE. 147 
 
 intonation. It may be observed, that, when we compare the 
 size and form of the glottis, during the emission of this plain- 
 tive sound, with the size and form of it, during the emission of 
 the ordinary sound, we can distinctly perceive a considerable 
 difference in this particular. The size of the glottis is less, 
 and the shape seems to be of an oval form : its lateral diameter, 
 or that in a line from ear to ear, is longer than the antero- 
 posterior, being the shape of an ellipsis • whereas, in the pro- 
 duction of ordinary sounds, the glottis seems to be round or 
 circular, and a little larger in size. 
 
 The muscles attached to the larynx regulating the motion, 
 size, and form of the glottis, seems, also, to be in a greater de- 
 gree of tension. An evidence, that this is the true state of the 
 parts concerned in the production of this intonation, is further 
 made clear, by the expression of the countenance, in those who 
 are suffering from great pain, or racked by grief, or in children 
 when crying. In these cases, this plaintive or semi-tonic in- 
 tonation is produced by a spontaneous impulse of nature, not 
 designedly, but involuntarily. The muscles of the face are 
 brought into general action, evidenced by the knitting of the 
 brow, and the cheeks and mouth are drawn laterally, exhibit- 
 ing distress and anxiety. As the face seems to be drawn 
 laterally, and the lips, mouth, and throat being under the same 
 impulse of action, it is very probable that the muscles attached 
 to the larynx are made so to act, as to draw laterally or from 
 ear to ear, and the glottis is made to assume an oval or elliptical 
 shape in the production of the semi-tonic intonation. 
 
CHROMATIC OR SEMI-TONIC MELODY. 
 
 The Diatonic Melody has been represented as formed by the 
 progression of radical and concrete pitch, through the interval 
 of a whole tone. That which is here to be treated, having the 
 concrete only through a semi-tone, may be called the Chro- 
 matic or Semi-tonic Melody. Like the former, it is subdivided 
 into the Current Melody ', and that of the Cadent. The move- 
 ment of its current resolves itself into several sorts of phrases, 
 similar to those of the diatonic progression ; the only difference 
 between them, is this, that the concrete intervals, in the chro- 
 matic melody, pass through the space of a semi-tone; whilst 
 those of the diatonic, move through that of a whole tone. 
 
 The doctrine of Key and of Modulation, is the same, in the 
 two melodies. A similar appropriation of phrases to the 
 pauses of discourse, and for continuing, suspending, or closing 
 the sense, is used in each • and the same rule for varying the 
 phrases of the current melody, in the production of an agree- 
 able effect, is applicable to both. But as the emotions which 
 dictate the use of the semi-tone and its melody, are always 
 more grave or depressed, than those associated with the dia- 
 tonic, the former, more frequently, assumes the phrase of the 
 monotone. 
 
 It may be necessary to observe, that special purposes of 
 expression, may call for the introduction of the higher inter- 
 vals of the octave, fifth, fourth, and third. These intervals 
 have a place in the Chromatic Melody, both for the purpose of 
 Interrogation and of Emphasis. 
 
 The following notations are examples of the Chromatic 
 Melody of Speech. The lines and spaces are intended to re- 
 present the degrees of the ordinary Diatonic scale • but the 
 smaller concretes should be considered as semi-tonic only, and 
 the larger ones, measured by the lines and spaces of the staff, 
 on which they are found. We shall present but a few exam- 
 ples, leaving the determined student to select others, and make 
 his own notations on them : he will cut the road himself when 
 it is laid out for him. 
 
CHROMATIC MELODY. 149 
 
 Example of Distress. 
 
 Pi - ty the sor - rows of a poor old man, 
 
 
 A 
 
 i, 
 
 x 
 
 
 4 
 
 4 
 
 ^ 
 
 —A 
 
 
 
 
 
 
 i. 
 
 
 
 
 
 4 
 
 4 
 
 Whose 
 
 tremb - 
 
 ling- 
 
 limbs 
 
 have 
 
 borne 
 
 him 
 
 to 
 
 your 
 
 door. 
 
 
 
 A 
 
 a 
 
 4 
 
 4 
 
 - A 
 
 X 
 
 x 
 
 X 
 
 
 T 
 
 
 
 
 
 
 
 
 
 T 
 
 Example of Deep Sorrow. 
 
 Oh ! my son Ab - sa - lorn, my son, my son Ab - sa - lom, 
 
 j * . . 4-*-+-*-«-l^-«-« 
 
 Wouk 
 
 1 to God I had died for thee, O, 
 
 Ab 
 
 ■ sa - lorn, my son, 
 
 my son. 
 
 i. 
 
 4, ± ± ^ 1 
 
 4 
 
 ii^ I 
 
 
 
 * * f A ^ A 
 
 
 1 *» A 
 
 4 - 
 
 T 
 
 Example of Love. 
 
 Oh ! Ma - ry, dear, de - part - ed shade, 
 
 ± X X X X 
 
 Where 
 
 is 
 
 thy . 
 
 place 
 
 of 
 
 bliss 
 
 - ful 
 
 rest? 
 
 I 
 
 J. 
 
 Jl 
 
 X 
 
 X 
 
 i. 
 
 A. 
 
 ^ 
 
 | ~ " " 
 
 A 
 
150 CHROMATIC MELODY. 
 
 See'st thou thy lov - er, low - ly laid? 
 
 3=t 
 
 Hear'st 
 
 thou 
 
 the 
 
 g roans 
 
 that 
 
 rend 
 
 his 
 
 breast ? 
 
 
 
 i. 
 
 | 
 
 A. 
 
 A 
 
 ^ 
 
 
 X 
 
 1 
 
 
 A 
 
 
 
 
 i. 
 
 
 My Mother ! when I learn'd that thou wast dead. 
 Say, wast thou conscious of the tear I shed ? 
 
 Hover'd thy spirit o'er thy sorrowing son, 
 Wretch even then, life's journey just begun? 
 
 Perhaps thou gavest me, though unfelt, a kiss ; 
 Perhaps a tear, if souls can weep in bliss ; 
 
 Ah that maternal smile ! it answers, yes. 
 
 I heard the bell toll'd on thy burial day, 
 I saw the hearse that bore thee slow away, 
 And turning from my nursery window, drew 
 A long, long sigh, and wept a last adieu ! 
 
 But was it such? It was. Where thou art gone, 
 Adieus and farewells are a sound unknown. 
 May I but meet thee on that peaceful shore, 
 The parting word shall pass my lips no more ! 
 
 Thy maidens griev'd themselves at my concern, 
 Oft gave me promise of thy quick return. 
 What ardently I wished, I long believed, 
 And disappointed still, was still deceived. 
 
 By expectation every day beguiled, 
 Dupe of to-morrow even from a child, — 
 
CHROMATIC MELODY. 151 
 
 Thus many a sad to-morrow came and went, 
 'Till all my stock of infant sorrow spent, 
 I learn'd at last submission to my lot, 
 But though I less deplored thee, ne'er forgot. 
 
TREMOR OF THE VOICE. 
 
 It has been affirmed, that every effort of the voice* is neces- 
 sarily made through the radical and vanishing movement; 
 and we think that it has been satisfactorily shown, that the 
 audible characteristic of the several intervals of the scale, may 
 be distinctly recognised. The smallest interval hitherto ex- 
 hibited, has been that of a semi-tone. But the Tremulous 
 movement of the voice, is an exhibition of succession of dis- 
 crete sounds or impulses, under a still more reduced division 
 than that of a semi-tone ; each point being, as it were, rapidly 
 touched, by a short and abrupt emission of voice. This de- 
 scription may be illustrated, by the manner of that noise in 
 the throat, which is called Gurgling, or by the Neighing of a 
 horse. The analogy here regards the momentary duration, 
 frequency, and abruptness of sound; for the gurgling may be 
 made by a quick iteration on one line of pitch, or in a regular 
 diatonic ascending or descending progression, to any desirable 
 extent; each successive tittle or impulse of sound being taken 
 at a very minute interval above or below the last. The pre- 
 cise radical extent of these small iterant intervals cannot be 
 determined, nor the number of them contained in any given 
 portion of the scale; since this function is executed in a 
 manner, and with a rapidity, which prevent discrimination. 
 
 If every effort of the voice, is a movement through the 
 radical and vanish, then every impulse of iteration in this 
 tremulous movement, must be a concrete interval, having an 
 abrupt radical, and a rapid vanish. This abrupt radical and 
 rapid vanish, may be called the iterant concrete, or the con- 
 crete of the tittles, in opposition to the tremulous concrete, 
 which is the general tremulous movement through any interval 
 of the diatonic scale. 
 
 This iterant concrete may be made to pass through the in- 
 terval of a tone or a semi-tone. [Dr. Rush says through every 
 interval of the scale.] From this, then, we have a tremor 
 made on the tone, or on the semi-tone; that is, each of these 
 successive impulses or iterations, may rapidly rise or fall 
 through these intervals respectively. That the constituent 
 concrete tittles, however momentary, do pass rapidly through 
 these intervals, may be proven by trial; for the plaintive 
 
THE TREMOR. 153 
 
 effect of intonation, which is producible only by the semi-tone, 
 may be heard on every degree of the ascending and descending 
 scale ; and, in like manner, may the plain effect of the tone be 
 given on this interval. 
 
 When the tremulous movement is made through the rising 
 concrete, or by the upward diatonic progression, the concrete 
 of the tittles takes also the rising direction; but when the 
 movement is descending, either concretely or discretely, it 
 requires the vanishes of the tittles also to be descending: since 
 that, we cannot execute the rising concrete tremor with the 
 falling vanish of the tittles, nor the falling concrete movement 
 with the rising vanish ; the general movement of the voice 
 giving the direction, in this respect, to the particular. 
 
 This tremulous movement of the voice, then, may be con- 
 tinued on a line for a short time, and then rise or fall any 
 interval and continue again, and, in like manner, passing thus 
 discretely through the scale : or it may be made to rise or fall 
 continuously or concretely through the whole extent of the 
 voice, and even through the falsette. Hence, then, it may be 
 stated, that this tremulous function may be exhibited, either 
 in a rising or falling scale. It is scarcely necessary to add, 
 that it may, also, be carried through the several waves on a 
 long syllable. Let us, then, after the analogy of our preceding 
 nomenclature, call this tremulous rising and falling series, the 
 tremulous concrete, the commencing point of which is the 
 radical part, and the termination of it, the vanishing point, of 
 this tremor. Interrogation and Emphasis are produced by 
 this tremulous concrete through the intervals of a third, a 
 fourth, a fifth, an eighth, or a greater interval if necessary. This 
 tremulous movement through the diatonic scale, may be called 
 the tremulous scale, by which the concretes of the tremor may 
 be measured in point of pitch. 
 
 Laughing and Crying consist in the use of the tremulous 
 movement upon the iterant concrete of the tone and semi- lone. 
 When the iterant concretes pass through the interval of a tone, 
 it gives the function of Laughing; when they pass through 
 the semi-tone, it displays that of Crying. We laugh on the 
 tone, and cry on the semi-tone. The tremulous tone, is the 
 note of joy or joyful laughter, and the tremulous semi-tone , is 
 the note of sorrow or sorrowful crying. 
 
 The act of crying has two modes ; it may be in the smooth 
 concrete, or in the tremulous concrete. Infants cry in the 
 first manner, by a protracted semi-tone upon some vowel ele- 
 ment. It ft a long- time before the tremor is heard in their 
 
154 
 
 THE TREMOR. 
 
 voice. The first step toward it, is in the convulsive catch of 
 sobbing; by degrees this increases in frequency, and the cry 
 becomes, at last, of the rapid iteration of the tremor. The use 
 of the tremor increases the force of the expression of all other 
 intervals. For, since crying is the ultimate voice of distress, 
 and its tremulous characteristic is adopted as the means for 
 marking a very great intensity of feeling, tremulous speech 
 is the utmost practicable crying on words. When mirth or 
 sorrow is in the mind, it is hard to restrain its habitual expres- 
 sion. He, who would be to others an unsuspected hvpocrite 
 in his voice, must mask even his own sentiments and emotions 
 to himself. 
 
 Diagram illustrating the Tremulous Movement through the 
 different Intervals of the Scale. 
 
 TREMOR, ON THE TONE OR SECOND. 
 
 -8- 
 
 -Do- 
 
 -7- 
 
 -Si- 
 
 -6- 
 
 -La~ 
 
 -5- 
 
 -Sol- 
 
 -4- 
 
 -Fa~ 
 
 -3- 
 
 -Mi~ 
 
 2 - 
 
 -Re-- 
 
 -i- 
 
 -Do-- 
 
 -&*• 
 
 -QQc 
 
 ~$9**— 
 
 -0$$* 
 
THE TREMOR. 
 
 155 
 
 TREMOR OF THE SEMI-TONE. 
 
 -8- 
 
 -Do- 
 
 -7- 
 
 -Si— 
 
 -6- 
 
 -La~ 
 
 -5- 
 
 -Sol- 
 
 -4- 
 
 -Fa« 
 
 -3- 
 
 -Mi- 
 
 -2- 
 
 -Re- 
 
 -1- 
 
 -Do-- 
 
 -** 
 
 -#!♦*- 
 
 -f**- 
 
 -** 
 
 -**»- 
 
 e, in eel, ear, hear, eve, deed, give. 
 
 a, " age, page, air, their, aim. 
 
 a^, " arm, harm, arch, bard, card, gaard. 
 
 aw, " awe, all, call, or, for, Paid, thaw. 
 
 o/i, " ode, ore, sore, load, goad, more. 
 
 oo, " ooze, loose, coo, woo, move. 
 
 uh, " urn, turn, burn, urr, her, sir. 
 
 ou, " our, sour, poar, now, thou. 
 
 oi, " oi], toil, coin, join, joice. 
 
 w, " use, ure, fume, tune, tube. 
 
 i, " ice, ire, fire, quire, isle, style. 
 
 The student should execute the tremor on all the alphabetic 
 elements (except V, T, K ? ) on these four diagrams. The 
 
156 THE TREMOR. 
 
 former two represent the tremor on the lone, and the latter, the 
 tremor on the semi-tone. Let him sound each element with 
 a prolonged tremor, and then again, as short as possible ; yet 
 never having less than four or five impulses or tittles in the 
 shortest. Let him move over the diagrams, discretely and 
 concretely, upward and downward. 
 
 Strenuous and persevering efforts will be necessary, in order 
 to rise and fall easily through the different intervals with the 
 tremor. Let him, as a practice,, sound the words contained 
 in the table, taking care that every element contained in them, 
 sustains its due proportion in the concrete. For the full efficacy 
 and the graceful finish of the tremor, are accomplished, — by 
 giving it the greatest number of breaks or iterations of which 
 the time and interval are susceptible; — by making the consti- 
 tuent tittles in an easy flowing succession ; — with a distinct 
 accent ; — with an equal time and an equably diminishing force 
 on the vanish of the tremulous concrete ; — with a proper dis- 
 tribution of them, on all the elements of a word$ — and with a 
 ready power of ascent and descent, through any given interval. 
 
 It requires more than common facility of voice, to perform 
 the tremor with precision and elegance. But the elementary 
 practice here enjoined, will place it at the command of the 
 reader and speaker; and the following examples will instruct 
 him in its appropriate use. It is to be employed with temper- 
 ance; for it lies at the extremes of the emotions. Indeed, it is 
 with this, as it is with all other striking elements of the art of 
 speech; the student must acquire a temperance, consistent with 
 nature and a refined taste. 
 
 As the tremor may be applied to all the intervals ascending 
 and descending, and to their combination in the waves; and as 
 these elements bear different kinds or various degrees of ex- 
 pression ; it follows, that the character of the tremor, may 
 appear under other modifications than those of joy and sorrow. 
 When the tremulous function is made through the second, 
 third, fourth, fifth, or octave, or through the wave of these 
 intervals, it joins the sentiment of derision, mirth, joy, or exul- 
 tation, to that of interrogation, surprise, command, or scorn, 
 conveyed by the smooth concrete of these intervals. If in- 
 creases the intensity of all other expressions, and thereby 
 heightens the thrill of joy, mirth, and exultation; adds pun- 
 gency to scorn or derision; deepens the note of sorrow; and 
 enhances the voice of distress. 
 
 The student should be apprised, that, to the acquisition of 
 the elements, no very great difficulty fies in his way. He only 
 
THE TREMOR. 157 
 
 wants to know the elements, — name and classify them, — - 
 render them separate objects of elementary practice,— and 
 learn in the way of analysis, before he attempts to compound 
 them, for the purpose of communicating the sense and senti- 
 ment of discourse. Ignorance of them, want of practice upon 
 them, and previous bad habits, mainly growing out of such 
 ignorance and want of practice, are the sources of faulty 
 speaking. 
 
 The extract from Falstaff ? s Ragged Regiment, when drama- 
 tically read, requires the tremor on almost every word. Very 
 little effect of expression can be given by plain reading. It is 
 a very fine example for the expression of the tremulous move- 
 ment. 
 
 Example of Tremor on the Tone. 
 
 1. I'll not march through Coventry with them, that's flat. 
 No eye hath seen such scare-crows. 
 
 The above, it may be said, should be read with the diatonic 
 tremulous melody : and the following stanza, with the chro- 
 matic tremulous melody. The tremor of age should be joined 
 with supplicating distress, which can be effected only by the 
 coloring of the semi-tonic tremor. 
 
 2. 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 • 
 Oh ! give relief, and heaven will bless your store. 
 
 3. Thou art the ruins of the noblest man, 
 That ever lived in the tide of time. 
 
 (Go back, and read the examples at the end of the section 
 on the Chromatic Melody.) 
 
MODULATION OR TRANSITION. 
 
 It has been stated on the subject of Pitch, that the meaning 
 of the word key, is significative of a certain arrangement of 
 the elements of the musical scale ; and here we may consider 
 the propriety of this term to the meJodial arrangement of the 
 speaking voice. 
 
 As a generic appellation, the term key means the proper or 
 specific succession of tones and semi-tones in the diatonic 
 scale. It includes several species of a similar order of succes- 
 sion, 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 semi-tonic division of 
 the scale; from each of which an air or melody may he re- 
 strictively performed ; with the regulated means, however, of 
 conducting that melody, from one degree or pitch to another, 
 through the whole twelve. The different arrangements in the 
 order of *the notes, arises from the places of the semi-tones. 
 This gives rise to two modes of the Diatonic Scale. In the 
 one, a semi-tone lies between the third and fourth degrees, and 
 between the seventh and eighth, as formerly taught, and con- 
 stituting the kind of succession called the Major mode or 
 scale. In the other, a semi-tone lies between the second and 
 third, and between the seventh and eighth degrees ascending ; 
 and between the second and third, and between the fifth and 
 sixth descending, and forming the succession of the Minor 
 mode. Now, as there are twelve notes or degrees in the semi- 
 tonic scale, from which a diatonic series may be arranged ; so 
 there may be twenty-four keys ; twelve constructed by the 
 Major mode, and twelve by the Minor. 
 
 The melody of music, whether in the major or the minor 
 scale, is made by progressions of conjoint degrees and skips of 
 less or greater intervals, through the series of five tones and 
 two semi-tones from any given key ; and the song or move- 
 ment, so constructed, is terminated with entire satisfaction to 
 the ear, when brought to a close on the commencing point of 
 the series, which is called the key-note. 
 
 The melody of plain narrative or unimpassioned speech, is 
 made by a progression of conjoint degrees only ; and its satis- 
 
MODULATION OR TRANSITION. 159 
 
 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. But the scale of the speak- 
 ing voice has no semi-tone interspersed ; and therefore is not 
 limited, like that of music, to a particular arrangement of 
 seven constituent relative intervals. The speaking scale is the 
 compass of the voice ; let that be eight, or twelve, or sixteen 
 degrees, whose intervals are all equal. 
 
 From the foregoing account of the musical, and speaking 
 scales, it may be learned, that though their respective con- 
 stituent intervals and melodial progressions, differ from each 
 other • yet with reference to the philosophic sense of the 
 word key, there is a discoverable similarity between them. 
 For since, in speech, the descent of a concrete fourth, or of 
 three degrees of radical skips, with a downward vanish on the 
 last, always produces a cadence, or effects something like the 
 consumation of a key-note in music ) — it follows that in a 
 voice with a compass of ten degrees, every degree, except the 
 three highest, may be the place of what is called the key-note 
 of speech ; and, consequently, this voice might be said to have 
 eight keys ; for a satisfactory close may be made by a descent 
 of a fourth, which constitutes a cadence, on any eight of the 
 lower degrees of the speaking scale. 
 
 But there is a peculiarity in the specifications of the keys of 
 spoken melody, which must be described. When a musical 
 melody is said to be in a particular key, the expression desig- 
 nates exactly the position of its key-note, which is not suffered 
 to change during the continuance of the melody. But not so 
 with the melody of speech ; for this cannot be said, with pre- 
 cision, to be in any one key during the continuance of any 
 considerable portion of melody ; for the key may change three 
 or four times, or even oftener, in the melody of a single sen- 
 tence. The key-note of the melody of speech can be made to 
 vary with the greatest ease ; since that a cadence can be made 
 on any one of the eight lower notes of the speaking scale, 
 without being embarrassed with the semi-tones. Definitive- 
 ness of key may be affirmed of the cadence ; because the suc- 
 cession of its radicals, and the place of its closing concrete, are 
 unalterably fixed. Looking on the Triad as determining the 
 key, a particular key may be appropriated to each degree of 
 the eight lower of the compass of the voice ; and, conse- 
 quently, the key of the current melody may be perpetually 
 changing. 
 
 From this view of the speaking voice, it may be understood, 
 
160 MODULATION OR TRANSITION, 
 
 why, ia the notation of its melody, we have used only the staff 
 of the musical tablature, without reference to its clefs or sig- 
 natures. Clefs are used in music, for the purpose of concert- 
 ing; by determining with precision the proper places of pitch 
 for several voices or instruments, when moving in harmonic 
 accompaniment. They are, therefore, useless to the single- 
 ness of speech. The melody of speech being altogether com- 
 posed of whole tones, without the semi-tone, can have no rule 
 for constructing keys, arising out of the fixed places of the 
 semi-tone, as in the musical scale ; consequently, there is no 
 need of prefixing signatures, such as flats and sharps, or clefs. 
 The naked lines and spaces of the staff denote the extent and 
 relationship of pitch, and afford sufficient means for illustrating 
 the intonation of speech. — (See the Diagram, page 162.) 
 
 The term Modulation is used, in music, to signify the transi 
 tion of melody and harmonic composition, from one key to 
 another ; and it is equally applicable to the purposes of speech 
 in conducting its melody ; because it serves to elevate or de- 
 press the movements of the voice. 
 
 The transitions of the voice are truly one of the most im- 
 portant requisites in Elocution : — nothing contributes more to 
 the pleasure of the audience ; — nothing gives stronger proof, 
 that an orator is master of his art, than a well regulated and 
 expressive transition. Transition may be resorted to for 
 variety, but it should be more particularly subservient to sense; 
 for we design, by the transition of modulation, to mark changes 
 of sentiments ;— changes in the train of thoughts ; and changes 
 jor parenthetical clauses. 
 
 The melody of song is graduated on a scale w 7 hose degrees 
 are as definite as those of Gunter's. But the melody of 
 speech need not be considered as formed with so much mathe- 
 matical exactness ; yet sufficiently so, as to give to each note 
 a name and a place, if desired. 
 
 For practical purposes, however, it is only necessary to give 
 a notation of the relative pitch of occasional syllables, and 
 especially those that are emphatic. Such a notation may be 
 read by any one who may have a very limited knowledge of 
 music; and, consequently, with the greatest ease, by. those who 
 understand more of the rudiments of this science. Besides, if 
 the relative pitch of the key-note of the current melody, and 
 of the emphatic syllables and their inflections,* are given, the 
 
 ^ The word inflection is used in this work, to denote the rising and falling 
 vanishes of the concretes of speech. 
 
MODULATION OR TRANSITION. 161 
 
 remaining syllables will naturally take their proper places of 
 elevation in the general melody. 
 
 The series of notes, by which the relative pitch and the 
 inflections of the syllables of a sentence are represented, are 
 written on four horizontal, parallel lines, with their interme- 
 diate spaces. These lines and spaces are called the Staff of 
 Speech, in contradistinction to the staff of music, which con- 
 sists of five horizontal, parallel lines, and four spaces. 
 
 There is a medium pitch of the voice, differing, of course, in 
 different individuals, from which ascent and descent through, 
 its whole compass are easy and natural. This is the natural 
 pitch-note. It is the note most frequently heard in ordinary 
 conversation. Speakers and readers should be careful to 
 familiarize themselves with this note, and acquire a habit of 
 striking on it, at any time, with ease. They should always set 
 out with it in discourse, and often return to it. It is that note, 
 in a melody, which predominates, and, in correct reading and 
 speaking, is always in accordance with the sentiment. This 
 predominant and leading note is the fourth degree from the 
 lowest distinctly audible one, that a person is capable of mak- 
 ing, and may be called the natural key-note of speech. From 
 this note, also, the most satisfactory and complete cadence can 
 be made. A cadence made from any higher note, is less com- 
 plete or satisfactory in proportion to its elevation above this 
 note. This natural key-note is always indicated by the second 
 line of the staff of speech, counting from below. When a 
 person reads or speaks altogether on this key-note, the reading 
 or speaking is monotonous. And reading or speaking will be 
 equally monotonous, if it is confined to a key-note, that is 
 raised or depressed to any degree, above or below this natural 
 key-note. Hence, then, the following definition :— The key- 
 note is that predominant note which, with one or two degrees 
 below and above it, constitutes the principal part of a melody. 
 
 From this definition, it will appear obvious, that the pitch 
 of the key-note may be made to vary to any degree of the 
 speaking scale, excepting two or three degrees of the highest. 
 
 The following notation of the staff of speech, will illustrate 
 the key-note, and the modulation of the melody of speech, 
 produced by the transition of this key-note, from one pitch or 
 place of the scale to another. 
 
162 MODULATION OR TRANSITION. 
 
 Staff of Speech, 
 
 2The moon her - self is lost in heav'n ; 6but thou art for 
 
 i s 4— 4— 4— s 
 
 9 
 
 s 
 
 ev 
 
 
 er 
 
 the 
 
 same, 8re 
 
 -joic 
 
 4 
 
 -ing 
 
 in the bright-ness of thy cause 
 A 4 i 4 
 
 6 
 
 4. 
 
 
 4 
 
 ▲ 
 
 4 4 
 
 
 
 4 # # " # A . 
 
 4 
 
 m ¥ 
 
 2 
 
 
 1 
 
 9 
 8 
 6 
 4 
 2 
 
 2When 
 
 the 
 
 world is 
 
 dark 
 
 with 
 
 tem - pests, 4when thun - der rolls, 
 
 
 ▲ A A ? 
 
 
 4 
 
 
 -4- 
 
 * 4 
 
 4 
 
 -4 
 
 a 4 - :. 
 
 and light'-ning flies, 6thou lookest in thy beau - ty from the clouds, 
 
 6 
 
 
 
 4 
 
 4 
 
 4 
 
 4 * 4 4 A 4 
 
 4 
 
 44 4 
 
 4 
 
 
 
 
 
 9, 
 
 
 1 
 
 9 
 
 and laughest at 
 
 the 
 
 storm. 
 
 4But 
 
 to 
 
 Oss - ian thou lookest in vain. 
 
 
 , * * 
 
 A 
 
 
 
 
 
 
 * 
 
 4 
 
 
 
 
 4 
 
 * 
 
 r * « 4. "-4 . 
 
 2 L 
 
 
 
 
 
 
 t 
 
 The same sentence is prepared below for reading, by noting 
 the pitch of the key-note by figures, indicating the degrees 
 of elevation from the lowest note. The first or lowest line 
 of the staff of speech indicates the second degree or note ; 
 the second line indicates the fourth degree ; the third indicates 
 the sixth ; and the fourth line, the eighth degree, as may be 
 seen by the figures, placed at the commencement of the staff 
 of speech, in the above notation. The upward and down- 
 ward vanishes of the emphatic syllables, is also noted by a 
 graphic concrete inflection at the end of the syllable. The 
 inflection mark is likewise to indicate the interval of the 
 emphatic concrete by its length, as well as its direction. 
 
MODULATION OR TRANSITION. 
 
 163 
 
 The Prepared Sentences, 
 
 4 The moon herself is lost in heav\n ; 6 but 
 thou art for ever the same', 8 rejoicMng in the 
 brightness of thy course v 2 When the world 
 is dark with tempests/, 4 when thunder rollsv, 
 and lightning flies/, 6 thou look^'st, in thy beauty 
 from the clouds/, 8 and laugh\st at the storm v 
 4 But to OssMan thou look'st' in vain v 
 
 The following diagram is intended to exhibit the length of 
 the emphatic concretes, or the concretes to be placed imme- 
 diately after emphatic syllables, and may be called the Con- 
 crete 
 
 The letter ' a,' in the word staff, is about half the length of 
 the c jf> in the same word; hence, if a horizontal line be 
 drawn from the top, and one from the lower end of the c ff ;' 
 and one from the upper, and one from the lower end of ' a ;' 
 and then again, one from the middle of the body of the 6 a ; 5 
 we have a staff of five lines, as is seen in the above concrete 
 staff: and each line is intended to represent a degree in the 
 scale of speech. We have, then, five degrees to constitute the 
 Concrete Staff. Figure 1, in the above Concrete Staff, repre- 
 sents the rising and falling concrete tones or seconds ; — figure 
 2 represents rising and falling concrete thirds ; 3 represents 
 concrete fourths ; — and 4 is intended to represnt the interval 
 of a fifth, a sixth, a seventh, or an eighth, as may be desired. 
 
 Iu this diagram, then, we have a staff of five degrees, that 
 may be transferred, by imagination, or an act of the mind, on 
 every line in a printed page, and be the means by which the 
 reading of it may be regulated. The second line of the Con- 
 crete Staff, which is that made along the lower edge of the 
 body of the short letters, uniformly and exactly corresponds 
 to the key-note of speech. This line is the key-note line of 
 the Concrete Staff, and should always be placed upon, or corre- 
 
164 MODULATION OR TRANSITION. 
 
 spond to, the key-note of the melody. Then we have one 
 degree below, and three above, this key-note line, to afford 
 variety for the melody on any given key. 
 
 The figures 1, 2, 3, 4, &x. at the commencement of the 
 Staff of Speech, denoting the nine degrees of the Speaking 
 Scale, and their relative elevation and depression, are used in 
 the exercises in reading, as denoting the rising and falling of 
 the key-note ; or, in other words, they (the figures) are the 
 means by which modulation is effected, and the transitions of 
 the voice, as to pitch, are regulated. The figures 2, 4, 6, 8, 
 are those that denote the lines of the Staff of Speech ; and 
 1, 3, 5, 7, 9, denote the spaces, including the space above and 
 below the staff, (as figures 1 and 9 will indicate.) (See the 
 Staff of Speech, on page 162.) 
 
 The figures placed at the commencement of a line or section, 
 in the reading exercises, are the same as those at the com- 
 mencement of the Staff of Speech, and indicate the rising and 
 falling of the key-note of the melody, or the key-note of the 
 Staff of Speech. Then, by placing the key-note of the Con- 
 crete Staff, on the key-note of the Staff of Speech, and keep- 
 ing them in correspondence, as the key-note of the Staff of 
 Speech is made to vary, and we have all the means necessary 
 to the production of any required or desired modulation or tran- 
 sition, as to discrete and concrete pitch, for the production of 
 any melody. 
 
 Prepared Exercises. 
 
 3. 5 Sir, we are not weak, if we make a proper 
 use of those means which the God of nature 
 hath placed in our power. 8 Three millions of 
 people, 6 armed in the holy cause of liberty, 
 5 and in such a country as that which we pos- 
 sess', 8 are invincible to an^y force which our 
 enemy can send against us. 5 Besides, sir, w 7 e 
 shall not fight our battles aloney ; 2 there is a just x 
 Gody who presides over the des\tinies of nations ; 
 4 and who will raise up friends^ to fight our bat- 
 tles for\ us. 5 The battle, sir, is not to the 
 
MODULATION OR TRANSITION. 165 
 
 strong alone x ; 4 it is to the vigMlant, the ac\iive, 
 the brave v 
 
 4 2 An hour pass'd on ; — the Turk a woke., — 
 
 3 That bright dream, was his last ; 
 4 He woke to hear his sentries shriek v 
 
 5 To armsM they conies! the GreekV the 
 GreekM 
 4 He woke to die midst flame and smoke\ 
 
 And shout, and groan/, and sa v bre stroke, 
 And death-shots falling thick and fast/ 
 
 As lightnings from the mountain clouds-*; 
 And heard, with voice as tnim\pet-loud', 
 
 3 Bozzarris cheeiA his bandy 
 
 4 Strike\ till the last armed foe expires*; 
 5 Strike^ for your alMers, and your fires v ; 
 6 Strike v for the green graves of your sires^; 
 
 4 God^, and your native land v 
 
 2 They fought like brave^ men, — long and 
 
 welK; 
 They piled^ that ground/ with Moslem 
 
 slain ; 
 They conquered , — but Bozzar^ris fell/ 
 ■^Bleed'ing at every vein v 
 
 In these examples, you will observe that the figures indi- 
 cate the pitch of the key-note according to the Staff of 
 Speech : — and the graphic marks of inflection indicate the 
 intervals and the upward or downward vanishes of the con- 
 cretes on emphatic syllables. 
 
 Much exercise on this part of Elocution, will be necessary, 
 
166 MODULATION OR TRANSITION. 
 
 to make a good reader or speaker. These examples, and others 
 in this book, should be read frequently. The student should 
 also prepare pieces of his own selection, by marking them 
 with the figures and inflections, as above exhibited, and reading 
 them over and over again, until they become easy and natural, 
 and can be executed with an appropriate and graceful transi- 
 tion. 
 
 Some speakers, almost immediately after commencing their 
 discourse, run up to the top of the voice, and continue that 
 pitch through the longest portion of an address, thereby pro- 
 ducing a continuous elevated monotony. This is tiresome and 
 offensive, in the highest degree. This high pitch is commonly 
 united with great loudness, with an entire defect of cadence, 
 which aggravate the evil. Others, again, very soon fall to the 
 lowest pitch, and are unable to rise again. They cannot make 
 a cadence, because they cannot descend below the pitch they 
 have assumed. They cannot speak with force, because if the 
 voice descends below a certain point, it ceases to be able to 
 employ force, and finally becomes inaudible. In order, there- 
 fore, to maintain fulness and strength of tone, we must set out 
 with about the fourth degree from the lowest note, from which 
 the voice can be easily managed, both in its employment 
 of force and modulation. Again, let the student accustom 
 himself, by frequent practice, to rise and fall upon a sentence 
 or sentences selected for the purpose, through the w r hole com- 
 pass of the voice. Such a practice was common with ancient 
 orators, both Roman and Grecian, and will be the most effectual 
 method, after the elements of expression are at complete 
 command, of removing the blemishes above described, by 
 giving a ready command over the speaking scale. 
 
 The sentence below may be taken for exercise, which should 
 be read according to the different notations exhibited by the 
 numerals at the beginning of the lines and members of sen- 
 tences. 
 
 5 lu Though you untie the winds 2 and let them fight 
 Against the 3 churches f though the yesty waves 
 5 Confound and swallow navigation up ; 
 6 Though bladed corn be lodged, and trees blown 8 down, 
 7 Though castles topple on their warden's heads, 
 6 And nature's germins tumble ^altogether, 
 4 Even till destruction 3 sickens P Answer me." 
 
MODULATION OR TRANSITION. 167 
 
 Again : 
 
 6 though you untie the winds 2 and let them fight 
 3 Against the churches - 4 though the yesty waves 
 4 Confound and swallow navigation 5 up ; 
 5 Though bladed corn be lodged and trees blown down ; 
 6 Though castles topple on their warden's heads, 
 7 And nature's germins tumble altogether, 
 s Even till destruction sickens ? 9 Answer me. 
 
 Modulations or transitions of the voice should be uni- 
 formly made at those parts of a discourse where the 
 speaker enters on a new train of thought, or where the senti- 
 ment takes a different turn. These parts are generally divided, 
 in written composition, by paragraphs : and these are often 
 entirely disregarded by many. Nothing relieves the ear more 
 agreeably than a well regulated transition. It should be 
 effected temperately ; but whenever a speaker or reader enters 
 on a new train of thought, notice thereof should be given to 
 the ear, by the following means, differently modified, accord- 
 ing to existing circumstances. 
 
 1. By a change in the pitch of the voice. 
 
 2. By an alteration in the rate of the voice, as to quickness 
 or slowness. 
 
 3. By an increase of force. 
 
 4. By an abatement of the previous force. 
 
 5. By a change in the phrases of melody. 
 
 6. By the use of the monotone for a short space, which has 
 often a very striking effect. 
 
 All these means should be at the command of the speaker 
 and reader, and one or more of them should be employed in 
 the pronunciation of the first few sentences at every para- 
 graph ; after which the voice will naturally move into a freer 
 expansion of a more animating- delivery. Always at the 
 introduction of a new paragraph, the directions here given 
 should be followed. 
 
 The figures placed at the beginning of lines, sections, or 
 words in the examples and exercises, may be said to indicate 
 the radical pitch or key-note of the melody ; or they show 
 the general drift of the voice as it moves along over a sen- 
 tence. 
 
 The voice, however, may be made to vary, at times, a degree 
 or two below or above the pitch-note, as is noted by the posi- 
 tion of the concrete marks placed after the emphatic syllables, 
 but should be made, very frequently, to return to it again. 
 
168 MODULATION OR TRANSITION. 
 
 7. 4 Come\ when the heart beats high, and warm, 
 With bamquet-song, and dance^ and wine v , — 
 2 And thou art terrible ; — the tears, 
 The groans, the knelk, the pall', the biery ; 
 And all we know', or dream', or fear\ 
 Of ag^ony, arc thine^. 
 
 8 But to the hero/, ^when his sword, 
 
 Has won the battle for the free/, 
 8 Thy voice sounds like a prophets word\ ; 
 4 And in its hollow tones, are heard^ 
 
 8 The thanks of millions yet to bey. 
 6 Come\ w 7 hen his task of fame\ is wrought*, — 
 Come\ with her lauVel-leaf, bloody bought, — 
 
 Come\ in her crownMng hour, 4 and then. 
 Thy sunken eye's unearthly lights, 
 To* him is welcome as the sight, 
 
 Of sky/, and stars' to prison'd men v 
 
 8. 4 We hold these truths / to be self-evident : 
 that all/ men/ are created eyqual ; that they are 
 endowed hy their Creator with certain inalien- 
 able right s\ ; that among these are life/, lib/erty, 
 and the pursuit of hap\piness. 
 
 9. 4 Ye are the things that tow\er, that shines, 
 whose smile makes glad\ whose frown is ter- 
 rible. 
 
 10. A storm of universal fire x blasted every 
 fieldy, consumed every housed, and destroyed 
 every temyple. 
 
MODULATION OR TRANSITION. 169 
 
 11. They did not see one mans, not one wo^- 
 man, not one child v not one four-tooted beasO, 
 of any description whatever. 
 
 In all cases, where there is no figure to indicate the key or 
 radical pitch, the natural key-note is understood, or the fourth 
 degree, as denoted by the figure 4. 
 
 Any given pitch indicated by a figure, is understood to con- 
 tinue, until changed by another figure. 
 
 12. ExultMng, tremybling, ranging, fainting, 
 Possess'd beyond the Muse's painting. 
 By turns they left the glowing mind, 
 Disturb'd^, delighted, rais'd% refm'dv 
 
 13. How poor\, how richV, how abvject, how 
 
 august\ 
 How complicate, how 5 wonMerful is man^. 
 
TIME. 
 
 Time, in Elocution, is the duration or measure of sound. In 
 the utterance of syllables and words, it means the duration or 
 continuance of sound heard on them in speech. This may be 
 long or short, slow or quick, rapid or moderate. Intonation 
 or utterance may be said to be rapid, when the time of syllables 
 is short, and the movement of the voice is quick. The move- 
 ment of the voice is slow, when the time of syllables is long. 
 Moderate movement is, when the time of syllables may be said 
 to be neither long nor short. 
 
 Time and quantity in reference to syllables or elements, 
 mean exactly the same thing. 
 
 Time has a relation to pauses, as well as to syllables ; hence, 
 pauses may be long or short, and they may be made long or 
 short at pleasure. If the short sentence, c will you come to 
 me V be uttered with long quantity and long pauses between 
 every two words; as, will — you — come — to — me V the general 
 movement will be slow, because the quantity of syllables is 
 long, as well as the time of the pauses. If the quantity of 
 each syllable be made short, and the time of the pauses also 
 short, the movement will be quick. If the quantity of sylla- 
 bles be short and no pauses, the movement will be very rapid. 
 
 A person, by the voice, has the power of making quantity 
 long or short at will: hence, he has the command of quantity 
 absolutely. But in reference to syllables, he is somewhat re- 
 stricted. Syllables in themselves, have long or short quantity, 
 according to the constituent elements of which they are com- 
 posed ; yet a person has power to vary the quantity of all 
 syllables, except immutables. By the voice, then, a person 
 has the power of producing long and short quantity on sylla- 
 bles, according as they may require it. 
 
 From the foregoing statements or facts, the general and clear 
 deduction is, that a sentence may be read rapidly or slowly 
 according to the pleasure of the reader ; and that, the quantity 
 of syllables and pauses, regulates the movement of the voice, 
 in regard to its rate of rapidity or slowness. 
 
 It may be necessary, however, to be more particular, on the 
 subject of the length and shortness of individual elements and 
 
TIME. 171 
 
 syllables, comparatively considered. Many of them can be 
 lengthened in pronunciation, to any desirable extent, without 
 altering their distinctive and appropriate sounds, and with an 
 increase of beauty and expression ; whereas others again can- 
 not thus be prolonged. 
 
 By the voice we have the power of prolonging sound on 
 elements and syllables in the following manner. Let the voice 
 open on the element or syllable with a distinct fulness and 
 abruptness. Let it gradually and equably diminish in volume 
 in its progress through a lengthened time, until it vanishes 
 into silence. The voice, during this movement, must be con- 
 tinually changing in pitch either upward or downward. This 
 full opening, — change of pitch, — equable diminution — and 
 final vanish, are essential to the preservation of pure speech. 
 And the prolongation, thus effected, is an exhibition of quan- 
 tity in its proper elementary state, and the only preventive 
 against the degeneration into indistinctness, drawl, or song. 
 
 In thus executing quantity, great care must be taken, that 
 the natural and appropriate element or elements be preserved 
 and heard, and that they are altered only in length ; and when 
 thus performed, any thing like drawl or song will be necessa- 
 rily and unavoidably excluded. This mode of uttering the 
 vowel elements and syllables, ensures, by its protracted quan- 
 tity, such an impressive distinction, that it becomes a real 
 beauty in delivery. It is most satisfactorily demonstrated by 
 the voice of the teacher, but may be illustrated by the annexed 
 diagrams. 
 
 Taking ' P as the element for illustration : in prolonging it, 
 it will gradually and equably diminish into silence, while it 
 rises or falls in pitch. The diagrams represents the radical 
 fulness, and the equable diminution and final vanish, by the 
 heavy beginning, the lessening volume, and the terminating 
 point, — the quantity is shown by the length of the diagrams, — 
 and the pitch, by the elevation and depression of the points, 
 from the heavy commencements. 
 
172 TIME. 
 
 The voice should be exercised frequently on the following 
 table. Great care should be taken, to execute well the radical 
 fulness, the equable vanish, long quantity, and the change of 
 pitch. 
 
 e, in e, eel, eve, ear, hear, deed, give. 
 
 a, " age, air, azm, their, page. 
 
 ah, " arm, arc, arch, harm, far, has. 
 
 aw, " all, awe, call, or, for, thaw, Pawl. 
 
 oh, " ode, ore, own, load, sore, goad, more, roam. 
 
 oo, " ooze, loose, coo, woo, move, food. 
 
 uh. " urn, turn, burn, her, szr, ur, fur, err. 
 
 ou, " our, sour, -pour, now, thou, growl. 
 
 oi, " oil, toil, com, jozn, jozce, voice. 
 
 i, " ice, isle, ire, fie, quire, style, 
 
 u, " use, ure, fume, tune, tube, tw-lip. 
 
 The time in syllables, exhibits a very great variety of shades 
 of difference from the shortest possible to the utmost prolonga- 
 tion in oratorical intonation. In order to reduce this extended 
 view of time to such distinctions, as may serve for future 
 reference, syllables may be arranged under three heads or 
 classes : — the first, embracing those that are fixed to the 
 shortest quantity : — the second, those that are fixed, or nearly 
 so, to a quantity of somewhat greater duration than the first ; — 
 and the third, those that, in common pronunciation, are of 
 variable length, from the shortest to the longest, or which 
 may be lengthened or shortened, according to design. 
 
 The extension of the time of syllables, without changing 
 their proper pronunciation, is one of the most important func- 
 tions of the voice. Yet important as it may be, in reference 
 to syllables, some of them cannot be extended without 
 changing their proper sounds, or rendering their pronuncia- 
 tion affected. 
 
 1st Class : — The first of the above three classes, is made up 
 of words or syllables, terminating with either one or two of 
 the sub-aspirs p, t, k, immediately preceded by a short vowel 
 
TIME. 173 
 
 element which, again, may be preceded by one or more of any 
 of the consonant elements : such as 
 
 up 
 
 it 
 
 ic 
 
 tip 
 
 pit 
 
 kick 
 
 yet 
 
 wit 
 
 met 
 
 nip 
 
 not 
 
 tick 
 
 hap'- 
 st?*uc 
 
 py 
 
 '-ture 
 
 flux'- 
 
 ■ion 
 
 strip' 
 con- 
 
 -ling 
 vict 
 
 dip 
 
 sop 
 
 but 
 
 fit 
 
 gic 
 
 sick 
 
 what 
 
 shop 
 
 
 whip 
 
 that 
 
 stop 
 
 ac-cep'-tance 
 construe' -tion 
 grat'-i-tude 
 vic'-to-ry 
 con-flicl' 
 
 Syllables under this class, have this essential characteris- 
 tic ; — they cannot be prolonged without changing their ele- 
 mentary sounds. Hence, every syllable that, when prolonged, 
 will change any of its constituent elements, or will become 
 affected in its pronunciation, must have short quantity. 
 The word i conflict / when accented on. the first as a noun, 
 and on the last as a verb, has, in plain orthoepy, a certain 
 quantity allotted to each syllable. If, for the purpose of 
 oratorical expression, with the noun, the time of the first syl- 
 lable be indefinitely increased, the identical character of the 
 word still remains the same, notwithstanding this prolongation. 
 But when the last syllable of the verb has a similar extension 
 given it, its pronunciation will be remarkably deformed by an 
 unavoidably drawling utterance — as con-fl-i-c-t. 
 
 All syllables, not admitting of any alteration in quantity, 
 belong to this class, and are called immutables, or immutable 
 syllables. 
 
 2d Class : — Those syllables coming under the second class, 
 are such as terminate by any of the aspir or sub-joco ele- 
 ments, preceded by a short vowel, which may have one or 
 more vocos or per-aspirs united with it, either Defore or after, 
 or before and after it. 
 
 mist 
 
 
 flint 
 
 stab 
 
 
 
 burst 
 
 
 stump 
 
 shad 
 
 
 
 first 
 
 
 chink 
 
 nag 
 
 
 
 sift 
 
 
 chirp 
 
 and 
 
 did 
 
 
 sash 
 
 
 hasp 
 
 grass 
 
 mince 
 
 fifth 
 
 flush 
 
 
 latch 
 
 pulse 
 
 with 
 
 truth 
 
 which 
 
 
 
 
 
 
 The vocos 
 
 are 
 
 a class 
 
 of elements 
 
 capable of 
 
 considerable 
 
174 
 
 TIME. 
 
 extension of quantity ; and the syllables in which they occur 
 after the vowel, may be somewhat more prolonged than the 
 preceding class ; but the terminating element being a poor 
 material for quantity, together with the short vowel, prevents 
 an indefinite prolongation on them. But if these should be unusu- 
 ally prolonged, a similar effect will be produced, as in the first 
 class. Therefore, these are also limited in quanity ; yet not 
 so confined to the very short time to which the first class is. 
 Syllables of this class may be pronounced as short as those of 
 the first class ; but they may also be prolonged, if desirable, 
 to some considerable extent longer, yet not indefinitely; and 
 from these circumstances, they are called Mutable Syllables. 
 
 3d Class : — Those of the third class are all such as termin- 
 ate with a vowel element or any of the vocos, preceded by a 
 long vowel element. Of this kind are you, thou, thee, for, men, 
 our, more, Rome, throne, high, hail, holy, deny, pour, poic-er, 
 ex-ireme, su-preme, er-ro-neous, con-fuse, save, is, was, his, 
 theirs, ours, pay, wild, flow'd, flows, orb, aid, he, have, be. 
 
 All syllables having a long vowel element, or a long diph- 
 thongal one, may be placed in the indefinite class, though they 
 are terminated by a sub or per-aspir 3 as joint, joist, shout, 
 trout, voice, Greece, fleece, moon, brook, pound, found,, 
 croup, stoop, wright, flight, rite. 
 
 If the speaker has a ready command over the sub-vocos, b, 
 d, g, so as to give a full audibility to the guttural murmur, 
 their position at the end of syllables does not absolutely pre- 
 vent an indefinite prolongation, as in the words, deed, plague, 
 babe, beloved, restored, drag, robed. But their effect in these 
 cases is by no means to be compared to that extension of time 
 on the vowel and other voco elements. It is the peculiar 
 nature of syllables under this third class, that they seem to be 
 the same under every degree of duration : while the mutables 
 and immutables, in some cases, almost lose their identity by 
 too great an extension of their time. From their allowable 
 variety, the syllables of this class may be said to be of Indefi- 
 nite Quantity ; or may be called Indefinite Syllables. 
 
 The sub-aspirs, c p, t, k,' are the least susceptible of quan- 
 tity. Their time is a mere point of sound ; as ' it, up, at, ac, 
 pit, tip, kick.' They give the shortest quantity to syllables. 
 
 The per-aspirs, < f, s, h, wh, th, sh, ch,' being pure aspira- 
 tion, will allow a little more time ; but they are poor mate- 
 rials for quantity. They ought, generally, to be uttered short, 
 but distinctly fas fife, house, ivhcn, think, faith, she, a .*//., 
 chip, church. 
 
TIME 
 
 The sub-vocos, c b, d, g,' give very little more time than the 
 last, nor should they generally have more, but they may be 
 designedly prolonged by the constituent vocality in them ; as 
 ab, ad, ag, dab, bad, bag. 
 
 The per-vocos, ' v, z, y, w, th, zh, ? and the semi-vocos c 1, 
 m, n, r, ng,' are all susceptible of extension, and are, next to 
 vowels, the best materials for the display of long quantity. 
 They may be heard in the words, ' valve, zone, size, will, 
 thou, with, you, day, pleasure, maim, noun, roar, bring.' 
 
 In making long quantity, particular care should be taken to 
 have every element in a syllable heard, in its pronunciation. 
 The voice should pass distinctly, though rapidly, over those 
 consonant elements which precede the vowel, and open with 
 a sudden fulness and strength of radical on the vowel, and, 
 passing on, should execute the equable vanish on the subse- 
 quent successive consonant elements, giving each its proper 
 and proportioned sound. The consonant elements in a sylla- 
 ble which follows the vowel, should generally have more 
 quantity than those which precede it. 
 
 Long quantity, in speech, is correct and agreeable, only 
 when the concrete has the same equable proportion of rise 
 and diminution, which it has in short quantity. One of the 
 many sources of delight in the voice of a finished speaker, 
 lies in the graceful management of this essential agent of 
 speech, on protracted quantity. 
 
 The voice should never rest, for a single moment, on the 
 same line of pitch ; it must be continually either rising or 
 falling. If we neglect this rule, we shall make a sound like 
 that heard in drawling or singing. To get rid of these faults, 
 we must persevere in practising on the different slides and 
 waves, till it becomes natural to us to make them with grace 
 and ease, and to any desirable extent of quantity, giving every 
 element correctly ; and thus, only, we shall avoid indistinct- 
 ness, song and drawl. All the vowel elements are eminently 
 susceptible of long quantity, and always with an agreeable 
 effect on the ear ; consequently, all syllables ending with these 
 elements, can be indefinitely prolonged. 
 
 Exercise, then, on the preceding tables, and endeavor to 
 make the quantity as long as the constituents will admit, ac- 
 cording to the preceding directions, making all the different 
 slides and waves, from the semi-tone to the octave upon every 
 long element in the tables, as a frequent exercise. Let him 
 afterward take every word in the tables, and drawing them 
 through every interval within the octave, upward and down- 
 
176 TIME. 
 
 ward, so as to have a distinct and lasting impression on the 
 ear ; and thus he will acquire great facility in assuming the 
 different positions of the glottis, and several parts of the mouth 
 concerned in their formation. 
 
 This exercise will prepare and enable the pupil to make the 
 different slides and waves with more distinctness and ease, and 
 lay a proper foundation forjudging, by the ear, of the length 
 of the rising and falling concretes or slides. 
 
 It is not possible to give a serious, solemn, or dignified ex- 
 pression, nor to employ one of the forms of emphasis of a 
 highly impressive and agreeable character, without a com- 
 mand over quantity. Long Quantity is the symbol of smooth- 
 ness and dignity, as the Radical Stress is of sharpness and 
 brilliancy. 
 
 Time and Stress, properly combined and marked, poss ss 
 two essential elementary conditions of agreeable discourse, 
 upon which other excellencies may be engrafted. If either 
 be feebly marked, other beauties will not redeem it. A well- 
 marked stress, and a graceful extension of time, are essential 
 to agreeable speech. They give brilliancy and smoothness. 
 
 All subjects of a serious, deliberate, and dignified character, 
 require a great extension of syllabic quantit}'. Long quantity 
 is used for Grandeur and Solemnity of description, Reverential 
 Awe, Earnest Prayer, Veneration, Solemn Denunciation, 
 Threatening, and Deep Pathos. The last requires the wave of 
 the semi-tone, which is plaintiveness united with quantity. 
 Long quantity is generally executed by the Median Stress, or 
 the Loud Concrete. 
 
 (Give long quantity on the italic words.) 
 
 1 Nine times the space that measures day and 
 
 night 
 To mortal men, he with his horrid crew 
 Lay vanquished. 
 
 2 Join voices all ye living souls. Ye lirds, 
 1 1 at singing, up to heaven's gate ascend, 
 
 £ ear on jom wings, and in your notes His 
 praise. 
 
TIME, 177 
 
 3. Before the sun, before the heavns Thcu 
 wert 
 
 4. We have err'd and strayed from Thy ways, 
 like lost sheep. We have done those things 
 which we ought not^ to have done, and we have 
 left undone those things which we oughh to 
 have done, and there is no healthy in us. 
 But Thou, O ! Lord ! have mercy upon us mis- 
 erable offenders. Spare Thou those, O, God, 
 who confess their faults. Restore Thou those 
 who are penitent, according to Thy promises 
 declared unto mankind in Christ Jesus our 
 Lord. And grant, O, most merciful jPather, for 
 his sake, that we may hereafter live a godly, 
 righteous, and sober life, to the Glory of Thy 
 holy name. 
 
 Time, in song and instrumental music, is divided into equal 
 measures by a pulsative rhythmus. On the Staff of Music, 
 the measures of Time are noted by vertical bars, which cut up 
 the whole time of the piece, or melody, into a number of 
 equal periods or measures, which regulate the movement of 
 the voice in singing. These measures are executed by a 
 stronger and weaker effort of the voice on each. Immediately 
 after each bar, or on the beginning of each measure, a strong 
 or pulsative effort is made, and a weaker or remissive one on 
 the latter part of it. And thus the voice moves over the 
 melody by regular pulsations and remissions, aided by the bars 
 on the staff. 
 
 The time of these measures is again divided by notes of 
 different lengths, and the number of notes is regulated and 
 limited by their length ; so that every measure must have the 
 same quantity of time in it, whatever may be the number of 
 notes. If the number of notes be many, the time of each 
 must be short ; if there be few, their time must be longer, to 
 6* 
 
178 TIME. 
 
 the end that every measure shall contain the same quantity of 
 time throughout the same melody. 
 
 In speech there is also a similar return of pulsation and 
 remission on every measure, composed of one or more syllables ; 
 but syllables do not always occur at regular intervals, being 
 interrupted by rests or pauses, which make the movement of 
 speech more irregular than that of song ; as, 
 
 7 Be | wise to | day ; 7 [ 7 'tis | madness | 7 to de | lay. 
 
 Movement is that speed or velocity with which a sentence 
 is uttered, or a melody sung, or a strain of instrumental music 
 played. 
 
 The rate of movement should be accommodated to the 
 demands of the sentiment. Solemn and reverential discourse 
 requires a slow movement ; — simple narration, a medium rate ; — 
 and animated description, as well as that which is expressive 
 of sudden passion, as joy, anger, fear, &c. require a movement 
 more or less rapid, according to the intensity of the emotion. 
 
 The different rates of the movement of the voice, may be 
 indicated by the following terms, selected from the science of 
 Music. 
 
 Ad. for 
 La. " 
 
 Adagio, - 
 Largo, - ■ 
 
 - Very slow. 
 
 - Slow. 
 
 Lar. " 
 
 Larghetto, 
 
 - Retarded. 
 
 An. " 
 
 Andante, - - 
 
 ■ Medium or Common time, 
 
 All. " 
 
 Allegretto, ■ 
 
 - Accelerated time. 
 
 Al. « 
 
 Allegro, - ■ 
 
 - Quick. 
 
 Pr. " 
 
 Presto, - • 
 
 - Very quick. 
 
 These terms denote the rate of movement in a general and 
 indefinite way, leaving a good deal to the judgment and taste 
 of the reader or speaker. Much, very much, may be gained 
 by practising with these symbols of movement, marked on 
 pieces. 
 
TIME. 17 ( J 
 
 The rate of movement may, however, be more definitely 
 designated by 
 
 THE CHRONOMETER. 
 
 This instrument, for the purpose of measuring equal portions 
 of time, has been invented by a celebrated teacher of music 
 by the name of Maelzel, which is admirably adapted to the 
 measuring of the time of each bar ; or to apportioning an equal 
 portion of it, to the several successive bars, in any melody of 
 music, or of speech. This Time- Measurer has a graduated 
 scale on the pendulum, to which is attached a sliding weight, 
 by which the instrument is regulated in its movement. 
 
 This Chronometer is simple in its construction and move- 
 ment, and always has reference to a minute of time. When 
 the weight is placed at 60, sixty beats are given in a minute ; 
 when placed at 80, eighty are given; and so at 160, when 
 160 beats will be given in a minute. A simple view of the 
 instrument will explain its nature, use, and movement. 
 
 In reading scored exercises, each measure should correspond 
 to one tick of the instrument ; yet it may also be made to 
 require two ticks or beats, at the will of the reader. 
 
 This beating of time on each measure, may be accomplished 
 by a downward or upward movement of the hand, like that 
 in vocal or instrumental music. Let the downward motion be 
 executed on the beginning or first half of each measure or bar, 
 and the upward on the last half of it. In other words, let the 
 Pulsative effort of the voice be given on the downward move- 
 ment, and the Remissive on the upward. Try on the examples 
 below. 
 
180 
 
 TIME. 
 
 | Come to the | bower | 7 I have | shaded for | you, | 
 | 7 Your | bed shall be | flowers | 7 all | sprinkled with | 
 dew. | 
 
 7 Oh ] thou that | rollest a|bove ] 7 7 | round as the | shield 
 of my | fathers ! 
 
 | Hail, | universal | Lord | 7 7 | 7 be | bounteous | still | 
 j 7 To | give, us | only | good : 7 | 7 and | 7 if the j 
 
 night 7 | 
 ] 7 Have | gathered | aught of | evil | 7 or conkealed, | 
 | 7 Dis|perse it, | 7 as | now | light 7 | 7 dis|pels the j- 
 
 dark. | 
 
 The student is referred to the examples at the end of the 
 section on the Measure of Speech, for practice. He should 
 score pieces of composition for his own practice, both of 
 Poetry and Prose, and read them by the movement of the 
 Chronometer. 
 
FORCE OF VOICE. 
 
 The third generic element of expression is FORCE, which 
 is that degree of loudness and vehemence with which we speak 
 when strongly animated. It is LOUDNESS and STRENGTH 
 of sound. 
 
 We know that some persons speak much louder at one time 
 than at another, or they speak more vehemently when they 
 become animated. 
 
 The degrees of force may be expressed by the terms of loud 
 and soft j strong and weak, forcible and feeble. But these are 
 too indefinite for elocutional purposes. This subject may be 
 considered in two aspects. This voice may be applied to 
 phrases, or to one or more sentences, to distinguish them from 
 adjacent phrases or sentences. It may likewise be limited to 
 single words or syllables, and to certain parts of the concrete 
 movement, to distinguish them from other words and syllables, 
 and from other parts of the concrete. We w r ilt first notice its 
 use on phrases and sentences. 
 
 From the wide reach of an intense exertion of the voice, 
 there is an obvious propriety in its forceful employment when 
 distance is to be overcome. The indication of nearness, on the 
 contrary, is well expressed by an abatement of force. 
 
 Secrecy muffles the voice against discovery; and Doubt, 
 whilst it leans towards a positive declaration, cunningly pre- 
 pares the subterfuge of an under tone. 
 
 Certainty, on the other hand, in the full desire to be heard 
 distinctly, assumes all the impressiveness of force. 
 
 Anger, hate, ferocity, and revenge, generally uses force of 
 voice in their expression. Sentiments which are unbecoming 
 or disgraceful, are uttered with a softer or smothered voice. 
 Joy is loud in its expression of satisfaction. Bodily pain, fear, 
 and terror, are strong in their expression. 
 
 We know, too, that loud speaking gives a very different 
 meaning to a sentiment, from that which is softer and less for- 
 cible. For example, the sentence " Take care, sir," if uttered 
 with great force and loudness, would seem like an angry 
 threat; but if uttered in a mild tone, it will appear a very 
 friendly warning. 
 
182 
 
 FORCE OF VOICE. 
 
 Force may be applied on sentences in the five following 
 ways. 
 
 1st. A sentence may be pronounced with a gradual increase 
 of force. 2d. With a gradual diminution of force. 3d. With 
 a gradual increase on the first part, and a decrease on the last. 
 4th. With a gradual decrease on the first part, and an increase 
 on the last. And 5th. With a uniform force throughout its 
 whole extent. 
 
 From this cursory view of force, employed on the aggregate 
 of words, we pass on to consider the circumstances under 
 which force or stress may be applied to single words or syl- 
 lables, and to the different parts of the radical and vanishing 
 concrete. It will appear very clearly to the attentive mind, 
 that the effect of stress will be very different when applied on 
 the beginning, the middle, or the end of the concrete move- 
 ment, or when heard in immediate succession on its extremes, 
 or throughout its whole course, as well as on the beginning and 
 middle. 
 
 Different Modifications of Stress. 
 
 Diminuendo 
 
 Crescendo et Diminuendo. 
 
 Crescendo. 
 
 Radical Stress 
 
 Median Stress. 
 
 Vanishing Stress. 
 
 Compound Stress 
 
 Thorough Stress. 
 
 ** 
 
 Loud Concrete. 
 
FORCE OF VOICE. 183 
 
 Very particular attention should be given to the subject of 
 force, since that Expression, which is so very important in 
 elocution, is almost altogether dependent on some one or other 
 modification of this attribute of the voice. It may trulv be 
 considered the Light and Shade of a proper intonation. 
 
 Loud and soft are frequently united with high and low: but 
 they are not necessarily connected, though they very frequently 
 are : yet a sound may be loud and low, as well as loud and 
 high: and it may be soft and high, as well as soft and low. 
 
 The degrees of force may be represented in the following 
 notation. The upper line gives the notes of song — the lower, 
 the notes of speech. 
 
 DEGREE? OF FORCE OR STRESS. 
 
 All the different modifications of force, should be applied on 
 the above table ; — and this should be a very frequent exercise, 
 until the different degrees of force can be given on every 
 modification of stress. 
 
 e, in eel, ear, hear, eve, deed, give, 
 a, " tfge, page, air, their, aim. 
 ah, " arm, harm, arch, bard, card, guard, 
 aw, " avje, all, call, or, for, Pawl, thaw. 
 oh, " ode, ore, sore, load, goad, more. 
 oo, " ooze, loose, coo, woo, move. 
 uh, iC urn, turn, burn, urr, her, sir. 
 
 ou, " o?zr, soar, powr, now, thou, 
 ox, " ail, toil, coin, join, joice. 
 u, " use, ure, fume, tune, tube. 
 i, u ice, ire, fire, quire, isle, style. 
 
RADICAL STRESS. 
 
 • • 
 
 The Radical Stress consists of an abrupt, loud, full and 
 forcible emission of sound at the beginning, or on the radical 
 part of the concrete movement of the voice. 
 
 The radical and vanishing movement of the voice, described 
 under this name, in another part of this work, is there called 
 the Natural Radical and Vanish, to distinguish it from the 
 other forms enumerated above, and is there represented as 
 having an initial fulness; but the function of stress, now under 
 consideration, is characterised by a higher degree of force and 
 a more sudden explosion, in the first opening of the voice, 
 whilst the subsequent vanish suddenly drops into silence. 
 There are very few speakers able to give a radical stress to 
 syllabic utterance with this momentary burst. With a view 
 to aid the student, we will draw an illustration from the effort 
 of coughing. When the vowel element ' aw, 5 be employed 
 as the element of coughing, its abrupt opening will truly re- 
 present the function of Radical Stress. 
 
 The clear and forcible radical stress can take place only, 
 after an interruption of the voice. There must be a momen- 
 tary occlusion in the Larynx, by which the breath is barred 
 and accumulated for the purpose of a full and sudden dis- 
 charge. This occlusion is best under command, and the ex- 
 plosion most powerful, on syllables beginning with a vowel 
 element, or with an abrupt one preceding a vowel; for in this 
 last case, an obstruction in the organs of articulation, is com- 
 bined with the function of the larynx, above supposed. 
 
 When a syllable begins with a consonant element which is 
 not abrupt, the explosion is not so satisfactory, from its not 
 being so suddenly full, as when the occlusion is made on a 
 vowel or an abrupt element; as, mind, frail, strain. 
 
 If such words have a vehement radical stress, the consonant 
 elements preceding the vowel, should be made very distinct, 
 but very short, so as only to open the voice a little on them, 
 and give the full force of the radical explosion on the vowel 
 
RADICAL STRESS. 185 
 
 element ; and afterward making the vanish on the subsequent 
 elements, or on the vowel itself, if there be no other elements 
 in the syllable. Should an immutable syllable, beginning with 
 a voco, be prolonged by oratorical license, the prolongation 
 and rise or fall should be made principally on the vowel. 
 Thus it is with the words, c nick,' 'let,' 'rip,' when so into- 
 nated. If this be not observed, the elements of such words 
 will fall into syllables, by involuntarily giving a radical and 
 vanish on the initial vocos. A practice like this obstructs the 
 equable flow of the concrete, and overrules the proper appor- 
 tionment of time to its syllabic elements. Instead of pro- 
 nouncing the words, n-ick, 1-et, r-ip, pl-uck, str-uck, they 
 should rather have the following form — ' ni ck > le^ riP> plu ck > 
 stru ck >' giving the full radical on the vowel, including the ini- 
 tial vocos, and continuing the vowel element through the 
 vanish, and terminating the concrete on the aspirs 6 p, t, k.' 
 
 It is not a common accomplishment among speakers, to 
 possess the power of giving a strong, full, and clear radical on 
 the vowel elements; yet the free and proper management of 
 this function is of eminent importance. in elocution. Its two 
 principal purposes are, — 1st, to contribute to the excellence 
 of distinct articulation, — and 2d, to form the distinguishing 
 emphasis on immutable syllables. These syllables, admitting 
 only of a faint display of the peculiar effect of the slow con- 
 crete, and being incapable, as will be seen hereafter, of bear- 
 ing the other modes of stress ; the abrupt or explosive 
 enforcement of the radical, is the principal means for their 
 emphatic distinction. 
 
 It is this full sudden explosion on the radical, which draws 
 the cutting edge across the ear, and startles even stupor itself 
 into attention. It is this that lessens the fatigue of listening, 
 and out-voices the stir and bustle of an assembly. And it is 
 the sensibility to this radical function, through a general in- 
 stinct of the animal ear, which gives authority to the groom, 
 and makes the horse submissive to his radical accent. 
 
 With this fulness, loudness, and abruptness of the Radical 
 Stress, when employed to give clearness and. distinctness of 
 articulation, the vowel element itself, must be a pure vocality, 
 which will then give that quality of u'.terance called Bril- 
 liancy, and serve to increase the impressive effect of the ex- 
 plosive force. 
 
 The Radical Stress is best exhibited on short vowel ele- 
 ments, yet it may be applied on indefinite syllables. It is, 
 however, the proper function for the display of emphatic 
 
186 RADICAL STRESS. 
 
 impressiveness on short quantity, though it may be employed 
 on mutable and indefinite syllables; yet it will always con- 
 tract them into short quantity. 
 
 The Loud Concrete is the appropriate function for the dis- 
 play of energy and brilliancy on indefinite and mutable, as the 
 radical is for short and immutable quantity. 
 
 The pupil should now explode the elements and words 
 composing the following table, and be careful that a sudden, 
 full, and explosive sound, be always given, whatever be the 
 degree of general force which may be employed. 
 
 £ in it, in, vic-tovy, pic-tuve, vi-vip-erous, tip, viv-id, which. 
 
 k " edge, ev-er, end, bend, whence, when, empire. 
 
 kh, " at, ac-tive, after, part, ask, back, add. 
 
 aw, a odd, 06-ject, of-fer, what, got, caught, o^-toman. 
 
 oh, " oat, boat, coat, loaf, toap-er, soap. 
 
 60, " foot, soot, full, pull, food, would. 
 
 uh, " up,ut-ter,oth-er, urr, sir, her, err, fir. 
 
 ou, " out, oust-ed, s ho w-er,pow-er, pout, gout. 
 
 oi, " toy, coy, con-voy, de-coy, destroy. 
 
 i, " bite, kite, might, fight, tight, type. 
 
 u, " a-cute, cw-ticle, cure, ac-cz^-mulate, ob-scw-rity. 
 
 The exercises on Radical Stress must be conducted according 
 to the directions given under the head of " Explosion of 
 Vowels." 
 
 It must not be understood that the Radical Stress is used 
 merely to give the distinction of sudden loudness to immu- 
 tables, on the higher degrees of pitch ; but it is likewise 
 equally applicable to the lower degrees of the scale. Stress 
 should be particularly intense on the lovjer degrees. This 
 mode of enforcement is appropriate to various sentiments, but 
 it is more particularly a symbol of the highest degrees of pas- 
 sion, or of the greatest degree of energy of feeling. 
 
 The Radical Stress is the SYMBOL of Strong Anger, and 
 all the passions allied to it. It is appropriate to Wrath, Rage, 
 and Impatience, as well as to Joy, Hope, Exultation, Positive- 
 ness, and to imperious Mirth, and, in a greater or less degree, 
 to the different modifications of these states of mind. All these 
 passions are generally uttered with haste, and therefore take 
 this mode of stress in emphatic places. Radical Stress is also 
 employed for Commanding and Enforcing Authority, for it 
 has, among the modes of stress, a degree of Positiveness, simi- 
 
RADICAL STRESS. 1ST 
 
 lar to no other, but those expressed by the Loud Concrete on 
 wide downward intervals. 
 
 Examples of this kind, may be had in the following words 
 of Command. 
 
 ATTENTION-RIGHT face -LEFT face -COYER arms — 
 MARCH-HALT. 
 
 Let these commands be uttered with strong radical explosive 
 fulness, and every member on parade, will hear with satisfac- 
 tory distinctness, and be charmed into an instinctive and ready 
 obedience. 
 
 If the sentence, ' OUT with you, 5 be uttered in a hasty and 
 passioned manner, and after it, such a sentence as this, ' He 
 went out,' in a natural and dispassioned manner ; the word 
 6 out, 9 in the first case, will give a radical explosion, which en- 
 hances the authority of the command ; whereas, in the second, 
 it is made to sink into the unemphatic downward concrete of 
 a tone. The difference can easily be perceived, and when 
 once perceived can not easily be forgotten. Contrast them 
 again. 
 
 OUT with you. He went out. 
 
 The following are examples of the Radical Stress. The 
 syllables in italics are those that should have the radical ex- 
 plosion. 
 
 1. Whence^ and what\ art thou, execrable 
 
 shape ? 
 And dar'sts, though grim and terrible, ad- 
 
 vance\ 
 Thy miscreant front\ athwart my way 
 To yonder gates ? 
 
 2. And ra^Xonest thou thyself with spirits of 
 
 Heaven, 
 Hell\ doom'd/, and breath'st defi/ance here 
 and scorn/, 
 
188 RADICAL STRESS. 
 
 Where I\ reign king/, and, to enrage the 
 
 more, 
 Thy\ king/ and Lordy? 6 Back\ to thy 
 
 /ninVishment, 
 5 False^ yi^^gitive ! and to thy speed add\ 
 
 wings,\ 
 4 Lest with a whip of scorpions I pur.si£6\ 
 Thy lingering, or with one stroke of this 
 
 dart 
 Strange hor\ror seize thee, and pangs\ un- 
 
 felt before. 
 
 3. The universal cry is — Let us march^ 
 against Phikip, let mjight\ for our /Gerties — 
 let us co?i\quer or die\, 
 
 4. Sir, I, in the most express terms, deny the 
 C0/n\petency of parliament to do this act. 
 
 5. The prison of his tyr\anny 9 who reigns 
 By our delay. 
 
 6. 8 Three mil lions of people, 6 armed\ in the 
 holy cause of liberty, and in such a country as 
 ours, 8 are in-m>j\cible to an%y force 6 which our 
 enemy can send against us. 
 
 7. 6 There is no retreah.but in submission and 
 slav\ery. Our chains &reforged\. Their clankV 
 
RADICAL STRESS. 189 
 
 ing may be heard on the plains of Boston. The 
 war is in editable, 5 and let x it come ! 4 I repeat 
 it, sir, left it come v 
 
 8. He shook the fragment — of his blade, and 
 shouted vic\tory, vkyiory. 
 
MEDIAN STRESS. 
 
 The Median Stress is an enforcement of the voice on the 
 middle portion of the concrete movement. 
 
 As the Radical Stress is effective for distinguish in£ immu- 
 table syllables, so is the Median, for the display of those called 
 indefinite. The preface of abruptness (the characteristic of 
 the explosive radical,) is not necessary to the execution of the 
 Median. The Median opens with a moderate degree of force, 
 swells in volume and strength, till the force becomes con- 
 spicuous on the middle of the concrete or wave, and then it 
 diminishes in a gradual and equable manner, and ends in a 
 natural and usual vanish. This kind of force can only be 
 shown on syllables of long quantity, and naturally carries them 
 through some form of the wave. Median Stress is well known 
 in music, by the term of swell. There is this difference, how- 
 ever ; the swell of song is usually made on a note continued 
 on the same level of pitch ; whereas, the swell of the Median 
 Stress is always changing pitch, either upward or downward. 
 
 This element is applicable to all the intervals of the scale, 
 and its very construction indicates the necessity of protracted 
 time for its execution; and therefore, it is most distinguishable 
 on the greater intervals. It is, however, also obvious on the 
 simple rise or fall of a tone and semi-tone when unusually pro- 
 longed. Quantity is rarely extended to any considerable 
 degree on the simple state of these intervals, but on their du- 
 plicature. All those solemn and dignified sentiments which 
 require slow time, indicate the employment of the wave of 
 these two intervals. The swell is always applied on the junc- 
 ture of the contrary flexures of the waves. What is here said 
 of the wave of these two intervals, may be said of the waves 
 of all the intervals of the scale. 
 
 Median Stress should be practiced upon the vowel elements, 
 as they are more eminently susceptible of it ; as also on the 
 voco elements ; and then on indefinite syllables. When thus 
 practising, great care should be taken to aim at the following 
 
MEDIAN STRESS. 191 
 
 circumstances; — that the swell' be gradual and moderate, but 
 at the same time distinct; — that it decline gently and equably 
 as it began, and end in a delicate vanish, after a prolonged 
 quantity. 
 
 e, in eel, ear, hear, eve, deed, give. 
 a, " age, page, air, their, aim. 
 ah, " arm, harm, arch, bard, card, gward. 
 aw, " awe, all, call, or, for, Pawl, thaw?. 
 oh, " ode, ore, sore, load, goad, more. 
 oo, u ooze, loose, coo, woo, move. 
 
 uh, " wrn, twrn, bwrn, uxx, her. sir. 
 
 • 
 
 ou, " out, sour, poar, now?, thow. 
 oi, " oil, toil, coin, join, joice. 
 u, " use, ure, fume, tune, tube. 
 i, " ice, ire, fire, quire, isle, stj/le. 
 
 Great pains should be taken to acquire a command over 
 Median Stress, as it is a very important element of expression. 
 
 Median Stress may be applied on the intervals of the tremu- 
 lous scale, and, in effect, enforces by greater loudness, the 
 tittles in the middle of any intervals, or at the juncture of the 
 waves. When thus employed, it adds impressiveness to the 
 sentiments of the tremor, and furnishes variety to the ear. 
 
 Inasmuch as force may be used conjointly with other means 
 of expression, its principal purpose is to enhance the power of 
 these other means ; — thus, if Median Stress be laid on the 
 semi-tone, it gives force to its plaintiveness ; — if laid on the 
 downward concrete, it adds to the degree of its wonder or 
 positiveness ; — if on the rising third, fourth, fifth, or octave, 
 it sharpens the spirit of interrogation. Such is likewise the 
 effect of the radical sti'ess, the energetic effort of which some- 
 times amounts even to violence. But the Median Stress, now 
 under consideration, sets forth the intensity of the voice in a 
 form of greater dignity than any of the other modes of ex- 
 pression. 
 
 In the Radical Stress, having an abrupt opening, and in the 
 Vanishing Stress, having a sudden termination, there is a sharp- 
 ness in their manner, which is not conveyed by the Median; 
 the aim and power of which, in the torrent of expression, are 
 to beget a temperance, which constitutes its own inherent 
 
192 
 
 MEDIAN STRESS. 
 
 characteristic, — Smoothness and Dtgnity. It gives emphasis, 
 without communicating a character of sharpness or violence; 
 enforcing, with agreeable smoothness, the expressions of those 
 modifications of joy, exultation, hope, surprise, and admiration, 
 which are compatible with personal dignity. It also gives 
 emphasis to words convej'ing fearful and awful learning, sub- 
 lime exaltation, and smooth insinuation; and to such as express 
 solemn grandeur, reverential awe, prayer, deep pathos, and all 
 kindred emotions. It is truly, the natural characteristic element 
 of Dignity and Smoothness. 
 
 It is an element requiring great delicacy in its management. 
 The swell is, in general, only slightly marked, when naturally 
 used, — any thing like harshness or violence, is foreign to this 
 specigs of Emphasis. 
 
 Long Quantity, with Median Stress, should be placed on the 
 italicised words in the following examples. 
 
 Example of Dignified Grandeur. 
 
 1. High on a throne of royal fame, which far 
 Out-shines the wealth of Or-mus and of Ind. 
 
 2. Roll on, thou dark and deep blue ocean, rolL 
 
 Reverential Awe. 
 
 3. We praise thee, O God, we acknowledge thee } to be the 
 
 Lord. 
 
 Smooth Insinuation. 
 
 4. The smoothness of flattery cannot now avail; cannot save 
 
 us in this rugged and awful crisis. 
 
 Awful Warning. 
 
 5. Wo^unto thee, r Cho-ra-zin, wo unto thee, Beth-sai-da. 
 
 Serious Admiration. 
 
 6. Wonder not, Sov'reign Mistress, if perhaps 
 Thou canst, who art sole wonder ! 
 
VANISHING STRESS. 193 
 
 Severe Rebuke. 
 
 7. And Nathan said unto David, Thou art the man. 
 
 8. Hail, holy light, offspring of heaven's first-born! 
 Or, of the Eternal co-eternal beam, 
 
 May I express thee wn-blamed. 
 
 9. We knoio what we worship, for salvation is of the Jews. 
 
 10. For soon expect to feel 
 His thun-der on thy head, de-vour-ing fire. 
 Then, who created thee, lamenting learn, 
 When who can wra-create thee, thou shalt know. 
 
 11. Our Fa-iher who art in heaven. Hallowed be thy name. 
 
 Thy king-dom come. Thy will be done on earth, as it 
 is in heaven. Give us this day our dai-ly bread, and 
 forgive us our trespasses, as we for-give them that tres- 
 pass against us. And lead us not into temptation : but 
 deliver us from e-vil. For thine is the king-dom, and 
 the power, and the Glo-ry, for ever and ever. Amen. 
 
 12. And the smooth stream in smoother numbers flows. 
 
 13. Re-ward him, just Heaven! For this one action, re-gard 
 
 him, and distinguish him with signal mer-cies, and 
 with great de-/w-erance : save him from wrong, ad- 
 ver-sity, and shame 
 
VANISHING STRESS. 
 
 Vanishing Stress is that, when the force and volume of 
 voice are laid on the termination of the concrete. This stress 
 does, indeed, exhibit a reversed progression of force, by a 
 gradual increase from the radical to the extreme of the vanish. 
 Its mode of production is exactly the reverse of that obtaining 
 in the execution of the Radical Stress, or rather the Loud Con- 
 crete. It gives an abrupt termination with force and fulness 
 at the extremity of the concrete. 
 
 Some idea of the production of this function, may be ob- 
 tained by the action of Hiccoughing. This mode of making 
 the reader familiar with the perception of this function, is 
 selected, because it may be readily imitated for the purpose of 
 aiding the pupil in his first efforts. Hiccoughing is produced 
 by the gradual increase of the guttural sound, until it is sud- 
 denly obstructed by an occlusion, somewhat resembling the 
 element <k> or <g. ? The effect of the Vanishing Stress may be 
 perceived in the speech of some of the natives of Ireland : 
 many of them employ it, in the form of the simple rise and 
 fall, or wave, on all the principal words of a sentence. 
 
 This function is practicable on every rising and falling in- 
 terval of the scale. It is equally applicable on the waves, and 
 must be heard on the last constituent. 
 
 Let the student exercise on the following tables, taking each 
 vowel element ; and afterward, each word, and with moderate 
 as well as with the greatest possible force, carrying each 
 through every interval upward and downward, and making a 
 strong sudden jerk at its termination. It may be ; also, exhibited 
 on all the voco elements. The words in the table, should be 
 very frequently exercised upon. 
 
VANISHING STRESS. 195 
 
 e, in eel, eve, ear, hear, deed, give. 
 
 a, " age, air, aim, //*,eir, page. 
 
 a/*, " arm, arc, arch, harm, far, has. 
 
 aw, " a]l, awe, call, or, for, thaw;, Pawl. 
 
 oh, u ode, ore, own, load, sore, goad, more, roam. 
 
 oo, " ooze, loose, coo, woo, move, food. 
 
 uh. " urn, turn, burn, her, sir, ur, fur, err. 
 
 on, w our, sour, nour, now, thou, growl. 
 
 oi, " oil, toil, coin, join, jcice, voice, 
 
 i, " ice, isle, ire, fie, quire, style, 
 
 u, " use, ure, fume, tune, tube, tw-lip. 
 
 Much practice will be necessary, in order to acquire this 
 function, so as to execute it with facility and delicacy, and to 
 lay it on with ease and grace, yet with effect. 
 
 This form of stress, on the rising third, fourth, fifth, and 
 octave, gives greater intensity to the spirit of interrogation. 
 On the downward concrete, it enhances the degree of surprise 
 and positiveness ; and on the waves, it adds power and effect 
 to the expression peculiar to them. It expresses anger, rage, 
 scorn and contempt, as well as important ardor, impatience, 
 complaint and fret fulness. 
 
 For the hasty utterance of complaint and interrogation, the 
 Vanishing Stress will, for the purpose of marking its several 
 intervals on the ear, apply this terminative force to the 
 simple rise and fall of a semi-tone, tone, third, fourth, fifth, 
 and octave. 
 
 The effect of this modification of stress on the semi-tone, 
 may be heard in the act of sobbing. It is often heard in the 
 fretful complaints of children. 
 
 It will be well to remember that, if its application is 
 natural, it must be touched accurately and moderately. Begin- 
 ners, in their trials to verify ELEMENTS, are apt to give an 
 excessive degree of force and thereby make a bungling into- 
 nation. And it is this which leads some superficial thinkers 
 to condemn the art of elocution as producing an unnatural 
 and artificial mode of speaking. But time, and a proper 
 course of elementary training, will remedy all this imaginary 
 evil or defect, (if you please.) Let the ear be first impressed 
 with a marked exhibition of the ELEMENTS, and afterwards 
 
196 VANISHING STRESS. 
 
 these combined in WORDS : and then let them be diligently 
 practiced, till their expression becomes EASY and NATURAL. 
 All this may be accomplished in much less time than is gene- 
 rally judged to be necessary. 
 
 The examples in the following, require the words and 
 syllables italicised, to have the emphatic stress — the concrete 
 may have the interval of a rising octave. 
 
 1 . 7/, an itching palmfl 
 
 2. You know that you are Bru/tus that speak 
 
 this, 
 Or, hy the Gods?, this speech were else your 
 last\. 
 
 3. Must If budget! Must If crouch / under 
 
 your tes/ty hum/or/? 
 
 4. O, ye Gods/! ye Gods/! must I endure all 
 
 this/? 
 
 5. Must If give way to your rash choler ? 
 Must If be frightened when a madman 
 
 stares/? 
 
 6. Brutus. — The name of Cassius honors this 
 
 corruption. 
 And cAas/tisement doth therefore hide its head. 
 Cassius. — CAas/tisement. 
 
 The last ' chastisement' should have strong aspiration 
 mixed with the Vanishing Stress over the internal of an oc- 
 tave. 
 
 7. Hamlet. — Saw/ whof? 
 
 Horatio. — My lord, the King\, your/a\ther. 
 Hamlet. — The King/, my fa/ther ? 
 T is A, Ham\tet, the JJane\. 
 
VANISHING STRESS. 197 
 
 In this example is handsomely exhibited, in contrast, the 
 rising and falling movement of the voice, as well as the con- 
 trast of the upward Vanishing Stress with the downward Loud 
 Concrete. 
 
 The following is a mixture of Radical, with Vanishing or 
 Compound Stress. 
 
 8. The game's a/oo/V- 
 
 Fohfow your spirit, and upon thh* charge\, 
 Cry Godl for Haryry, Eng\]an&, and Saint/ 
 George\. 
 
LOUD CONCRETE STRESS. 
 
 ** 
 
 The Loud Concrete is that, when the Stress is applied on 
 the Radical and Median portions of the Concrete, and ter- 
 minating with a regular equable vanish. It is, in short, the 
 natural concrete magnified by force. It is, in truth, the 
 Radico-Median Stress applied on long quantity. It is not dis- 
 tinguishable as an element of force on short quantity ; the 
 Explosive or Radical Stress being the proper mode of execu- 
 tion on immutables. 
 
 The Loud Concrete, or the Radico-Median Stress, may be 
 executed on all the intervals of the scale, upward and down- 
 ward, as well as on the different waves. It is but an extension 
 of the Radical Force, continued into the Median, and ter- 
 minating by an equable vanish. It is the appropriate mode of 
 expression on long quantity, when it is intended or desired to 
 give to the intonation a sentiment similar to that expressed by 
 the Radical or Explosive Stress. As the Radical Stress is the 
 proper and natural symbol of the highest degree of feeling, 
 on immutable syllables ; so is the Loud Concrete the proper 
 and natural element for the expression of the same degree of 
 feeling and energy, on mutable and indefinite syllables. 
 
 Exercise on the elements, is the only method to acquire a 
 correct execution of any of the functions of the voice. The 
 table below is intended to afford a field of operation. The 
 student should not become wearied in exercising on the table, 
 for he will find, by perseverance, that he will be able to over- 
 come what, at first, he thought impracticable. Observe to 
 make a clear and full radical, continuing the stress into the 
 middle portion of the concrete, and finish it off by a delicate 
 vanish. 
 
LOUD CONCRETE. 199 
 
 e, in eel, thee, tears, heel, wheels, feel, these, 
 
 a, " age, day, aid, save, azr, there, aim, hail, 
 
 ah, u arm, far, father, stars, add, man, and. 
 
 aw, u all, lawe, orb, was, war, call, song, morn, 
 
 oh, " old, home, flows, prose, wo, knows, holy. 
 
 60, " ooze, who, phzmed, doom, whose, wham. 
 
 u, " urn, firm, turn, iim-pire, learn, earn, earth. 
 
 on, " our, thou, sound, thousand, pownd. 
 
 oi, " boy, hoy, choice, voice, oil, toil. 
 
 u, ff ure, use, you, pure, tube, mute. 
 
 i, " isle, thy, wild, rhyme spire, mire. 
 
 The Radico-Median Stress gives, to the upward and down- 
 ward movements of the voice, a lively, piercing energy of 
 expression, and heightens the power and beauty of all the 
 sentiments expressed by these movements. In short, long 
 quantity, as a general rule, is produced by laying on, either 
 the Median Stress, or the Loud Concrete; — the former gives 
 smoothness and dignity, — and the latter gives a stirring, 
 rousing energy, with brilliancy, which will not suffer drowsi- 
 ness to prevail in an audience. 
 
 The following are instances which exhibit the application 
 of the Loud Concrete on the italicised words with a rising 
 octave. It gives interrogation of a very piercing and earnest 
 kind. 
 
 Falstaff. — A King's^ sonft You/ Prince of 
 Wales'? 
 
 A downward concrete of a fifth, or, if made very piercing, 
 an octave, may be placed on the word ' is.' 
 
 1. If it be, (that is, if death be the common 
 lot,) 
 Why/ seems it so particular with you ? 
 
 Hamlet replies. 
 
 Seems,/ Madam, nay/ it/ is\! I know\ not 
 seemsy 
 
200 LOUD CONCRETE. 
 
 2. Cassius. Is/ it come to this/? 
 Brutus. — You say you are a better soldier : 
 Let it ajtpearS so\; make your vaunting 
 
 true\. 
 And it shall please me well v For my own 
 
 part, 
 I shall be glad to learn\ from nobble men. 
 
 3. What/, shall one of us, 
 That struck the foremost man of all this 
 
 world, 
 But for supporting robbers ; shall we now/ 
 Contaminate our fingers with base bribes/? 
 And sell the mighty space of all our honors 
 For so much trash/ as may be grasped/ 
 
 thus/?— 
 I had rather be a dog\, and bay\ the moon v 
 Than such\ a Ro\man^. 
 
 4. Light are the outward signs of evil 
 
 thoughts^; 
 Within^, 't was theie\ the spirit wrought^. 
 
 5. I warn\ you, do not dare\ to lay your hand 
 
 on the Constitution^. 
 
 6. Charge\, Chester, r charge\. 
 
 7. On\ Stanly, on\. Whith/er'shalllre/wrfty? 
 WretcMthat I amy! to what' place/ shall I be- 
 takey myself? Shall I go to the Cap'itol'? 
 
LOUD CONCRETE. 201 
 
 Alas\! it is overflown with my brother's bloodyl 
 or shall I return to my house/? Yet there^ I 
 behold my moth\er plungeds in mis x ery 5 weepv 
 ing and despairing. 
 
COMPOUND STRESS. 
 
 Compound Stress is a union of the Stress of the Radical 
 and of the Vanishing. It is an abrupt, forcible opening on the 
 beginning, a diminution on the middle, and a full and sudden 
 termination at the end of the Concrete Movement, applied in 
 immediate succession on the same syllable. 
 
 The best reference in illustration of this Element of ex- 
 pression is, perhaps, the vocal grace of a shake ; the charac- 
 teristic action of which, consists in a rapid iteration of the 
 Concrete, when it is impressed with both the Radical and 
 Vanishing Stress. 
 
 This form of Stress, when applied on syllables of long 
 quantity, may be used, even on the narrow intervals of the 
 scale ; but it is more definitely audible on the wider spaces of 
 the Third, Fourth, Fifth, and Octave. It may likewise be 
 executed on the various forms of the Wave. 
 
 After what has been said of the Radical and Vanishing 
 Stresses, of which this is a compound, it is scarcely necessary 
 to remark, that it affords means for adding force to the senti- 
 ments indicated by its constituents, (the Radical and Vanish,) 
 when used singly on a syllable. Long quantity is indispensa- 
 ble to the full display of this mode of emphasis. 
 
 Let us suppose that a syllable conveys a sentiment of angry 
 and authoritative inquiry ; and that a fourth or fifth, with a 
 prolonged intonation, be the interval chosen for this interroga- 
 tion. The sharpness of effort required here, as a symbol of 
 anger or authority, would be properly represented by the 
 Radical Stress ; whilst the full marked extent of the interval, 
 under the increased force of the Vanish, would give a corre- 
 sponding energy and impressiveness to the interrogation. 
 
 Let the student exercise on Compound Stress, on the follow- 
 ing table of long quantity, as well as on the Mutables, and 
 through all the different intervals of the scale. Let him 
 
ah, 
 
 .. 
 
 aw. 
 
 it 
 
 oh, 
 
 tt 
 
 60, 
 
 u 
 
 uh, 
 
 a 
 
 ou, 
 
 a 
 
 01, 
 
 it 
 
 h 
 
 V. 
 
 u, 
 
 ., 
 
 COMPOUND STRESS, 203 
 
 practice much, until he becomes expert in its execution, and 
 enabled to apply it with great ease and delicacy. 
 
 e, in peel, tea, key, leap, mean, beam, near. 
 a, " age, page, heir, tare, pazr. 
 
 arm, far, tarr, mar-vel. 
 
 aw e, awn-ing, fawn, law, flaw. 
 
 ode, own, pone, roan, oak. 
 
 ooze, loose, coo, woo, rale, pool. 
 
 curr, fir, her, Thursday, Sanday, Monday. 
 
 oar, flour, as, foand, poand, loud. 
 
 oil, toy, vozce, joice, nofse. 
 
 ice, slice, pile, guile, mzne, fine, 
 
 use, ?/n-ion, uve, fu-vy, fume, imma-table. 
 
 The following requires the Compound Stress on the syllables 
 marked with italics, and a thorough interrogative intonation, 
 with a rising concrete of an octave, in order to bring out the 
 threatening rage of the Prince. Aspiration may be combined 
 with this element, to give the expression that contempt or 
 scorn which the question may contain. 
 
 1. K Dost thou come here to whine ?/ 
 
 To outface^ me bj leaping in her grave/? 
 
 This exhibits Hamlet's violence to Laertes, at the grave of 
 Ophelia. 
 
 The occasions for the use of this mode of stress are not 
 very frequent : its being a symbol of very great energy and 
 force ; though it gives somewhat of harshness to the intona- 
 tion. It should be very carefully applied in reading and speak- 
 ing, and only on such rare occasions which especially call for 
 this peculiarity of expression. It is very particularly appro- 
 priate to the forcible expression of interrogative sentiments ; 
 and, on the downward course of the concretes, it enhances 
 the degree of positiveness and surprise. It gives intensity to 
 Anger, Authority, Command and Scorn, as well as to other 
 strong feelings. 
 
 2. Arm\, warriors, arm\ for fighi\ the foe\ at 
 
 hand\ ? 
 
204 COMPOUND STRESS. 
 
 Whom fled we thought, will save us long 
 
 pursuit 
 This day. 
 
 3. You know that you are Brutus that speak 
 
 this, 
 Or, by the God's\, this speech were else your 
 last 
 
 4. Must 1/ give way to your rash choler ? 
 Must 1/ be frightened when a madman 
 
 stares/? 
 
THOROUGH STRESS. 
 
 Thorough Stress is a union of the Radical, Median, and 
 Vanishing Stresses, executed on the same syllable ; or it is a 
 continuation of the same full, forcible volume of voice 
 throughout the whole concrete. 
 
 It may easily be distinguished from all the other forms of 
 stress, in this, that the whole course of the concrete is mag- 
 nified by force ; whereas, in either of the preceding modifi- 
 cations of stress, there is one of the three portions of which 
 the concrete consists that is not thus magnified by force. The 
 Radical Stress has the force applied on the Commencement of 
 the concrete; the Median, on the Middle; the Vanishing, at 
 the Termination ; and the Compound, on the Beginning and 
 End : whereas, this, the Thorough, has the force applied on 
 the Beginning, Middle, and End, of the concrete movement 
 of the voice. It is all force throughout. 
 
 The Thorough Stress may be given to all the intervals of the 
 scale ; and when spread over the wave, it is to be regarded 
 as equalizing itself throughout all its constituents. Long 
 quantity is its proper material, to display its great vehemence, 
 in intonation. 
 
 The student is again asked to practice on this mode of stress, 
 on the following table. He should exercise on the vowel ele- 
 ments first, and afterwards on words and syllables, until he has 
 acquired a ready command of the Thorough Stress. 
 
 e, in feel, shield, field, peal, steal, 
 
 a, " hair, pair, said, fade, mail, came. 
 
 ah, " hard, far, marie, barn, harm. 
 
 aw, " all, saw, fall, ball, lawn. 
 
 oh, " hole, pole, bone, sore, kore, mote. 
 
 60, " ooze, tool, roof, rule, mood, pove. 
 
 \\, " turn, b?*rn, come, earth, birth, cz/r. 
 
 ou, " our, coward, now, pow-er. 
 
 oi, " oil, boy, toy, voice, rejoice. 
 
 u, " use, com-mwte, dispute, tube, tune, ewe. 
 
 i, w ice, ?sle, s?gn. pine, ay, pie. 
 
206 THOROUGH STRESS. 
 
 There is not any point of great difference, in this modifica- 
 tion of stress, from that of the Compound. It may, possibly, 
 be a degree or two stronger in its expression, from its having 
 no remission of force on the middle portion of the Concrete, 
 as there is in that of the Compound. When the Thorough 
 Stress is applied on short quantity, it resembles very much the 
 Radical, if, indeed, it does not constitute it. 
 
 When an effort is made to apply it on short quantity, it be- 
 comes unavoidably Explosive Stress. It does seem, that the 
 Radico-Median, Vanishing, Compound, and Thorough Stresses, 
 possess similar expressive powers ; but the Vanishing has it a 
 degree or two stronger than the Radico-Median ; and the 
 Compound, a degree or two stronger than the Vanishing ; and 
 the Thorough, a degree or two stronger than the Compound ; 
 rising regularly in intensity, in the order in which they are 
 here named. 
 
 The following may serve to illustrate this mode of stress. 
 
 1. This knows my punisher ; therefore as far 
 From granting be, as I from beg\gu\g peace. 
 
 2. Your Consul's merciful. For this no thanks. 
 He dares\ not touch a hair of Cataline. 
 
 3. Bidding me depend 
 Upon thy stars/, thy fortune, and thy 
 
 strength/? 
 And dost thou now/ fall over to my foes/? 
 Thou wear'st^ a Icon's hide\. DofF^ it, for 
 
 shame, 
 And hang a calf\s-skin\ on those rc\creant 
 
 limbs. 
 
GUTTURAL STRESS. 
 
 This Guttural Element is that harsh and grating sound, 
 made in the throat, by retracting the root of the tongue, and 
 closing, to a considerable extent, the pharynx above the glottis. 
 The gush of air thus passing through the straightened passage 
 of the vocal canal, produces such a grating vibration, that the 
 ear is compelled to feel its irresistible influence. It is an ele- 
 ment of very great power and energy. 
 
 This function of the voice is called Guttural, because of its 
 formation in the throat: and it is emphatic, because of its being 
 a very forcible element of expression. 
 
 This peculiar sound may be produced on all the vowel and 
 voco elements, and should be practised upon, on all of them. 
 It is also applicable on all the intervals of the scale, both 
 upward and downward; and should be exercised upon, as 
 such, on the following table. 
 
 e, in eel, ear, hear, eve, deed, gzve. 
 a, " age, page, air, their, aim. 
 afi, " arm, harm, arch, bard, card, gaard. 
 aw, " awe, all, call, or, for, Pawl, thaw. 
 oh, " ode, ore, sore, load, goad, more. 
 oo, " ooze, loose, coo, woo, move. 
 uh, u arn, tarn, hum, urr, her, dr. 
 
 on, " oar, soar, poar, now, thou, 
 
 oi, " oil, toil, coin, join, jozce. 
 
 u, " ase, are, fame, tane, tube. 
 
 t, " ice, ire, fire, quire, isle, style. 
 
 This guttural piercing element adds to all the respective 
 intervals of the scale its own peculiar characteristic, and is 
 expressive of the strongest and highest degree of Loathing, 
 Scorn, Sneer, Contempt, Disgust, diversion, Anger, Revenge, 
 and Execration, It will a ! so make these sentiments more 
 strongly, when intonated on the Unequal Wave. 
 
 When this guttural grating is given with the explosive 
 radical, it makes the speaker himself feel, in its disruption 
 
208 GUTTURAL STRESS. 
 
 from his throat, that the effect must spread wide, and, whilst 
 it assaults the air with its percussive grating, it must break 
 through the ear, and enter the very heart of the audience. It 
 should always be accompanied with aspiration. 
 
 This Guttural Stress may be heard on the word ^falsej 
 in the following reply of Pierre to Jaffier : 
 
 1. Whence these chains'? 
 Whence the vile death, which I may meet this moment % 
 Whence this dishonor, but from thee, thou false one? 
 
 The guttural grating should be made to mix with the Radical 
 or the Vanishing Stress, or the Loud Concrete, together with a 
 drift of the Orotund, in the following. 
 
 2. Smile on, my lords ; 
 
 I scorn to count what feelings, withered hopes, 
 Strong provocations, — bitter, burning wrongs, 
 I have within my hearth hot cells shut up, 
 To leave you in your lazy dignities. 
 But here I stand and scoff you: — here I fling 
 Halved and full de/iance in your face. 
 
 3. I know thee not, nor ever saw till now 
 Sight more deferable than him and thee. 
 
ASPIRATION. 
 
 Aspiration is but a simple breathing, which does not rise 
 to a vocality. The letter 'h' is, in its elementary sound, an 
 Aspiration. Whispering is only the articulated mode of As- 
 piration. It is effected or produced by a less forcible expulsion 
 of air through the glottis, than that which is necessary to the 
 production of pure vocality. Yet Aspiration may also be pro- 
 duced by an excessive propulsion of air through the glottis, as 
 in vociferation. In this case, the quantity of air forced through 
 the glottis, is too great to be brought into regular and uncon- 
 fused vibration in the throat. But still, in the moderate mode 
 of production, the philosophy of the sound is the same ; the 
 air, as it passes out of the glottis, is not brought into that regu- 
 lar and tensive vibration necessary to vocality. 
 
 Those alphabetic elements, called aspir, are only different 
 modifications of Aspiration. They are 'f, s, h, sh, th, wh, ch, 5 
 and are made in the front of the mouth, and not in the throat. 
 Aspiration, however, may be made in the THROAT; as the 
 vowel elements may be mingled with Aspiration. This may 
 be attempted on the vowels, 
 
 £, a, ah, aw, oh, 60, uh. 
 
 Indeed, they may be entirely aspirated by whispering them. 
 (Try this exercise.) 
 
 Aspiration may be breathed into words, in a greater or less 
 degree, till they become perfectly whispered. When words 
 are vociferated with excessive violence, they are aspirated. This 
 sometimes is a cause of indistinct articulation. 
 
 Vociferation is the most violent and vehement exertion of 
 the voice, in which the pure vocality of it is overruled by 
 Aspiration. There is an inexplicable mechanism of the organs 
 of speech, by which a very strenuous pronunciation of the 
 vowel elements becomes unavoidably mixed with Aspiration. 
 Hence, vociferation on syllables which do not orthographically 
 contain aspirs or Aspiration, yet, nevertheless, assume it, when 
 thus pronounced, corrupts thereby the pure vocality which 
 characterises their abated utterance. 
 
 In the ordinary mode of production, however, Aspiration is 
 the natural function of sighing. It is susceptible of pilch. 
 
210 ASPIRATION. 
 
 stress, and time. The rising and falling concretes may be 
 aspirated through the different intervals of the scale, with dif- 
 ferent degrees of force, and with the various extensions of 
 time, according to the intensity of feeling which prompts 
 them. 
 
 The student should exercise in Aspiration on the following 
 table, to enable him to execute it at will, with facility. 
 
 e, in eel, ear, hear, eve, deed, give. 
 
 a, " age, page, air, their, aim. 
 
 ah, " arm, harm, arch, bard, card, gaard. 
 
 aiv, " awe, all, call, or, for, Pawl, thaw. 
 
 oh, " ode, ore, sore, load, goad, more. 
 
 oo, " ooze, loose, coo, woo, move. 
 
 uh, " urn, turn, burn, urr, her ; sir. 
 
 on, " our, sour, -pour, now, thou, 
 oi, " oil, toil, coin, pin, joice. 
 u, " use, ure, fume, tune, tube. 
 i, " ice, ire, fire, quire, isle, style. 
 
 Aspiration is a symbol of Secrecy and Mystery, of Sorrow 
 and Sighing. It expresses Excessive Earnestness, Strong 
 Anger, Violent Rage, Horror, Sneering, Contempt, and Scorn. 
 
 The element of the letter 'h is the pure symbol of Sighing, 
 and aids in the expression of Sorrow and Grief, Distress and 
 Anxiety ; and of Fatigue and Exhaustion, both of body and 
 mind ; a long downward concrete should be used. 
 
 Hissing is the element of the letter 's,' and is pure Aspira- 
 tion, and expresses Scorn in its Highest Degree. 
 
 The elements of 'f,' and 'sh,' express strong contempt; as 
 may be observed in the following instances : 
 
 1. c Fil be gone?' c Ps/taw ! there's no truth in it.' 
 
 There is a modification of Aspiration, made in the attempt 
 at whistling, having all the qualities of that act, excepting the 
 shrillness. It is that facetious comment or expression of sur- 
 prise and incredulity, which is so frequently heard in persons 
 of good humor, or given to pleasantry. The movement of 
 this aspirated interjection, is that of a long downward concrete, 
 or an unequal direct wave ; the first constituent being a tone, 
 
ASPIRATION. 211 
 
 or higher interval, according to the spirit of the expression ; 
 the second, a descent to the utmost audible pitch of the voice. 
 
 Since the foregoing exhibits the power of expression in 
 Simple and Natural Aspiration, we can infer what will be the 
 effect, when this breathing is joined with the vocality of 
 speech. 
 
 When this element of expression is united with Loudness 
 and Stress, it becomes the sign of the Highest Vocal Violence; 
 as in Scorn, Rage, Contempt, Anger, Earnestness . Its union 
 with higher intervals, gives intensity to the expressive power 
 of those intervals, and adds the sentiment of Sneer, or Scorn, 
 to those intonations, which, in their pure vocal form, severally 
 convey Surprise, Interrogation, Irony, and Command. 
 
 When Aspiration is given with an abatement of voice, ap- 
 proaching to a whisper or sigh, it produces a different expres- 
 sion, according to the extent of its pitch. When the second 
 or third interval of the scale is employed, it becomes the sym- 
 bol of Earnestness, or of Apprehension. Thus, should the 
 following lines be pronounced with a pure vocality of the ele- 
 ments, the expression will fall far short of the feeling, which 
 a union of Aspiration with them will infuse into them. 
 
 2. Ha! dost thou not see, by the moon's trembling light, 
 Directing his steps, where advances a knight, 
 His eyes big with vengeance and fate? 
 
 Nor would the point be gained by characterising the reading 
 with an aspirated vociferation. But if the utterance be reduced 
 in force, and at the same time aspirated, the earnestness of 
 attention, perceptible apprehension, and appealing interroga- 
 tion, become immediately obvious in this created huskiness of 
 voice. 
 
 When an abated voice is aspirated on the tremulous move- 
 ment of the second or higher interval, it conveys the sentiment 
 of Fear. 
 
 Should this abatement be aspirated in a simple fall, or wave 
 of the semi-tone, it gives intensity to the plaintiveness or dis- 
 tress, which belongs to the simple vocality of the semi-tonic 
 movement. But when the tremulous intonation is superadded 
 to the aspirated semi-tone, the voice exerts its utmost means 
 for marking the Deepest Sad?iess within the limits of Crying 
 and Tears. 
 
 When this power of expression is united with the different 
 
212 ASPIRATION. 
 
 forms of stress and guttural emphasis, it expresses contempt, 
 and similar sentiments. Hence, the ability to infuse this ex- 
 pression into nearly every interval of intonation is of great 
 importance. Even the simple movements which indicate sur- 
 prise, inquiry, and emphatic declaration, may, by this means, 
 be made contemptuous. But the sentiment is more strongly 
 marked when the Aspiration is applied to the forms of the 
 Unequal Wave. 
 
 Earnest repugnance is expressed by aspirating the word 
 chastisement, in the following lines : 
 
 3. Brutus. — The name of Cassius honors this corruption, 
 
 And chastisement does therefore hide its head. 
 Cassius. — Chastisement! 
 
 If Aspiration is combined with Vanishing Stress on any 
 concrete, or on any of the forms of the wave, (more especially 
 the unequal,) it communicates an expression of Sneer, Con- 
 tempt, or Scorn. 
 
 4. Brutus. — Peace, peace ; you durst not so have tempted him. 
 Cassius. — I durst not ! 
 
 5. Brutus. — What means this shouting ? I do fear, the people 
 
 Choose Caesar for their King. 
 Cassius. Ay, do you fear it? 
 
 Then must I think you would not have it so. 
 
EMPHATIC VOCULE. 
 
 The momentary gush of air, which bursts forth from the 
 articulative occlusion, by which the sub-aspirs, p, t, k, are 
 made, is a forcible puff, or very sudden aspiration, which is 
 called the Vocula, or Vocule, (the little voice.) This, like 
 other elements, is susceptible of force, and therefore, may be 
 called the Emphatic Vocule. 
 
 The Emphatic Vocule always gives great energy of feeling, 
 and can only be given on those words which terminate with 
 one of the abrupt elements. 
 
 This vocule is often changed from an aspiration to a vocal- 
 ity, in attempts give strong emphasis on the termination of a 
 word. It should, however, be remembered, that the most 
 vehement feelings only, will justify the use of this emphasis, 
 and that a most cautious management is necessary, in order to 
 prevent this forcible utterance, from running into rant or affec- 
 tation. 
 
 It should be "remarked, also, that when an abrupt element 
 precedes a vowel, the vocule which seems to issue from it is 
 lost in the sound of the vowel. In the word c not, 5 the vocule 
 is distinctly heard at its termination ; but place the < t, 5 before 
 the vowel, as in ' tone,' the vocule is lost, and the 6 V seems to 
 be the commencing sound of the vowel < o. 5 This is the 
 nature and proper mode of coalescence. But when these 
 abrupt elements terminate words, the vocule is and should be 
 heard, and gives that clear limit which constitutes that indi- 
 viduality, which every word in a sentence should have. 
 
 The abrupt elements are the sub-vocos, 6 b, d, g, ? and the 
 sub-aspirs, ' p, t, k ;' and they are the only alphabetic ele- 
 ments which admit of the vocule. The sub-aspirs, indeed, 
 consist only of an aspirated vocule ; whereas, the sub-vocos 
 have a guttural murmur preceding their vocule. The vocule 
 of the sub-vocos, is much more feeble and indistinct, than that 
 of the aspirs, which latter is sharp and more forcible. 
 
 There is a fault very frequently committed, by many per- 
 sons who have not a ready command over this vocule. As it 
 should be heard in all words terminating with an abrupt ele- 
 
214 EMPHATIC VOCULE. 
 
 ment; and as it so very easily coalesces with any other ele- 
 ment following it ; the fault consists in permitting the vocule 
 to coalesce with the commencing element of asucceeding word. 
 Thus, if the phrases, < great ocean,' ' shut out, 5 ' could add, 5 are 
 pronounced with force and quickness, they will very proba- 
 bly be, if not great care be taken, changed into c greay-tocean, 5 
 ' shut-tout, 5 ' cood-ad. 5 A pronunciation of this kind, consti- 
 tutes mistakes in the sound of words, and leads to confusion 
 and misapprehension in those who may hear. But, however, 
 if the vocule be distinctly made in this situation, there will be 
 a clear perception of the out-line in the termination of words 
 of this ending. 
 
 Sound this column with a| The mode of pronunciation 
 slight pause between the words, indicated in this column, should 
 giving a distinct vocule to each be studiously avoided. 
 italicised letter. j 
 
 Trump it Trum-pit. 
 
 Top out - - - - Top-pout. 
 
 Bad Angels - - - Bad-dangels. 
 And ours - An-dowers. 
 
 Feed on Fee-don. 
 
 Cut off - - - - Cut-toff. 
 
 Sweet heart - - - Sweet-tart. 
 Fight him - Fight-tim. 
 
 This demarkation pointed out above, is necessary to that 
 clear and distinct utterance, which characterises dignified and 
 exalted elocution. ■ 
 
 When a word or syllable terminates with an abrupt ele- 
 ment, and is also emphatic, the vocule may be made to receive 
 a concentration of force which exhibits great energy of feel- 
 ing, united with contempt. Great care, however, must be 
 taken, or it will run into affectation which should be, by all 
 means, avoided. 
 
 This emphatic element may be heard on the words itali- 
 cised in the following lines. — 
 
 1. Yield up, love, thy crown and hearted throne, 
 To t vrannoiio hate ! swell, booom, with thy fraught. 
 
EMPHATIC VOCULE. 215 
 
 2. Wha* though the field be lost ? 
 All is not lost] the .unconquerable will, 
 And study of revenge, immortal hate, 
 And courage never to submit or yeld, — 
 And wha£ is else, not to be overcome ■ 
 Tha£ 2;lorv, never shall his wrath or mighi 
 Extort from me. 
 
 3. Whether upheld by strength, or chance, or fate. 
 
 4. Sir, I, in the most express terms, deny the competency of 
 
 parliament to do this act. I warn you, do not dare to 
 lay your hand on the constitution. I tell you, tha£ if 
 circumstanced as you are, you pass this act, it will be a 
 nulity, and no man in Ireland will be bound to obey it. 
 
 5. Are yau competent to transfer your legislative righfo to 
 
 the French council of five hundred ? Are you compe- 
 tent to transfer them to the British parliament ? I an- 
 swer — JVo. Where you transfer, you abdicate ; and the 
 grea£ original trust reverts to the people from whom it 
 issued. Yourselves you may extinguish, but parliament 
 you cannot extinguish. 
 
ACCENT. 
 
 The temporal quantity of syllables are arranged under three 
 classes ; — The Immutable, Mutable, and Indefinite. The im- 
 mutable admit of no prolongation, and are, as it were, only a 
 point of time. The mutable admit and require some exten- 
 sion of time ; and are, therefore, somewhat prolonged. The 
 indefinite admit, and require a greater protraction of time ; 
 and may, therefore, be almost indefinitely prolonged. (See 
 Section — .) 
 
 We may, from this constitution of the time of syllables, di- 
 vide them, again, into two classes ; — Short and Long Quanti- 
 ties or Syllables. The short are those which are unchange- 
 able in their nature, as to time, and cannot be* prolonged 
 without changing the elements of which they are constituted ; 
 these answering to the immutab I es of the former classification : — 
 The Long are those which are changeable in their nature, and 
 may, therefore, be made longer or shorter, as may be desired 
 or required for appropriate expression, without changing the 
 proper elements of which they are composed ; these embracing 
 the mutable and indefinite of the previous classification. The 
 changeable nature of this last class is such, that the time of the 
 syllable may be prolonged to the utmost extent of their pro- 
 per sound, and then again contracted from this, to any inter- 
 mediate extent, until compressed into a point that is equal 
 only to that of the short or immutable syllables. 
 
 Now, the question is ; — How can we distinguish one sylla- 
 ble in every word which has two or more syllables, for every 
 word of two or more syllables must have one of them ac- 
 cented? We would reply that the application of force on 
 any one syllable, either long or short, will give it accentual 
 distinction ; and this may be aided by a radical change of a 
 tone, either upward or downward. But it must here be kept 
 in mind, also, that force is not the only means of accentual 
 distinction. Time may be used to give accent as well as 
 force ; though not generally used alone, yet it may thus be 
 used on indefinite syllables. Thus, in ' violate,' the accent 
 may be changed from the first to the second syllable, by simply 
 
ACCENT. 217 
 
 increasing the time of the indefinite syllable c o, 5 as if written 
 vi-ow-late, without adding any force in aid of it. Yet, gene- 
 rally speaking, long quantity requires both time and force to 
 give it accentual distinction. 
 
 In any case where time alone becomes the element of ac- 
 cent, the ordinary quantity of the syllable must be extended 
 to produce this intended effect. 
 
 From this view of the natural quantity of syllables and the 
 means employed for accentual distinction, the following defi- 
 nition of accent may be deduced : — 
 
 Accent consists of the inexpressive distinction of one sylla- 
 ble, from the rest in every word of two or more, by the applica- 
 tion of Force or Time, or both. 
 
 It should be well remembered, that in pronouncing the 
 words from a column in a vocabulary, or in reading in the 
 simple diatonic melody, that there is no distinction made be- 
 tween one word and another ; but only between one syllable 
 and the others of the same word; therefore the concrete of 
 the accented syllable extends only through the interval of a 
 tone. From this condition of the accented concrete, all the 
 elements of expression wider than that of a tone, are excluded 
 from being used for accentual distinction. 
 
 From the circumstance that the Simple Diatonic Melody 
 is constructed on the scale of the tone, the accentual distinc- 
 tion is the strongest expression in this simple melody ; therefore 
 all the elements of expression, in their stronger display, are 
 inappropriate as means for accentuation. The only elements 
 for the production of accent are, the Radical and Median 
 Stress, and the Loud Concrete; and these being confined to 
 the interval of a tone, are necessarily moderate in their dis- 
 play. 
 
 It may not be improper here to point out another pecu- 
 liarity of accent. And this is, the nature of accent is such, 
 that when it falls on a syllable of long quantity,* it has a ten- 
 dency to increase the quantity of this syllable, and diminish it 
 on the unaccented ones. As it gives distinction to the accented 
 syllable by time and force, it throws into, as it were, and keeps 
 in comparative insignificance, all those that are not accented* 
 
 * Ey this I mean mutable and indefinite syllables, 
 
 10 
 
218 ACCENT. 
 
 This may be observed by changing the accent from one syllable 
 to another in the following words. 
 
 This mark (~) indicates short quantity; (-) long quantity ; and (') in- 
 dicates the accent. 
 
 PeV-fume, - - - Per-fume'. 
 
 Con'-duct, - - - Con-duct'. 
 
 At'-tl-tude, At-tf-tude' At-tee'-tude. 
 
 Fare'-well, Fare-well', Fare'-well'. 
 
 A'-men, A-men', A'-men'. 
 
 Thus, it may be seen, that accent has a tendency to increase 
 the time of the syllables of long quantity ; since that, the same 
 syllable is longer when accented than unaccented. 
 
 In determining what syllables are to be distinguished by the 
 accent, we must refer the student to our best Pronouncing 
 Dictionaries. 
 
 Accent is also a means employed to show a change of mean- 
 ing in words that are spelled alike, by a change of their accent. 
 Thus: 
 
 Con '-duct, - - - Behavior. 
 Con-duct', To manage. 
 
 Con'-cert, - Singing in company. 
 
 Con-cert', To contrive. 
 
 And so of many others. 
 
 Now, as a general rule, accent is effected on long quantity 
 by time and force united, and does, therefore, require the use 
 of the Median Stress, or the Loud Concrete ; either of which 
 may be placed on any syllable of long quantity, according to 
 requirement or the will of the person having the elements at 
 command, which may be noticed by pronouncing the following 
 words. 
 
 Supreme, Doleful, 
 
 Reve?zge, fearless. 
 
 Delay, Object. 
 
 "Proceed, Hateful. 
 
 Anoint, Frighten. 
 
ACCENT. 219 
 
 Although syllables of long quantity are generally executed 
 by the Loud Concrete or Median Stress, yet they may be into- 
 nated as short quantity, by the Radical Stress; as, for instance, 
 'lo, 5 as an interjection, and ' lo, 5 in ' loquacity, 5 are examples 
 of short and long quantity. Hence it folio ws, that the Radical 
 Stress may sometimes be used on long quantity. Thus, in 
 c to-tal, 5 the c to 5 is long quantity, yet it may be pronounced as 
 short as < tot, 5 in <tot-ter; 5 and so of others. 
 
 Short quantity or immutable syllables, can be accented only 
 by the Radical Stress. Thus : 
 
 Ot-ter, 
 
 Ab-bot, 
 
 Fret-M. 
 
 -4c-tion, 
 
 Ap-p\e, 
 
 Tic-kle. 
 
 'En-act, 
 
 Con-duct, 
 
 En-trap. 
 
 The brevity of these accented syllables admits not the per- 
 ception of a continuation of loudness. The syllables must, 
 therefore, be made to burst with requisite fulness into a momen- 
 tary existence. The accent may be transferred to the other 
 syllable in each word, by giving the requisite stress to it; which 
 may be perceived by endeavoring to accent the unaccented 
 syllables in the last examples. 
 
 The impressive agency of accent on the ear, is fixed by the 
 Orthoepy of the English Language on one or two of the syl- 
 lables of all words having two or more. It is a source of 
 great variety in speech ; by means of it, sentences may be 
 divided into what are called measures of speech, which aid in 
 the pleasant movement of the diatonic melody. And when 
 accent, is skilfully disposed of, by these measures, and adjusted 
 by a delicate ear; it produces that harmonious rithmus which 
 is so attractive in both prose and verse. 
 
 Another very important use of accent is this: it is the 
 means of uniting the syllables of a word together, in such a 
 manner as to give a unity to them ; and thus aid in giving in- 
 dividuality to all words consisting of more than one syllable. 
 In thus uniting the syllables of a word together, it greatly 
 assists in the pronunciation of it ; for it would be very hard to 
 distinguish one word from another in a sentence, and a very 
 monotonous and unmeaning task, too, to pronounce the sen- 
 tence without giving the requisite accent. But by the employ- 
 ment of accent, the voice is permitted to move along the line 
 
220 ACCENT. 
 
 of speech or of a sentence, in that pleasant and impressive 
 manner, and by that impulsive and remissive movement which 
 is inherent in its very nature, and which is the cause of the 
 rithmus of the measures of speech, so pleasing to the ear, and 
 yet so natural in execution. 
 
EMPHASIS. 
 
 As Accent is employed to distinguish certain syllables 
 from others in words, so Emphasis is employed to distinguish 
 certain words from others in a sentence. As Accent acts 
 among syllables, so Emphasis acts among words ; — both having 
 a distinguishing property. Accent aids in giving distinctness 
 and unity to words ; Emphasis aids in giving distinctness and 
 unity to the sense and sentiment of sentences. Accent is not 
 sufficiently strong to develope the emotions of the mind ; Em- 
 phasis is sufficiently strong to develope both the sense and 
 sentiment, and the strongest emotions. Emphasis, like Accent, 
 is laid on syllables, and usually on the same which bears the 
 accent. 
 
 Emphatic distinction is also frequently laid on monosyllables 
 which are said to have no accent j yet when words of one 
 syllable come in immediate succession in a sentence, the 
 Accent, as well as the Emphasis will fall on some of the most 
 important of them. Thus, in the first line of the well known 
 hymn, 
 
 My God, the spring of all my joys, 
 
 the words are all monosyllables, and one-half of them are 
 accented in reading, (those italicistd;) and either of which 
 may also be emphasised. From this, it may be asked, In what, 
 then, does the vocal element, producing Emphasis, differ from 
 that producing Accent? We may say that Accent is the in- 
 expressive distinction of syllables, by Stress and Quantity, 
 with a moderate action of these distinguishing elements ; and 
 
 Emphasis must, then, be the EXPRESSIVE distinction of 
 some word or words, by one or more of the specific modes of the 
 Elements of Expression. 
 
 This noble function belongs to the current of discourse, and 
 may be employed on single words, as well as on a greater 
 number of them in succession. The degree of distinction 
 which constitutes Emphasis, but slightly exceeds that of the 
 ordinary accent : but the higher forms of it are strongly marked ; 
 and when thus placed on a word, the character cannot very 
 well be mistaken. As the modification of sound, which con- 
 
222 EMPHASIS. 
 
 stitutes Accent, is included in the enumerated elements of 
 emphatic distinction, Accent and Emphasis cannot differ very 
 much from each other. The Radical and Median Stress, and 
 the Loud Concrete, employed as means for accentuation, have, 
 indeed, the same elemental nature as in emphatic agency ; but 
 the emotions that give rise in the latter case, invest them with 
 that impressiveness which constitutes the emphatic charac- 
 teristic. 
 
 When, however, the claims of Emphasis come in conflict 
 with those of Accent, the latter must yield to the more im- 
 pressive agency of the former, as may be seen in the fol- 
 lowing. 
 
 1. This corruptible must put on incorruption, and this mor- 
 
 ra/ity must put on immortality. 
 
 2. What is done cannot be undone. 
 
 3. The suitableness or imsuitableness in the proportion or dis- 
 
 proportion, which, &c. consists in the propriety or im- 
 propriety, &c. 
 
 4. .Righteousness with unrighteousness. 
 
 It is very obvious, in these cases, that Emphasis holds a 
 higher rank in the order of expressive agency, than Accent ; 
 and therefore very readily controls it. 
 
 The object of Emphasis is, to elevate some words into im- 
 portance, for the purpose of displaying their meaning more 
 clearly, as they stand sensifically related to other words ; and 
 thus strongly impressing them upon the ear and understand- 
 ing ; thereby exciting their import with specific feelings and 
 emotions. This may be done by any of the special modes of 
 the Expressive Elements, as they are enumerated, described, 
 and exemplified in the course of this work ; and may here 
 again be hinted at. 
 
 First. The different degrees of Pitch, both concrete and 
 discrete, as also the waves in their different forms, including 
 Melody, the Semi-tone, and the Tremor. 
 
 Secondly. Time, in all its different durations of extension. 
 
 Thirdly. Force, in its general drift, and in its specific 
 modes ; as, The Radical, Median, Vanishing, Compound, and 
 
EMPHASIS. 223 
 
 Thorough Guttural ; the Loud Concrete, Aspiration, and Em- 
 phatic Vocule. 
 
 Fourthly. Quality of Voice ; as, the Whispering, the Natu- 
 ral, the Falsette, and the Orotund, as also the weak and the 
 strong, the smooth and the rough, the firm and the faultering, 
 the mild and harsh, the soft and the loud, the tender and the 
 austere, and the grave and the acute. 
 
 Thus, then, it is obvious that Emphasis is but a generic term, 
 including all the specifications of the use of every impres- 
 sive function of the voice, for the purpose of enforcing thought 
 and sentiment. 
 
 Emphasis, then, from its nature, places a word prominently 
 in a sentence, and elevates it above the rest, and thus it be- 
 comes clearly conspicuous. From this conspicuous position in 
 which words are placed by the emphatic function of the voice, 
 it becomes a most convenient, and, at the same time, a most 
 potent means to distinguish and display. 
 
 First. Those words should be emphasised which stand in 
 opposition to, or in contrast with each other ; and those which 
 stand in contrast with other words understood or implied : — 
 the former constituting an antithesis expressed 3 and the latter, 
 an antithesis implied. 
 
 Secondly. It should distinguish those words which are more 
 particularly and specially significant in the mind of the speaker 
 or reader from the relation in which they stand, to other words 
 in the sentence. 
 
 Thirdly. It aids in developing the sense of elliptical sen- 
 tences, as they are addressed to the ear : and 
 
 Fourthly. It marks the syntactical relation of words which 
 are separated by clauses or intervening matter. 
 
 Emphasis, then, always points out the sense of those words 
 which may be regarded as expressive of certain thoughts, 
 sentiments, or emotions. On the whole, whatever is the 
 meaning of any word, Emphasis will bring it out, and will not 
 only raise it into conspicuous importance, but contradistin- 
 guish it from the sense of other words, — mark or direct the 
 sense of an ellipsis, — and point out grammatical relation. 
 
 The occasions for the use of Emphasis, then, are of constant 
 occurrence ; and either of these circumstances will afford 
 sufficient ground for its use. A perception of the grammati- 
 cal construction of a sentence : of its special meaning; of the 
 kind and amount of feeling it is intended to convey : — in a 
 word, a perception of the relation of thoughts in the author's 
 mind, are the circumstances which must regulate the applica- 
 
224 EMPHASIS. 
 
 tion of Emphasis. A nice and rigid analysis of the import of 
 what is read, or said, is necessary to employ Emphasis with 
 correctness or propriety. 
 
 Upon a close consideration of the expressive or emphatic 
 elements, it will be found difficult, to some extent, to draw a 
 line of separation between words which are emphatic, and the 
 common run of the melody ; inasmuch as some of the fainter 
 cases of Emphasis may scarcely differ from the simply accen- 
 tual and temporal distinction of syllables. 
 
 To what elemental forms, then, is the term Emphasis to be 
 applied? Not to that of every syllable which differs in any 
 degree from its neighbor. For, by this rule, we may regard 
 half the words of our language as emphatic ; since they are 
 perpetually varying from others by slight degrees of force, 
 pitch, and quantity ; and since some important elements of 
 .pitch, when not assisted by time and stress, are occasionally 
 applied to syllables, without producing thereby any extraordi- 
 nary distinction. There are, however, certain characteristics 
 of vocal sounds, which unerringly call the attention of an 
 auditory. They are High Poviers of Stress, in any of its spe- 
 cific modes ; Extreme Length of Quantity ; Wide Intervals of 
 Pitch ; and a Peculiar Quality of Voice, when set on words, 
 may be considered as Elements of Emphasis. But at what 
 point, in the respective gradations of these elements, the em- 
 phatic character begins, cannot easily be assigned, and per- 
 haps need not be known. 
 
 Emphasis may, then, again be defined to be a Generic Te?°m 9 
 for the purpose of expressing an extraordinary impressiveness 
 of the sense or sentiment of certain words ; the species of im- 
 pression being founded on the varied accidents of the voice. 
 From this view, it appears that Emphasis, and what may be 
 called Expression, may be considered in most cases as con- 
 vertible terms ; since emphatic words differ from such as are 
 unemphatic, through these functions which constitute the 
 proper expression of speech. 
 
 The student is now referred to that part of this work in 
 which are described and exemplified all the modes of emphatic 
 distinction. He will there study them again and practice on 
 them until they all become easy to him, and natural in execu- 
 tion. He will also find examples for further practice in this 
 important branch of elocution, in every piece of spirited com- 
 
EMPHASIS AND INFLECTION. 225 
 
 position he reads. He should make selections for himself, and 
 then mark the words which are emphatic in it, and satisfy 
 himself as to the mcTst effective mode of emphatic intonation 
 to be employed ; and then he should endeavor to execute the 
 emphasis in the best manner of which he is capable ; repeat- 
 ing it again and again, laying on the emphasis distinctly, 
 until it becomes natural and easy of execution. 
 
 The following remarks may render the student, who is 
 anxious to improve, still further assistance in his exercises. 
 
 APPLICATION OF EMPHASIS AND INFLECTION. 
 
 I. Although the elements havp been separately treated of, 
 yet there is a natural tendency to combine elements and crowd 
 them together on one word or syllable, and, indeed, some of 
 them cannot be used alone; such as the wider concretes and 
 waves are always associated with quantity in form of either 
 the Median or Loud Concrete. 
 
 II. Words comparatively unimportant are sometimes em- 
 phatic ; as below. 
 
 1. If you did know to whom I gave the ring, 
 If you did know for whom I gave the ring, 
 And could conceive for what I gave the ring, 
 And how unwillingly I gave the ring, 
 And when nought would be accepted but the ring, 
 You would abate the strength of your displeasure. 
 
 The words in italics are best emphasised by a rising radical 
 third. 
 
 III. When Emphasis is laid on several words in succession, 
 or on an entire clause, it is called General Emphasis, and 
 properly intonated with a distinct pause after each word, the 
 force and effect that will be given, is almost inconceivable. 
 Thus, 
 
 1. What men could do 
 
 Is done already : heaven and earth will witness, 
 If Rome must fall, that we are innocent. 
 
 2. Judge me, ye Gods ! Wrong I mine enemies ? 
 And if not so, how shall I wrong my brother? 
 
 10* 
 
226 EMPHASIS AND INFLECTION. 
 
 3. Cast away from you all your transgressions whereby you 
 
 have transgressed, and make you a new heart and a new 
 spirit; — for — why-will-you-die, House of Israel. 
 
 4. Man, starting from his couch, shall-sleep no-more; 
 The day is broke, which never more shall close ! 
 Above, around, beneath, — a-maze-ment— all ! 
 Terror and glory, joined in their extremes! 
 
 Our God in grandeur, and our-world-on-fire. 
 
 IV. Emphatic distinction may be greatly heightened by 
 extending it on the unaccented syllables of the word on which 
 it occurs. Thus, 
 
 1. For no nar-row frith he had to cross. 
 
 2. Make way for Lib-er-ty ! he cried; 
 Make way for liberty, and died ! 
 
 3. Though he will not rise and give him, because he is his 
 friend, yet because of his lm-por-tu-ni-ty he would rise, 
 and give him as much as he needeth. 
 
 V. As the expressive powers of the rising and falling con- 
 cretes differ, from their movement in contrary directions, and 
 as the latter can be executed with much more energy and 
 positiveness than the former ; we may properly call the em- 
 phasis of the Falling Concrete, the Strong or Absolute, and 
 that of the Rising, the Moderate, or Relative Emphasis. These 
 two modes of emphatic distinction may be so called, from the 
 circumstance that the downward concrete is, in itself, more 
 strongly and absolutely positive and dogmatical in its nature, 
 from its effect upon the ear ; while the upward is always more 
 moderate and employed relatively to the former, or some other 
 form, and gives a suspensive effect to the voice, indicative of 
 something yet to follow, to which it seems to relate. 
 
 Hence, these two modes of emphatic distinction are fre- 
 quently employed in the intonation of antithesis. The empha- 
 sis of the rising interval may be called relative, because it is 
 frequently used on words at or near the end of the penulti- 
 mate, a conditional, or suspensive member or clause of a sen- 
 tence, by which, in addition to the Emphasis, it also intimates 
 
EMPHASIS AND INFLECTION. 227 
 
 that something is yet to come, or that the sentence is incom- 
 plete, and the sense unfinished. 
 
 Indeed, the rising intervals or movements of the voice, 
 either emphatic or unemphatic, generally intimate or suggest 
 an unfinished state, to be followed by a member or clause 
 necessary to finish the sense and construction of the sen- 
 tence ; — and after an interrogative use, to be followed by an 
 answer expressed or understood. From the consideration of 
 these circumstances, the following rules may be deduced, as 
 aiding in the application of Emphasis, as well as in giving 
 suitable inflections at the end of members and clauses of sen- 
 tences. 
 
 RULE I. 
 
 All the lighter or weaker forms of Emphasis may be ex 
 cuted with the rising inflection ; but all strong or absoiw 
 Emphasis, invariably require the falling inflection. Thus 
 
 1. Home\! homeV. you kdle doltsy Get\ yo 
 
 home\. 
 You blocks^, you stones\, you worse\ than 
 SenseUess things\! Home\ to your huts\! 
 You grovvelling brute \! 
 
 2. What/ though the field be lost/? 
 All\ is not^ losty the unconquerable will\, 
 And stud|y of revenge\, immor|tal hate\, 
 And courtage nev^er to submits or yield^. 
 
 3. And be thou instructed, oh, Jeru/salem', 
 lest my soul/ depart* from thee; lest I make 
 thee/ des^olate, a land not' inhabited. 
 
 RULE II. 
 
 A sentence should always close with a period, and with the 
 falling inflection, by some form of the cadence ; except in 
 the Thorough Interrogative Expression. Thus :* 
 
 * The places at which the following rules are applicable are market! by 
 italics. 
 
 »u 
 
228 EMPHASIS AND INFLECTION. 
 
 1. I am\ 2. Life is short\. 3. Eternity is 
 longy 4. Are you prepared*? 5. Will youi? 
 6. If they returny 7. Forgive us our sins\. 
 8. Depart thouy 
 
 Note 1. — ^A sentence is an assemblage of words, containing a 
 declaration, interrogation, condition, petition, or command. 
 
 The sentensic* power is that which gives to an assemblage 
 of words the character of a declaration, an interrogation, a 
 condition, a petition, or a command, either of which is indis- 
 pensably necessary to constitute a sentence ; hence, every 
 sentence must have at least one of these characteristics. 
 ^Therefore, a simple sentence consists of two or more words 
 exerting a sentensic power. 
 
 A Compound Sentence, or a Period, is composed of two or 
 more simple sentences, more or less dependent on each other 
 for sense. 
 
 A Direct Period is that in which the former member or 
 members depend for sense on the latter. 
 
 An Inverted Period is one in which the former member, 
 though making sense by itself, is, nevertheless, modified or de- 
 termined in its signification by the latter. 
 
 A Loose Sentence is one which contains one or more mem- 
 bers making sense, without being modified or restricted in its 
 signification by an additional loose member, comprising some 
 reflection, illustration, remark, or example. 
 
 A Complex Sentence consists of a series of members, either 
 dependent on, or independent of, some other member, some of 
 which may be transposed, while others are in their natural 
 order. 
 
 A member of a sentence may be composed of a simple or 
 a compound sentence, though itself but a member of a sen- 
 tence. 
 
 Members of sentences may be simple or compound; as, 
 1 The Ox knoweth his owner, and the Ass his master's crib ; 
 but Israel doth not know, my people do not consider.' 
 
 This sentence is composed of two compound members, 
 separated by a semicolon ; each of these is again subdivided 
 into two simple members, separated by a comma, which may 
 be called clauses, and yet, in reality, are simple sentences : so 
 
 # Sentensic is used in the sense of * sentence making? Sentensic power is 
 the sentence making power. 
 
EMPHASIS AND INFLECTION. 229 
 
 that the whole sentence consists of four simple sentences, 
 connected by a sensific relation existing between them, and 
 expressed by the conjunctions, 6 and' and 'but. 5 
 
 RULE III. 
 
 When a sentence has two or more corresponding members, 
 and the sense of any preceding member being complete in 
 itself, without being dependent upon, or qualified by, the 
 sense of the subsequent one, the falling inflection should be 
 placed at the end of each. Thus : 
 
 1. What is called profane history exhibits our 
 nature on its worst/ side\: it is the history of 
 perverse pas/sions -, of mean self-love/, of re- 
 venge/, of ha/tred', of extravagance, and of 
 foHlyv 
 
 2. Persons of good taste expect to be pleased/, 
 at the same time they are informed]: and they 
 think that the best sensed always deserves the 
 best us\age v 
 
 3. Nothing is in vain' that rouses the soul s : 
 nothing in vain' that keeps the ethereal fire 
 alive' and glow^ingy 
 
 4. Now, every one who reasons, is a logi- 
 cian%; though he may never have studied 
 log*ic v 
 
 5. As death leaves the sinner', so the judg- 
 ment finds him\: there is no repentance in the 
 grave v 
 
 RULE IV. 
 
 When a sentence has two or more corresponding or suc- 
 cessive members, and the sense of either of the preceding is 
 incomplete or dependent on, or modified by that which sue- 
 
230 EMPHASIS AND INFLECTION. 
 
 ceeds it, the Rising inflection is required at the close of those 
 thus circumstanced. Thus : 
 
 1. Now all are not happy who reach the 
 distinctions in life towards which their tower- 
 ing spirits aspire*, for every day's experience 
 shows that^ while they imagine their freshest 
 roses bloomy they are gathering nothing but 
 briers which wound the fleshy. 
 
 2. There are several arts*, which all men are 
 in some measure masters* of 4 , without being 
 at the pains of learnMng\ them v 
 
 3. The tastes of men do differ very consid- 
 erably. One may relish poetry most 4 ; another 
 takes pleasure in nothing but hisvtory v One 
 prefers coni/edy 4 ; another, trag\edy v One 
 admires the simple*; another the ornamental 
 style v The young are amused with gay and 
 sprightly compositions 4 ; the elderly are more 
 entertained with those of a grav^er cast v Some 
 nations delight in bold pictures of manners*, and 
 strong representations of pas'sions'; others in- 
 cline to more correct and regular elegance, both 
 in descrip/tion' and sen\timent v Though alh 
 difjfer', yet all' pitch upon some one beauty' 
 which peculiarly suits their turn of minds: and 
 therefore' no one^ has a right/ to condemn^ the 
 rest v 
 
 Note 1. — Conditional Members, commencing with either if, 
 when, whether, though, yet, since, whatever, as, unless, 8fc. 
 
EMPHASIS AND INFLECTION. 231 
 
 expressed or understood, are incomplete, and therefore re- 
 quire the rising inflection. Thus : 
 
 4. If some of the branches be broken off*, 
 and thou, being a wild olive-tree', wert grafted 
 in among them', and with them partakest of the 
 root and fatness of the olive-tree/; boast not 
 against the branch ^es^. 
 
 5. Whatever contributes to promote and 
 strengthen the principles of virtue-; whatever 
 tends to calm and regulate the pas'sions', is 
 confessedly a source of hap^piness v 
 
 6. For, if ye forgive men their tresspasses', 
 your Heavenly Father will also forgive you\; 
 but if you forgive not men their tresspasses', 
 neither will your Father forgive your^ tres^- 
 passes v 
 
 7. Since the days that are passed, are gone 
 for ev'er, and those that are to come*, may not 
 come to thee*; it behoves thee to employ the 
 present time', without vainly regretting the loss 
 of that which is past', or too much depending 
 on that which is to comey 
 
 Note 2. — When the last word of these members are strongly 
 emphatic, the falling inflection is required. 
 
 8. If we have no regard for religion in 
 youths; we ought to have some regard for it in 
 age v 
 
232 EMPHASIS AND INFLECTION. 
 
 9. Hannibal being frequently destitute of 
 money and provisions/, with no recruits of 
 strength in case of ill fortune*', and no encou- 
 ragement even when success\ful%; it is not to be 
 won\dered\ at\, that his affairs began at length 
 to decline^. 
 
 10. Through faith, we understand that the 
 heavens were framed by the word/ of God\; so 
 that things which are seen/ were not made of 
 things that do appeai\. 
 
 11. By faith, Abraham, when he was called 
 to go out into a place which he should after re- 
 ceive for an inheritance', oheyed\; and he went 
 out/, not knowing whith^er he w 7 ent v 
 
 Note 3. — Where the curved lines of the parenthesis are 
 accompanied with a comma, or introduced without points, the 
 rising inflection should obtain : when, however, these curved 
 marks are accompanied with a semicolon, colon, or period, 
 they should have the falling inflection. 
 
 12. After dinner he retired (as was his cus- 
 tom',) to his bed-chamber, where (it is recorded',) 
 he slept quietly, for about a quarter of an 
 hour. 
 
 13. May the like serenity, (in such dreadful 
 circumstances' \) and a death equally glorious, be 
 the lot of all whom tyranny (of whatever de- 
 nomination or description') shall (in any age or 
 in any country') call to expiate their virtues on 
 the scaffold. 
 
EMPHASIS AND INFLECTION. 233 
 
 1 4. Then went the captain with the officers, 
 and brought the apostles without vi\olence % ; (for 
 they feared the people lest they should have 
 been stoned^:) and when they had brought them, 
 they set them before the coun\cil^. 
 
 RULE V. 
 
 When any member, or the successive members of a sen- 
 tence, consists of two corresponding clauses, the first in each 
 requires the rising and the second the falling inflection. 
 Thus : 
 
 1.1 n all stations and conditions, the important relations take 
 place, of master and servant, husband and wife, parents 
 and children, brothers and sisters, friends and enemies, 
 citizens and subjects, rulers and the ruled. 
 
 2. For I am persuaded that neither death, nor life; nor angels, 
 
 nor principalities, nor powers ; nor things present, nor 
 things to come; nor height, nor depth; nor any other 
 creature, shall be able to separate us from the love of 
 God, which is in Christ Jesus our Lord. 
 
 3. By honor and dishonor ; by evil report and good report ; as 
 
 deceivers, and yet true ; as unknown, and yet well known ; 
 as dying, and behold we live ; as chastened, not killed ; 
 as sorrowfid, yet always rejoicing ; as poor, yet making 
 many rich ; as having nothing, and yet possessing all 
 things. 
 
 4. In the swztebleness or ^suitableness ; the proportion or 
 
 disproportion of the affection to the object which excites 
 it, consists the pro/mety or impropriety of the action. 
 
 Note 1. — This mode of composition and intonation leads to 
 monotony ; and should, therefore, be avoided, or used very 
 sparingly. The intonation of such grammatical or anti- 
 thetic constructions, may be varied by giving the falling con- 
 
234 EMPHASIS AND INFLECTION. 
 
 crete instead of the rising, on the emphatic word ; and the 
 radical of such concrete should be raised a third or fourth 
 above the current, and the pitch of the voice should fall on 
 the subsequent clause. Thus : 
 
 1. 4 Csesar was celebrated for his great generosity ; 3 Cato for 
 
 his unsullied integrity. 
 
 2. If we have no regard for our character, 3 we ought to have 
 
 some for our interest. 
 
 3. 4 The power of delicacy is chiefly seen in discerning the 
 
 true merit of a work; 3 the power of correctness, in re- 
 jecting false pretensions to merit. 4 Delicacy leans more 
 to feeling; Correctness more to reason and judgment. 
 
 Note 2. — Any strong emphasis requires the falling inflec- 
 tion ; hence the upward movement must yield to the down- 
 ward, when the sentiment or emotion requires it. 
 
 The following sentences may be read with the rising or 
 falling inflection, according to the spirit or energy designed 
 to be given ; as, 
 
 4. Napoleon merits praise^ rather than dis\- 
 
 praise\. 
 Napoleon merits praise/, rather than dis^- 
 praisey 
 
 5. If you have no regard for religion in youth \, 
 
 3 you ought to have some respect for it in 
 
 age V 
 If you have no regard for religion in youth/, 
 
 you ought to have some respect for it in 
 
 age\. 
 
 6. God is not the author of sin\, 3 but of moral 
 
 ex\cellence v 
 
EMPHASIS AND INFLECTION. 235 
 
 God is not the author of sin/, but of moral 
 ex\cellence v 
 
 7. 1 would not go for condemning him\, 3 but 
 I will go for acquitting him N . 
 I would not go for condemning him^ 5 but 
 I will go for acquitting him^. 
 
 Note 3. — Some eminent elocutionists have laid it down as a 
 rule, that negative clauses should always have the rising in- 
 flection, and affirmative ones, the falling; even where the 
 negative comes last, or at the end of a sentence. We con- 
 ceive that negative clauses, or negation, may be intonated with 
 as much positiveness and energy, as affirmative ones, or affirma- 
 tion ; and, accordingly, we should be regulated by the spirit of 
 the sentiment and emotion, as also by the location of the 
 clauses. The period invariably requires the cadence in some 
 form, and never the rising inflection, except in the thorough 
 expression of interrogation. 
 
 8. A countenance more in sor\row\ than in 
 
 amger v 
 Or a countenance in sor/row', noft in 
 an\ger v 
 
 It should not be 
 
 A countenance more in sor\row\ than in 
 an/ger '. Or a countenance in sor\row v 
 not in an/ger 1 . 
 
 9. It was an enemy\ and not a friend^ who^ 
 
 did s \i K . 
 
 10. You were paid to JightS against Alexander, 
 not^ to raily aU him v 
 
236 EMPHASIS AND INFLECTION. 
 
 11. The duty of a soldier is to obey\ not v to di- 
 
 recty his, gen\eral v 
 
 12. I came to bur\y Caesar, not N to praise\ himy. 
 
 Note 4. — The words 6 friend,' 6 rail/ ' direct, 5 < praise, 5 may 
 have the rising concrete, because the falling may be used on 
 the words following them, to effect a cadence. Thus : 
 
 13. It was an en\emy\ and not a friendt, who y 
 
 did\ it v 
 
 14. You were paid to fight\ against Alexander, 
 
 not to rail/ at\ him v 
 
 15. The duty of a soldier is to obey\ not to di- 
 
 rect/ his gen\er^al v 
 
 16. I came to bu\ry Caesar, not to praise/ himy. 
 
 Note 5. — The following must be read according to Rule IV. 
 or as modified by the Emphasis, in order to give a cadence. 
 Thus: 
 
 17. Caesar deserves blame\ instead oifame\. 
 
 18. He is more knave\ 3 thanybo/\. 
 
 1 9. These things I say now, not to insult one 
 
 who isfal\len\, but to render more secure 
 those who stand v 
 
 20. The man who is in the daily use of ardent 
 
 spirits, if he does not become a drankyardy, 
 is in danger of losing his healthy and 
 charsacter^ 
 
EMPHASIS AND INFLECTION. 237 
 
 The last four examples may be read with a rising inflection 
 on the first emphatic word in each sentence. The student 
 should thus read them, but to be careful to commence the 
 radical part of the rising concrete a third, fourth, or fifth below 
 the Current Melody. 
 
 RULE VI. 
 
 The Penultimate Clause of a sentence should have the rising 
 inflection, unless overruled by the strong Emphasis. Thus : 
 
 1. By deferring our repentance, we accumulate our sorrows. 
 
 2. Ah, Richard ! with the eyes of heavy mind, 
 I see thy glory, like a shooting star, 
 
 Fall to the base earth, from the firmament. 
 
 3. But I have that within, which passeth show ; 
 These but the trappings, and the suits of wo. 
 
 4. Antithesis opposes words to words, and thoughts to 
 
 thoughts. 
 
 5. A loose sentence is a member containing perfect sense by 
 
 itself, followed by some other member or members, 
 which do not restrain nor modify its signification. 
 
 The following are instances in which the Emphasis rules 
 the inflection at the penultimate. 
 
 6. He was cast down, but not destroyed. 
 
 7. They were strongly tempted, but not overcome. 
 
 8. The notions of Dryden were formed by comprehensive 
 
 speculations ; those of Pope by minute attention. 
 
 9. Custom is the plague of wise men, and the idol of fools. 
 
238 EMPHASIS AND INFLECTION. 
 
 RULE VII. 
 
 The rising inflection should generally be placed before the 
 verb, where its nominative is separated from it. Thus : 
 
 1. The pleasures and honors of the world to come, are, in 
 
 the strictest sense of the word, everlasting. 
 
 2. Trials, in this state of being, are the lot of man. 
 
 3. < Who,' c which,' (when in the nominative case,) and 
 
 6 that,' when used for who or which, require a short 
 pause before them. 
 
 4. A member or clause coming between the nominative 
 
 case and its verbs, must be separated from both by a 
 pause ) as, such is the constitution of men, that ' vir- 
 tue? however neglected for a time, will ultimately be 
 acknowledged and respected. 
 
 5. A member or clause intervening between the verb and its 
 
 objective case, must be separated from both by a 
 pause ; as, A person possessing the faculty of dis- 
 tinguishing flavors in a very eminent degree, may, 
 after having tasted ten different kinds of tea, distin- 
 guish, without seeing the color of it, c the particular 
 sort' which was offered him. 
 
 6. The nominative case, when consisting of more than one 
 
 word, or of one word only when emphatic, must have, 
 when rhetorically read, a pause after it ; as, deeds of 
 valor, however heroic, may prove cold and tiresome. 
 The fashion of this world passeth away. To practice 
 virtue, is the sure way to love it. The FOOL hath 
 said in his heart, there is no God. 
 
 7. REFLECTION, is the guide to truth. ADVERSITY, 
 
 is the school of piety. 
 
 The 4th, 5th, and 6th examples above, are not only instances 
 illustrating the application of Rule V. but are three important 
 
EMPHASIS AND INFLECTION. 239 
 
 rules directing rhetorical pauses. They serve a double pur- 
 pose, — as examples, and as rules. 
 
 RULE VIII. 
 
 The falling Emphasis is required on any succession of em- 
 phatic words or particulars, with an increase of Force and 
 Interval, and a change of radical pitch on each successively. 
 Thus: 
 
 1. His hopes, his happiness, his very life, hung upon that 
 
 important moment. 
 
 2. Thou shalt love the Lord thy God, with all thy heart, 
 
 and with all thy soul, and with all thy strength, and 
 with all thy mind, and thy neighbor as thyself 
 
 3. He who is self-existent, eternal, omnipresent, omniscient, 
 
 and omnipotent, is likewise infinitely holy, just, good, 
 and merciful. 
 
 4. Watch ye, stand fast in the faith; quit ye like men, be 
 
 strong. 
 
 Note 1. — All emphatic repetition requires the falling Em- 
 phasis, and a gradual increase of Force and Interval, with a 
 change of radical pitch. Thus : 
 
 5. Jerusalem, Jerusalem, thou that killest the prophets, 
 
 and stonest them that are sent unto you, &c. 
 
 6. Verily, verily, I say unto you. 
 
 7. And the angel of the Lord called unto him out of heaven, 
 
 and said, Abraham, Abraham. And he said, here 
 am I. 
 
 8. What was it, fellow citizens, which gave to our Lafayette 
 
 his spotless fame? The love of liberty. What has 
 consecrated his memory in the hearts of good men ? 
 
240 EMPHASIS AND INFLECTION. 
 
 The love of liberty. What nerved his youthful arm 
 with strength, and inspired him in the morning of his 
 days with sagacity and counsel ? The love of liberty. 
 To what did he sacrifice power, and rank, and country 
 and freedom itself? To the love of liberty, protected 
 by laiv. Thus, the great principle of our revolution- 
 ary fathers, of our pilgrim sires, the great principle of 
 the age, was the rule of his life : The love of liberty, 
 protected by law. 
 
 Note 2.— When a word or thought is repeated, with a view 
 to keep it before the mind's eye, and to say something further 
 about it, it should have the rising inflection, with an increase 
 of force and interval, and rising pitch. Thus : 
 
 1. Newton was a Christian ! Newton! whose mind burst forth 
 from the fetters, cast by Nature on our finite conceptions. 
 Newton ! whose science was truth, and the foundation 
 of whose knowledge of it was philosophy. NEWTON ! 
 who carried the line and rule to the utmost barrier of 
 creation, and explored the principles by which, no 
 doubt, all created matter is held together and exists. 
 
 9 
 
 But where, in the rolls of history, where, in the fictions 
 of romance, WHERE, but in the life of Lafayette, has 
 been seen the noble stranger, flying, with the tribute of 
 his name, his rank, his affluence, his ease, his domestic 
 bliss, his treasure, his blood, to the relief of a suffering 
 and distant land, in the hour of the deepest calamity. — 
 (J. Q. Adams.) 
 
 3. I forbear to descant on those serious and interesting rites. 
 Rites! which, when engaged in with due devotion, 
 absorb the whole soul, and call every passion into exer- 
 cise. Inspiring Riles! which stimulate fear, rouse 
 hope, kindle zeal, quicken dulness, sharpen discernment, 
 exercise memory, inflame curiosity ! Rites! in short, in 
 
EMPHASIS AND INFLECTION. 241 
 
 the due performance of which, all the energies and 
 attentions, all the powers and abilities, all the abstrac- 
 tions and exertions, are concentrated to one point : a 
 point! in which the wise and the weak, the learned and 
 the ignorant, the sprightly and the dull, the rich and the 
 poor, meet on one common uniform equality : an 
 equality! as religiously respected in the solemnities in 
 which all distinctions are levelled at a blow, and of which 
 the very spirit is therefore democratical. 
 
 RULE IX. 
 
 When the sense of a sentence does not require force, nor 
 any very particular distinction, and is of a gay, sprightly, 
 poetical, affectionate, or plaintive style or character, the rising 
 inflection is required. 
 
 1. Were we united to beings of a more exalted order, — 
 
 beings whose nature raised them superior to misfor- 
 tune ; placed them beyond the reach of disease and 
 death, who were not the dupes of passion and preju- 
 dice ; all of whose views were enlarged ; whose good- 
 ness was perfected ; and whose spirit breathed nothing 
 but love and friendship ; — then would the evils of 
 which we now complain, cease to be felt. 
 
 2. All the oriental lustre of the richest gems ; all the en- 
 
 chanting beauties of exterior shapes • the exquisite of 
 all forms; the loveliness of color; the harmony of 
 sound ; the heat and brightness of the enlivening sun ; 
 the heroic virtues of the bravest minds ; with the 
 purity and quickness of the highest intellect ; — all are 
 emanations from the Supreme Deity. 
 
 11 
 
242 EMPHASIS AND INFLECTION. 
 
 General Rule. 
 
 In all Loose, Complex, and Compound Sentences whatever, 
 whose members, clauses, and phrases which have the sense in- 
 complete, or are dependent on something following, should 
 have the rising inflection; and all those which have the sense 
 finished and completed, or are independent of any thing that 
 follows, require the falling inflection.* 
 
 1. Nothing is more becoming in the eyes of man, or dignified 
 in human nature, than a strong and steady piety; but 
 bigotry seems the utter weakness of man ; it exposes the 
 professor to the scorn of the infidel. 
 
 2. When our patriot fathers met, 
 In the dark and trying hour, 
 While the arm of Britain yet, 
 Pressed us with its weight and power; 
 Still they dared to tell the foe, 
 They were never made for slaves; 
 Still they bade the nations know, 
 They were free as ocean's waves. 
 
 Note 1. — The Base Independent, and Absolute, and the 
 Infinitive Mood, with their adjuncts, require the rising inflec- 
 tion, according to the first part of this rule. 
 
 4. Spirit, leave thine house of clay; 
 Lingering dust, resign thy breath; 
 
 *In this rule we have embraced the two great important particulars, which 
 are the grand governing principles in nearly all the rules regulating the inflec- 
 tions of the voice, at the end of members and smaller sections of sentences. 
 They are very comprehensive, and should, therefore, be well understood : and 
 when once understood so as to be carried into practice, they will greatly aid the 
 reader and speaker, in giving him a clear and extensive view of the sensific 
 relations of the different members, clauses, and phrases of sentences ; and also, 
 of the force and power of language. 
 
EMPHASIS AND INFLECTION, 243 
 
 Hark! the judgment trumpet calls; 
 Soul, rebuild thy house of clay; 
 Spirit, cast thy chains away; 
 Dust, be thou dissolved in death; 
 3 Immortality, thy walls, 
 Eternity, thy day. 
 
 4. To be pure in heart — lowly in spirit — benevolent to the 
 needy- — and of a deep-abiding piety, secures a large portion 
 of human happiness. 
 
PAUSES. 
 
 Pauses in speech are, to sentences, what Aspiration is to 
 respiration, — the time for taking breath. Words in speech are, 
 to sentences, what expiration is to respiration, — the expulsion 
 of breath. 
 
 Hence, sentences must be cut up into sections by pauses or 
 rests, to allow time for inspiration or taking breath. Words 
 can be pronounced only during expiration, and pauses made 
 during inspiration. Therefore, Pauses in speech and reading, 
 are used for inspiration, and words for expiration. The 
 proper management of inspiration and expiration, (or of breath- 
 ing,) in the process of intonation, is of the very utmost im- 
 portance to a reader or public speaker. 
 
 Pauses are again necessary to present to the eye of the 
 reader, and to the ear of the hearer, an idea of the connection 
 of our thoughts, as more or less intimate, and aid greatly in 
 determining the true sense and import of the sentence. Per- 
 spicuity in language, is greatly dependent on the proper 
 observance of all the requisite pauses. Therefore, the student 
 should pay very considerable attention to them. 
 
 With a view to present them more clearly to the eye and 
 mind, we will enumerate them in the following order, 
 
 I. Grammatical or Sensific Pause. 
 II. Rhetorical or Emphatic Pause. 
 
 III. Paragraphic Pause ; and 
 
 IV. Cesural Pause. 
 
 I. The comma (,), semicolon (;), colon (:), and period (.), as 
 well as the notes of interrogation (?) and exclamation (!), as 
 also the dash ( — ), parenthesis (()), and quotation marks (" "), 
 are pauses which divide composition or discourse into sen- 
 tences, and these again into smaller sections, some of which, 
 at times, consist even of a single word. These pauses, repre- 
 sented by these graphic characters, are called Grammatical, be- 
 cause the rules by which they are applied in composition, are 
 contained in, and constitute a part of our systems of grammar. 
 The very great importance of these points renders it impera- 
 tive on us, to study them carefully, and consider them with 
 close attention ; for a disregard of them in reading, and a mis- 
 
pauses. 245 
 
 application of them in punctuating, will, even in a comma, 
 very frequently destroy the sense completely, or change it 
 into something very different from what it should be. These 
 points are used to divide a composition into sentences, and 
 then, again, these sentences into smaller portions, in such a 
 manner as to show the relations existing between them, either 
 proximate or remote ; and thus to determine the true meaning 
 and import of the composition. 
 
 In the following examples, the pausal points are intention- 
 ally misplaced, so as to illustrate the destructive effect of this 
 misapplication of them, on the sense or import of the sen- 
 tences. 
 
 " Whereas a delivery, attended with acquired grace, and 
 beauty if it be not easy, and free if it betray marks of art, and 
 affectation never fails to disgust." 
 
 "He ought to be then, quite in earnest wholly ; occupied 
 with his subject, and his sentiments leaving native and pre- 
 viously formed habits to prompt, and suggest this manner of 
 delivery." 
 
 When the above sentences are read as they are here punc- 
 tuated, and they do not make complete nonsense, the sense of 
 them is, at least, very much changed, and so much doubt, un- 
 certainty, and obscurity thrown over them, that their true 
 meaning cannot be clearly recognised. 
 
 The points are properly placed in the same sentences be- 
 low, and the meaning is thereby brought out, with great per- 
 spicuity. 
 
 1. " Whereas a delivery, attended with acquired grace and 
 
 beauty, if it be not easy and free, if it betray marks of 
 art and affectation, never fails to disgust." 
 
 2. " He ought to be then quite in earnest ; wholly occu- 
 
 pied with his subject and his sentiments ; leaving nature, 
 and previously formed habits, to prompt and suggest his 
 manner of delivery." 
 
 Thus it will appear, that the notation by the points of punc- 
 tuation, are greatly contributive in determining the true sense 
 
246 RHETORICAL PAUSE. 
 
 of any passage, and may, therefore, also be called sensific (or 
 sense making.) A proper and graceful adjustment of these 
 pauses, is one of the nicest and most difficult points in the art 
 of intonation. In all public speaking and reading, the man- 
 agement of the breath requires a great deal of care, so as not 
 to be obliged to divide words from each other, which have so 
 intimate a connection that they ought to be pronounced with 
 the same breath, and without the least separation. Many a 
 sentence is miserably mangled, and the force of it totally lost, 
 by divisions being made in the wrong places. To avoid this, 
 every one, while he is speaking, should be very careful to pro- 
 vide himself with a full supply of breath for what he is to 
 utter. It is a great mistake, to imagine that the breath must 
 be drawn only at the end of a period, when the voice is 
 allowed to fall. It may easily be gathered at the intervals 
 between the periods, when the voice is only suspended for a 
 moment ; and by this management, one may always have a 
 sufficient stock for carrying on the longest sentence, without 
 improper interruption. Study the rules and application of 
 punctuation well ; for much will depend upon a proper know- 
 ledge of this part of elocution. Study it in different systems 
 of grammar. 
 
 II. Rhetorical or Emphatic Pauses, are those rests which are 
 employed in rhetorical intonation, for the purpose of aiding 
 in the execution of Emphasis. 
 
 I. Rule J or placing the Rhetorical Pause. 
 
 A Rhetorical Pause should be placed immediately before or 
 after some word of peculiar importance, or on which we wish 
 to fix the hearer's attention ; while, at the same time, also, it 
 gives a little more time to fLX the thought more intently upon 
 the subject. The pause before awakens curiosity, and excites 
 expectation ; and after, it rolls back the mind to what was last 
 said. 
 
 This pause being closely connected with Emphasis, is sub- 
 ject to the same rule which regulates it, and should, therefore, 
 not be repeated too frequently. For as it excites strong emo- 
 tion, and, of course, raises expectation, if the importance of 
 the matter be not fully answerable to such expectation, it 
 occasions disappointment and disgust. 
 
 All that passes in the mind may be reduced to two classes, 
 which may be called Ideas, and Emotions. By ideas, we mean 
 all thoughts that rise and pass in succession through the mind ; 
 
RHETORICAL PAUSE. 247 
 
 by emotions, all the effects produced on the mind by those 
 ideas, from the more violent agitation of the passions, to the 
 calmer feelings produced by the operation of the intellect and 
 fancy. In short, thoughts are the objects of the one, internal 
 feelings of the other. That which serves to express the for- 
 mer, we call language of ideas : that which serves to express 
 the latter, the language of emotions. Words are the signs of 
 our ideas ; tones and emphasis are the signs of our emotions. 
 Without these two sorts of language, it would be impossible to 
 communicate to the ear, all that passes in the mind. Hence, 
 then, the Rhetorical or Emphatic Pause, in the hands of a 
 master, is a ready and efficient means of great power. Its 
 effects may be understood in the following examples; — 
 
 As emphasis, or a word of some importance regulates the 
 placing of this pause, there is hardly any necessity for giving 
 other rules to assist in locating it. But, notwithstanding this, 
 we think the following direction or rule, as very extensively 
 applicable, and therefore useful. 
 
 II. Rule. 
 
 A Rhetorical Pause should generally be placed before the 
 verb, where the nomination consists of more than one word, 
 or is separated from the verb by intervening words ; or where 
 the nomination immediately precedes the verb, and is emphatic 
 or of importance, even though consisting of a single word 
 only, a pause should also be made. 
 
 Examples. — The Pause is marked by a dash, — 
 
 1. To practice virtue — is the sure way to love it. 
 
 2. To be constantly employed in laudable pursuits — is cha- 
 
 racteristic of a wise man. 
 
 3. To be virtuous — is to be happy. 
 
 4. The fashion of this world — passeth away. 
 
 5. The pleasures and honors of the world to come — are, in 
 
 the strictest sense of the word, everlasting. 
 
 6. The fool — hath said in his heart, there is no God. 
 
248 PARAGRAPHIC PAUSE. 
 
 7. Industry — is the guardian of innocence. 
 
 8. Adversity — is the school of piety. 
 
 9. Vice — is a monster of so frightful mien, 
 For to be hated, needs but to be seen ; 
 Yet seen so oft, familiar with her face, 
 
 We first — endure, then — pity, then — embrace. 
 
 10. Let not a moment — give you any hope, 
 
 1 1 . Man — will wrangle for religion ; — write for it :— fight for 
 
 it 3 — die for it ; — any thing but — live for it. 
 
 12. Prosperity — gains friends, adversity — tries them. 
 
 13. Some — place the bliss in action, some — in ease ; those — 
 
 call it pleasure ; and contentment — these. 
 
 14. Death is the season — which brings our affections to the 
 
 test. 
 
 15. To err — is human, to forgive — is divine. 
 
 16. The vain man takes praise for honor; the proud man — 
 
 ceremony for respect ; the ambitious man — power for 
 glory. 
 
 17. The pleasures of the imagination, taken in their full ex- 
 
 tent, — are not so gross — as those of sense, nor so re- 
 fined — as those of the understanding. 
 
 III. Discourse on written composition is generally broken 
 up into different portions, consisting of one, or a greater num- 
 ber of periods, and generally marked by a break in the com- 
 position, with an indentation of the left marginal line of a 
 page, and called Paragraphic portions, or Paragraphs. 
 
 The pause that indicates the transition from one of these 
 portions to another, may, with propriety, be called the Para- 
 graphic Pause. As it is a pause which requires rather more 
 time than the period, yet not to be distinguished by it, (time,) 
 
CESTJRAL PAUSE. 249 
 
 it must be distinguished by other particulars, necessary to be 
 observed in reading and speaking. These are, 
 
 First, The voice falls into it by the use of a Prepared or 
 Full Cadence ; and 
 
 Second, It should rise out of it, by commencing the follow- 
 ing paragraph with the use of one or more of the following 
 particulars : 
 
 1. A change in the pitch of the voice. 
 
 2. An alteration in the rate of the voice. 
 
 3. An increase of force. 
 
 4. An abatement of the previous force. 
 
 5. A change in the phrases of melody. 
 
 After the paragraphic pause, we have a convenient occa- 
 sion furnished us to make an appropriate and agreeable transi- 
 tion, and give a pleasant variety to the melody. The student 
 should frequently read, with a view to acquire a pleasant, easy, 
 and graceful transition ; and practice until it becomes natural, 
 yes, NATURAL. 
 
 IV. In reading verse, there is a peculiar difficulty in making 
 the pauses justly. This difficulty arises from the melody of 
 verse, which differs from that of prose, and which dictates to 
 the ear, pauses peculiar to its own melody. To adjust and 
 compound these properly with the grammatical pauses or 
 pauses of sense, so as neither to hurt the ear, nor offend the 
 understanding, is so very nice a matter, that it is no wonder 
 we so seldom meet with good readers of poetn^. This kind of 
 pause, which seems to arise out of the very nature of verse 
 itself, is called the Cesural Pause, (which signifies to cut or 
 divide,) and is exclusively used in reading verse. It is not, 
 however, essential to all kinds of verse; since that there are 
 shorter kinds of measure, which do not require it; and this 
 arises from the shortness of the lines : but in all our blank and 
 rhyming verse, consisting of three or more feet, or six or more 
 syllables, it can never be omitted without destroying the 
 euphony, and marring the sense. 
 
 This poetic pause divides every line of poetry into two 
 ■11* 
 
250 CESURAL PAUSE. 
 
 parts, more or less equal : it is generally placed near the 
 middle, though it may be put between any two words in a 
 line. Where the construction of the verse is such that the 
 cesura coincides with the grammatical pause, the line can be 
 read with great ease, as in the following : 
 
 Ye nymphs of Solyma ! begin the song ; 
 
 To heavenly themes, sublimer strains belong. 
 
 But if the structure of the line is not such as above described, 
 the cesura must be placed where it will best subserve the 
 sense. The cesural pause is noted by three points in the fol- 
 lowing : 
 
 1. Thy parent hand . . . thy forming skill, 
 Firm fix'd . . . this universal chain ; 
 Else empty, barren darkness . . . still 
 Had held ... his universal reign. 
 
 2. Oh thou eternal One ! . . . whose presence bright 
 All space doth occupy, ... all motion guide ; 
 Unchanged . . . through time's all devastating flight ; 
 Thou only God ! . . . There is no God beside ! 
 Being above all beings ! . . . Mighty One ! 
 Whom none can comprehend, . . . and none explore; 
 Who fill'st existence . . . with thyself alone : 
 Embracing all . . . supporting — ruling o'er — 
 Being . . . whom we call God — and know no more. 
 
 The neglect of the cesura is one of the principal causes of 
 that bungling and inharmonic manner of reading verse which 
 we so frequently hear from those of whom we should expect 
 better. 
 
 There is another poetic pause, called by authors the final 
 pause, which is intended to be placed at the end of every line 
 of verse, and which is thought to aid in reading this kind of 
 composition; but when properly examined, and duly con- 
 
CESURAL PAUSE. 25 1 
 
 sidered, it may not be needed ; since that the close observance 
 of the grammatical and rhetorical pauses at the end of every 
 line in verse, will be found to be all that is necessary to de- 
 velope the true sense and sentiment of the Poet's strains. 
 
 Ml the Elements of Expression, in their single and combined 
 action in the production of the various kinds of Emphasis, 
 Qualities of Voice, Waves, Measures of Speech, Transitions, 
 Drifts, Melodies and Pauses, that are intended to be observed 
 in reading Prose, should be equally applied in the reading of 
 Verse. There is this only difference in the intonation of 
 poetry from that of prose ; the use of the Cesural Pause, which 
 cannot be brought into requisition in prose, from its exclusive 
 applicability to verse ; as, also, the predominance in verse of 
 either the Common or Triple time measure of speech. These 
 are the only two particulars which distinguish the intonation 
 of Poetry from Prose. The balance of the difference consists, 
 not in intonation, but arises out of the mechanical construction 
 of the sentences ; — the more or less regularity of the rhythm in 
 verse, and the great irregularity of it in prose. 
 
 It may be well here, again, to caution the student of the 
 danger, in reading or reciting verse, of a too great uniformity 
 in the employment of some phrase of melody, and of a too 
 frequent return to the same pitch and concrete, (either rising 
 or falling,) at the ends of the lines, producing a very disagree- 
 able monotony. Avoid it if possible. 
 
 It will often require great care and particular attention, on 
 the part of the student, to rid himself of the bad habits of 
 reading verse, acquired in early life. In view of the kind of 
 instruction usually given to children in our schools, and of the 
 real difficulties attending the reading of verse, it is, perhaps, 
 not remarkable, that so few read well. 
 
 All these several pauses are singularly, yet admirably com- 
 bined and applied in the exercises of Scortno, which is very 
 particularly described in the section devoted to the elucidation 
 of the Measures of Speech, to which we now refer the 
 student. 
 
 And there are suns ! . . . vast, central, living fires,- 
 Lords of dependent systems, . . . kings of worlds, 
 That wait as satellites, . . . upon their power, 
 And flourish in their smile. . . . Awake, my soul, 
 
252 CESURAL PAUSE. 
 
 And meditate the wonder ! . . . Countless suns 
 
 Blaze round thee, . . . leading forth their countless worlds ! 
 
 Worlds, in whose bosoms . . . living things rejoice, 
 
 And drink the bliss of being . . . from the fount 
 
 Of all-pervading Love. 
 
MEASURE OF SPEECH. 
 
 Rhythmus, or Measure of Speech, is a subject of very high 
 importance ; as it is connected with the physiology of the 
 action of the heart, of respiration, and of speech. The 
 health of public speakers will, in a great measure, depend 
 upon the comprehension and application of the principles 
 involved in this part of elocution. Since that a frequent 
 violation of the laws comprised in this subject, will inevitably 
 be destructive to the health of the constitution. Public speak- 
 ing may be made a healthful exercise, if properly conducted ; 
 but of most pernicious tendency, particularly if of delicate 
 constitution, and prosecuted against the laws of nature. 
 
 It would seem that there is a very general law observable 
 in the nature of action ; namely, that of Impulsion and Re- 
 mission. These enter into almost all kinds of action as it 
 exists in nature. Ordinary Winds, Hurricanes, Thunder- 
 storms, Meteors, Auroras, Pain, Disease, Walking, the Action 
 of the Heart, Respiration, and Speech, are all instances of 
 action and remission of action, as exemplified in the common 
 course of nature. Some of these are destructive of the life 
 and happiness of man : others are conducive to the being, 
 health, and preservation of him. 
 
 Life and Health are dependent upon the relative action of 
 the Heart, Respiration, and Speech ; and without a regular 
 and relative proportion of action in the organs performing 
 these, there can be no healthful, unoppressed functions per- 
 formed in either. There must be a regular proportion of 
 action between the heart and lungs, (the organs of circulation 
 and respiration,) in order to secure a natural and easy move- 
 ment in each : and this proportion is regulated by the quantity 
 of blood and air brought into the lungs by every pulsation of 
 the heart, and by every act of respiration. This relation may 
 be determined by the number of pulsations the heart makes in 
 a minute of time, and the number of times a healthy man 
 breathes in a minute. It is found by observation, as well as 
 by experiment, that a man ordinarily breathes about twenty or 
 twenty-four times in a minute ; and that his heart beats or 
 pulsates about seventy or eighty times in the same period. 
 Now, from these observations, it appears that there are about 
 four pulsations of the heart for every time a man breathes ; 
 
254 MEASURE OF SPEECH. 
 
 and this may be said to express the relative proportion of 
 action in the two organs. Hence, in order to secure a health- . 
 ful action in the heart and lungs, this proportion, or nearly so, 
 must be preserved. 
 
 The Lungs are the organs in which a very important func- 
 tion is performed, — the arterialization or decarbonization of 
 the blood; that is, in other words, the venous blood, is 
 changed into arterial ; or, the dark, carbonacious, or impure 
 blood in the veins, is purified from its carbon or impurity, and 
 changed into that crimson-colored blood found in the arteries; 
 and this is effected by the action of the lungs through the 
 breath or air brought into them by breathing ; and this impu- 
 rity, thus separated from the blood, is carried off by the ex- 
 pired air. In order that this function may be regularly per- 
 formed in a healthy manner, and in due proportion, a certain 
 quantity of atmospheric air is required, which must be sup- 
 plied by breathing or inspiration. The relative quantities of 
 air and blood, conveyed to the lungs by the pulsation of the 
 heart and the action of breathing, are in the proportion of 
 four pulsations to one breath. Hence, then, a certain quantity 
 of atmospheric air is indispensably necessary in the lungs, to 
 depurate, purify, or vivify a certain quantity of blood, and this 
 proportion of quantity is expressed by four beats to one breath. 
 
 There is, also, another law of relation existing between 
 Respiration and Speech. As respiration is but an impulsion 
 and remission, constituting expiration and inspiration, so is 
 speech divisible, also, into an impulsive and remissive action 
 of the voice. Speech, then, corresponds in this respect, to a 
 heavy or accented syllable, and to a light or unaccented one ; 
 and these are performed by one general effort of the voice, as 
 in accentuation. The heavy and light sounds in speech, in 
 immediate succession, are exemplified in the pronunciation 
 and accentuation of words ; as* 
 
 happy, picture, happily, century, spiritual, spiritually. 
 
 Now, since the Larynx is the primary organ of voice, and 
 a compound one, too, it performs the function of an air-tube, 
 and of a musical instrument. As an air-tube, it is conducive 
 to respiration ; and, as a musical instrument, it is subservient to 
 speech. By a beautiful law of relation, a perfectly undis- 
 turbed respiration is compatible with the flow of energetic dis- 
 course. But this law requires the division of continued 
 speech into rhythmical portions, called Measures of Speech. 
 
 *■ This mark (" ) over a vowel indicates the accented, and this ( " ) the unac- 
 cented syllable. 
 
MEASURE OF SPEECH. 255 
 
 Since, during speech, there can be no inspiration, it follows 
 that speech must be so regulated and divided, as not to inter- 
 fere with the function of respiration and arterialization, or it 
 will be, in proportion to its interference, injurious to them 
 and destructive of health. Now, if it is a fact, that speech 
 is regulated by rhythmical measures, no interference need be 
 offered to the process of respiration : since that, by the pauses 
 necessarily marked out in Scoring, and regularly observed in 
 reading and speaking, there never can be any inconvenience 
 experienced from a want of breath. And if intonation be 
 conducted on the principles of prosody explained in this sec- 
 tion, and clearly set forth in the examples, it will be found, 
 where no actual disease exists in the lungs, a healthful and 
 invigorating exercise, as well as greatly conducive to the 
 safety of the lives of those whose duty it is to speak fre- 
 quently in public. 
 
 From a consideration of the nature of the relations existing 
 between respiration and speech ; it follows that the exercise 
 of the latter, necessarily implies the action of the former; and 
 since that speech cannot be produced during inspiration, but 
 only in expiration, it follows, also, that speech must be cut up 
 into portions by pauses, to afford time for inspiration. 
 
 If these remarks are true, (and there can be no doubt of 
 their truth,) they demonstrate that the Measures of Speech, 
 with the included pauses, as they are about to be described 
 and illustrated, have their origin in the related action of the 
 heart, lungs and speech. For speech, respiration, the circula- 
 tion of the blood through the lungs, arterialization, and the 
 action of the heart, must all move harmoniously together ; and 
 the action of the larynx, in the production of speech, is re- 
 lated more or less intimately to all of them. The moving- 
 powers of respiration and speech, are identically the same ; 
 and these, again, are closely connected with arterialization 
 and circulation ; and the action of the heart, too, is greatly 
 influenced by them. Hence, then, they are all inseparably 
 connected with each other, and dependent upon respiration. 
 And since that speech is but a modification of respiration, it 
 will be indispensably necessary, so to regulate it, as not to 
 interfere too much with respiration, or so as not to disturb the 
 influx and efflux of air necessary, at regular intervals, to de- 
 purate the vital fluid or aterialize the blood, upon which the 
 health of the whole system is dependent. 
 
 The law of speech, which is here explained, is a series of 
 laws, bearing a common relation to each other, and to the vital 
 functions of the whole body. It will also be found, in addi- 
 
256 MEASURE OF SPEECH. 
 
 tion to the facts already stated, that the pauses, now to be 
 marked out, cannot be neglected without injury to the har- 
 mony and the sense. In other words, that speaking which is 
 regulated by measure, and the consequent exact observation of 
 the rests, is most agreeable and most intelligible, as well as 
 most consonant to health. If a frequent omission of pauses 
 be made,, the sense will be involved in obscurity. Here, too, 
 we see the beautiful result of those related laws of the living 
 system, by the combined effect of which, a series of curiously 
 complicated, and often apparently interfering functions, pro- 
 ceed together for the benefit of the whole. 
 
 Measure is most easy to this speaker, and, by the beautiful 
 law of relation, it constitutes a prosody grateful to the hearer ; 
 for the speaking, which is easy and harmonious, is also most 
 intelligible. The pauses which are required for easy respira- 
 tion, and for the harmonious flow that delights the ear, disen- 
 tangle the sense, and enable the mind to perceive the relations 
 of thought with facility and clearness. 
 
 But here we may remark, there are objectors, who will urge, 
 that if this system were true, it would be natural to speak in 
 perfect measure. All persons who speak agreeably and with 
 ease, and we now and then hear such, do, for the most part, 
 speak by measure. But we admit, most do not; and we assert, 
 that all who do not, speak with great inconvenience and labor 
 to themselves. We maintain against all the admirers of 
 natural faults, and the decriers of artificial excellence, that it 
 is not natural to do any thing well which is liable to disturb- 
 ance from ignorance, and from the irregularity of the will, 
 and, consequently, from faulty habits. The action of the 
 organs of voice is voluntary, but the circulation is not; hence 
 the latter is liable to disturbance from the former, by the 
 causes just stated, which is not the case with the other. Sim- 
 plicity in thought and expression is not natural. The power 
 of saying just what is proper in an argument, and no more, is 
 not natural: ease, and grace of execution, in any art, is not 
 natural : the art of speech is among the number. The fine 
 arts do not look to what is natural alone, but to what is beauti- 
 ful and agreeable. Their principles are founded on the appro- 
 bation of taste, and not on the habits of the multitude. In all 
 matters in which choice or taste is to be exercised, it is not 
 the concern of philosophy to defend what is, but what ought 
 to be. 
 
 It may be here suggested, how important it is to attend to 
 accent and pauses, for they must be considered as fundamental 
 
MEASURE OF SPEECH. 257 
 
 points in the art of reading and speaking;, to secure an easy, 
 harmonious, and intelligible delivery. The habit of reading 
 and speaking, with attention to them, is very rare, though 
 health, ease of speaking, and a clear picture of the sense of 
 what is read or spoken, require it. We, therefore, have 
 thought it best to teach the art of reading as writing is taught, 
 that is, by setting copies for the pupil. Those copies will im- 
 prove him, if he be attentive, to score for himself: they will 
 fix the habit of right reading, — a habit he will never lose, — 
 and which will be found of immense importance to his future 
 health and comfort. 
 
 Now, with a view to make this matter more definite and 
 practical, let us mark this fact, that speech consists of a succes- 
 sion of accented and unaccented syllables. And from this 
 peculiarity in speech, it may be very easily divided into rhyth- 
 mical measures, or accentual sections ; each section having an 
 accented and an unaccented portion in it — the accented portion 
 always beginning the section : as, 
 
 I Full of I beau-Xy j and of I life. I 
 
 These rhythmical sections of speech correspond exactly to 
 the impulsive and remissive function of the voice ; the impul- 
 sive is placed on the accented, and the remissive on the unac- 
 cented portions of the measures. Hence, then, a measure of 
 speech, as it relates to the voice, may be described to be an 
 impulsive and remissive effort of the voice : and 
 
 A measure of speech, in relation to a sentence, may be said 
 to consist of one, or any greater number of syllables, not ex- 
 ceeding five, uttered by an impulsive and remissive effort of 
 the organs of speech. 
 
 An imperfect measure of speech consists of one, in which 
 either the accented or unaccented portion of the measure is 
 left out, and filled up by this character, (7,) which indicates a 
 pause or rest. 
 
 Bars ( | | ) are symbols employed to distinguish and sepa- 
 rate one measure from another : the time being calculated from 
 one bar to another, is actually, or is supposed to be, equal in 
 speech as in music. A bar may contain an imperfect measure, 
 the accented or the unaccented portion being omitted j and the 
 time of it, in this case, is made up and completed by a rest, 
 indicated by this symbol, 7. 
 
 A single syllable may constitute a measure; for it may be 
 extended by its quantity over a full measure; the first portion 
 
258 MEASURE OF SPEECH, 
 
 may be the radical, and the second the vanishing part of the 
 concrete placed on the syllable. 
 
 | Roll' | on' j 7 thou | deep [ 7 and | dark' I blue I ocean I 7 7 I 
 roll'. | 
 
 The syllables, ' roll,' -'on,' 'deep, 5 'dark, 5 ' blue,' are all 
 spread over the time of a full measure ; their quantity admit- 
 ting of the impulsion and remission of the voice, as clearly as 
 if each word consisted of two written syllables. All syllables 
 of indefinite quantity may be so pronounced as to constitute a 
 perfect measure, or not, at the will of the speaker. The heavy 
 or accented portion of a measure cannot be extended over 
 more than a single syllable ; because, if two or more consecu- 
 tive syllables are accented, there will unavoidably be a remis- 
 sive action at the termination of each ; and, therefore, but one 
 impulsive effort can be made on one measure ; whereas, the 
 remissive action of a measure may be subdivided into as many 
 as four quotional parts. 
 
 A Scheme of the Different Measures. 
 
 I. The Emphatic Measure consists of but one syllable, which 
 must be long quantity ; as 
 I spire. [ 
 
 II. The Common Measure consists of two syllables ; as, 
 I spir'-it, I — I ful'-ly. | 
 
 III. The Triple Measure consists of three syllables ; as, 
 I spir'-it-ed, | — | com'-e-dy. | 
 
 [V. The Quadruple Measure consists of four syllables ; as, 
 I spir'-it-u-al, | — | com'-fort-a-ble. | 
 
 V. The Accelerated Measure consists of five syllables; as, 
 ] spir'-it-u-al-ly, | — | ju'-di-ca-to-ry. | 
 
 VI. The Imperfect Measure has either the accented or the 
 unaccented portion of it wanting, and this place sup- 
 plied by the symbol for a rest ; as, 
 
 j 7 in|com'-par-a-bly | quick'. 7 | 
 
MEASURES OF SPEECH. ' 259 
 
 It may be observed, that in the Emphatic Measure of Speech 
 the impulsive and remissive actions of the voice are executed 
 on the long drawn time of a single syllable, made by the Loud 
 Concrete or by the Wave. But it will be seen that the Com- 
 mon Measure is divided into two portions ; the first accented, 
 and the second unaccented ; as, 
 
 1 tem'-per, [ — ] Gt'-ful | 
 
 The Triple Measure is divided into three portions by three 
 syllables ; the first heavy, and the other two light ; the latter 
 dividing the remissive action between themselves ; as, 
 
 | spir'-if-ed, | — ] tem'-po-ral. \ 
 
 The Quadruple Measure is divided into four portions ; but 
 the remissive action is subdivided into three parts, by the last 
 three syllables of the measure ; as, 
 
 ] spir'-i£-w-aZ, | — | com' -fort-a-hle. | 
 
 And the Accelerated Measure, being divided into two por- 
 tions by the impulsion and remission of the voice, has its 
 remissive portion still further divided into four quotional 
 parts; as, 
 
 | spir '-it-u-al-ly, | — | h£-u-ra-tive-ly. | — | 7 hi the \ 
 sec'-ond | ceri-tu-ry of the \ Chris'-tian | e'-ra. | 
 
 More than five syllables cannot be crowded together into 
 one measure. Milton and Shakspeare have never, so far as 
 we know, employed, in any of their lines, more than four 
 syllables in a measure. 
 
 The human voice and ear are so constituted as to require a 
 variety in the force of the successive syllables of a sentence. 
 Take any sentence whatever, and, whether there be emphatic 
 words or not, this will be seen to obtain. 
 
 I Nathan I said unto I David. I 
 
 | 7 He | went into the | land of | Nod. | 
 
 | Come unto J me I all I ye that | labor I 7 and are I heavy I 
 
 I laden I 7 and I I will I give you | rest. I 
 j 7 It is | false, 7 | Sir, 7 | utterly | false. | 
 
260 MEASURES OF SPEECH. 
 
 It should be particularly observed, as well as remembered, 
 that monosyllables, when coming in immediate succession in a 
 sentence, or mixed with other words of greater extent, do 
 readily receive accent, as well as some one syllable in every 
 word other than a monosyllable. 
 
 Accent distinguishes syllables from each other ; emphasis, 
 words. Hence, every word of two or more syllables, must 
 always have one of them accented, to distinguish it from the 
 rest : to give unity to the word, and facility to its utterance. 
 Emphasis is used to distinguish one word from another, or 
 others, (as the case may be,) to direct and determine the 
 proper and intended acceptation of the sense and sentiment 
 of the sentence. 
 
 I I will go I with you I if you delsire it. I 
 
 | Back 7 | 7 to thy | punishment [ 7 7 I false 7 I fugitive. | 
 
 A glance at these two lines will suffice to demonstrate an 
 important point, in reference to accent and emphasis. The 
 upper line exemplifies accent without emphasis ; and the 
 second, exhibits emphasis including accent ; since that empha- 
 sis cannot be placed on any word or syllable without, at the 
 same time, accenting it. Let the student repeat the second 
 sentence, giving to the emphatic syllables (which are here 
 italicised) the low, inexpressive intonation of a tone, and he 
 will directly find that these words, or syllables, will lose their 
 emphatic distinction, and assume the less important rank of 
 the accent only. For it should be said that accented sylla- 
 bles are not all emphatic, but the emphatic are always 
 accented. Emphasis may, however, change the accent from 
 one word to another, at the desire or intention of the 
 speaker. 
 
 1. I /will I walk with him. I — That is, not you will walk with him, 
 
 but I. | 
 
 2. | 7 I I will I walk with I him. I — That is, I am determined to walk 
 
 with him. I 
 
 3. I /will walk I with him, I — That is, not ahead of him, but by 
 
 him. I 
 
 4. | J will I walk with him. I — That is, not ride with him. I 
 
 5. I J will I walk with I him. I — That is, not with her. I 
 
MEASURES OF SPEECH. 261 
 
 In the fourth example the accent is not changed from that 
 of the first, but the word ' walk' is made emphatic to indicate 
 the different intention of the speaker. In the second, third, 
 and fifth lines, unaccented words are accented by placing the 
 emphasis on them, to show the power of emphasis in changing 
 the accent, as well as to exhibit the true or different inten- 
 tions of the speaker. 
 
 Pauses, in speech, are necessary to give time for breathing ; 
 for speech cannot be continued long without being interrupted 
 by the want of breath. Pauses are of various lengths ; some 
 taking up a whole measure, or even more ; others taking only 
 half a measure. The following rules and examples will serve 
 to illustrate their employment in speech. 
 
 I. Two or more accented syllables of long quantity, follow- 
 ing in immediate succession, are generally extended over the 
 time of a whole measure ; yet, at the option of the speaker 
 or reader, or, if the sense requires it, a pause may be made on 
 the unaccented portion of the measure ; as 
 
 I Rocks, I caves, I lakes, I fens, I bogs, I dens, and [ shades of I 
 
 death. | 
 | Rocks 7 I caves 7 I lakes 7 ! fens 7 I bogs 7 J dens and J shades 
 
 of I death. I 
 
 The unaccented portion of the measure may be filled up by 
 a particle. 
 
 I Rocks and I caves and I lakes and I fens and I bogs and I dens 
 and | shades of J death. I 
 
 II. Two or more accented syllables of short quantity 
 coming together, require a measure for each, and generally 
 require a pause on the unaccented portion of it ; yet these 
 syllables, if strongly emphatic and mutable in quantity, may 
 be made to fill up their respective measures, leaving no pause 
 between them. 
 
 | Yet' 7 I 0' | Lord' | God' 7 | most' 7 | ho'-ly. | 
 
 I 0' j Lord' 7 1 most' 7 l migh'ty. I 
 
 J No'-ah j went' 7 j in'. | 
 
 | la' the | self 7 | same' [ day' 7 | en'tered [ No'-ah, | 
 
262 MEASURES OF SPEECH. 
 
 This pause through the unaccented portion of a measure, is, 
 seemingly, unimportant, and may, therefore, be omitted, by 
 extending the voice over the time of the pause ; as 
 
 | In' the | self | same' | day' | en'tered | No'-ah. | 
 
 | No 'ah I went' I in'. I 
 
 | Yet' 7 | 0' | Lord' | God' | most' | ho'-ly. | 
 
 An immutable syllable can, in no case, constitute a measure, 
 even though it should be emphatic ; as in the word 6 yet,' in 
 the last line. 
 
 III. A pause may be made through the accented portion of 
 a measure, provided the sense should require it. This rest is 
 usually required wherever a sentence begins with an unac- 
 cented syllable. 
 
 | 7 In the | se'eond | cen'tury I 7 of the | christian I e'ra' I 
 | 7 the | em'pire of | Rome' I comprejhen'ded the I fair'est I parts' 
 of the | earth' | 7 and the | most' 7 I civ'iJized | por'tion of manj- 
 kind'. [ 
 
 | When' he had | en'ded | 7 he | turned' to the | south' | side' of 
 the | scaffold | 7 and | said'. | 
 
 If the number of syllables included in 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 
 throw in a bar before the light syllables of that precipitate 
 group, and to set a symbol of rest in the heavy or accented 
 part of the measure. 
 
 Thus, in the example, we might say, c cen'tury of the,' in 
 one section; but, when the sentence is read deliberately, this 
 section is too long. It is better ordered in the example, by a 
 subdivision, and by putting a slight pause in that place which 
 should be occupied by an accented syllable. 
 
 IV. Pauses may extend through a measure, or a measure 
 and a half, or sometimes even through more. 
 
 I Then shall be I brought to I pass, I 7 the I saying that is I 
 
 written I 7 7 I Death I 7 is I swallowed I up 7 I 7 in I victory | 
 
 7 7 | 7 7 j O | Death | whereisthy | sting? | 77 | 77 | O j Grave | 
 
 7 7 | where is thy | victory ? | 7 7 | 7 7 | 7 The | sting of | death j 
 
 7 is I sin [ 7 7 I 7 and the I strength of | sin I 7 is the | law. | 7 7 | 
 
 7 But | thanks be to | God | 7 who | giveth us the | victory | 7 7 j 
 through our I Lord [ Jesus I Christ. I 
 
MEASURES OF SPEECH. 263 
 
 | Therefore | 7 being I justified by I faith I 7 we have I peace 
 with | God 7 | through our f Lord | Jesus | Christ : | 7 7 | 7 By J 
 whom I also 1 7 we have I access by I faith 7 I into this I grace J 
 7 wherejin we | stand I 7 and re]joice in the I hope of the | glory 
 of | God. | 
 
 | I am ajmazed I 7 7 I yes my ] Lords 7 ] I am a! mazed at his i 
 grace's I speech. I 
 
 Many of these longer pauses are applicable to the place 
 where sentences join, or to where periods occur, as well as to 
 colons and semicolons. 
 
 Rhythmus, in elocution, consists in the movement of the 
 voice, by the use of the Measures of Speech. 
 
 There are two modes of using these Rhythmical Measures. 
 One proceeds by regular repetitions of the same measure, 
 which is called verse: — The other has no regular arrange- 
 ment of any one of these measures, and is called Prose. 
 
 The Imperfect Measure of Speech, or the IV. as they are 
 numbered, is common to both the modes of movement ; since 
 that, by this measure, the pauses are introduced into speech ; 
 and, therefore, this measure is used in poetry as well as in 
 prose. 
 
 The Rhythmus, consisting, for the most part, of the Common 
 Measure of Speech, makes, what is called, common time 
 poetry. 
 
 I 7 How I vain I 7 are I all things 1 here be|low, I 
 I 7 How J false I 7 and I yet how I fair ! I 
 | 7 Each I pleasure 1 hath 1 7 its j poison, | too, | 
 | 7 And | every | sweet I 7 a J snare. | 
 
 | Know ] then thyjself 7 I 7 pre|sume not | God to | scan 
 I 7 The I proper I study 1 7 of man [kind | 7 is | man. | 
 
 It will be perceived, that occasionally an Emphatic Measure 
 is used. It gives variety and beauty, and relieves the ear from 
 the monotony of the succession of the same measure. 
 
 The Rhythmus, produced by the employment of the Triple 
 
264 
 
 MEASURES OF SPEECH. 
 
 Measure, or when this measure predominates, is called triple 
 
 time poetry. 
 
 I 7 What a 1 rapturous I song I 
 | 7 When the I glorified [ throng I 
 I 7 In the I spirit of I harmony | join. I 
 J Came to the I beach I 7 a poor J exile of | E'rin. | 
 
 All poetry is based on either one or the other of these two 
 measures. It is true, that occasionally other measures are in- 
 troduced, and rests of various lengths required, that the use 
 of the Imperfect Measure becomes necessary. The great 
 magic of the poet's art, consists in such a nice adjustment of 
 the different measures, and the impressive rest, as shall pro- 
 duce an agreeable variety, without disturbing too much the 
 regularity of the mechanism of his verse. 
 
 The following are instances — 
 
 | He had a I fever I when he was in I Spain. I 
 
 | Arms, and the | man I | sing | 7 7 I who 7 | forced by | fate. | 
 
 | 7 My | eye | 7 descending from the [ hill | 7 surjveys, [ 
 
 | 7 When | Thames I 7a|mongthe I wanton j vallies | 7 7 J strays. | 
 
 | The J voice | 7 is injcapable of sustaining it I 7 with algreeable 
 efjfect. 7 . | . 
 
 It will be seen, that many of the lines of English verse 
 begin with an imperfect measure, as the musical lines do ; but, 
 as every measure is supposed perfect, as to time, the part that 
 is wanting is always indicated by the rest, in order that the 
 principle of the theory may be maintained throughout. 
 Another important fact connected with the movement of the 
 voice through the measures, requires to be stated. It is, that 
 in order to produce harmonious succession, the voice must 
 move from the heavy to the light syllable, and not from the 
 light to the heavy one. This movement prevails also in music, 
 and it is equally necessary in speech. The heavy syllable 
 always begins the bar in the order of the movement, or the 
 exceptions are accounted for, by the mark 7, and the princi- 
 ple of the theory is thus maintained. 
 
 Dividing a sentence, a paragraph, or a speech, into Rhyth- 
 mical Measures, according to the preceding rules and instruc- 
 tions, is called SCORING. And it will appear clear, that 
 
MEASURES OF SPEECH. 265 
 
 scoring may be applied to Prose, as well as to Verse : the only 
 difference in the mechanism of the two, consists in the indis- 
 criminate use of all the measures of speech in Prose, and in 
 the great predominance of either the Common or Triple 
 Measure in verse. 
 
 | 7 My | Lords | 7 we are | called upon | 7 as | members of this 
 j house | 7 as | men | 7 as | Christians | 7 to projtest algainst I 7 
 such I horrible barlbarity. | 
 
 | 7 When | therefore | 7 the | Lord 7 I knew I 7 how the [ Phari- 
 sees had | heard 7 I 7 that I Jesus I made and bapjtised | more dis- 
 (ciplesthan I John, I 7 though I Jesus himjself I 7 bap|tised I not, 7 I 
 but | 7 his dis|ciples, I 7 he I left Jujdea I 7 and delparted algain I 
 7 unto I Galilee. I 
 
 If we are not mistaken, such a view as we have presented 
 of measure, in what has already been said, will throw some 
 light both on composition and delivery. 
 
 One of the most effectual methods of impressing a just 
 prosody on the ear, is by teaching the art of reading. Prosody 
 makes an essential part of the time of speech, if we may be 
 allowed the term, and in its prosodial arrangement, lies one 
 half of its charm. But this is not all ; the preservation of 
 health and life is often dependent on the habits of a speaker, 
 with regard to the observance of measure. A speaker who 
 preserves his measure, will never be inconvenienced from a 
 want of breath, and will, by favor of this circumstance, always 
 be able to employ force, when it is wanted, with full effect; 
 and what is more, with safety to his health. 
 
 On this account, also, we have deemed it necessary to pre- 
 sent a few Scored Exercises, to aid the student in forming the 
 habit of reading and speaking by measure. The student should 
 exercise his own ingenuity, by frequently scoring pieces from 
 other books, by way of practice. Much practice will be 
 necessary. I 
 
 I 7 But I oh thou I bounteous I Giver of I all I good, 7 I 
 
 j Thou | art of | all thy ] gifts 7 | 7 thy-|self the | crown ! [ 7 7 | 
 
 I Give what thou | canst 7 | 7 without I thee I 7 we are I poor ; I 
 1 7 And I with thee I rich^ 7 I take what thou I wilt a|way. I 
 
 12 
 
266 MEASURES OF SPEECH. 
 
 st. Paul's defence before agrippa. 
 
 7%e7& A|grippa | said unto | Paul, | 77 | Thou art per-|mitted 
 to | speak for thy|self. | 7 7 | Then | Paul | stretched forth 
 the ] hand, | 7 and [ answered | 7 for him-|self : | 7 7 | 
 
 7 I | think myself | happy, | 7 7 | King A|grippa, | 7 be- 
 cause I shall | answer for myjself | this | day | 7 be|fore | 
 thee, | touching | all the | things | 7 where|of | 7 I am ac- 
 cused | 7 of the | Jews: | 77 | 7 es-jpecially j 7be-|causel | 
 know thee | 7 to be expert in | all | customs | 7 and | ques- 
 tions | 7 which | are a-|mong the | Jews : | 7 7 | wherefore 
 
 | 7 I be-|seech thee [ 7 to | hear me | patiently. | 7 7 [ 
 
 7 My | manner of | life | 7 from my | youth, | 7 7 | which 
 was at the | first | 7a-|mongmine | own | nation | 7 at Jeru- 
 salem, | know | all the | Jews ; ] 7 7 | 7 which | knew me | 
 from the be-| ginning, | if they would j testify ; | 7 that | after 
 the | most | strictest | sect | 7 of our re-|ligion | 7 I | lived a 
 
 | Pharisee. | 7 7 | 
 7 And | now | 7 I | stand | 7 and am | judged, ] 7 for the 
 
 I hope of the ] promise | made of | God | unto our | Fathers: 
 
 | 7 7 | 7 unto | which ] promise | 7 our | twelve | tribes, | 
 instantly | serving | God | day and | night, | 7 7 | hope to | 
 come : | 7 7 | 7 for | which | hope's | sake, | 7 7 | King 
 A|grippa, | 7 7 | I am ac-|cused | 7 of the | Jews. | 7 7 | 
 7 7 | Why | should it be | thought | 7 a | thing in-[credible 
 
 | 7 with j you, | 7 that | God | 7 should | raise the | dead? 
 
 | 7 7 | I | verily | thought with my-|self, that I | ought to | 
 do I many | things | contrary | 7 to the | name of | Jesus of | 
 Nazareth. | 7 7 | 7 Which thing | 7 I | also | did | 7 in 
 Je-|rusalem : | 7 and | many of the | saints | 7 did I | shut up 
 in | prison, | 7 7 | having re-]ceived au-|thority | 7 from the | 
 chief | priests ; | 7 and | when they were | put to | death, | 
 7 I | gave | my | voice | 7 a-|gainst them. | 7 7 | 7 And I 
 
 | punished them | 7 7 | oft | 7 in | every | synagogue, J 7 and 
 com-|pelled them | 7 to blas-|pheme ; | 7 7 | 7 and | being 
 ex-|ceedingly | mad a-|gainst them, | 7 I | persecuted them 
 
MEASURES OF SPEECH. 267 
 
 | 77 | even unto | strange | cities. | 7 7 | 7 7 | Whereup-|on, 
 as I | went to Da-jmascus, | 7 7 | 7 with au-|thority | 7 and 
 com-|mission | 7 from the | chief | priests, | 7 at | mid-|day, 
 | | king, | 7 I ] saw in the | way | 7 a | light from | 
 heaven, | 7 a-|bove the | brightness | 7 of the | sun, | 7 7 | 
 shining | round a-[bout j me, | 7 and | them which | journeyed 
 | with me. | 7 7 | 7 And | when we were | all | fallen to 
 the | earth, | 7 I j heard a | voice | speaking unto me, | 7 
 and | saying, J 7 in the | Hebrew | tongue, j 7 7 | Saul, | 7 7 
 | Saul, | 7 7 j why | persecutest thou | me ? | 7 7 | 7 It is | 
 hard for | thee | T to J kick a| gainst the | pricks. | 7 7 | 7 
 And I | said, 7 | who | art thou, ] Lord ? | 7 7 | 7 7 | 7 And 
 he | said, ] 7 I am | Jesus, | 7 7 | whom thou | persecutest. 
 | 7 7 | 7 But | rise, 7 and | stand upon thy | feet ; | 7 7 | 7 
 for | I have ap-'peared unto thee j 7 for | this | purpose, | 7 
 to | make thee a j minister | 7 and a | witness | 7 7 | both of | 
 these | things | which thou hast | seen, | 7 and of | those | 
 things | 7 in the | which | 7 I will ap-lpear unto thee : [ 7 7 
 | 7 de-|livering thee | 7 from the ] people, | and from the | 
 Gentiles, j 7 unto | whom | now I | send thee, | 7 to | open 
 their | eyes | 7 and to | turn them | 7 from | darkness | 7 to 
 | light, | 7 and from the | power of | Satan | 7 unto | God; 
 | 7 7 | 7 that | they may re-|ceive | 7 for-jgiveness of | sins, 
 | 7 and inheritance | 7 ajmong | them which are ] sanctified, 
 j 7 by | faith | 7 that is in | me. | 7 7 | Whereup-|on, | 0, | 
 King Ajgrippa, | 7 7 | I was | not disojbedient | 7 unto the | 
 heavenly | vision : | 7 7 ] 7 but | showed | first | 7 unto | 
 them of Da-jmascus, | 7 and at Je-|rusalem, | 7 and through- 
 lout | all the | coasts of Jujdea, | 7 and | then | 7 to the j 
 Gentiles, | 7 7 | 7 that | they should rejpent | 7 and | turn to 
 | God, [ 7 and do | works | meet for rejpentance. | 7 7 | 
 7 7 | 7 For | these | causes | 7 the | Jews | caught me in 
 the | temple, | 7 7 | 7 and | went ajbout | 7 to | kill me. | 
 7 7 | Having | therefore | 7 objtained | help of | God, j 7 I 
 con-|tinue | 7 unto | this | day, | witnessing | 7 7 | both to | 
 small and | great, | 77 | saying | none | other | things | 7than 
 
268 
 
 MEASURES OF SPEECH. 
 
 | those j 7 which the | prophets | 7 and | Moses | 7 did | 
 say | 7 should | come. | 7 7 | 7 That | Christ | 7 should | 
 suffer, | 7 and that | he should be the | first j 7 that should | 
 rise from the | dead, | 7 and should | show | light | 7 unto 
 the | people, | and to the | Gentiles. | 7 7 | 7 7 | 7 And as 
 he | thus | spake for himself | 7 7 | Festus | said with a | loud 
 | voice, | Paul, | thou art be-|side thyself; | 77 | much | learn- 
 ing [ 7 doth | make thee | mad. | 7 7 | 7 7 | 7 But he | said, 
 | 7 lam | not | mad, | 7 most | noble | Festus; | 7 but | speak 
 forth the | words of | truth ] 7 and | soberness. | 7 7 | 7 7 | 7 
 For the | king | knoweth of | these | things, | 7 be|fore | 
 whom | also | 7 I | speak [ freely ; | 7 7 | 7 for | I am per- 
 suaded ] 7 that | none of | these | things | 7 are | hidden from 
 | him ; | 7 7 | 7 for | this | thing | 7 was | not | done in a | 
 corner. | 7 7 | 7 7 | King A|grippa, | 7 be|lievest thou the j 
 prophets ? | 7 7 ] 7 I | know | 7 that thou be|lievest. j 7 7 | 
 7 7 | Then | 7 A|grippa | said unto | Paul, ] Al-|most | thou 
 per-|suadest | me | 7 to | be a | Christian. | 7 7 | 7 7 | 7 And 
 | Paul | said, | 7 I | would to | God, | 7 that | not only | 
 thou, | 7 but | also | all that | hear me | this | day, | 7 were | 
 both | al-|most, | 7 and | altogether | such as | I am, | 7 ex- 
 cept | these | bonds.— Acts XXVI. 
 
SLURRING. 
 
 We have heretofore designated the instrumentality of pauses 
 in separating the unrelated ideas of discourse ; and in this place 
 we shall endeavor to set forth the function of Slurring, in 
 uniting those ideas which are really related to each other. 
 
 The wide separation of the subject (or nominative) from its 
 verb, the pronoun from its antecedent, the intersections of ex- 
 pletives, and the inversions of sentences, which are allowed, 
 especially in Poetry, and sometimes in Prose, may be made 
 sufficiently perspicuous to an auditor, by the aid of that use of 
 the voice called Slurring, in connection with what may also 
 be called the Emphatic Tie. The higher order of poetry, as 
 well as poetic prose, in the contriving spirit of eloquence, give 
 many instances of involutions of style, the sense and spirit of 
 which can be exhibited only by the varied use of Force, Time, 
 and Pitch ; and the Shading Effect of the Slur is one of the 
 most important means for exhibiting that relationship of words, 
 which developes the true meaning of the sentence, and which 
 would not be developed by the simple current of utterance, 
 which is necessary for the plain syntax of a more natural con- 
 struction. 
 
 The intellectual part of the Art of Elocution, consists in 
 discovering the relations of thoughts in the mind, which it is 
 the object of written language to make known. These rela- 
 tions cannot be disclosed by the common mode of intonation. 
 The mind must be made to grasp or comprehend the sense and 
 sentiment of the sentence, by clearly conceiving the different 
 parts of it, as well as the different kinds and degrees of rela- 
 tion that these parts have to each other, in order to form one 
 compound whole. 
 
 For every sentence is a proposition, either simple or com- 
 pound, and containing at least three ideas ; namely, the subject, 
 the predicate, and the relation that these two have to each 
 other ; as, James walks. In the plainest prose, there are some 
 points in almost every clause which require to be pressed 
 upon the attention more than others ; and a clear discovery of 
 these points can be made only by a careful analysis. After 
 they are discovered, the attributes of the voice, which have 
 
270 SLURRING. 
 
 been described in the progress of this work, if judiciously em- 
 ployed, will set them in a prominent light. And with a view 
 still further to aid in developing the relation of those parts of 
 a sentence, which are separated by intervening phrases, the 
 function of the flight of the voice will be here described, and 
 the mode of its application set forth 
 
 It may be said that varieties of Force, Time, and Pitch, 
 exalt the meaning of discourse ; they may also be so used as to 
 depress its importance ; since all the qualities of the voice, from 
 the Whisper to the Falsette, and from the Natural to the Oro- 
 tund, are but modifications produced as the results of the com- 
 bined varieties of Force, Time, and Pitch. 
 
 Slurring, then, is one of the results of these combinations. 
 We may here also state, that Slurring, Shading, and the Flight 
 of the Voice, are used as synonymous, and imply a quick, 
 smooth, and gliding movement of the voice. Slurring, then, 
 is produced by lessening the force, hastening the time, and 
 lowering the pitch of the voice ; or a reducing of the force, 
 time, and pitch of the voice, constitutes Slurring, or the Flight 
 of the Voice. 
 
 This important function we shall illustrate by a few marked 
 instances, and exhibit the perspicuity which may be given to 
 a sentence by its employment. It should be particularly kept 
 in mind, that the melody and emphasis of slurred parts should 
 be the same as if they had not the shade of the slur. 
 
 There is a common rule in Elocution which directs us to use 
 a quickened utterance in the intonation of a parenthesis. This 
 is imperfect, inasmuch as the intonation of a parenthesis re- 
 quires an abatement of the force and pitch, as well as the time 
 of the voice. This function, however, may be also extended 
 to other grammatical constructions ; and we give it here the 
 importance of a name, and a detailed description, from the in- 
 dispensable necessity of employing it for the clear display of 
 the sense of some of those close-trimmed phraseologies, and 
 extreme involutions, which are occasionally found in the higher 
 species of poetical composition 
 
 Parentheses, and all unimportant parts of a sentence inter- 
 rupting and crossing the main current of thought, require to be 
 slurred, or shaded by the flight of the voice ; because they do 
 thus interrupt and cross this current. By thus shading the 
 cross current, the main current will be brought more clearly 
 to view, or to the ear of the auditor, with a degree of per- 
 spicuity that cannot fail to satisfy the mind. 
 
SLURRING. 271 
 
 It may be proper to remark here, that the important part or 
 parts of a sentence, are the emphatic syllables or words; and 
 the analysis, or the comprehension of the meaning, will be 
 rendered more clear, by bearing in mind that this generally 
 turns upon a few emphatic words, sometimes upon a single 
 one. By recollecting this, the eye will run over these to dis- 
 cover their relations in the order of thought, and, by a little 
 practice, the student will be able to unfold these relations with 
 almost intuitive rapidity and clearness. 
 
 (The emphatic words, in the following exemplifications, are 
 marked by being printed in capital letters ; the small caps in- 
 dicate the weaker, and the large caps the stronger emphasis. 
 The slurred parts are always in italics.) 
 
 " Say first, for HEAVEN hides nothing from thy view, 
 Nor the DEEP TRACT OF HELL." 
 
 In order to make it appear to an audience that the c deep 
 tract of hell' is nominative to ' hides' understood, and to give 
 perspicuity to the sentence, c Heaven,' as well as ' deep tract 
 of hell,' must be emphasised, — the phrase of the monotone at 
 c view,' and that portion marked in italics slurred. This mode 
 of intonation will develope the true sense and sentiment of the 
 passage. 
 
 " After dinner, he retired, (as was his custom,) to his bed- 
 chamber, WHERE, (it is recorded,) he SLEPT quietly 
 for about a quarter of an hour." 
 
 " It is now sixteen or seventeen years since I saw the Queen 
 of France, (then the Dauphiness,) at Versailles." 
 
 When the intonation here indicated is placed on these ex- 
 tracts, their perspicuity will appear very evident. Should the 
 latter passage, however, be read with a common diatonic 
 melody, thus: It is now sixteen years since I saw the Queen 
 of France, then the Dauphiness, at Versailles, it will be diffi- 
 cult to prevent the sense from being this : that the Queen of 
 France was Dauphiness at Versailles. But a judicious intona- 
 tion will bring out the meaning, that the Queen of France was 
 seen at Versailles, and who was then only Dauphiness. 
 
 I 
 
272 SLURRING. 
 
 The Emphatic Tie. 
 
 It will, perhaps, be better to consider the Emphatic Tie in 
 connection with the Flight of the Voice. 
 
 By the Emphatic Tie ; we mean the application of emphasis 
 to words which do not otherwise require distinction, merely 
 for the purpose of associating those ideas, or separated parts of 
 a sentence, which cannot, by any other mode of vocal syntax, 
 be brought together, or cannot be exhibited in their natural 
 grammatical dependence. The process of this function may 
 be easily understood ; for regulated words, however disjoined 
 in composition, are at once brought within the field of hearing, 
 in their relationship, whenever they are raised into attractive 
 importance by any form of emphatic distinction. The Em- 
 phatic Tie is most generally employed in connection with the 
 process of Slurring. The parts of discourse which require 
 these two functions of the voice, are dependent on the modifi- 
 cation of thought ; and when they are rightly employed, they 
 give very great beauty of delivery. Good reading or speaking 
 consists in the continual variety of light and shade, produced 
 by the proper adjustment of these functions. 
 
 Distant words, having a sensific relation to each other, will 
 have this relation exhibited very clearly by giving them some 
 form of emphasis, thereby elevating them, and joining or tying 
 them (as it were) together in a sense-making manner; and this, 
 again, is greatly aided by Slurring the intermediate words. 
 Hence, then, the flight of the voice, and the Emphatic Tie, 
 are mutually assistant to each other in the production of per- 
 spicuity. 
 
 About her middle round, 
 A cry of HELL-HOUNDS, never ceasing, BARKED 
 With wide cerberian mouths full loud, and RUNG 
 A hideous peal. 
 
 The main current of thought in this passage, is interrupted 
 by slurring the two expletives intervening between the em- 
 phatic words. The different parts of the main current, which 
 are separated by the cross currents, must be connected by the 
 use of the Emphatic Tie, which should be placed on the words 
 
SLURRING. 273 
 
 c hell-hounds f 'barked, 9 and 'rung. 9 The main current of this 
 passage consists of the following : 
 
 About her middle round, 
 
 A cry of hell-hounds,- barked and rung a hideous peal. 
 
 The cross currents are : 
 
 never ceasing. With wide cerberian mouths full 
 
 loud . 
 
 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 Fawn and Dryad known. 
 
 The two last lines have, an embarrassing construction to a 
 reader. The words, ' inspiring air 9 and ' hunter's call, 9 are in 
 opposition ; but their intervening matter might make ' rung 9 
 pass for a transitive, instead of an intransitive verb, and 
 thereby render 6 call 9 the object to it. To show, therefore, 
 that by ' hunter's call, 9 the author means the same as by ' in- 
 spiring air 9 previously mentioned, these words should receive 
 strong emphasis, and the intervening clause slurred. This is 
 the best mode for restoring to the ear that natural order which 
 is inverted in the sentence. Perspicuity may also be aided a 
 little, by emphasising 'cheerfulness 9 and slightly slurring 
 what follows it unto the end of the third line. 
 
 " But the Jews did not BELIEVE, concerning him, that he 
 had been blind and received his sight, until they called 
 the PARENTS of him that had received his sight," 
 
 And they CAST him OUT. Jesus HEARD that they had cast 
 him out ; and when he had found him, he said unto him? 
 dost thou BELIEVE on the SON of God ? He answered 
 and said, who is he, Lord, that I might believe on him ? 
 12* 
 
274 SLURRING. 
 
 Art thou GREATER than our father, JACOB, who gave us 
 the well, and drank thereof, himself and his children, 
 and his cattle ? 
 
 The slurred parts are not always unimportant ; the reason 
 for passing slightly over them, is to give greater prominence 
 to other words. 
 
 What IS it, you must, in that event, submit to the people ? 
 What PROFIT hath a man of all his labor, which he has 
 under the sun ? 
 
 A repetition of the same expression always requires to be 
 slurred, unless intended to be emphatic for some particular 
 purpose. 
 
 " He answered, and said, A man that is called JESUS, made 
 CLAY, and anointed mine eyes, &c." 
 
 " Then, again, the PHARISEES also asked him, liow he had 
 received his sight, — He said unto THEM, He put clay 
 upon mine eyes, and I washed, and do see !" 
 
 iC And the son said unto his FATHER, father I have sinned 
 against heaven, and before thee, and am no more worthy to 
 be called thy son ; make me one of thy hired servants." 
 
 If we ask, why are these statements of facts slurred in 
 these instances ; we answer, because they had been made 
 before. These are very beautiful examples of the shading 
 effect of the slur on parts that are repeated. 
 
 Important words or clauses, which are placed away from 
 each other, require the flight on the intervening words, to 
 produce strange light by contrast. — Thus : 
 
 1. "They FOUGHT, like brave men, LONG AND WELL." 
 
SLURRING. 275 
 
 2. "And SEND'ST HIM, shivering in thy playful spray, 
 And howling to his Gods, WHERE happy lies 
 
 His petty hope in some near port or bay. 55 
 
 3. " And then he beheld, enjoying a sweet and tranquil 
 
 SLUMBER, the man, who, by the doom of himself and 
 his fellows, was to DIE within the short space of two 
 
 HOURS. 55 
 
 4. " HIS FRIEXD, who was apprised of the state he was in, 
 
 and who naturally concluded he was ill, OFFERED him 
 some wine. 55 
 
 The grammatical and vocal syntax, in all these exemplifying 
 extracts, are so evident, that they require no further observa- 
 tions. 
 
 But it is obvious, that the audible means for displaying the 
 sense of discourse, is great]y contributive to the analysis ne- 
 cessary to present a clear picture of thought in delivery, and 
 cannot fail to reveal the latent beauties, as well as defects, of 
 composition. The Art of Rhetoric cannot but be greatly 
 assisted by that of Elocution ; since a careful consideration of 
 the nice sensiflc relations of words in written language is con- 
 stantly necessary in the art of Rhetoric. Every exertion in 
 the field of the latter, consists of the application of a subtle 
 sensiflc test, and is greatly aided by the audible means of 
 applying this test, by which composition, as a medium of 
 conveying our thoughts and emotions, may be judged of, in 
 reference to its perspicuity. The Arts of Rhetoric and 
 delivery are, therefore, intimately related, and are greatly 
 assistant to each other. 
 
 In closing the remarks on these two audible means of dis- 
 playing the sense and spirit of discourse, (namely, slurring and 
 the emphatic,) we would take occasion to observe, that the 
 rio-ht application of these two functions, may be acquired by 
 the careful and frequent study of the principles and examples 
 contained in this section, and their repeated application to 
 other composition. 
 
 Language is bestowed upon us for the purpose of setting 
 forth our thoughts and feelings, and elocution communicates 
 
276 SLURRING. 
 
 LIFE and ENERGY ; but the modifications of these are so 
 multifarious, and the methods of expression so numerous, that 
 it requires a complete command of ALL the ELEMENTS OF 
 EXPRESSION and a clear perception of their signification, 
 to capacitate us to develope the sense, spirit, and energy of 
 discourse, with clearness, precision, and success. 
 
INTONATION OF THE RISING CONCRETES. 
 
 The upward movements of the voice gradually carry with 
 them something of the sprightly, cheerful, agreeable, pleasant, 
 or admirable ; whereas the downward movements indicate 
 more of the sedate, serious, severe, or composed— these having 
 reference, more particularly, to the concrete interval of a tone 
 or second, yet the higher intervals partake more or less of the 
 same nature. The higher rising intervals of the third, fourth, 
 fifth, and octave, from their suspending and continuative in- 
 fluence or import, are used to express contingency, doubt, con- 
 ditionally, concession, uncertainty, ignorance, inquiry, con- 
 tinuation, admiration, or interrogation * — whereas the down- 
 ward movements are those intervals havins; a FINISHING 
 and TERMINATING impression, and from the STRENGTH 
 and FORCE that can be applied in their intonation, are used 
 to express, by their exclusive power of emphasis, ALL that 
 Positiveness, Certainty, Confirmation, Confidence, Energy, 
 and Assurance, that will be necessary to give Impressiveness 
 to the ideas and feelings of surprise, astonishment, wonder, 
 amazement, authority, command, reprehension, determination, 
 conviction, despair, resolution, indignation, rage, scorn, re- 
 venge, resolve, satisfaction, defiance, and all other similar sen- 
 timents and strong passions. 
 
 A parallelism between the rising and falling concretes, may 
 be drawn in something like the following. The rising inflec- 
 tion is suited to express the sentiment contained in the first 
 word of every pair, and the falling inflection is suited to that 
 of the last : — Doubt, positiveness, — interrogation, affirmation, — 
 inquiry, declaration, — contingency, certainty, — ignorance, 
 knowledge, — conditionality, assurance, — suspension, close, — 
 continuation, termination, — unfinished, finished, — incomplete, 
 complete, — indetermination, resolution, — hesitancy, confi- 
 dence, — resignation, determination, — pleasure, indignation, — 
 indifference, attention, &c. 
 
 The Expressive Power of the upward concrete third, 
 fourth, fifth, and octave, may be said to depend upon an inher- 
 ent suspensive property of the voice, indicative of something 
 yet to follow, in order to complete the sense of what preceded. 
 
278 
 
 RISING CONCRETES. 
 
 As the voice moves upward through the concrete, and ter- 
 minates in the vanish, it suggests the idea of expectation of 
 something in the way of an answer, or something additional. 
 This expectation is further strengthened by the consideration 
 that the voice, vanishing in the upper extremes of the con- 
 crete, is to continue on some matter that is yet to follow. In 
 tact, this movement of the voice, in its own native tendency, 
 indicates an unfinished sense and an unfinished sound. And, 
 therefore, it is the upward vanish that is used almost exclu- 
 sively in the plain diatonic melody. And, in truth, this is 
 the proper direction of four-fifths or five-sixths of the Diatonic 
 and Chromatic Melodies 
 
 The rising inflection of the third, fourth, fifth, and octave, 
 may be considered as the only proper element for the expres- 
 sion of interrogation ; and also as one of the elements of 
 Emphasis. As an element of interrogation, we shall con- 
 sider it, under its own proper head, at another place. But as 
 an element of emphasis, it may be here considered as expres- 
 sive of conditionality, concession, supposition, contingency, 
 admiration, or continuation. The upward movements are 
 generally indicative of liveliness or sprig hi lines s. 
 
 When the upward movements are united with aspiration, 
 they perform the part of the downward intervals of the scale, 
 and express surprise and all its congenial feelings. When 
 Guttural Emphasis is united with these intervals, particularly 
 the higher, it adds scorn to a question, and joins to their em- 
 phatic character the emotions of haughtiness, disdain, indigna- 
 tion, sneer, contempt, or scorn. 
 
 As the concrete rising intervals of the third, fourth, fifth, 
 and octave, are employed for the expression of interrogation, 
 as well as for that of emphasis, the question will now rise; 
 How can the interrogative expression be distinguished from 
 the emphatic ? 
 
 The following notations will show : — 
 
 He 
 
 said 
 
 you 
 
 were 
 
 in ■ 
 
 com 
 
 - pa 
 
 - ra 
 
 - ble ? 
 
 * 
 
 * 
 
 
 * 
 
 ▲ 
 
 
 
 A 
 
 4 
 
 A " i A w 
 
 1 1 
 
 
 
 
 
 
 
 
 
 
 It is visible, in this scheme of an interrogative intonation, 
 that the voice starts at a high pitch, and from 6 said 5 to ' you, 5 
 there is a radical descent of an octave, and on ' you, 5 there is 
 a concrete rising octave. From the radical of this long con- 
 
RISING CONCRETES. 279 
 
 crete on { you,' there is a discrete skip of a sixth up to c were.' 
 Now, immutable syllables and unemphatic ones with time, in 
 interrogative sentences, are transferred by radical change 
 nearly to the summit of the long concretes, and thus discretely 
 produce the expressive effect of these intervals, though less 
 remarkably, than the indefinite syllables, which pass through 
 the concrete rise. As there are more short syllables than long 
 ones in most sentences, the discrete change, as here exhibited, 
 must be the predominant mode of interrogative intonation. 
 The above scheme shows further, that after the radical pitch 
 has assumed the elevated line of pitch, the voice proceeds in 
 the diatonic melody on that line, until the occurrence of a 
 syllable which requires, and will bear, a long concrete 5 then 
 the radical pitch descends to form this new concrete. 
 
 When the octave, or any other higher interval than a tone, 
 is used for the purpose of emphasis, the voice descends imme- 
 diately after its concrete rise on the emphatic word, to the 
 original line of radical pitch ; as the notation below will 
 show. 
 
 But 
 
 rap 
 
 ■ ture 
 
 and 
 
 beau 
 
 ty, 
 
 they 
 
 can 
 
 - not 
 
 re 
 
 ■ call. 
 
 
 
 
 ▲ 
 
 
 1 
 
 
 
 A 
 
 * 
 
 A 
 
 
 4 
 
 4 
 
 • 
 
 4 
 
 1 
 
 * 
 
 4 
 
 w 
 
 
 
 f 
 
 
 
 
 
 " W 
 
 
 
 
 
 
 
 Thus, then, we see how to distinguish between the emphatic 
 and interrogative mode of intonation of the rising intervals. 
 The difference is very obvious. That is, when these intervals 
 are used for emphatic distinction, the voice, immediately after 
 having executed the emphatic or long concrete, returns to the 
 radical line of the current melody ; whereas, in the interroga- 
 tive use of these rising intervals, the voice continues its melody 
 nearly on the line of the vanish of these intervals, until it is 
 brought down for the purpose of executing another long inter- 
 rogative concrete. 
 
 Now, that the rising movement of the voice, in its concrete 
 ascent, is clearly emphatic, as well as interrogative, it is 
 equally true, that it is emphatic also in its discrete ascent. 
 When the syllable, upon which the emphasis is placed, is 
 short, the discrete ascent is used for emphasising ; and when it 
 is long, the long concrete is employed as above illustrated. 
 Hence, the effects of the upward movement of the voice, may 
 be recognised under two modes, — the Concrete Rise and the 
 
280 RISING CONCRETES. 
 
 Discrete Rise ; the Concrete is used on syllables of long quan- 
 tity ; and the Discrete on syllables of short quantity, 
 
 If I must con - tend, said he, Best with the best, &c . 
 
 j-j-j- J- 4 -*^ 
 
 A_*_ 
 
 It may be necessary to state, that in order to make ' must' 
 emphatic, it is best done by making a discrete skip of a fifth 
 (a fourth, or a third might do) from ' I' to fi must, 5 and placing 
 a rapid concrete third on this last. Then, in order to make a 
 favorable preparation for a long concrete on the accented 
 syllable of ' con-tend^ the voice must be brought down in radi- 
 cal pitch to the current melody, and then it can execute an 
 emphatic concrete of a fourth, fifth or octave, according to the 
 spirit intended to be infused into the sentiment. 
 
 The different emphatic rising intervals, have all of them 
 the same characteristic expression ; yet the higher the inter- 
 vals, the greater the vehemence and earnestness of the intona- 
 tion. 
 
 The octave, being the highest interval, gives the greatest 
 energy and intensity of feeling. 
 
 The fifth is more moderate in its expressive power than 
 the octave, and, therefore, is more dignified in its appeals. 
 
 It may be stated that the intonation of the octave, whether 
 by concrete or radical pitch, is rarely employed, because a rise 
 of eight notes above the ordinary line of utterance, carries 
 many speakers into the falsette. And even with those in 
 whom the rise might not exceed the natural voice, the melody, 
 when suddenly changed to that height, would often be ludi- 
 crous, from contrast ; or would be in danger of breaking into 
 the falsette in its variations ; or would be beyond the limit of 
 the speaker's skilful executions. These observations do not 
 apply to the use of the fifth or fourth ; the variation being less 
 striking in contrast, and the interval of a fifth or fourth above 
 the common range of the voice, being rarely beyond practica- 
 ble execution. 
 
 The interval of the fourth, has a degree less of intensity 
 than that of the fifth, and is more generally employed for em- 
 phatic purposes than either of the preceding. It being the 
 true interval of the cadence, but in an opposite direction, it 
 will naturally run in contrast with its downward movement. 
 
RISING CONCRETES. 281 
 
 It is a bold, dignified, and yet easily executed interval, and be- 
 ing of a medium elevation, it may be employed without the 
 risk of running into that affectation which the higher intervals 
 may produce, if they are improperly employed. By the 
 nature of the scale, three radical places, with the vanish of the 
 last, contain the interval of a fourth, and it is, therefore, the 
 union of a tritone that constitutes the interval of a concrete 
 fourth. 
 
 The interval of the third is the lowest emphatic interval ; 
 and the strength of its indication is less than that of the fourth. 
 It is the mode of emphatic distinction which is most moderate 
 in degree. It is more frequently used than either of the 
 others. It is, with the fourth, the most common form of em- 
 phatic intonation, and will be found suited to give to the 
 prominent words of conditional, concessive, and hypothetical 
 sentences, their appropriate and distinctive intonation. 
 
 From the notations already given in illustration of the Em- 
 phatic Intonation of the Rising Intervals, it will be sufficiently 
 understood, when we give the emphatic word and the interval 
 to be used on it, in the examples following. 
 
 The emphasised words are marked with italics. 
 
 Concrete Octave. 
 
 1. Nor think thou, with wind 
 
 Of airy threats, to awe whom yet with deeds 
 Thou canst not. 
 
 2. But think not here to trouble holy rest. 
 
 3. 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 King 
 
 Ride on thy wings. 
 
 Discrete Octave. 
 
 4. So frowned the mighty combatants, that hell 
 Grew darker at their frown, so matched they stood. 
 
282 RISING CONCRETES. 
 
 Concrete Fifth. 
 
 5. And shouted once more aloud, 
 My .Father ! must I say I 
 
 6. Evil be thou my good ; by thee, at least, 
 Divided empire with Heaven's King I hold. 
 
 7. Tears, like the rain-drops, may fall without measure, 
 But rapture and beauty they cannot recall. 
 
 Discrete Fifth. 
 
 8. Is there, as you sometimes tell us, 
 Is there one who reigns on high ? 
 Has he bid you buy and sell us, 
 Speaking from his throne — the sky? 
 
 9. Which, if not mctory, is yet revenge. 
 
 Concrete Fourth. 
 
 10. Thanks, to men 
 
 Of noble minds, is honorable meed. 
 
 11. Him who destroys, Me destroys. 
 
 The sense is, He who destroys him, destroys me. 
 
 12. Him all ye angels, progeny of light, 
 
 Hear my decree, which unrevoked shall stand. 
 
 Discrete Fourth. 
 
 13. Black it stood as Night, 
 Fierce as ten Furies, terrible as Hell, 
 And shook a dreadful dart. 
 
 ' Black' should have a discrete octave ; 
 
 ' Night' a discrete fifth ; and 
 
 'Fierce' a discrete third, all with some considerable radical 
 stress. The words 'Furies,' 'Hell,' and 'shook,' should be 
 made impressive with increased stress. 
 
RISING CONCRETES. 283 
 
 14. Whence and what art thou, execrable shape? 
 
 A strong radical stress, with a discrete fifth, on c whence,' 
 a discrete fourth on c what, 5 and a discrete third on 6 ex, 5 
 will bring out the spirit and energy of the passage. 
 
 15. through them I mean to pass, 
 
 That be assured, without leave asked of thee : 
 Retire, or taste thy folly, and learn by proof, 
 HELL-BORN, not to conTEND with spirits of Heav 5 n. 
 
 The italicised words should have a discrete fourth. The 
 pronoun C I, 5 and the words 'hell-born, 5 a downward concrete 
 fifth or octave. The small caps, a falling concrete fourth. 
 
 Concrete Third. 
 
 16. Who first seduced them to that foul revolt? 
 The infernal serpent ; he it was, whose guile, 
 Stirred up with envy and revenge. 
 
 17. But true expression, like th 5 unchanging sun, 
 Clears and improves whate 5 er it shines upon.— Pope. 
 
 18. Wisdom ! I bless thy gentle sway, 
 And ever, ever will obey. 
 
 Discrete Third. 
 
 19. For the mind and spirit remain 
 Invmcible, and vigor soon returns, 
 
 3 Though all our glory is extinct, and happy state 
 2 Here swallow'd up in endless misery. 
 
 20. Be thou as chaste as ice, as pure as snow, thou 
 Shalt not escape calumny. 
 
 21/ Queen. — ! Hamlet ! thou hast cleft my heart in twain. 
 Hamlet. — throw away the worser part of it, 
 
 And live the purer with the other half. 
 
284 RISING CONCRETES. 
 
 22. Eloquence — is not the boon of Nature, nor the effusion 
 of Divine inspiration ; it is the gradually progressive re- 
 sult of a series of energetic efforts, enlightened by cor- 
 rect ideas as of the means by which oratorical skill can 
 be acquired. 
 
INTONATION OF THE DOWNWARD MOVE- 
 MENTS. 
 
 The Downward Movements of the Voice have an effect 
 contrary to that of the upward, as it was made to appear in 
 the last section. We will now consider the varieties of form 
 in the Downward Concretes and Discretes ; — the occasion of 
 their use ; — and the nature of their expression. 
 
 The downward progressions of the voice are made through 
 all the intervals of the scale, both concretely and discretely. 
 The effect of the descent, whether made concretely or by 
 radical skip, may be manifested, and the characteristic expres- 
 sions of the several intervals rendered precisely perceptible, 
 by the following : 
 
 Let the student pronounce the following words, 'you shall, 5 
 as though there had been a previous refusal, and there will be 
 heard a falling third. Let him again pronounce these words 
 with a little more earnestness, ' you shall? and a falling fourth 
 will be heard. Should he now utter them with a decided 
 positiveness, a downward fifth will appear ; as, c you shall.' 
 And a falling octave will be heard, when these two words are 
 pronounced with a strong positiveness of feeling, which would 
 seem could not be resisted ; as, ' you SHALL.' These four 
 forms of the downward concrete may be indicated by the 
 following. 
 
 4 Youshall v Youshally Youshall\. Youshall\. 
 
 i- 
 
 5_f 
 
 It will be readily seen, that this notation exhibits the falling 
 concrete third, fourth, fifth, and octave. It will also be seen, 
 that in the 1st example, there is no radical or discrete change; 
 but in the 2d, there is an upward radical change of a tone ; in 
 the 3d, there is a rising radical third : and in the 4th, a rising 
 radical fifth will be noticed. These rising radicals are neces- 
 sary to aid in the execution of the opposite concretes. The 
 discrete and concrete changes are in opposite directions, and 
 
286 DOWNWARD MOVEMENTS. 
 
 the former are, as it were, preparatives to the latter; that is, 
 the discrete upward change prepares for an efficient downward 
 concrete. 
 
 The downward discrete or radical change of the third or 
 fourth, may be exemplified by pronouncing the sentence, 
 6 He made an attack, 5 as if it were a full close, placing the 
 monotone on the syllables, ' He made an at, 5 and making a 
 satisfactory close on ' tack. 5 For, in this case, the syllable ' at, 5 
 is the first constituent of the cadence ; and being, from its 
 short quantity, incapable of a concrete descent to form a 
 close, the voice, of necessity, skips over the interval of a third 
 or fourth, and furnishes the cadence on 6 tack. 5 Exercise on 
 the sentence. 
 
 He made an attack. 
 
 Let the student again give the interjection ' heigh ho ! 5 with 
 that degree of emphasis which will throw these two words on 
 the extremes of the compass of the natural voice. He will 
 thereupon find, that the transition from the elevated pitch on 
 4 heigh, 5 to the inferior place of ' ho, 5 will be by a discrete 
 descent. Now this transition, when the intonation is pointedly 
 marked as above directed, is made by the downward radical 
 pitch of an octave. 
 
 The downward fifth, in its discrete pitch, may be made 
 audible by employing a somewhat less vivid coloring of into- 
 nation than the above, on these same words. 
 
 Heigh ho ! Heigh ho ! 
 
 _i 
 
 It may be well to remark, that when the characteristic ex- 
 pression of an interval is required on immutable syllables, the 
 transition is generally made by the discrete skip ; when on 
 mutable or indefinite, by the concrete movement. 
 
 The Expressive Powers of the Downward Movements of 
 the voice, both concrete and discrete, may be stated in the 
 following words. The general characteristic of this down- 
 ward movement, may be said, in contradistinction to the effect 
 of the upward, which has a suspensive or interrogative import, 
 
DOWNWARD MOVEMENTS. 287 
 
 to be that expression of Positiveness of Affirmation, which is 
 directly the opposite of the Doubt contained in a question. 
 The cause of the positiveness of character, which belongs to 
 the Downward Movements, may arise from their conjoining 
 with their emphatic import, a certain degree of the final im- 
 pression of the cadence : for this seems to preclude the expec- 
 tation of further doubt or reply, by the satisfactory repose of 
 the ultimate intonation on a finished sense. And we know 
 that when an assertion becomes authoritative from truth, or dog- 
 matical from bold assertion, the closing intonation of the 
 cadence is employed, as a definite seal of self-confident affir- 
 mation. And here we may be allowed to set forth another 
 instance of the consistent ordinations of nature ; for, as the 
 sentiment of inquiry is directly contrary, in the human mind, 
 to that of assured declaration ; so, in the instinct of the voice, 
 the very opposite movements of rise and fall are employed 
 for the expression of opposite sentiments and emotions. 
 
 The Downward Movements are used more especially for the 
 purpose of Emphasis ; and the extent of the interval being 
 proportional to the degree of energy of the sentiment or emo- 
 tion. An explosive fulness should mark the radical, — and an 
 equable movement in its descent, — a delicate and smooth 
 diminution, — and a final vanish into silence, should be par- 
 ticularly observed. 
 
 The falling movement is used exclusively for Emphasis : 
 and it sets a word in a very Prominent and Imposing Light. 
 It expresses strong conviction and positiveness, in denuncia- 
 tion, and in the expression of indignation and resolution. 
 Wonder, Surprise, Astonishment, Admiration, and Exclama- 
 tion, if not conjoined with an interrogative import, are gene- 
 rally made by some form of this element. It is also peculiarly 
 proper, in all cases where solemnity and emphasis are com- 
 bined. 
 
 The example below will illustrate the downward concretes, 
 with some rising discretes, in different degrees of intensity. 
 
 4 " If I ascend into Heav en, thou art there\; if 
 I make my bed in Hell\ behold thou art there\; 
 5 if I take the wings of the morning and dwell in 
 uttermost parts of the sea, ev/en there\ shall 
 thy hand lead\ me 4 and thy right hand hold ^ 
 me." 
 
288 DOWNWARD MOVEMENTS. 
 
 The word i Heaven* should have a discrete rising and a con- 
 crete falling third : — the first c there' should have a falling 
 concrete third without any discrete rise :— ' Hell' should have 
 a discrete rising third and a falling concrete fifth : — the second 
 ' there' like the former :— c even* requires a rising concrete 
 third or fourth :— the third ' there' should have a discrete 
 fourth or fifth, and a falling concrete octave : — < lead' requires 
 a discrete rising and a concrete falling third :— and ' hold,' a 
 falling concrete third only. 
 
 The downward concrete has two modes, as may be observed 
 in the above example : in one, the fall takes place from the 
 line of the current melody ; in the other, from a line of pitch 
 above the current melody, and descends to this line or below 
 it, according to the degree of expression. 
 
 The feeblest expression of emphasis by the downward con- 
 cretes, is that made from the line of the current melody ; and 
 this holds good of the several concrete intervals respec- 
 tively : and the expression becomes more impressive as the 
 radical is elevated above the line. Hence, the word ' Heaven' 
 is more impressive than the word c there,' which comes after it ; 
 because the former is a radical third above the latter. The 
 word ' Hell' is still more impressive ; because its radical is a 
 fourth above the current line. And the word ' there,' in the 
 last line but one, is still more so, having its radical a fifth 
 above the general current of the melody. 
 
 The height at which the out-set, or radical of the descend- 
 ing concrete, is to be taken, depends on the degree of posi- 
 tiveness or surprise contemplated in the emphasis. For the 
 expressive effects of the descending concrete do seem to depend 
 upon an affinity to the nature of the cadence ; because this 
 positiveness of assertion, produced by the downward concrete, 
 partakes of the nature of an ultimate affirmation, which pre- 
 cludes doubt or any thing additional. 
 
 It will also appear that, when the emphatic discrete inter- 
 vals be added to the concretes, the words are emphasised in a 
 much more spirited and impressive manner than fcthey will be 
 by the use of the concretes alone. This is equally true of the 
 upward and downward concretes, but the discrete or radical 
 pitch is always in a direction opposite to that of the con- 
 cretes : — when the concrete is upward, the discrete is down- 
 ward ; — when the concrete is downward, the discrete is up- 
 ward. Hence, also, emphasis may be made more or less im- 
 pressive, simply by adding or not adding a discrete interval in 
 an opposite direction. 
 
DOWNWARD MOVEMENT. 289 
 
 If they re - ceived him, they will al - so re - ceive her. 
 
 m 
 
 _i — 4—4—4 — I— 4— 4— 2 — 4 * 4 
 
 This notation illustrates the principle of the opposite 
 direction of the discretes to the concretes, as well as the im- 
 pressiveness of the emphasis produced. The word { him' has 
 a descending discrete third, and an ascending concrete octave. 
 The word ' her,' on the other hand, has an ascending discrete 
 fourth, and a descending concrete octave. 
 
 " Sir. I thank\ the government for this mea- 
 sure." 
 
 Let this sentence be read in a solemn and dignified tone, as 
 if confident of being in the right, and there will be no discrete 
 rise on ' thank,' but a concrete fall of a third. 
 
 Let it again be read, but give a discrete rise of a third, and 
 a rapid falling concrete third on ' thank,' and we shall have an 
 increased impressiveness given to the intonation. (Read it 
 thus.) 
 
 " Sir, I thank\ the government for this mea- 
 sure." 
 
 Let it once more be read, but give to i thank' a rising dis- 
 crete second or third, and a rising concrete, and the intonation 
 will lose much of its impressiveness, and assume a more lively 
 or sprightly air. 
 
 I believed\ it, and therefore I taught\ it. 
 I thought\ so, and therefore I said\ so. 
 
 We have here a rising radical third, and a falling concrete 
 of the same interval, or more if desired, on the words 6 be- 
 lieved' and i thought.' On the other emphatic words, \ taught 
 and i said,' we give only the falling concrete third, without 
 the upward radical. Why do we not give the rising radical 
 on the two last emphatic words, as we do on the two former ? 
 For this reason. The rising intervals always have a suspend- 
 13 
 
290 
 
 THE DOWNWARD OCTAVE. 
 
 ing or an unfinished impression, and therefore we give to the 
 two former emphatic words the upward intervals, in order to 
 keep the sense suspended, and suggest to the hearer that he 
 may expect something more. When we come to the latter 
 emphatic words, we cease to use it, that it may mark out 
 clearly the transition, and indicate that no more need be 
 expected. Read these two sentences frequently, according to 
 their notation above, and select others. 
 
 It may be remarked, that it is by no means necessary, in 
 the use of the upward radical, that a corresponding downward 
 concrete should be joined, though this certainly is the proper 
 usage in syllables of long quantity. If the emphatic sylla- 
 ble be short, the downward concrete need not be of the same 
 interval with that of the rising radical on it ; as, 
 
 If he did s hate me, what/theny? 
 
 Let this be read with such eagerness as to give an upward 
 radical fifth between 'he' and 'did. 5 The downward con- 
 crete on * did' will hardly ever be more than a second or 
 third. 
 
 THE DOWNWARD OCTAVE. 
 
 The interval of the octave, in addition to the expression, 
 ascribed generally to this downward movement, conveys, in 
 the colloquial usage of the voice, the vivacity of facetious 
 surprise 5 as, in the instance of 
 
 Well' done\! 
 
 This phrase, intonated according to this notation, exhibits a 
 clear picture of amazement. In the more dignified rise of the 
 octave, there is the highest degree of admiration or astonish- 
 ment, either alone, or united with other sentiments. Thus the 
 astonishment and positiveness marked by this interval, may be 
 co-existent with the complacent feeling of mirth and sociality, 
 or with the repugnant sentiment of fear, contempt, scorn, or 
 hatred, or, in short, with almost any state of mind which is 
 not contradictory to that of astonishment and positiveness. For 
 though these superadded sentiments have other symbols of 
 
THE DOWNWARD OCTAVE. 291 
 
 expression, yet when they go with this high degree of aston- 
 ishment, the downward octave is the true and appropriate 
 element of intonation. 
 
 We have particularly shown, at another place, that the con- 
 crete movement, whether its direction be upward or down- 
 ward, may bear, with distinguishable audibility, additional 
 force on the beginning, or on the middle, or on the end of 
 its progress through a prolonged quantity. Now, in the appro- 
 priation of these forms of the downward octave, to the differ- 
 ent sentiments which were said to be within its expression, 
 we assign the natural form of the radical and vanish to the 
 feeling of a high degree of mirthful wonder. When the force 
 is laid on the middle of its course, by a swell at that place, 
 the expression becomes more repulsive with its wonder. And, 
 when force is applied to the lower extremity, it increases the 
 degree of repulsion, and mingles with it some slight affection 
 of anger or of scorn. The expression thus assigned to the 
 octave, may, at once, assure us, that it is of rare occurrence. 
 It may be used occasionally in the intensity of colloquial ex- 
 citement, and in the fervor of the Drama ; but never, from 
 its nature, in the course of narration or plain description ; but 
 in strong argumentation and an appeal to the passions, it may 
 be used to great advantage ; since that the strained energy of 
 its expression must be real, or the personated out-pouring of 
 the soul. 
 
 Th' undaunted Fiend what this might be 
 A&mir'd/, not y fear'd\. 
 
 The first emphatic syllable should have an upward radical 
 fifth, with a downward octave concrete. The second, a rising 
 concrete fifth : and ' not,' at the last vanish, and * fear'd,' a 
 downward fifth. 
 
 Far/ less abhorr'd\ than these^ 
 Vex'd/ ScylMa bathing in the sea that parts 
 Calabria from the hoarse Trinacrian shore : 
 Nor/ wgMier follow the night-hag. 
 
 The only way of satisfying the ear is by a concrete rise 
 through an octave on < Far,' by giving 'less' at the top of that 
 
292 THE DOWNWARD FIFTH AND FOURTH. 
 
 interval, and then descending by a discrete skip of an octave 
 to 4 ab;' thus returning to the level of the radical of 'Far,' 
 or to the line of the current melody. < Horr'd must have a 
 rising fifth discretely, and an octave concrete downward. 
 * Vex'd' requires a rising concrete third, and ' ScyP a falling 
 concrete third, whose radical is at the top of the previous 
 vanish. By giving c Nor ? a concrete rising octave, and < ug' 
 at the top of this interval, then a discrete falling octave on 
 6 li' will afford a suitable intonation. A discrete fourth or 
 fifth should be placed between the two syllables < night-hag. 5 
 
 THE DOWNWARD FIFTH. 
 
 Concrete Fifth. 
 
 The interval of the Fifth has, in many respects, a similar 
 meaning to that of the Octave ; but it clothes its sentiments 
 of smiling surprise with a greater dignity. This interval is 
 often used on imperative phrases. This concrete, like the 
 octave, may be modified in meaning by the different applica- 
 tion of stress. 
 
 And Nathan said unto David, thou\ art the man. 
 Seems/, Madam, nay, it is\, I know% not seems v 
 
 Discrete Fifth. 
 
 But BruKtus says he was &mbi\tious % . 
 
 This last sentence should be intonated with a falling radical 
 fifth from ' Bru 5 to ' tus ;' and from ' bi' to ' tious.' 
 
 THE DOWNWARD FOURTH. 
 
 Concrete Fourth. 
 
 This interval may properly be said to carry the moderate 
 expression of the fifth. The dignity of vocal character, like 
 that of personal gesture, consists not only in the abatement of 
 force, and the slowness of time, but in a limitation within the 
 medium range of movement. And as there is more compo- 
 sure and solemnity in that form of interrogation which is made 
 by the rising fourth ; so the expression of surprise, admiration, 
 
THE DOWNWARD THIRD. 293 
 
 and positiveness, which belongs to the downward intervals, is 
 in a more subdued and dignified degree, when heard on the 
 downward fourth. 
 
 I\ am the resurrection and the life. 
 
 None, but the brave ! None/ but the brave ! 
 None\ but the brave/ deserve the fah\. 
 
 Discrete Fourth, 
 
 Army of fiends, jitf bo/dy* to jit* head % . 
 
 When it becomes necessary to express sneer or scorn, and 
 the syllables are too short for the use of long concretes, the 
 discrete fourth or fifth will fulfil this office, as in the case in 
 the above example. 
 
 The notation below will explain. 
 
 Army 
 
 of fiends, fit body to fit head. 
 
 A A 
 
 § m A A A ▲ 
 
 7 f 
 
 • - - * 
 
 DOWNWARD THIRD. 
 
 The downward third is the most moderate form of the 
 downward emphasis, and is the one most generally em- 
 ployed. 
 
 One of the remarkable functions of the concrete descent of 
 the third, is that which is performed on a syllable of long 
 quantity, when found at the end of a sentence, or of a clause 
 of a discourse which contains a complete sense, but which 
 may not be marked by the grammatical notation of a period. 
 This use of the third has been noticed before, and described as 
 constituting the feeble cadence. Its characteristic has this 
 double bearing ; it seems to indicate that the sense may be 
 taken as terminated at its place, and yet it does not altogether 
 destroy the expectation of a further continuation. 
 
 No one would suppose, on hearing this cadence, that the 
 discourse was finished. 
 
 1. I insislv upon this poinU: I urge^ you to it; 
 I press* it ; nay. I demand \ it. 
 
294 THE DOWNWARD THIRD. 
 
 2. What/ things are most propXer for youths to 
 
 learn^? Those\ which they are to pracv 
 tice, when they enter on ac\tive life v 
 
 3. Jesus said unto her, Malry. Mary said unto 
 
 him ; Rabbo/ni 4 , which is to say, Master. 
 
 4. PoliteXness says/, give to all^ persons with 
 
 whom you walk^orwbom you may meet*', 
 especially the Indies, the wallvside of 
 the street. 
 
 5. Queen. — Have you forgot me ! 
 Hamlet. — No, by the rood, not so : 
 
 You are the Queen\. Your hus- 
 band's brother's wife\. 
 
 Occasion may here be taken to refer to the difference be- 
 tween the effects of the downward third, when employed as 
 the means of emphasis, and as a feeble cadence. For if the 
 word ' Queen' merely descends concretely from the line of the 
 current melody to a third below it, the sentence may pass for 
 a complete one, terminated at that point by a feeble cadence. 
 But if the radical of this syllable should be raised above the 
 current melody, and then brought down a third, a subsequent 
 pause will not produce the like effect of a close. 
 
 Discrete Third. 
 
 He that believeth in me, though he were dead : 
 yet shall he live. Believest thou this/? 
 
 1 This* descends a radical third for emphasis, and ends with 
 an upward vanish. 
 
 Cassius. — They shouted thrice : what' was the 
 
 last cry^ for? 
 Casca. — Why, for thai 4 too\. 
 
DOWNWARD AND UPWARD TONE. 295 
 
 The word c that 5 should be raised a discrete third above the 
 current, and ' too 5 brought discretely down to it again with a 
 descending concrete third or fourth from it. 
 
 It should be well remembered, that when the discrete falling 
 intervals are used for emphasis, the rising vanish on the 
 emphatic syllable may, or may not follow, according to the 
 sense. 
 
 The following is an example of variety in emphasis. 
 
 4 Are they He/brews ? So am Iy Arej they 
 Is/raelites? So am Iy 5 Are/ they the seed of 
 A/braham ? So am Iv 6 Are' they the Minis- 
 ters of Christ/? I am more\. 
 
 DOWNWARD AND UPWARD TONE. 
 
 Enough has been said on the modes of using the concretes 
 and discretes on emphatic words. A little, perhaps, might be 
 said, with advantage, on the mode of employing them on the 
 unemphatic syllables in discourse. 
 
 With regard to the pitch of unemphatic syllables, two 
 things must be very carefully borne in mind. 
 
 I. They must all have an upward concrete tone, if we wish to 
 
 connect them closely with succeeding words, and a down- 
 ward, if we wish to have them less closely connected. 
 
 II. No two successive syllables must ever have a greater dis- 
 
 crete interval between them than a single tone. 
 
 The great thing to be avoided in reading a number of un- 
 emphatic syllables is monotony. There are two kinds of 
 monotony. The first is that of sounding too many syllables 
 together, on the same note of radical pitch. You may have an 
 example of it, in the way in which a child, who can just spell 
 out his words, would read the sentence, ' I-will-be-a-good- 
 boy. 5 
 
 The only way to avoid this kind of monotony, is to recollect 
 that we must never orive the same radical pitch to more than 
 three or four syllables in succession. The voice must be con- 
 tinually changing:, or rising and falling, through a tone of 
 radical pitch. The monotone may be used at times when the 
 
296 DOWNWARD AND UPWARD TONE. 
 
 subject is somewhat solemn : otherwise we must not let more 
 than three or four syllables run along in the same note. 
 
 The second kind of monotony is that which we most always 
 hear when people try to read poetry. It consists in running 
 over and over again through the same, or nearly the same, sue-, 
 cession of notes, at the different clauses of a sentence. 
 
 There are not many persons who will not fall into it, in 
 reading such a verse as this of Addison's. 
 
 When all thy mercies, 0, my God, 
 
 My rising soul surveys, 
 Transported with the view, I ? m lost 
 
 In wonder, love, and praise. 
 
 It will require very great attention to get rid of this mo- 
 notony, even in reading prose. 
 
 It should be remembered, that we always take most notice 
 of the way in which the voice is managed, at the pauses 
 which are used in a sentence. If they are all made on the 
 same pitch, or with the same rise or fall of the voice, the 
 monotony which they cause will be very apparent, as well as 
 unpleasant. The greatest pains should be taken to make the 
 intonation at the pauses as diversified as possible, always recol- 
 lecting, however, that, unless the words happen to be 
 emphatic, we cannot employ any intervals of pitch wider 
 than the tone. 
 
INTONATION OF INTERROGATION. 
 
 Nature seems to have ordained that interrogation is pro- 
 duced by the rising movement of the voice. All the upward 
 intervals, greater than that of a tone or second, may be inter- 
 rogative : hence a third, fourth, fifth, octave, or even a 
 higher interval, if necessary, are interrogative intervals. The 
 rising discrete intervals are interrogative as well as the con- 
 crete. The two words in the little question ; Will you ? 
 intonated by a simple tone on each, at the extremes of any 
 interrogative intervals, will be interrogative, as clearly so as if 
 a concrete of the same extent were placed on ' you' in this 
 little interrogatory. 
 
 Will 
 
 you? 
 
 Will 
 
 you? 
 
 Will 
 
 you? 
 
 A 
 
 Will 
 
 you? 
 
 A 
 
 
 
 1 
 
 a • 
 
 A 
 
 1 
 
 A 
 
 4 1 
 
 ■ w 
 
 w w 
 
 V 
 
 • 9 
 
 Discrete Third. Concrete Third. Discrete Fifth. Concrete Fifth. 
 
 The higher the interval the more earnest, energetic, and 
 piercing, will be the interrogative expression. The third is 
 the most moderate, and gives the most simple and unimpas- 
 sioned question. An interval of a less extent than a third 
 will not give the sense of a question. 
 
 The student will become further familiarised with the effect 
 of the discrete and concrete rise, through a third, fourth, 
 fifth, or octave, w^hich constitutes interrogative expression, by 
 the following notation, which produces the interrogative 
 effect by the discrete rise, compared with that produced by 
 the concrete movement. 
 
 Give 
 
 Bru 
 
 - tus 
 
 a 
 
 stat 
 
 - ue 
 
 with 
 
 his 
 
 an - 
 
 ces - 
 
 tors? 
 
 ▲ 
 
 
 A 
 
 A 
 
 
 A 
 
 A 
 
 A 
 
 
 A 
 
 4 
 
 
 
 4 
 
 
 
 
 
 
 
 4 
 
 
 
 Give Bru - tus 
 
 stat - ue with his an - ces - tors. 
 
 :i=Jz±^: 
 
 A-* 
 
 J> 4 
 
 13* 
 
 I 
 
 A A 
 
298 
 
 INTONATION OF INTERROGATION. 
 
 It will be perceived by intonating the two forms of interro- 
 gative notations above, that the former is effected by discrete 
 intervals, and the latter by concrete. By comparing the two 
 modes of interrogation, it will be obvious, that that produced 
 by the discrete intervals is of a character less impressive than 
 that produced by the concrete. There can be much more 
 earnestness, strength, or energy thrown into the concrete 
 form, because the concrete, in its nature, is more energetic ; 
 the voice can seize hold (as it were) of the question, and exert 
 its utmost energy upon it, in a continuous or concrete man- 
 ner* Although the simple question of inquiry is frequently 
 made by a discrete third or fourth. And it may be well, here, 
 to observe, that all emphatic words or syllables, in the discrete 
 form of interrogation, should always have a considerable 
 degree of radical stress upon them. In fact, in an interroga- 
 tive sentence, a word or syllable of short quantity that is 
 emphatic, can be properly intonated, only by the discrete form 
 united with stress. Yet the concrete form of intonation is 
 much more impressive, and therefore requires a more par- 
 ticular description of the manner in which interrogative inter- 
 vals are applied to individual syllables. 
 
 It must be supposed, by this time, that the student is familiar 
 with the effect of the concrete intervals which constitute 
 the interrogative expression. Let him take the syllable £ cut, 5 
 which is one of the shortest in our language, and pronounce 
 it as a mere sound, without meaning or emotion. Then let 
 him utter it as a question; and he will perceive that with 
 whatever rapidity it may be pronounced, he can still accom- 
 plish, on it, the peculiar effect of an interrogative intonation. 
 There is, therefore, in the last experiment, some accident of 
 the voice, which is not heard in the first. The distinction 
 between the two cases, arises principally from the use of a 
 wider concrete progress in the latter. For it may be readily 
 shown, that it does not proceed from any peculiarity in the 
 quality, nor from a certain degree in the force of the voice, 
 though there is a little increase of force : and that it is not 
 produced solely by a change of the syllable to a high place of 
 pitch, without a concrete movement. Let the student rise 
 through the musical scale by repeating the word 6 cut,' taking 
 care to give it no more than the radical and vanish of a tone 
 on each degree of the scale : he will perceive that to what- 
 ever height he ascends, the interrogative intonation will not 
 be produced : yet the rising progress has an interrogative im- 
 port. Now, we know not to what this intonation, when heard 
 
INTONATION OF INTERROGATION. 299 
 
 on an interrogative syllable, is to be ascribed, if not to the 
 rapid flight of the voice through a concrete interrogative in- 
 terval. The audible effect justifies the conclusion : though 
 the succession of time and of a space on the scale, which is 
 so distinctly perceptible in the movement of the slower con- 
 crete, is in this case of the immutable syllable altogether 
 beyond the power of distinct measurement. The discrete 
 interval can be executed on no less than two syllables ; there- 
 fore, a discrete interrogative interval cannot be pronounced on 
 a single immutable syllable. And if a single syllable, be it 
 ever so short, can have a clear interrogative expression, it 
 must be effected by a concrete movement. 
 
 It will appear, from the above, that the interrogative effect 
 is producible on the shortest syllables ; yet the immutable syl- 
 lables will not allow the higher concretes to be executed on 
 them. The intervals of the third and fourth may have the 
 rapid concrete placed on immutable syllables. All the intervals 
 of the scale may have the slow concrete placed on mutable 
 and indefinite syllables ; since that, all the intervals may be 
 placed on the mutable as well as on the indefinite syllables, 
 their concretes may be called slow, from the distinct percep- 
 tion of the regularly rising movement of the voice through 
 these intervals ; under the concretes of the third and fourth, 
 when placed on immutables, may. be called rapid, from the 
 indistinct perception of the rising progression of the voice on 
 them. 
 
 It may be remarked, that the use of the intervals of the 
 third or fourth on short syllables, when compared with their 
 application on long and indefinite ones, have a feebleness of 
 interrogative expression, directly proportionable to the rapidity 
 of their flight ; and, consequently, that the long and distinctly 
 measurable concretes on mutable and indefinite syllables, pro- 
 duce the strongest expression of interrogation. 
 
 It is desirable, however, that the Thorough Expression of an 
 interrogative sentence should be equally diffused over it. And 
 as all syllables are not by length qualified to bear the slow and 
 most eminent interrogative concrete, it follows that other 
 means, besides those of concretes, may be employed for the 
 purpose of fulfilling strongly and uniformly the intonation of 
 a question. The means for strengthening the comparative 
 feebleness of interrogative expression on short syllables, con- 
 sists in the union of the discrete with the concrete intervals; 
 that is, by raising the short and the unemphatic syllables, by a 
 change of radical pitch to the line on the summit of the slow 
 
300 INTONATION OF INTERROGATION. 
 
 concretes, which are allotted to emphatic syllables of long 
 quantity. The following notation exemplifies a case of the 
 Thorough Expression of an interrogative intonation. 
 
 Dost thou come here to whine ? 
 
 To out - face me with leap - ing in her grave? 
 
 +rhpfdb r +-M- fr 
 
 In this scheme, the interrogative intonation is made on 
 every syllable. The three emphatic syllables have a slow 
 concrete of a fifth ; all the rest have a rapid concrete third, 
 with a discrete elevation of a fifth to a line of the vanish of 
 the slow concrete. The unemphatic syllables, whether of 
 long or short quantity, should have this rapid concrete with a 
 radical change to the vanish of the slow concretes. The 
 melody continues at this height, until the next emphatic word 
 of long quantity gives a slow concrete by a radical descent 
 and concrete ascent. If a syllable of short quantity be 
 emphatic, its radical must descend to a third or fourth below 
 the previous current melody, and a rapid concrete executed on 
 it of the same interval, and the melody continued again on 
 a line of the vanish of this rapid concrete. 
 
 It would be well to remember, also, that a short emphatic 
 syllable may have a sharp radical stress placed on it, instead 
 of the rapid concrete, yet with a discrete descent, and the 
 subsequent melody raised to a line of the previous current. 
 
 Now the student will be better satisfied, as to the expression 
 of these functions of the radical change and rapid and slow 
 concretes, by exemplifications on single words. 
 
 Let him deliberately pronounce the noun ' convict 5 as if it 
 were an earnest question. The syllable 6 con' being of indefi- 
 nite quantity, and accented, will be distinctly heard to rise 
 concretely from a given point of pitch, to the place of a 
 third, fourth, fifth, or octave, according to the earnestness of 
 the expression : and the immutable syllable c vict' will be 
 heard at the height of the previous vanish. If 6 vict' be kept 
 down at the level of the radical of ' con,' and if it be there 
 uttered, with the rapid concrete rise, carefully guarding 
 against the descent to a close, the interrogative effect will 
 indeed still be perceptible, but in a degree far inferior to the 
 keen questioning of the former mode of intonation. 
 
INTONATION OF INTERROGATION. 301 
 
 Again, let him pronounce, as strongly interrogative, the 
 word i Typic ;' it will be found that from the immutable 
 nature of the syllables, no slow concrete can be executed on 
 either of them ; and, therefore, the rapid concrete on both, 
 with a discrete rise on the last, will produce the strongest 
 expression of interrogation. The radical rise on the last sylla- 
 ble, may be an octave or fifth for the strongest expression, and 
 in proportion to the lessening of this radical interval, will be 
 the abatement of the interrogative impression. The most 
 moderate intonation will be given by a slight radical stress on 
 the first (without a rapid concrete) and a discrete or radical 
 elevation of a third on the second syllable. 
 
 The effect cf the discrete movement of the voice, in the 
 production of interrogative expression, may be further exem- 
 plified, by placing the interrogative intonation on words of 
 three or more syllables; as, typical? typically? /^oratory ? 
 irreparable ? anaty/ical ? amanuensis ? Ipecacuanha ? indivisi- 
 6i7ity ? It may be observed, that the interrogative impression 
 may be heard from the accented syllable of each word, to the 
 end of them by the use of the discrete movement of the voice 
 on the short syllables; (for these syllables are all short, in the 
 proper pronunciation of these words.) Not but that other 
 forms of Interrogative Intonation may be placed on these 
 words, by the use of the rapid concretes, either with or with- 
 out the discrete change. Indeed, an interrogative impression 
 may be produced by pronouncing these words with a regularly 
 ascending discrete diatonic movement, always giving the up- 
 ward vanish to the last syllable. The lowest interrogative con- 
 crete is a third; and the lowest discrete interrogative interval 
 is also a third ; but the last gives to it the interval of a fourth, 
 counting from the radical of the first, to the vanish of the last. 
 Thus, then, the voice, in its movement, passes over the inter- 
 val of a fourth in executing a discrete rising third ; whereas, 
 it passes over an interval of a third only, in producing a con- 
 crete third. It is the same with the downward movements of 
 the voice in the production of the cadence. (Which see.) 
 
 It is then, by the union of the radical change and the rapid 
 and slow concretes, that a full and forcible power of inter- 
 rogative intonation is given to those sentences which require a 
 keen and penetrating energy. 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 on the vocal 
 scale. For the rise by the slow concrete, is, after all, but a 
 peculiar mode of change from a low to a high pitch ; and, 
 
302 INTONATION OF INTERROGATION. 
 
 though that peculiar continuous mode of rising, is plainly dis- 
 tinguishable in its degree of expression, from a discrete ascent 
 to the same height, still an essential power of the concrete 
 function, is its continuous rising and designating that higher 
 pitch. Now, the power of designating this higher place, is 
 the essential function of the discrete movement ; and, like two 
 discrete notes on a musical instrument, when heard in imme- 
 diate succession at the extremes of a wide interval of the scale, 
 it does produce an effect closely resembling that which arises 
 from a concrete transition of sound between the same extremes. 
 If to this effect of the discrete change be added the coinci- 
 dent and co-operating expression of the rapid concrete, the 
 combined effect becomes doubly efficient in the production of 
 interrogative expression : the total interrogative interval being 
 the union of the discrete interval to that of the rapid concrete. 
 This united interrogative interval may be said to be executed 
 by two concretes ; the lower one, by a slow concrete on the 
 emphatic words of long quantity, and the upper one, by the 
 rapid concrete on the unemphatic words immediately follow- 
 ing. (See the last interrogative notation.) 
 
 Since the rapid concrete on a long or short syllable, whether 
 it be emphatic or not, does, however, moderately produce an 
 interrogative impression, it may be used without the discrete 
 change, in those cases which do not require a strongly marked 
 intonation of a question. But the syllables so disposed, must 
 still perform their rapid concrete in the appropriate interroga- 
 tive interval; and it will generally be found that the moderate 
 temper of such questions receives the abated expression of the 
 third or fourth. 
 
 The student is perhaps now prepared to understand, when it 
 is said, that the current melody of interrogation may be di- 
 vided into two modes, called the Thorough Expression « and 
 the Partial Expression ; or the Melody of the Thorough or of 
 the Partial Intonation. 
 
 The Melody of the Thorough Expression is made by the 
 use of the slow concrete third, fourth, fifth, or octave on the 
 long and emphatic syllables ; and by a discrete rise with a 
 rapid concrete third or fourth on those which are short, or 
 long and unemphatic. These are applied on every syllable of 
 an interrogative sentence, to give the Thorough Expres- 
 sion. 
 
 The Melody of the Partial Expression is made by a^similar 
 use of the above named interrogative intervals, only they are 
 applied on more or less of the first part of an interrogative 
 
INTONATION OF INTERROGATION. 303 
 
 sentence ; and the balance of the sentence has the phrases of 
 the common diatonic melody. 
 
 In cases of the Thorough or Partial Expression, the interro- 
 gation may be constituted solely by the successive use of either 
 a third, or a fourth, or a fifth, or an octave ; or there may be 
 an appropriation of two or more of these intervals in the same 
 sentence, according as the emphatic force and sentiments of 
 the several words may require. 
 
 With a view to exhibit the power and forceful effect of the 
 interrogative intervals, when unsupported by those grammati- 
 cal constructions which generally indicate a question, let us 
 take the following sentence. 
 
 Give Brutus a statue with his ancestors. 
 
 f— *— A— T— A— * + ?"-»— W 
 
 This sentence, intonated as the notation directs, signifies an 
 intention to honor the patriot, and is imperative for this pur- 
 pose. But should the versatile plebeian the next moment have 
 a new light of discernment, he might deny the tribute of 
 honor, by repeating the very words of the decree, with the 
 sneering intonation of a question, by the use of the higher 
 intervals and a Thorough Expression. See notation of it on 
 page 297.) 
 
 " Give/ Bru/tus a stat/ue with his an/cestors ?" 
 
 The different modes of intonation in these two instances, 
 are perceptible to any ear ; nor can the altered intention of 
 the speaker in these cases be mistaken. The conspicuous 
 effect of this line, when read in the latter way, proceeds from 
 the use of the rising intervals of the higher grades; and it 
 shows the power of that rise, in changing an imperative to an 
 interrogative expression. In this way, the question is com- 
 pletely and strongly conveyed : for should the fifth be em- 
 ployed, or even an octave for the slow concrete and the 
 radical change, and the fourth for the rapid concretes, except 
 the last three syllables, and should these be uttered with the 
 triad of the cadence, the expression of sneer will be lost. But, 
 should the interrogative intonation 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 
 given to every syllable. 
 
304 INTONATION OF INTERROGATION. 
 
 From the foregoing analysis of the interrogative intonation, 
 we are now prepared to give, for the purposes of elementary 
 instruction, the different degrees of the interrogative expres- 
 sion ; since some sentences demand its employment on every 
 syllable, whilst others are sufficiently significative of the ques- 
 tion, by its partial application. 
 
 The following selections may serve to illustrate the nature 
 of the above named division. 
 
 Brother, good day^ ! what/ means/ this/ armed/ 
 
 guard/ 
 That waits * upon your grace^ ? 
 
 The interrogative intonation should be heard on the clause, 
 6 What means this armed guard:' the rest of the sentence has 
 both the current and cadence of the compound melody. 
 
 Again, 
 The Queen says : 
 
 By heaven, I will acquaint his majesty 
 Of those gross taunts I often have endured. 
 
 Gloster retorts : 
 
 What/! threat/ you me with tel/ling of the 
 King/? 
 
 This proud and angry question must have the interrogative 
 intonation throughout its current, or the thorough expression, 
 with an unfinished rising at the close, or it will not express 
 the spirit of the speaker. 
 
 As the characteristic mode, in each of these questions, 
 cannot be interchangeably transferred, and as every question 
 has either an appointed universality or a restriction in the 
 decree of its expression, it is a necessary inference, that some 
 directive principle must be operative on good readers, where 
 such may be found, in designating the places, and marking the 
 limits of this interrogative expression. 
 
 If the proper relationship is rightly perceived, between the 
 intonation and the words of a question, the circumstances 
 which direct the Thorough and Partial Expression, arises out 
 
INTONATION OF INTERROGATION. 305 
 
 of the following condition of the form and spirit of the 
 phraseology. 
 
 Sentences are employed with an interrogative intonation 
 under various modes of construction. They are framed 
 assertively, and derive the power of a question solely from 
 intonation : — or they are made by the reversed position of the 
 natural order of the nominative and verb : — or by joining cer- 
 tain pronouns or adverbs with the preceding condition : — or 
 they are of a positive or negative nature : — or they may em- 
 brace expletive or assertive clauses : — or they may include two 
 or more questions connected by conjunction : — or, finally, two 
 or more interrogative sentences may separately succeed each 
 other in a series. 
 
 With respect to the sentiment or spirit of the phrase, an 
 inquiry may be grounded on the real ignorance or doubt of the 
 interrogator : — or it may intimate a knowledge of the subject ; 
 nay, in an extension of this condition, a question is sometimes 
 put as a triumphant mode of assertion. Interrogation may be 
 urged with great earnestness, or addressed in a moderate tem- 
 per : — it may be made with surprise, or scorn, or exultation. 
 
 These are some of the varieties of Form and Spirit under 
 which interrogative sentences do appear. We shall endeavor 
 to systematise them into a few rules for the better compre- 
 hension of the subject. 
 
 RULE I. 
 
 Where an interrogative sentence has an assertive construc- 
 tion, it requires the Thorough Expression without 
 exception. 
 
 In the example below, the same words are used as a decla- 
 ration and as an interrogation. 
 
 1. Ser. — Where/ dwellest thouy? 
 Cor. — Under the can\opy v 
 Ser.— Un/der' the 4 can^opy^ 
 Cor.—AjW 
 Ser.— Where 5 s/ that<? 
 Cor. — In the city of kites/ and crowns^. 
 Ser. — In thec\ 4 ty 4 of kites/ andcrownsJ? 
 
306 INTONATION OF INTERROGATION. 
 
 The replications here set in italics should be read with an 
 interrogative interval on every syllable : the reason is obvious. 
 All assertive sentences, when meant interrogatively, are 
 elliptical. Thus the speaker here means either with inquisitive 
 doubt : 
 
 2. Did/ you say' ' under the can^opy^?' 
 
 Or, with real inquiry, — 
 
 3. Where' is^ ' under' the can^opy v ?' 
 
 And so of the other instance. In such elliptical questions, or 
 assertive forms of the question, it is necessary to supply the 
 defect of the ellipsis by the use of the Thorough Interrogative 
 Intonation. If an interrogative interval be set on many, or on 
 all except one, it will indeed produce something of an interro- 
 gative effect, but quite unsatisfactory to the demands of the 
 sense and the ear, and fall short of the meaning of the sentence 
 in this case. 
 
 RULE II. 
 
 Interrogative sentences, constructed by the reversed position 
 of the nominative and verb, or auxiliary, or by asking a 
 question with a verb, should have the thorough expression ; 
 though, when the sentence is long, it may have the Partial * 
 
 1. Avarice has long been ardently endeavor- 
 ing to fill his chest : and Lo ! it is full. Is/ he 
 hap^py'? Does/ he use/ it'? Does/ he grate *- 
 fully thank/ the giver of all good/? Does/ he 
 distrib'ute to the poor/? Alas\! these interests 
 have no^ place\ in his heart v 
 
 # Those questions which are asked or commenced with a verb, are also 
 called Direct, because they may be answered by yes or no, and require the 
 Thorough Expression : and those commencing with pronouns or adverbs are 
 called Indirect, because they cannot be answered by yes or no, and require 
 the Partial Expression. 
 
INTONATION OF INTERROGATION. 307 
 
 2. Would/ you do hom 7 age' in the most 
 agreeable way'? Wouldj you ren^der 7 the 
 most accep/table ser/vices ? OMer unto God^ 
 thanksgiving^. 
 
 3. Is not wat/er the best 7 and safest of all' 
 the kinds of drink 7 ? Nature and reaison an- 
 swer yes v 
 
 RULE III. 
 
 Sentences constructed with interrogative pronouns or 
 adverbs , and are of a moderate temper , require the Partial 
 Expression. 
 
 1. Who/ continually supports 7 and gov/erns 
 this stupendous system^? Who/ preserves^ ten 
 thousand times ten thousand worlds/ in per- 
 peUual har^mony v ? Who i enables them 
 al/ways to observe such times 7 , and obey such 
 laws 7 , as are most exquisitely adapted for the 
 perfec/tion 7 of the wondrous wholex? How/ 
 can they be so ac/tuated / and direc/ted', but^ 
 by the unceasMng en\ergy of the great^ Su- 
 preme v 
 
 2. Where j is the man\? 
 
 3. Where 4 is boas\ting then*? 
 
 .4. Of whomj do you speak% sir\? 
 
 5. Why i are you siMent ? 
 
 6. If the righyteous scarcely be saved, where i 
 will the ungod\ly and the sin^ner appear? 
 
308 INTONATION OF INTERROGATION. 
 
 RULE IV. 
 
 Where a sentence, besides the point of the question, has 
 additional members or clauses containing an address, or an 
 assertion, or an expletive, or a cause ; the expression assumes 
 the Partial Form. 
 
 This contains an address : 
 
 1. Why^ with some little trains my Lord of 
 
 Buc^kingham\? 
 
 This an assertion : 
 
 2. Why/ did you laugh % then/, when I said, 
 
 mar^ delights not me v ? 
 
 This an expletive : 
 
 3. What's/ Hecuba to himl, or he/ to He- 
 
 cu\ba 5 
 That he\ should weep^ for hei\? 
 
 This a cause : 
 
 4. What/ of his heart/ perceive you in his face/, 
 By any likeMihood he showed 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 that portion of the sentence, called 
 here the point of the question, does. 
 
 RULE V. 
 
 r Where two interrogative sentences connected by i or,' either 
 expressed or understood, or should they succeed each other in 
 pairs, the first should have the Thorough, and the second the 
 Partial Expression. 
 
 1. ShalU we in your person crown/ the 
 author of the public calamities, or shalU we 
 destroys them v ? 
 
INTONATION OF INTERROGATION. 309 
 
 2. Does Godj, after having made his crea- 
 tures, take no further care/ of them'? Has4 he 
 left them to blind / fate/, or undirected chance* ? 
 Or does # he always graciously preserve^, and 
 keep\, and guide\ them ? 
 
 3. Did you say yea*? or nay\. Are you 
 toiling for fame*? or a fortune ? or for the pur- 
 pose of doling or get\ting good\? 
 
 4. Shall/ we crown the author of the public 
 calamities ? or destroy^ him ? 
 
 5. Give v me^ thy\ hand v Thus high, by thy 
 
 advice. 
 
 And thy assistance, is King Richard seat^ed : — 
 
 But shalli we wear these glo^ries for a dayi? 
 
 Or shalli they last/, and we rejoice/ in 
 
 them'? 
 
 RULE VI. 
 
 Where two or more questions of moderate temper follow 
 each other in a series, they should generally have the 
 Thorough or Partial Intonation, as their grammatical struc- 
 ture shall indicate. 
 
 1. Can splendid robes, or beds of down', 
 Or costly gems that deck the fair' j 
 Can all the glories of a crown/. 
 Give health/, or soothe the brow of care/? 
 
310 INTONATION OF INTERROGATION. 
 
 2. Are/ you called forth/ from out a world of 
 
 To slay/ the in/nocent ? What/ is my of- 
 fence^? 
 Where/ is the evidence that doth accusex 
 
 • 
 
 me r ? 
 
 What' lawful quest 1 has given their verdict 
 up, 
 
 Unto the frown>ing judge v ? Or who/ pro- 
 nounced^ 
 
 The bitter semtence of poor Clar\ence\'s 
 death v ? 
 
 3. Observe the other now, sallying forth on a 
 sudden from his castlev; for what' reason*, in 
 the ev^eningv ? What' urged* him v ? It was 
 late^; to what' pur'pose, especially at that^ 
 sea*son\? He callsx at Pompey's pahace ; with 
 what' viewx? To see' Pompey'? He knew he 
 was at Al\sium v To see/ his house/? He has 
 seen it a thousand times v What J then* could 
 be the reason of his loitering and shifting 
 abouty? He wanted to be upon the spot' when 
 MiMo came up N . 
 
 Note. — The answer to a question should always be 
 given in a lower tone of voice, with a considerable pause 
 before it. 
 
INTONATION OF INTERROGATION, 311 
 
 RULE VII.* 
 
 Where the question is prompted by the ignorance or un- 
 certainty of the speaker, and thus contains a real 
 inquiry, it generally bears the Thorough Expression. 
 
 1. Hamlet. — Dost thou hear me, old friend ? 
 
 Can you play the murder of Gonzago % 
 
 2. Prospero. — Thy father was the Duke of Milan, and 
 
 A prince of power. 
 Mirando. — Sir, are not you my jfather ? 
 
 3. Who can save him ? What shall we do ? 
 
 RULE VIII. 
 
 When a question is earnestly or vehemently made, under 
 any mode of construction, and with any number of questions, 
 either in conjunction or in series, the expression of the 
 Thorough Extent should be given. 
 
 1. Show me what thou' It do ! 
 
 Woo't weepl woo't jftg/W? woo't fast? woo't tear thyself? 
 
 Woo't drink up .Esil ? eat a crocodile ? 
 
 I '11 do 't. Dost thou come here to whine ? 
 
 To outface me with leaping in her grave ? 
 
 2. He now appears before a jury of his country for re- 
 
 dress — 
 
 Will you deny him this redress ? 
 
 * In reference to the sentiment or spirit of an interrogation there are some 
 notable properties which govern intonation in this respect. The rules that 
 follow are made to bear on this subject. 
 
312 INTONATION OF INTERROGATION. 
 
 RULE IX. 
 
 
 Where a question is made with surprise, indignation) or 
 scorn, or any emotion of a similar spirit, it should generally 
 receive the Thorough Expression. 
 
 Cleopatra says to Caesar's friend, 
 
 1. Know, sir, that I 
 
 Will not wait pinioned at your master's court — 
 Nor once be chastised with the sober eye 
 Of dull Octavia. Shall they hoist me up, 
 And show me to the shouting ^arletry 
 Of censuring Rome ? 3 Rather a ditch in Egypt 
 Be gentle grave unto me. 
 
 The repulsive indignation of this question cannot be fairly 
 exhibited without the fullest measure of interrogative color- 
 ing. 
 
 RULE X. 
 
 When the last syllable of a question is emphatic, and its 
 intonation is not forcibly directed to the Partial Expression 
 by some one of the preceding rules, this last syllable should 
 have an Interrogative Interval. 
 
 In the dialogue between the murderers of Clarence, the 
 second speaker exclaims and asks, — 
 
 1. What! shall I stab him as he sleeps ? 
 
 From the answer of his companion, it is plain that the 
 question points at the act of sleeping, and this requires the 
 principal interrogative emphasis on the last word. Had the 
 inquiry been, whether the victim should be stabbed or stran- 
 gled, the word stab should carry the principal emphasis, and 
 the sentence might end with the diatonic cadence. 
 
INTONATION OF INTERROGATION. 313 
 
 RULE XI. 
 
 When a question is addressed in a moderate temper, the 
 speaker should generally give it the Partial Expression, 
 
 When Hamlet says to Guilderstern, — 
 
 1. Will you play on the pipe 1 
 
 The composure of the Prince indicates the mild authority 
 of a request, with the doubt of an inquiry; and this is pro- 
 perly set forth by the Partial Expression, with a diatonic 
 cadence. It is true, however, that the instrument is brought 
 into the scene, and the question is thereupon put ; and on this 
 ground, perhaps, the word c pipe' might be regarded as em- 
 phatic. Still, the emphasis may be made by a stress on the 
 last constituent of the triad, with a falling vanish of a tone, as 
 well as by an ascent of an interrogative interval. 
 
 RULE XII. 
 
 Should a sentence be short, or consist of a single member, 
 the intonation will generally require the Thorough Applica- 
 tion. 
 
 1. All this dread order break, — for whom ? for thee ! 
 Vile worm ! — madness ! pride ! impiety ! 
 
 2. the dark days of vanity % while here, 
 
 How topless ! — and how terrible, when gone ! 
 
 Gone ? they never go : — When past, they haunt us still. 
 
 Note. — Very long interrogative sentences should generally 
 have the Partial Extent. 
 
 RULE XIII. 
 
 Where questions are followed by answers, the Thorough 
 Expression should be applied ; and after a long pause, the 
 answer should be pronounced in a lower tone of voice. 
 
 1. 4 Are you desirous that your talents and abilities may pro- 
 cure you respect ? 3 Display them not ostentatiously to 
 14 
 
314 INTONATION OF INTERROGATION. 
 
 public view. 4 Would you escape the envy which your 
 riches might excite? sLet them not minister to pride, 
 but adorn them with humility. 
 
 2. There is not an evil incident to human nature, for which 
 the gospel doth not provide a remedy. Are you ignorant 
 of many things which it highly concerns you to know? 
 3 The gospel offers you instruction. 4 Have you deviated 
 from the path of duty % 3 The gospel affords you forgive- 
 ness. 4 Do temptations surround you 1 3 The gospel offers 
 you the aid of heaven. 4Are you exposed to misery ? 
 3 It consoles you. 4 Are you subject to death? alt offers 
 you immortality. 
 
INTONATION OF EXCLAMATORY SENTENCES. 
 
 Exclamations are but forcible expressions : and there may 
 be as many kinds as there are modes of feeling and thought. 
 Thus every mental energy and passion may be found illus- 
 trated in composition. 
 
 It may be remarked, that, in some cases, emphatic distinc- 
 tion may require the use of the downward interval or the 
 direct wave among the rising intervals of Interrogation ; and a 
 rising interval among the downward intervals of Exclamation. 
 The contrast by intonation, in such instances, constitutes one 
 of the characteristics of emphasis, as an impressive designation 
 of contrasted words. 
 
 Many exclamations may be regarded as elliptical sentences. 
 The design of the ellipsis is to effect a quick and forcible ex- 
 pression of thought or feeling, and as this is done with a 
 brevity of style, which sometimes might not be a full indica- 
 tion of the sentiment, it is necessary to employ the additional 
 means of intonation. Hence arises the structure and character- 
 istic expression of Exclamation. 
 
 Hence, then, it may be reasonably inferred, that as excla- 
 mations are forcible expressions of emotion, they aie best 
 expressed by the employment of the downward concretes, as 
 these are the elements best suited to the expression of strong 
 feeling ; yet the lighter forms of exclamation may be executed 
 on the rising intervals or concretes. 
 
 The shortest exclamatory, like the shortest interrogative 
 sentences, consist of a monosyllabic word, and this maybe any 
 of the parts of speech, if, perhaps, we except the article con- 
 junction, and preposition ; and the interjection being the most 
 common. And this may serve to set the power of intonation 
 in the strongest light ; for thus it seems to be the act of speak- 
 ing almost without words. From the monosyllable, the ex- 
 clamation varies in extent through the different degrees of the 
 ellipse, to the full syntax of a sentence ; though there are few 
 that are not curtailed by the force of passion. 
 
 Though we have said, that Exclamatory sentences generally, 
 if not always, bear the falling; intervals or the direct wave, it 
 must also be understood that the extent of these intervals is in 
 proportion to the force of the sentiment. Thus, the following, 
 from its moderate temper, might require no more than the 
 
316 INTONATION OF EXCLAMATORY SENTENCES. 
 
 downward second or its direct wave ; though it may also bear 
 a third, which will give it a little more feeling. 
 
 1. 0, withered truth ! 
 
 The strong exclamatory appeal of Sempronius to the Roman 
 Senate, to urge them to united action for the preservation of 
 the liberties of Rome, should receive the deep and forcible 
 descent of an octave in the following : 
 
 2. Rise, fathers, rise ! J T is Rome demands your help ; 
 Rise, and revenge her slaughtered citizens, 
 Or share her fate ! 
 
 In the following lines, the words in italics will bear the 
 direct wave of the fourth or fifth, with good effect. 
 
 3. So thick the airy crowd 
 
 Swarmed and were straightened ! till signal given, 
 Behold a wonder ! 
 
 Scorn is expressed by the simple rise or fall of any interval, 
 or by various forms of the wave, when accompanied with 
 Vanishing Stress, or an Aspirated or Guttural Voice ; the 
 lighter degrees of expression or the simple rise and fall, being 
 appropriate to the sneer ; and the stronger, to the deepest Con- 
 tempt and Execration. 
 
 The sentiment of the following line will be properly ex- 
 pressed, if the syllables in italics receive the unequal wave of 
 a rising fifth and falling octave, under a slight degree of gut- 
 tural aspiration ; whilst the other short quantities of the sen- 
 tence are uttered in the falling fourth or fifth, with a like 
 aspiration. 
 
 4. JBassanio. — This is Seignor Antonio. 
 
 Shylock. — How like & fawning publical he looks! 
 
 The following exclamation of Macbeth, to the Ghost of 
 Banquo, requires the downward fourth or fifth throughout, 
 according to the energy which the speaker thinks appropriate 
 to its delivery. 
 
 5. Hence, horrible shadow, 
 
 Unreal mockery hence ! 
 
INTONATION OF EXCLAMATORY SENTENCES. 317 
 
 Jlnother example : 
 
 6. ye countless stars ! What mind can know, 
 What tongue can utter, all their multitudes ! 
 Thus numberless, in numberless abodes! 
 Known but by thee, bless'd Father ! Thine they are. 
 Thy children, and thy care ; and none o'erlook'd, 
 Of thee I 
 
 A Plaintive Exclamation is produced by the rise of a semi- 
 tone, continued into the descending third, fourth, fifth, or 
 octave, according to the force of the sentiment. The direct 
 wave of a semi-tone and fifth is the proper intonation for the 
 accented syllables of the following plaintive exclamation. 
 
 7. Banquo, Ban<\uo, 
 
 Our Voyal Master's ^murdered ! 
 
 As the downward concretes are the appropriate symbols of 
 the strong exclamatory emotion, expressive of surprise, won- 
 der, fear, distress, deep sorrow, or scorn ; so the upward 
 inflections are suited to express the tender or pathetic, or the 
 milder degrees of these same emotions. 
 
 1. Oh the dark days of vanity! (Few, alas! are without 
 
 them!) While here, how tasteless! and how terrible, 
 when gone ! Gone ! they never go — when past, they 
 haunt us still. 
 
 2. Near, and more near, the intrepid beauty pressed, 
 Saw through the driven smoke his daring crest ; 
 Heard the exulting shout — " They run ! they run !" 
 
 " Great God ! (she cried,) he's safe ! — the battle's won." 
 
INTONATION OF THE WAVE. 
 
 In order to understand the nature of the expressive power 
 of the wave, we should remember that this element is com- 
 pounded of a rising and falling, or a falling and rising interval, 
 the respective expressions of which have already been de- 
 scribed. Now, it will be found that the wave generally par- 
 takes of the nature of its constituents ; and further, that by its 
 continuous flexures it enables the voice to carry on a long 
 quantity without the risk of falling into the intonation of 
 song. 
 
 It may be well here to state, that the wave in all its forms, 
 is modified by the application of force upon different parts of 
 its course. Stress may be applied at the beginning, or at the 
 end of the line of the Wave, or at the place of junction of its 
 constituents ; and that the addition of force to its termination, 
 gives to the several species of the Wave a coloring of temper 
 and of scorn, which they do not possess in the natural and 
 single form of the concrete. 
 
 The equal wave of the octave in its single form is not used, 
 as far as I know, except for common colloquial mockery. If 
 any distinction may be made between its direct and inverted 
 forms, the latter, from its ending in an upward concrete, 
 carries the power of interrogation ; whilst the former, from its 
 downward final movement, has the positiveness ascribed to the 
 falling intervals when uncompounded. 
 
 We have already learned that there is a difference between 
 the expression of the rising and the falling concrete. The 
 former is more cheerful and animated in its cast ; the latter is 
 more deliberate and grave. 
 
 The single, double, and continued waves are regulated in 
 their expression by the direction of their last constituent. If 
 the termination of the last constituent be in an upward vanish, 
 the expression will be suspensive or interrogative ; if down- 
 ward, the expression will carry with it positiveness or sur- 
 prise. Scorn, anger, or contempt may be conveyed by the 
 double forms ; but more certainly and strongly by adding to 
 the last constituent greater stress than to the others, or by 
 giving to it Aspiration, or Guttural Stress. But, furthermore, 
 the wave is used for the purpose of giving more quantity to 
 the syllables which may require it. 
 
INTONATION OF THE WAVE. 319 
 
 In all its forms, whether single or double, direct or inverted, 
 the expression will be strong and energetic or more moderate 
 in its characteristic distinction, as the intervals are greater or 
 less of which it is made. The fifth and octave belong, more 
 especially, to the spirit of colloquial dialogue, and to the force- 
 ful energy of the drama and to oratory. The third and fourth 
 are somewhat moderate in their degree of expression, and are 
 of more frequent occurrence, as the means of emphasis. These 
 also serve, like those of higher and lower intervals, to spread 
 out the quantity of syllables in deliberate and dignified dis- 
 course. The wave of the second may be said to be one of the 
 most important forms of the wave. Its predominance in the 
 phrase of the monotone is instrumental in the expression of 
 dignity and solemnity ; and the first lines of the second book 
 of Milton, may be noted in illustration of this fact. And it 
 may be added, that long quantity, on accented and emphatic 
 syllables, is an essential condition in the accomplishment of 
 this dignity or solemnity of expression. And for the full per- 
 fection of this characteristic expression, it is necessary that the 
 intonation should be set on long quantity, which is best 
 effected by the use of the Equal Wave of the second, either in 
 its single or double, or in its direct or inverted form. 
 
 The diatonic melody is described as having the vanish of 
 every syllable upward, whatever the character of the plain 
 discourse may be ; though the downward vanish of a second 
 may be occasionally introduced, with a view to give a better 
 sense, or a variety to the current. 
 
 We may again add, that the rising movement of the voice, 
 whatever the interval (except the semi-tone) has more gayety 
 of expression, than the downward progression. Hence, dis- 
 course of an easy and sp?'ightly character, of quick time, and 
 of short quantity, is generally carried on with the ?'ising van- 
 ish. But if the discourse should be of a grave cast, which 
 necessarily calls for long quantity, then the wave of the second 
 should be employed. For the subsequent descent of the inter- 
 val, forming thus the direct wave, takes off the light and fami- 
 liar expression which belongs to the simple rise of the second; 
 whilst the length of the quantity being consumed on the line 
 of contrary flexures, the voice is still kept within the rule of 
 the equable vanish of speech. 
 
 What is here said of the use of the direct wave of the second, 
 in adding dignity and solemnity to the diatonic melody, is 
 also true of the Inverted Wave. For if the reader be able to 
 make the continued rise and fall through a tone, or reversely, 
 
320 INTONATION OF THE WAVE. 
 
 the fall and rise, on any chosen literal element or word, he 
 will observe a difference in the effect. But each case will be 
 equally destitute of that striking intonation, which belongs to 
 the wider intervals, whether upward or downward, and which 
 would be incompatible with the avowed character of the dia- 
 tonic progression j except for the occasional purpose of em- 
 phasis. 
 
 We are not aware that the double form of the wave of the 
 second has any peculiar power of expression differing from 
 the single, except in extending the quantity of syllables. In- 
 deed, the unusual protraction of quantity in the diatonic 
 melody, instinctively produces the double form of the wave ; 
 since the voice may take this serpentine course, without pro- 
 ducing any unpleasant snarl, similar to the double wave of 
 some of the higher intervals. 
 
 The continued form of the wave may be used for some ex- 
 traordinary expression of solemnity upon some indefinite syl- 
 lable which will bear to be unusually protracted ; and should 
 the time of the syllable not be exhausted, when the voice has 
 passed through the three constituents of the double wave, it 
 must necessarily be carried on in the note of song, or it must 
 continue in the flexures of the continued wave, which will 
 secure the distinctive characteristic of speech; and produce no 
 unpleasant impression. 
 
 We have all along kept in view, a distinction between the 
 plain melody formed by the rise or fall of the voice through 
 the interval of a tone, and a melody produced by the use of 
 other intervals which endow the utterance with what is dis- 
 tinctly called Expression. There are very few readers able to 
 execute this plain melody, in the beautiful simplicity of its 
 diatonic construction. Some give constantly the rise of a third 
 or a semi-tone: or mark every emphatic syllable with one of 
 the forms of the wave, by one or other of which he attempts 
 to give a greater degree of dignified expression, or of variety 
 to the simple melody, than an unpracticed reader is able to 
 accomplish by the management of the second alone ; and, in 
 this attempt, some of the above mentioned elements of into- 
 nation are fallen upon, which produce a disgusting monotony. 
 For the impressiveness of the wider intervals leaves such deep 
 tracks upon the ear, that, when unduly employed, their repe- 
 tition becomes conspicuous and offensive. Whereas the simple 
 interval of the second, like the smaller particle of speech, 
 may be frequently repeated without producing a marked cr 
 tiresome impression 3 the several forms of the wave of this 
 
INTONATION OF THE WAVE, 321 
 
 interval throw sufficient variety into the diatonic melody, 
 without destroying its characteristic simplicity and plainness. 
 They give time and dignity, whilst the simple rise belongs to a 
 shorter quantity, and to a gayer kind of expression. 
 
 In the varieties of the chromatic melody, the conjunction of 
 the rising and falling intervals are used for the purpose of 
 giving a more remarkable impression of the plaintiveness of 
 this symbol, and for adding length to the quantity of syllables. 
 The Semi-tonic Wave, in its direct, inverted, and double forms, 
 carry greater dignity and feeling than the simple rise or fall ; 
 and, at the same time, furnish means for diversifying the cur- 
 rent of this melody. 
 
 The last constituent of the Wave gives the general charac- 
 teristic of its expression ; when this is upward, it has a sus- 
 pending or interrogative effect on the sense ; when it is down- 
 ward, it has a closing or positive impression upon it. 
 
 Inverted Equal Wave of the Semi-tone. 
 
 The Inverted Equal Wave of the Semi-tone, is required on 
 the words, ' poor' and < old,' in the following sentence : 
 
 " Pity the sorrows of a poor old man." 
 
 The Wave of the Second. 
 
 The majestic movement required on the four first lines of 
 the Second Book of Paradise Lost, can be effected only by the 
 use of the wave of the second, on the syllables of long quan- 
 tity. 
 
 " 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, 
 Show'rs on her kings barbaric pearl and gold, 
 Satan exalted sat." 
 
 Inverted Equal Wave of the Second. 
 
 " Hail, holy light, offspring of heaven's first born," 
 14* 
 
322 INTONATION OF THE WAVE. 
 
 Direct Wave of the Third or Fourth. 
 
 The Equal Direct Wave of the Third or Fourth should be 
 placed on the words in italics in the following, 
 
 1. Upon the watery plain the wrecks are all thy own. 
 
 2. My sect thou seest. 
 
 Inverted Equal Wave of the Third. 
 
 1. Wilt thou kill me, as thou didst the Egyptian yesterday ? 
 
 2. Why persecutest thou me ? 
 
 Direct Equal Wave of the Fourth or Fifth. 
 
 1. And breath'st defiance here and scorn, 
 Where I reign king % and to enrage the more 
 Thy king and Lord. 
 
 A Direct Equal Wave of the Fourth or Fifth on c thy 5 ' will 
 give a full expression of the positiveness, vaunting authority, 
 and self-confident admiration of the speaker in the above ex- 
 ample. 
 
 2. Beyond that, I seek not to penetrate the veil, — God 
 
 grant, that in my day, at least, that curtain may not 
 rise. God grant, that on my vision, never may be 
 opened what lies behind. 
 
 3. So much the rather thou, celestial Light, 
 
 Shine inward, and the mind, through all her powers, 
 Irradiate. 
 
 The Inverted Equal Wave of the Fourth or Fifth on c man,' 
 and the direct on the first syllable of ' Angel,' will give a 
 good intonation. 
 
 Is all this work ascribed to man ? 
 
 To jln~%eVs hands 'twould seem to suit. 
 
INTONATION OF THE UNEQUAL WAVE. 323 
 
 ON THE UNEQUAL WAVE. 
 
 A Wave of Speech is unequal when the constituents are of 
 unequal intervals ; or it is a compound of different intervals. 
 Thus, when the voice rises through the interval of a second, 
 and falls through that of a third ; or should it fall through a 
 given interval and rise through a different one. 
 
 The expression of the Unequal Wave may embrace won- 
 der, admiration, surprise, positiveness, uncertainty, or interro- 
 gation, in different degrees, according to the extent of the 
 interval, and the direction of its last constituent. The gene- 
 ral characteristic of expression is that of a moderate feeling 
 of scorn, contempt, anger, ridicule, and other feelings of a 
 like nature. These sentiments are in a slight degree conveyed 
 by the curling of the equal wave itself, and even by the 
 simple rising or falling fourth, fifth, or octave, when there is 
 much stress, guttural emphasis, or aspiration laid on their 
 vanishing extremes. But the most striking sign of contempt 
 consists in a wide variation of the constituents of the wave, 
 especially when the intonation is strongly marked with 
 vanishing stress, guttural energy, or aspiration, on the final 
 constituent. 
 
 This Unequal Wave may be found in the representation of 
 the higher passions of the orator, or of the drama, and in the 
 pevishness of the colloquial cant of common life; but it 
 should be rarely used in the moderate temper which distin- 
 guishes the greater part of written discourse. It is not suited 
 to a grave or graceful design of speech. 
 
 There is a peculiar use of the wave of unequal flexures of 
 the chromatic character, which forms an exception to the 
 above attribution of scorn, anger, or contempt to this symbol. 
 We allude to its employment for the purpose of chromatic 
 interrogation. For, in this case, it is necessary to give, on the 
 same syllable, an intonation both of plaintiveness and of the 
 question : and this grafting can be accomplished, only by sub- 
 joining to the first constituent of the wave of the semi-tone, 
 the rise of a third, fourth, fifth, or octave. 
 
 But it may be proper here to remark, that this, and other 
 modes of the Unequal Wave, ceases to be strongly expressive 
 of scorn, anger, or contempt, only by withholding aspiration, 
 strong guttural emphasis, or vanishing stress, on its last con- 
 stituent. 
 
 There is, likewise, a form of the Unequal Wave, by which 
 
324 INTONATION OF THE UNEQUAL WAVE. 
 
 the cadence of a chromatic melody is made on one syllable. 
 For, in this case, the voice rises through the interval of a 
 semi-tone, and then descends concretely a third or fourth for a 
 close. From the nature of its constituents, it bears the senti- 
 ment of plaintive or querulous surprise, and, consequently, is 
 admissible on the last long quantity of a chromatic sentence, 
 only when this sentiment is set forth in its final syllable. If, 
 however, the element be increased in force towards its close, 
 and if it be aspirated, or grated in the throat, it will bear 
 more conspicuously the expression of querulous scorn, anger, 
 or contempt. 
 
 1. You wrong me every way, you wrong me, Brutus. 
 
 The italic word ' wrong' gives an example of the Unequal 
 Wave, whose first constituent is a rising semi-tone, — and the 
 second a downward third, fourth, or fifth, according to the 
 force required by the sentiment. 
 
 2. For, from this day forth, 
 
 I '11 use you for my mirth, yea, for my laughter, 
 When you are waspish. 
 
 The Direct Unequal Wave, consisting of a rising tone or 
 third, connected with the fall of a fourth or fifth, will express 
 the sneer of the contention between Brutus and Cassius, in 
 the above lines. The sneer will be greatly heightened by a 
 union of one or other of the following symbols : namely, 
 Aspiration, Vanishing Stress, or Guttural Force. 
 
 The following contemptuous retort of Coriolanus on the 
 Volscian general who had called him a ' boy of teens,' may be 
 given as an instance of the ascent of a fourth or fifth, and a 
 subsequent descent of an octave on the word boy. 
 
 3. False hound ! 
 
 If you have writ your annals true, 't is there 
 That, like an eagle in a dove-cote, I 
 Fluttered your Volsces in Carioli ; 
 Alone I did it, — Boy ! 
 
 The inverted unequal wave of the fifth or octave, should be 
 placed on the word Q your ;' and the direct unequal of the 
 
INTONATION OF THE UNEQUAL WAVE. 325 
 
 same intervals on the word 6 my, 5 uniting aspiration and van- 
 ishing stress in the following sentences. 
 
 4. You claim him as your friend 1 
 Yes, I claim him as my friend. 
 
 The Double Wave. 
 
 The Double and Continued Wave require syllables of in- 
 definite time. 
 
 5. " High up in heaven, with songs to hymn his throne, 
 And practiced distances to cringe, not fight." 
 
 If we suppose the intonation of the word 6 cringe' to be on 
 a line with the current melody, and carry the concrete through 
 a rising and then a falling third, fourth, or fifth, and then, 
 again, a rapid vanish of an upward third, we will have an 
 Unequal Double Wave. With this intonation on < cringe, 5 
 and a discrete rising skip of a fifth from the line of the cur- 
 rent melody on 6 not, 5 and then, again, returning^ discretely to 
 the same line on 'fight, 5 we shall exhibit that scornful exulta- 
 tion which is intended to be conveyed. 
 
 6. "They tell us to be moderate, while they, they revel in 
 
 profusion. 55 
 
 If a discrete rising fourth from the current melody be put 
 on ' tell, 5 and immediately fall again to it on ' us, 5 and a Direct 
 Equal Wave of a third or fourth be placed on the first ' they, 5 
 and a Double Direct Wave, of the same interval, on the repe- 
 tition of ' they, 5 the sentiment and feeling of the above passage 
 will be, as we think, exhibited. 
 
OROTUND. 
 
 This quality of voice may be said to be a highly improved 
 state of the natural voice. It is that pure ringing fulness of 
 sound which is made deep in the throat, the cavity of which 
 is made to approach that of a barrel or a copper alembic, not, 
 indeed, in size, but in hollowness and roundness; giving to the 
 voice a reverberating sound, as from a hollow cavity. The 
 ancient Greeks and Romans called this voice by the name of 
 Os Orotundum, no doubt from the hollow roundness of the 
 posterior part of the throat necessary to the production of it. 
 Dr. Rush has, on the basis of the Latin phrase, constructed 
 the term Orotund, as designating that assemblage of eminent 
 qualities which constitute the highest characteristic of the 
 speaking voice. He has further described it to be a full, clear, 
 strong, smooth, and ringing sound, rarely heard in ordinary 
 speech; though, occasionally, we meet with a person who 
 has an Orotund as his natural voice ; but which is never 
 found in its highest excellence, except by careful cultivation. 
 He describes the fine qualities of voice constituting the Oro- 
 tund, in the following words : 
 
 1. By a full, or fulness of voice, is meant that grave or 
 hollow volume which approaches to hoarseness. 
 
 2. By clear, or clearness, a freedom from nasal murmur and 
 aspiration. 
 
 3. By strong, or strength, a satisfactory loudness and 
 audibility. 
 
 4. By smooth, or smoothness, a freedom from all reedy or 
 guttural harshness. 
 
 5. By a ringing quality of voice, its resemblance to certain 
 musical instruments. 
 
 Persons possessing the Orotund appear to be laboring under 
 a slight degree of hoarseness. The voice is highly agreeable 
 to the ear, and is more musical and flexible than the com- 
 mon voice. It is possessed by actors of eminence in the art, 
 and is peculiarly adapted to set forth the beauties of Epic and 
 Tragic representations. 
 
OROTUND. S£i 
 
 The possession of the power of this voice is greatly 
 dependent on cultivation and management. Experiments 
 have proved that more depends on cultivation than on natural 
 peculiarity. Therefore, encouragement is strongly held out 
 to those who are desirous. And the following description of 
 the parts concerned in the production of the Orotund will aid 
 any one in acquiring this most desirable power of voice. 
 
 If the tongue is retracted and depressed, the mouth opened 
 in such a manner as to favor the enlargement of the posterior 
 part of the throat, immediately over and above the glottis, (or 
 the opening into the wind-pipe,) distending it, and dilating the 
 cavity of it, in every direction, to the utmost possible extent ; 
 and any of the vowel elements then uttered with fulness, 
 force, and abruptness, and the air producing the sound, directed 
 in such a manner as if it were to pass through the brain, we 
 shall have the Orotund Voice clearly exhibited in a very high 
 degree, and in its purity. 
 
 If, in the condition of the organs set forth above, the ele- 
 ments are exploded, and are made to vibrate against the upper 
 cervical vertebrse, and the base of the cranium, stretching an 
 extensive and vibrating vaulted cavity immediately over the 
 passage of the sound, this voice will then be heard clear, full, 
 strong, smooth, and sonorous. The clearness, strength, and 
 musical resonance of the voice will be in proportion to the 
 force of the vibrations made against the posterior and upper 
 part of the fauces. 
 
 From the circumstance that the epiglottis is placed ante- 
 rior to the glottis, and in swallowing food or drink, com- 
 pletely covers and closes it, the vibratory vocal current of air 
 passing through and from the glottis, is directed by this 
 anterior position of the epiglottis toward the back and upper 
 part of the throat or fauces, from which it rebounds and 
 passes through the cavity of the mouth, by which it is modified 
 and modulated into the several specific elements represented 
 by the graphic alphabet. Hence, then, it may be inferred, 
 that the more we can throw the vibratory vocal current back 
 into the posterior part of the throat, the clearer, the stronger, 
 and the purer will be the vocality, as it rings through the 
 mouth and drops from the lips. 
 
 Again, the act of coughing may be made either by a series 
 of short abrupt efforts in expiration ; or by one continued im- 
 pulse which yields up the whole of the breath. Now, this 
 last named mode forms one of the means for acquiring the 
 
328 
 
 OROTUND. 
 
 Orotund voice. The single impulse of coughing is an abrupt 
 utterance of one of the short vowel elements, followed by a 
 continuation of an aspiration or breath, till the expiration is 
 exhausted. Let this compound function, consisting of exploded 
 vocality and subjoined aspiration, be changed to an entire 
 vocality, continued through the time of the aspiration. The 
 sound thus produced, will, with proper cultivation, make 
 that full, clear, and sonorous quality, denominated the Oro- 
 tund. 
 
 This contrived effort of coughing, when freed from abrupt- 
 ness, is like that voice which accompanies gaping ; for this 
 has a hollow and ringing vocality, very different from the col- 
 loquial utterance of these sounds. 
 
 Another method for producing or acquiring the Orotund 
 voice, if the preceding are not easily comprehended or exe- 
 cuted, is the following : 
 
 Let an expiration be made on the interjection 6 hah,' in the 
 voice of whisper; using that degree of force which, with some 
 motion of the chest, seems to drive all the air out of it. Now, 
 let the whisper in this process be changed into pure vocality. 
 This vocality will have the hoarse fulness and resonant 
 quality of the Orotund. 
 
 It is the forcible exertion of this kind of voice, which con- 
 stitutes vociferation ; for vociferation is the utmost effort of 
 the natural voice, as the scream or yell is of the falsette. 
 Actors of the first rank have commonly an energy of feeling, 
 that prompts them to a degree of force in utterance, which 
 produces the mixture of vocality and hoarseness, as if a cold 
 had been taken, and as heard in the forcible intonation of the 
 interjection 6 hah? 
 
 With a view to practice on the pure Orotund, unmixed with 
 the nasal or the palatal, the following directions may serve. 
 Let each of the vowel elements be expelled from the most 
 posterior part of the throat, with as much opening fulness, 
 force, and abruptness as possible ; and the long ones, with ex- 
 tended quantity, with the condition of the organs described 
 above, and let the effort be so made as to exhaust as much as 
 possible the air contained in the chest upon each element. 
 Endeavor to make the sounds as grave and hollow as possible, 
 or as low down in the throat as possible. This method of 
 sounding the elements will be apt to produce giddiness and 
 hoarseness at first, and must, therefore, be prosecuted with 
 care. By practice, however, this inconvenience will cease, 
 
OROTUND. 329 
 
 and as soon as it does, the elements and words of the following 
 table, should be daily sounded for some time, until they can 
 all be executed with ease. 
 
 e, in eel, ear, hear, eve, deed, give. 
 
 a, u age, page, air, their, aim. 
 
 ah, " arm, harm, arch, bard, card, guard. 
 
 aw, " awe, all, call, or, for, Paul, ihaw. 
 
 oh, " ode, ore, sore, load, goad, more. 
 
 oo, " ooze, loose, coo, woo, move. 
 
 uh, " urn, twrn, burn, uxv, her, sir. 
 
 ou, " our, sour, powr, no?/', thow. 
 oi, " oil, tozl, coin, join, joice. 
 u, " use, ure, fume, tune, tube. 
 i, " ice, ire, fire, qwire, isle, style. 
 
 When the elements and words can be uttered in a pure 
 Orotund character, let an attempt be made to sound a short 
 sentence, and by degrees the voice will be heard upon suc- 
 cessive syllables. At first, it will be monotonous, but prac- 
 tice will enable the student to vary his pitch with the Orotund, 
 as easily as with the natural voice. We can assure the student 
 that the elementary exercises here enjoined will improve his 
 natural voice to a degree far beyond his most sanguine expec- 
 tation. Their direct tendency is to impart depth, strength, 
 fulness, smoothness, and pureness of vocality. 
 
 We should here, however, say, that this voice is not the 
 voice employed in common, familiar, or unimpassioned sub- 
 jects. It is more especially the appropriate symbol for ener- 
 getic argumentation, for the dignified parts of Epic and Tragic 
 poetry, and for the more solemn portions of the scriptures. 
 And we would further say that a person cannot have an im- 
 pressive delivery in public speaking or reading, without the 
 depth, force, and clearness of tone, and distinctness of intona- 
 tion, which the practice necessary to attain the Orotund, is 
 the most effective method of acquiring. 
 
 LOUD VOCIFERATION. 
 
 In addition to the previously described means for acquiring 
 the Orotund, and for facility in its use, I shall state, that the 
 
330 OROTUND. 
 
 Orotund is sometimes undesignedly produced in the course of 
 time, by the practice of vociferating on the stage, which seems 
 to be necessary in order to be understood, from the great ex- 
 tent of the space of the house. 
 
 From this, then, the frequent exercise of the voice, in read- 
 ing; and declaiming aloud, with the utmost degree of force of 
 which it is susceptible, is a successful and sure method for 
 improving it. Persons, in general, have no adequate notion of 
 the degree to which the voice may be improved, by the daily 
 habit of loud vociferation. As soon as this strong action of 
 the voice can be employed without hoarseness, it ought to be 
 maintained for a considerable length of time, (say half an hour,) 
 and if the exercise is united with a proper observance of mea- 
 sure^ and a full supply of air in the lungs, it will be beneficial, 
 rather than injurious, to health ; and, especially, if prosecuted 
 in the open air, or in a large room. 
 
 There is a grave fulness of quality in all voices thus habitu- 
 ally exercised, which is at once grateful to the ear, and ade- 
 quate to the purposes of public speaking. No person should 
 attempt to address a large assembly, whose voice has not been 
 previously subjected to the gymnastic training here recom- 
 mended. Voices have been gotten up in a fortnight, by this 
 practice, from comparative feebleness, into a well marked 
 strength, fulness and distinctness. 
 
 Explosion of the vowels and consonants, with the utmost 
 degree of rending force, fulness, and abruptness, should ac- 
 company the above mentioned exercises. 
 
 We give below an example for exercise ; many others 
 should be selected by the student. This should be read with 
 all the rending force and distinctness that can be given 
 to it. 
 
 1. To whom the goblin, full of wrath, replied : 
 Art thou that traitor angel, art thou he 
 Who first broke peace in heaven and faith, till then 
 Unbroken, and in proud rebellious arms, 
 Drew after him the third part of heaven's sons, 
 Conjured against the Highest, for which both thou 
 And they, outcast from God, are here condemned 
 To waste eternal days in wo and pain ? 
 

 OROTUND. 331 
 
 And reckon'st thou thyself with spirits of heaven, 
 Hell-doomed, and breath'st defiance here and scorn, 
 Where I reign king? and to enrage the more 
 Thy King and Lord ! Back to thy jozmishment, 
 False /z/ritive, and to thy speed add wings, 
 Lest with a whip of scorpions I pursue 
 Thy lingering, or with one stroke of this dart 
 Strange horrors seize thee, and pangs unfelt before. 
 
 COMPASS OF THE VOICE. 
 
 With a view to train the voice to a greater extent of com- 
 pass, let the following sentence be intonated, by beginning 
 with great loudness, and in the lowest pitch ; let the voice 
 gradually rise till it attains its highest note, and then descend- 
 ing again regularly to the point at which it set out, main- 
 taining great loudness and energy throughout. 
 
 2. 1. Though you untie the winds, and let them fight 
 Against the churches ; though the yesty waves 
 Confound and swallow navigation up ; 
 Though bladed corn be lodged, and trees blown down ; 
 5. Though castles topple on their warden's heads ; 
 Though palaces and pyramids do slope 
 Their heads to their foundations ; though the treasure 
 Of nature's germins tumble altogether, 
 Even till destruction sickens, answer me 
 10. To what I ask you. 
 
 For an exercise, this sentence may also be read with great 
 force through its whole extent, gradually rising in pitch to 
 the end of it. Endeavor to obtain a command over the whole 
 compass of the voice. 
 
 Sentences may be selected for the purpose of being read 
 with a continually sustained force, and in a very low pitch, 
 with a view to strengthen the voice upon a low note. The 
 voice is, in itself, more audible in a high note, than in a 
 low one ; hence it more naturally inclines to rise as it in- 
 creases in force ; on this account it must be kept down, while 
 
332 OROTUND. 
 
 its volume is increased in these exercises. The following 
 may serve as an example for this purpose. 
 
 3. And I saw another angel fly in the midst of heaven, hav- 
 ing the everlasting gospel to preach unto them that 
 dwell on the earth, and to every nation, and kindred, 
 and tongue, and people, saying with a loud voice : Fear 
 God, and give glory to him ; for the hour of his judg- 
 ment is come ; and worship him that made heaven, and 
 earth, and the sea, and the fountains of water. 
 
 Other sentences should be selected and read as forcibly 
 as possible at the ordinary pitch of the voice ; and others, 
 again, at a much higher pitch, and some at the very top of 
 the voice, with a well sustained loudness throughout ; and 
 the reading at these respective points of compass, should be 
 steadily continued for some considerable time as an exercise. 
 This exercise will produce a fulness, clearness, and distinct- 
 ness of enunciation throughout the compass of the voice, 
 which is not often heard. 
 
 RAPIDITY IN READING. 
 
 It is very evident, upon a single thought, that the prac- 
 tice of reading with great rapidity and loudness, w r ill greatly 
 increase the strength and flexibility of the voice. It will 
 enable a person to unite arid sound the elements with great 
 facility and distinctness, and to vary them with force and 
 precision. It should be well remembered, however, that the 
 rapidity of the utterance should never be so great as to pre- 
 vent the exact sound of every element in every syllable of 
 every word. 
 
 Rapidity of reading is also an excellent preparative for the 
 proper management of parentheses, and other parts requiring 
 slurring, by a quick movement of the voice. It is especially 
 important in giving unerring precision, force, and distinct- 
 ness to the organs of speech in ordinary utterance, which is a 
 great accomplishment, and which is also of the very utmost 
 importance to a public speaker. 
 
OROTUND. 333 
 
 4. Fill again to the brim ! again to the brim ! 
 For water strengthened life and limb ! 
 To the days of the aged it addeth length, 
 To the might of the strong it addeth strength, 
 It freshens the heart, it brightens the sight, 
 ? Tis like quaffing a goblet of morning light ! 
 So, water, I will drink naught but thee, 
 Thou parent of health and energy. 
 
 Let all these exercises be steadily pursued, say for a single 
 hour per day, for a few weeks only, and there are very few 
 persons who will have to complain of want of force, loud- 
 ness, distinctness, compass, or good quality of voice ; nor will 
 there be feebleness or confusion in the intonation. 
 
 And, in conclusion, we would say, that those who prac- 
 tice, as here enjoined, may be encouraged with every reason- 
 able hope of success, and need not fear to face any public 
 assembly. 
 
 " The hoarse rough voice should like the torrent roar." 
 
VOCAL EXPRESSION OF THE PASSIONS AND 
 EMOTIONS. 
 
 He who possesses naturally, or who has acquired a full and 
 free command of .all the Elements of Expression, and who is 
 free from bad habits, and possesses the power of feeling 
 strongly and fully what he utters, will, we readily admit, need 
 little instruction in the application of these elements, for the 
 purpose of appropriating expression or intonation. So, on 
 the contrary, he who is destitute, in a great measure, of the 
 susceptibility of emotion, in reference to the sentiments he 
 reads or utters, or of the thoughts which may occupy his 
 mind, in reading or extemporaneous speaking, will make but a 
 poor display in the attempt to counterfeit the suitable 
 emotions. 
 
 Very frequently, however, the susceptibility of feeling is 
 not wanting ; but yet it has been suppressed, either by bad 
 habits of dull and monotonous delivery, or by a natural diffi- 
 dence, which refuses a free and full expresssion of the lan- 
 guage of emotion. In such cases, it is believed that a frequent 
 and full exercise on the Elements of Expression, as exhibited 
 in this work, will be sufficient to put the learner upon the 
 right course of practice to acquire an effective and pleasing 
 intonation : while it is as confidently believed that nothing 
 short of this can be successful. The ready use of these ele- 
 ments of feeling, (they should be exercised upon till they 
 become natural to us,) secures two important objects: — First, 
 They bring into active operation the susceptibility of emotion 
 which may exist, but lying dormant in the speaker ; — 
 Secondly, They enable him to awaken in others what he him- 
 self feels. 
 
 The first of these objects, — the reaction of the elements of 
 expression on the mind of the speaker or reader, — is ob- 
 vious, and yet too often overlooked in judging of the merits 
 of Elocution as an acquirable art. 
 
 The student should also here be reminded, that while the 
 voice alone does much, in the expression of feeling, there is 
 still a good deal left for language to do. The same element 
 of vocal expression is often used for sentiments widely differ- 
 ing from each other ; hence, language always gives the foun- 
 
EXPRESSION OF PASSION AND EMOTION. 335 
 
 dation work of a sentiment or emotion; but, in extemporising, 
 emotions may suggest language, and language emotions. The 
 emotions excited by language arise from the clear, strong, and 
 suitable exhibition of the relation of the ideas expressed in 
 language, or a clear, strong, and suitable expression of the 
 relation of the roughts in the mind of the reader or speaker. 
 These relations are always exhibited or expressed by the 
 use of the Elements of Vocal Expression. 
 
 He, then, who expects to find a vocal element of expression 
 peculiarly adapted to every different sentiment or emotion, 
 expects too much ; for the same vocal element is frequently 
 used to express very different sentiments and emotions, as may 
 be observed in examining the description and uses of the 
 several elements of expression, as contained in this work. 
 
 Our object is here simply to enumerate the different ele- 
 ments of expression necessary to the intonation or expression 
 of. the given feelings, sentiments, or emotions. And we here 
 begin with 
 
 Dgnity, Gravity, and Solemnity; 
 and all other kindred expressions, as Adoration, Reverence, 
 Veneration, Awe, Solemn Rebuke, Serious Admonition, and 
 Reproach, are expressed by the use of the Orotund, Long 
 Quantity, Slow Time, Median Stress; or the use of the 
 Monotone, occasionally combined with the Loud Concrete, or 
 Radical Stress, the Downward Concretes of a Second, Third, 
 or Fourth, and Waves of the same intervals, both Direct and 
 Inverted. 
 
 Cheerfulness, Liveliness, Gayety, 
 Earnest Description, and similar feelings, require the JYatural 
 Voice, Short Quantity, Quick Time, Radical and Vanishing 
 St?*ess, with a predominance of the Rising Concretes and 
 Alternate Phrase of Melody, 
 
 Mirth, Wit, Pleasantry, 
 with Sprightliness, Good Humor, Sport, &c, require, for their 
 expression, Short Quantity, Quick Time, and Rising Intervals, 
 with some Loudness, Radical Stress, and Tremor of the 
 Voice. 
 
 Joy, Rapture, Delight, 
 
 and Exultation, or Triumph, &c. are somewhat dignified in 
 their expression, and should have, for their display, Longer 
 Time, Longer Concretes, generally the Radical and Median 
 
336 EXPRESSION OF PASSION AND EMOTION. 
 
 Stress, with a predominance of the Alternate Phrase; the 
 Tremor may occasionally be necessary. 
 
 Astonishment and Surprise, 
 with Amazement, Exclamation, Admiration, or Wonder, re- 
 quires Long Quantity, some degree of Force, Median Stress, 
 Downward and Upward Concrete Thirds, Fourths, Fifths, or 
 Octaves, with the Equal, Direct, and Inverted Wavts, of the 
 same intervals, or the Loud Concrete. 
 
 Energy, and Earnestness 
 of utterance, when used in the expression of any of the Pas- 
 sions or Emotions, are uniformly characterised by the Orotund, 
 Loudness or Force, united with Downward Concretes, Loud 
 Concrete, Radical, Compound, or Thorough Stress; Guttural 
 Emphasis, Aspiration, or the Emphatic Vocule, are sometimes 
 heard. 
 
 These are the vocal symbols of Energetic Expression ; and 
 one or more of them, and at times united with the Tremor, 
 Semi-tone, Long Quantity, and Median Stress, are used in 
 giving utterance to the various passions, emotions, or senti- 
 ments, which are necessary to be called into requisition, on the 
 various occasions in life. Energy, as a quality of intonation, 
 will be illustrated under the following heads. 
 
 Positiveness, Certainly, and Confidence, 
 with Conviction, Authority, Command, Defiance, Denunciation, 
 Reprehension, Affirmation, Instruction, Precept, and Warm 
 Argumentation, as well as Denying, Reproving, Refusing, and 
 Forbidding, require, for their effective intonation, two or more 
 of the following elements: — The Downward Concretes, 
 Radical, Median, or Vanishing Stress; The Loud Concrete, 
 Guttural Voice, or the Direct Equal Waves. 
 
 Anger, Rage, Wrath, and Severe Rebuke, 
 are expressed by the following symbols on the emphatic 
 words, — Short Quantity, Quick Time, a good deal of Loud- 
 ness, with Wide Downward Intervals, both Concrete and 
 Discrete; Radical or Vanishing Stress, Guttural Grating, 
 Aspiration, or the Emphatic Vocule, and sometimes the 
 Orotund. 
 
 Revenge, Malice, Hate, 
 with Envy, Jealousy, Indignation, Disgust, Aversion, Abhor- 
 rence, &c, require less of energy in their intonation than the 
 preceding, and more of Deliberation. The elements of the 
 
EXPRESSION OF PASSION AND EMOTION. 337 
 
 preceding should be somewhat moderated by uniting with 
 them Longer Qua?itity, Median Stress, and the Wave. 
 
 Scorn, Sneer, and Contempt, 
 with Derision, Scoffing, Mockery, and Execration, will be 
 best expressed by Aspiration, Radical, Vanishing, Compound 
 Stress, Guttural Force, Emphatic Vocule, or the Unequal 
 Wave, united with Long Quantity, and the Orotund; a good 
 degree of Force, Rising and Falling Concretes of different 
 intervals, or the use of the Tremor may be employed. 
 
 Plaintiveness, and Deep Pathos, 
 are expressed principally by the Semi-lone, Softness of Voice, 
 Long Quantity, Slow Time, The Direct and Inverted Semi- 
 tonic Wave, and the Median Stress, with a prevalence of the 
 Monotone, Where the emotion becomes painfully strong, the 
 Tremor on the Semi-tone and Aspiration are added on the 
 emphatic words of Long Quantity. Among the sentiments 
 which require the Plaintive Expression, may be enumerated 
 the following : — Complaint, Penitence, Contrition, Petition, 
 Supplication, Submission, Awe, Reverence, Veneration, 
 Affection, Love, Fondness, Attention, Pity, Discontent, 
 Compassion, Condolence, Commiseration, Grief, Mercy, Sor- 
 row, and Lamentation, as well as Mental Suffering, and Bodily 
 Pain. 
 
 The Chromatic Melody is required for the expression of 
 sentiments widely differing from each other. Yet the differ- 
 ence, however, is marked by the language as well as by the 
 intonation. The Diatonic Melody, with a Tenderness and 
 Softness of voice, may be used instead of the Chromatic, when 
 the sentiment expressed requires a considerable degree of 
 Dignity. But whenever Plaintiveness is to be strongly 
 marked, the Semi-tone is the proper element; and in case of 
 Plaintive Exclamation, or when Positiveness or Surprise is to 
 be connected with the Semi-tone, the Unequal Direct Wave 
 is employed ; the first constituent being a Semi-tone, and the 
 second any other suitable interval of greater extent. 
 
 Ill Humor, Impatience, and Discontent, 
 with Petulence, Peevishness, Repining, Vexation, Chagrin, 
 and Dissatisfaction, are expressed by the Radical, Vanishing, 
 Compound, or Guttural Stress, the Semi-tone, Aspiration, 
 and, at times, the Diatonic Melody. On syllables of Long 
 Quantity, the Double and Unequal Wave will heighten the 
 effect of the expression. Impatience will sometimes raise 
 
 15 
 
338 EXPRESSION OF PASSION AND EMOTION. 
 
 the voice to Loudness, and the Falsctte may be heard in the 
 Whine of Peevishness. 
 
 Secrecy requires for its expression^ that Pure Aspiration, 
 called the Whisper. 
 
 Apprehension, and Mystery, 
 with Curiosity, Suspicion and Eagerness, require Aspiration, 
 and a Suppressed Voice. 
 
 Suppressed Fear 
 calls for an under-t one ; and combines with it the Tremor or 
 Aspiration. 
 
 Danger, Fear, and Terror, 
 
 call for Great Force of Voice, Loud Concrete, with the 
 Downward Concretes, and marked with Aspiration. The 
 voice of Terror sometimes breaks forth in a Scream of the 
 Falsctte, or the Orotund. 
 
 Horror, 
 
 requires Orotund, Great Loudness, Guttural Grating, and 
 Aspiration, which are always the symbols of the Strongest 
 Emotions of the mind. 
 
 Interrogation. 
 
 The prime element of Interrogation is the Rising Concrete; 
 and though this is the general symbol of Doubt and Uncer- 
 tainty, yet there are frequent occasions for uniting other 
 elements, for the purpose of expressing other sentiments and 
 emotions in connection with interrogation. 
 « The Simple, Unimpassioned Interrogation, requires the 
 employment of the Concrete or Discrete Third, with the 
 Loud Concrete, or Radical Stress. 
 
 The More Earnest Questions require the voice to be carried 
 through the Fourth or Fifth, with an addition of the Vanish- 
 ing Stress, Loud Concrete, or Orotund. 
 
 Dignity, and Solemnity, 
 united with Interrogation, will not allow a wider interval than 
 that of a Fourth or Fifth, with Long Quantity, Median 
 Stress, and the Inverted Wave. 
 
 Exulting, Derisive, Vaunting, 
 or Mirthful Interrogation, carries the voice through the Fifth, 
 Sixth, or Octave, Compound or Vanishing Stress — and the 
 Tremor, may sometimes be added — and the Orotund. 
 
EXPRESSION OF PASSION AND EMOTION. 339 
 
 Authoritative and Angry Inquiry 
 employs a good deal of Force of Voice, Radical, Vanishing, 
 and Thorough Enforcement, and the Wider Intervals, with 
 the Loud Concrete and the Orotund. 
 
 Sneering, Scornful Interrogation, 
 or Surprise, or Exclamation, mixed with Interrogation, calls 
 for Vanishing, Compound, or Thorough Stress, mixed with 
 Aspiration, or Guttural Quality of Voice, and the Orotund. 
 
 Plaintive Interrogation 
 is the opposite of Plaintive Exclamation, and therefore re- 
 quires the Chromatic Melody, and Inverted Wave; the first 
 constituent being a Semi-tone, and the last a Rising Third, 
 Fourth, Fifth, or Octave. 
 
 Humility, Modesty, and Shame, 
 with Caution, Irresolution, Fatigue, Apathy, Tranquility, and 
 Weakness, generally demand the Simple Diatonic Melody, 
 Feebleness of Voice, and Slow Time. 
 
PAET III. 
 
 RHETORICAL GESTURE. 
 
 Gesture is the various positions and movements of the 
 body, or of its different parts, employed in vocal delivery ; for 
 it embraces that part of language which is addressed to the 
 eye, as distinguished from the voice which is addressed to the 
 ear. Graceful and appropriate gesture renders intonation 
 much more pleasing and effective; and should, therefore, 
 have some attention directed to it. 
 
 The first thing to be remarked is, that the action appro- 
 priate to the expression of sentiment, should always be natural, 
 or free from any forced effort or affectation. Though it is 
 natural, it is, to some considerable extent, voluntary ; and may, 
 therefore, be suitably appropriated to vocal delivery. 
 
 The first movement of Gesture, generally corresponds to the 
 natural tones of the voice, and are the voluntary visible sym- 
 bols of expression, produced by the stronger passions of the 
 mind. These are, 1. The motions of the muscles of the face. 
 2. The change of the color of the countenance. 3. The ex- 
 pressiveness of the eyes. 4. Some sudden instinctive move- 
 ments, extending to different parts, and sometimes to the whole 
 of the body. These are the results of the sympathy existing 
 between the action of the mind and the different parts of the 
 body ; and more or less of them are always manifested by 
 every one who, when speaking, feels what he says. 
 
 Some of these sympathetic movements being more or less 
 under the control of the will, may, therefore, be called volun- 
 tary. And being to some extent voluntary, they may become 
 influenced by the force of examples. Thus, then, awkward- 
 ness or inappropriate gesture, may be the result of the imita- 
 tion of some bad model, or of the use of manuscript in delivery, 
 
342 
 
 GESTURE. 
 
 or of the restraint of natural diffidence, as well as of the excess 
 of natural excitement, which last will lead to irregularity of 
 motion, or rigidity of muscle, resulting in the entire absence 
 of any thing like gracefulness in action. 
 
 But, as a part of the language of sentiment and feeling, a 
 suitable gesture aids in the higher office of intonation, and adds 
 force and impressiveness to the sentiments uttered, and thus 
 exciting and keeping alive an interest on the part of the audi- 
 tory. This feeling of interest, excited principally by a proper 
 intonation, is but the popular mind roused up to a full appre- 
 ciation of the importance of the subject on hand. And this, 
 too, is effected by the cultivated natural powers of intonation, 
 aided by appropriate movements of different parts of the body ; 
 which last are principally the spontaneous products of the 
 sympathy existing between the mind, excited by the intona- 
 tion of the appropriate vocal elements of expression, and the 
 different parts of the body thus brought into action by this 
 sympathy. 
 
 Hence, then, the sympathetic influence of the mind on the 
 body, is, for the most part, the principal cause of an appro- 
 priate gesture. And if this be true, and we can get ourselves 
 to feel the importance of the subject under consideration, and 
 the force of each sentiment contained in it, expressed by the 
 use of the appropriate vocal elements of expression, the Ges- 
 tures suited to the different sentiments will be, for the most 
 part, the spontaneous productions of the natural sympathy 
 existing between the feelings of the mind and the body. 
 
 From this view of the relation of intonation and gesture, it 
 will appear obvious, that we should make ourselves extensively 
 acquainted with the vocal elements of intonation, both as to their 
 easy, natural, and spontaneous execution, and their capacity 
 to express the different feelings, emotions, or sentiments of the 
 mind. And thus being able to express, with ease and force, 
 the different and appropriate feelings and sentiments of the 
 mind, by the use of the proper vocal elements, the gesticula- 
 tions suited to aid in the expression, will be almost a spon- 
 taneous or involuntary result. It may, however, be remarked, 
 that feeling or emotion cannot be expressed so strongly and 
 forcefully by the intonation of words alone ; it finds consider- 
 able aid and finish in the sparkling eye, in the flush of the 
 passions on the cheek, in the compressed lip, in the contracted 
 brow, in the angry and scornful look, in the pleasant smile, in 
 the tear of sorrow, in the heaving of the breast, in the trem- 
 
POSITIONS OF THE FEET. 343 
 
 Ming; frame, in the emphatic stroke, in the rigid muscle, and 
 in the general movement of the whole body. 
 
 From this, then, it will appear that Gesture is but an ac- 
 companiment of vocal intonation, and, for the most part, the 
 natural result of an efficient execution of the elements of ex- 
 pression in a good delivery. Since that a sentence uttered 
 with a proper degree of feeling, with the appropriate elements 
 of expression, will carry along with it, spontaneously, more or 
 less of an appropriate gesture ; we design not, therefore, to 
 devote much time nor space to the subject, but only to ex- 
 hibit a few of the more important and indispensable elements 
 of gesture. And as the feet and lower limbs seem to be the 
 foundation, we shall begin by giving their different positions. 
 
 POSITIONS OF THE FEET. 
 
 To the orator nothing is unimportant which contributes to 
 the favorable appearance he may make before his audience. 
 And this appearance depends greatly on the dignity, ease, 
 and grace of his action. It should be remembered, that dig- 
 nity, ease, and grace, in the standing posture, depend materially 
 on the position of the lower limbs, which should always be 
 such as will secure to the body both firmness of support and 
 facility of movement. Awkwardness may, however, be com- 
 bined with firmness, and rude strength most frequently sup- 
 ports the weight of the body equally on both feet. Grace, 
 with firmness, is secured when the weight of the body is sup- 
 ported alternately on both feet, and the free one so placed as 
 to preserve the easy balance of the body, keeping it from 
 tottering, and to be kept free to move in any direction. The 
 foot supporting the body in this posture, should be firmly 
 placed in such a manner, that a perpendicular line let fall 
 from the middle of the back, would pass through the heel of 
 the supporting foot. In the condition of the positions of the 
 feet, there are : — -first, the one foot must be a little in advance 
 of the other; — secondly, the feet should be separated from 
 each other about three or four inches ; — thirdly, the toes of 
 both feet should be turned moderately outward, so that a line 
 passing lengthwise through them, would cross each other under 
 the heel of the foot least advanced, and at an angle varying 
 from 75 to 90 degrees. 
 
344 
 
 POSITIONS OF THE FEET. 
 
 First Position of the Right Foot. 
 Note. — The advanced foot is always the one described. 
 
 Fig. 1. 
 
 In this position, the right foot is ad- 
 vanced before the left, and separated from 
 it about three or four inches, with the toes 
 §H divero-ino;, forming an angle of about 75 or 
 80 degrees. The left foot, bearing the 
 principal weight of the body, is deeply 
 shaded in the diagram : the right, resting 
 lightly with its whole extent on the floor, 
 is faintly shaded. (Fig. 1.) 
 
 Second Position of the Right Foot. 
 
 Fig. 2. 
 
 In this position, the right foot is in ad- 
 vance, and sustains the weight of the body. 
 The left heel is raised and turned a little 
 inward ; and the angle formed by the di- 
 vergence of the feet is about 80 or 90 de- 
 grees. 
 
 The right foot is deeply shaded, to 
 indicate its sustaining the weight; the 
 left has the ball of the great toe only 
 shaded, to indicate the part touching the 
 floor. (Fig. 2.) 
 
 First Position of the Left Foot. 
 
 This position is similar in every re- 
 pP' spect to the first of the right foot. The 
 diagram represents this position by the 
 shading. (Fig. 3.) 
 
POSITIONS OF THE FEET. 
 
 345 
 
 Second Position of the Left Foot. 
 
 This second position is also correspond- 
 ent to the second of the right foot, as the 
 diagram will show. (Fig. 4.) 
 
 The above described positions are be- 
 ll lieved to be the most natural and easy, and 
 " the only ones adapted to oratory. The 
 sustaining foot is to be firmly placed by 
 bracing the leg, and the knee is to be 
 straight ; the other foot is to press lightly 
 on the floor, and the limb to be bent in an 
 easy natural manner, so as to be ready for 
 immediate change and action. The body should be accurately 
 balanced and sustained erect, not in a rigid manner, however, 
 on the supporting limb. The speaker should face the audience, 
 and never present himself in the fencer's attitude, but with an 
 equal and fair breast, (;equo pectore,) and a graceful move- 
 ment of the body and limbs. 
 
 Fig. 5. 
 
 The description already given, represents the moderate state of 
 the feet; and the above diagram represents their moderate move- 
 ments. The dotted lines mark both the feet and the manner in 
 which they are shifted, without altering much their angle, ac- 
 cording as the gesture may direct. The diagram is plain, and 
 may be easilv understood by looking at it. (Fig. 5.) 
 15* 
 
346 
 
 POSITIONS OF THE FEET. 
 
 All these four elementary positions are sometimes extended, 
 to a greater or less degree, according to the sentiment to be 
 expressed, and the degree of excitement which rc^ prevail. 
 The extended positions differ from the moderate in the greater 
 separation of the feet. The second position extended of both 
 feet, enlarges the angle several degrees, by drawing the heel 
 of the retired foot farther in, and presenting the calf of the 
 leg more in front. This second extended position is made 
 when a person advances with boldness; and the first extended, 
 when he retires in any degree of alarm. The diagram will 
 show the extended position of the right foot, to which those 
 of the left are analagous. (Fig. 6.) 
 
 Fig. 6. 
 
 Changes of the lower limbs, in public speaking, should be 
 made with the utmost simplicity, and, as it were, unobserved, 
 and only by the foot on which the body is not supported, for 
 that alone is free to move. The best time for effecting these 
 movements is, generally, when speaking, and not during the 
 pauses. 
 
 In changing the positions of the feet, a person may — 1, ad- 
 vance, (marked on the following diagram with (a.)— 2, retire, (?*.)— 
 3, traverse, (tr.) — 4, cross, (c.) — 5, start, (st.) — 6, stamp, (sp.) 
 The last two are very seldom used, and then only on the 
 stage. (Fig. 7 and 8.) 
 
FOSITIONS OF THE FEET. 
 
 Fig, 7. 
 
 347 
 
 C K 1 
 
 1 / 
 
 r R 1 
 
 Ft*. 8. 
 
 ill 
 
 In these diagrams the letters R. and L. indicate the right 
 and left foot respectively ; the figures 1 and 2 indicate respec- 
 tively the first and second position of each foot. The other 
 small letters are explained in the last paragraph. To effect 
 the movements and change of positions indicated in the dia- 
 gram, that foot on which the body is not supported is free, 
 and must be the one to lead in effecting the changes. In order 
 to move the foot which supports the body, two steps are neces- 
 sary ; but not so with the other : in this, one step only is 
 
348 POSITIONS OF THE FEET. 
 
 required. Accordingly, it will be found, that from each origi- 
 nal position, four steps may be made, each by one movement. 
 We may either advance, retire, or retreat, traverse, or cross by 
 a single movement. The diagram will show these steps re- 
 spectively. The course of the motions of the feet is shown by 
 the dotted lines. The feet are moved with the toes outward, 
 as they are placed in standing. The line of the free or leading 
 foot is marked with a small star. 
 
 In advancing, traversing, and crossing, from the first posi- 
 tion of either foot, each step ends on the second position of the 
 advance foot. x In retiring from the position of either, the step 
 ends on the first position of the other foot. 
 
 In retreating, traversing, and crossing, from the second posi- 
 tion of either foot, the step ends on the first position of the 
 same foot. In advancing from the second of either foot, the 
 movement ends in the second of the other foot. 
 
 In crossing from either of the first positions, the free foot 
 passes before the sustaining foot, and ends in its second posi- 
 tion : and in crossing from either of the second positions, the 
 leading foot passes behind the supporting foot, and rests in its 
 first position. 
 
 As awkwardness is primarily the result of a misplacement of 
 the feet, and as expressive gestures greatly depends on the 
 consenting action of the lower limbs, it is of the utmost im- 
 portance to a favorable result, that they should be completely 
 at the command of the speaker and reader. Stability of posi- 
 tion, facility of change, and gracefulness of actions, are all 
 dependent on the proper use of the feet. 
 
 It should, however, be well remembered, that the frequent 
 changes of the position of the feet should be avoided, since 
 that they always imply uneasiness and anxiety, and have a bad 
 effect on the audience. Be moderate, generally, in all your 
 movements. 
 
 We do, therefore, subjoin the following table of these mo- 
 tions, with a view to lead to practice, because success in learn- 
 ing any art is most easily and certainly attained by practising 
 on the elements of that art, one by one, till a perfect com- 
 mand over them is acquired. For the elements of an art arc, 
 to a certain extent, the art itself. And therefore the elements 
 should be clearly displayed and easily executed. 
 
POSTURES OF THE HANDS AND FINGERS- 
 
 349 
 
 Practice on this Table. 
 
 Pass from R. 1 to E. 2 
 R. 2 « L. 1 
 " L. 1 " L. 2 
 
 " L. 2 « L. 1 
 
 " L. 1 " R. 2 
 
 " R. 2 " R. 1 
 
 From R. 1 to L. 1. 
 " L. 1 " R. 1. 
 « R. 1 " R. 2. 
 
 « R. 2 " L . 2 
 " L. 2 " R. 2. 
 
 Steps from each Position. 
 
 First. From the first posi- Second. From the second po- 
 tion, right foot. 
 
 From R. 1 advance to R. 2. 
 
 " R. 2 return " R. 1. 
 
 " R. 1 retreat " L. 1. 
 
 " L. 1 return " R. 1. 
 
 " R. 1 traverse " R. 2. 
 
 " R. 2 return " R. 1. 
 
 " R. 1 cross " R. 2. 
 
 Third. From the first posi- 
 tion of the left foot. 
 From L. 1 advance to L. 2 
 
 " L. 2 return " L. 1. 
 
 " L. 1 retire " R. 1 
 
 " R. 1 return " L. 1. 
 
 " L. 1 traverse " L. 2 
 
 " L. 2 return " L. 1. 
 
 •'< L. 1 cross " L. .2 
 
 All the movements here given may be executed in the ex- 
 tended state, which consists in a wider separation of the feet. 
 
 sition, right foot. 
 
 
 From R. 2 advance to 
 
 L. 1. 
 
 " L. 1 return " R. 
 
 2. 
 
 " R. 2 retreat " 
 
 R. 1. 
 
 " R. 1 return " R. 
 
 2. 
 
 " R. 2 traverse " 
 
 R. 1. 
 
 " R. 1 return " R. 
 
 2. 
 
 " R. 2 cross " 
 
 R. 1. 
 
 Fourth. From the 
 
 second 
 
 position of the left foot. 
 
 
 From L. 2 advance to 
 
 R. 2. 
 
 " R- 2 return " L. 
 
 2. 
 
 " L. 2 retire " 
 
 ~L. 1. 
 
 " L. 1 return " L. 
 
 2. 
 
 " L. 2 traverse Cfc 
 
 L. 1. 
 
 " L. 1 return " L. 
 
 2. 
 
 " L. 2 cross « 
 
 L. 1. 
 
 POSTURES OF THE HANDS AND FINGERS. 
 
 The prevention of awkwardness, and a security of expres- 
 siveness and grace, may greatly depend on the natural and 
 agreeable positions of the hands and fingers. Every one knows 
 that we can, with the hand, call or dismiss, invite or repel, 
 threaten or supplicate, ask or deny, encourage or discourage, 
 show joy or sorrow, detestation or fear, admiration or respect, 
 and how much farther their power of expression may be ex- 
 tended, is difficult to say, 
 
350 
 
 POSTURES OF THE HANDS AND FINGERS- 
 
 The Natural State of the Hand and Fingers. 
 
 In the natural state of the hand, either hanging by the side 
 or raised to any other position, the forefinger is nearly straight 
 and the others are bent more in the order in which they stand, 
 so that the little finger is bent most ; the middle and third 
 fingers lightly touching each other, are a little separated from 
 the first and the little fingers. The thumb stands about parallel 
 with the forefinger. The palm of the hand slopes gently 
 outward from the wrist ; and when the arm is raised to a 
 horizontal position, the hand is held obliquely between the 
 positions inward and supine; or the hand has that position in 
 which the thumb stands about perpendicularly over the middle 
 and third fingers. This natural position of the hand is that 
 generally used in public speaking, and should not be very fre- 
 quently varied from, and this only for a good cause. (Fio\ 9.) 
 
 Fig. y. 
 
 The Index, or Pointing, with the forefinger extended, while 
 the others are turned inward or contracted more or less accord- 
 ing to the energy of the speaker. This gesture is of some im- 
 portance, because it is employed on many occasions ; such as, 
 in noting, — in the emphatic stroke, — in expressing scorn, — and 
 in discriminating. (Fig. 10, 11 and 12.) 
 
 Fig. 10. Fte.il. Fig. 12. 
 
 Holding. — The holding position of the hand is made by 
 pressing together the thumb and either the fore or the middle 
 finger, or both ; while the other fingers are more or less con- 
 tracted or extended, according to what may be require! (Fig. 
 13, 14 and 15.) 
 
 Fiz. 15. 
 
POSTURES OF THE HANDS AND FINGERS- 351 
 
 Positions of the Palm. 
 
 The palm of the hand may be presented as follows. The 
 hand is, 
 
 Prone, when the palm is turned downward. 
 
 Supine, when the palm is turned upward. (Fig. 16 and 17.) 
 
 Fig;. 16. Fig. 17. 
 
 The hand is also said to be 
 
 Inward or backward, when the palm is turned toward the 
 breast or backward ; the thumb being erect for a horizontal, 
 and inward for the hanging position of the hand. 
 
 Outward or forward, when the palm is turned outward or 
 forward ; the thumb being downward for a horizontal, and out- 
 ward for a hanging position. 
 
 Vertical, when the palm is perpendicular to the horizon, the 
 fingers pointing upward. 
 
 Motions of the Hands. 
 
 1 . Enumerating, is when the index of the right hand is laid 
 successively on the index and the other fingers of the left 
 hand. If the number of divisions be not sufficient, include the 
 thumb, and also the thumb and fingers of the other hand. 
 
 2. Noting, is when the hand, in whatever position, is first 
 drawn back and raised, and then with a gentle stroke de- 
 pressed. 
 
 3. Springing, is when the hand, having nearly arrived at 
 the intended limit of the gesture, flies suddenly up to it, by a 
 quick motion of the wrist, like the blade of a pocket-knife, 
 when it suddenly starts into its proper place by the recoil of 
 the spring. 
 
 4. Striking, or the emphatic stroke, is when the whole fore- 
 arm and hand descend with rapidity and force, like a stroke 
 arrested by having struck what it was aimed at. 
 
 5. Recoiling, is when, after the stroke, as in the former 
 gesture, the arm and hand return back to the position from 
 whence they proceeded. 
 
 6. Beckoning, is when, with the fore-finger, or the whole 
 hand, the palm being turned inward, a motion is made in a 
 direction of the breast. The motion in this gesture should be 
 frequently repeated. 
 
352 INTRODUCTORY GESTURE. 
 
 7. Rejecting, is the act of pushing the hand vertically 
 towards the object, and, at the same time, averting the head, 
 indicative of disgust or aversion. 
 
 8. Projecting or Pushing, is when the arm is first retracted, 
 and then thrust forward in the direction in which the hand points. 
 
 9. Shaking, is when a tremulous motion is made by the 
 arm and hand. 
 
 10. Clinching, is when the hand is suddenly clinched, and 
 the arm is raised and drawn back in a threatening posture. 
 It is indicative of firmness, contempt, or anger. 
 
 11. The Sweep, is made by a curved movement of the 
 hand, descending from the opposite shoulder, passing in front, 
 and rising with velocity to the utmost extent of the arm, or 
 the reverse ; that is, descending from the utmost extent of 
 the arm, passing in front, and rising to the opposite shoulder. 
 In this movement, the position of the hand changes from 
 supine to vertical in the first, and from vertical to supine in 
 the second. The sweep is sometimes doubled by immediately 
 returning the hand back again through the same arch. 
 
 12. Waving, or The Wave, is when the fingers are first 
 pointed downwards, and then, by a smart motion of the 
 elbow and wrist, the hand is flung up into a vertical position. 
 
 1 3. The Flourish, is the circular movement of the hand over 
 the head. 
 
 These elements of gesture, together with a thorough com- 
 mand of the elements of vocal expression, will be sufficient to 
 bring out all the gesticulation necessary for an efficient and 
 graceful elocution. We would again say, that the foundation 
 of all effective action and intonation, is — real feeling. To 
 which we attach so much value and importance, as to allow, 
 that it will carry with it, in its train, all those impulsive and 
 graceful movements which are necessary to the highest and 
 most powerful tone of eloquence. 
 
 INTRODUCTION TO AN AUDIENCE. 
 
 The introductory movements of a public speaker are of 
 very considerable importance ; from the consideration that the 
 mind and eye of the audience are then in the very best con- 
 dition for criticising and perceiving any awkwardness or con- 
 fusion manifested by the speaker : their minds being free and 
 unoccupied by any thing else. An unfavorable impression, 
 first made, will be overcome only by sterling worth. The pre- 
 liminary movements should, therefore, demand special attention. 
 The speaker should not fail to express his respect for those 
 before him, and secure to himself their favorable impression. 
 
INTRODUCTORY GESTURE. 
 
 353 
 
 The speaker should present himself to the audience with 
 modesty, and without any show of self-consequence ; and, at 
 the same time, he should avoid obsequiousness, and every 
 thing opposed to true dignity and self-respect. His counten- 
 ance should be composed ■ he should feel the importance of 
 the subject and of the occasion. He should not stare, nor 
 hasten too much to begin. Be deliberate and calm, and be 
 in possession of your self-possession. 
 
 Fig* 18. He may now, with a suitable deliberation, 
 
 and with a step of moderate firmness and 
 length, take his position with his face directed 
 to the audience. A bow, being the most 
 marked and appropriate symbol of respect, 
 should be made on the last step going to his 
 post, and on a second position of either the 
 right or left foot, though the right should have 
 the preference. The final bow, on leaving the 
 stage, may be made on the left foot second, if 
 it be suitable. 
 
 In making a graceful bow, there should be 
 a gentle bend of the whole body ; the centre 
 of gravity should be kept near the heel of the 
 advanced foot, so as not to throw the weight 
 of the body on the ball of it; — the eyes should not be per- 
 mitted to fall below the persons addressed ; — and the arms 
 should lightly move forward, and a little inward, as they 
 naturally do when the body is bent, but without any apparent 
 voluntary effort. (See Fig. 18.) 
 
 On raising himself into the erect position 
 from the introductory bow, the speaker should 
 fall back into the first position of the advanced 
 foot. (See Fig. 19.) In this position he com- 
 mences to speak. Mr. President, Mr. Speaker, 
 Fellow Citizens, &c. This may be called the 
 speaking attitude of the feet and body. 
 
 Students, or individuals, should here stop and 
 train themselves for some time. Pupils at 
 school, and those at academies and colleges, too, 
 may be trained in classes on the bow, combined 
 with the changes of the position of the feet. 
 As the pupil advances to any of the second 
 positions, let him occasionally be directed to 
 j jjgjg advance with a bow, and fall back again into the 
 speaking attitude. This may be done at first in 
 the class, and afterwards separately, before the class, by front- 
 
354 MOVEMENTS OF THE ARMS AND HANDS. 
 
 ing it, as an audience, and presenting himself with a bow, and 
 falling back into some first position of either foot, as the case 
 may be ; then, again, let him traverse, cross, retreat, and 
 advance again with a concluding bow, and leave his place. 
 All this may be attended to under the direction of the 
 teacher. Such an exercise will familiarize the learner to an 
 audience, and give him a power of self-possession, grace and 
 ease, which cannot very readily be acquired otherwise. 
 
 MOVEMENTS DURING THE TIME OF SPEAKING. 
 
 Movements of the Feet. 
 
 The movements of the feet during the delivery of a Sermon, 
 an Oration, or an Address, are allowed to be advancing, re- 
 treating, traversing, and crossing, as may be required. The 
 speaker should advance in the more earnest and animated 
 parts, while he should retreat, or traverse, on the less animating 
 portions, as also at the close of a paragraph. He should also 
 advance to any of the second positions, when the hand makes 
 a gesture in front on any emphatic word. The first positions 
 of the feet are suited in great deliberation, and in dignified, 
 solemn, and sublime subjects, as well as at paragraphic pauses. 
 The feet should, however, not be kept too fixed or immoveable; 
 nor, on the other side, too restless or moveable. A moderate 
 movement is the most relieving and natural. 
 
 Movements of the Eye and Countenance. 
 
 While in the act of speaking, the eye of the speaker should 
 search out the eye of every hearer, to give to his address the 
 character of a personal appeal ; but without fixing it on any 
 one, to prevent the suggestion of a personal allusion. In 
 other words, the eye should be on all, but on no one par- 
 ticularly. The eye and countenance should be full of expres- 
 sion during the emphatic pause, and during the utterance of 
 emphatic words, to indicate that what is uttered comes warm 
 from the heart. 
 
 Movements of the Arms and Hands. 
 
 It may be here stated, that the hands of the speaker, when 
 not employed in gesture, should hang freely by the side, 
 without any motion in them. They should thus hang until 
 called into requisition for gesture ; and at the close of a last 
 

 MOVEMENTS OF THE ARMS AND HANDS. 355 
 
 gesture, or at the termination of a piece or paragraph, the 
 arms should fall to rest by the side. (See Fig. 19.) 
 
 In speaking, the arms should be used whenever the senti- 
 ment requires it, and then in a free and unconstrained 
 manner : the motion appearing to proceed rather from the 
 shoulder than from the elbow. Yet care should be taken that 
 the elbow be neither straight nor rigid in any position, but 
 pliable and gently moving. The elevated position of the 
 hand implies strong or high passion ; the horizontal, decision 
 and deliberation : and the downward, discouragement and dis- 
 approbation. 
 
 The movements of the arm and hand should, generally, not 
 be hastened by the shortest course to the intended position ; 
 but move in a sort of waving line; or the hand should always 
 describe curved lines, and never form angles. For it is philo- 
 sophically true, when it is said, that The Curve is the Line of 
 Beauty ; and, therefore, the hand should always form either 
 horizontal, oblique, or vertical curves or circles : for grace in 
 gesture depends very materially on the observance of this 
 principle. 
 
 Both hands and arms may be used in gesture ; and they may 
 be used separately or together ; and their movements may be 
 similar or dissimilar. Both hands are employed with similar 
 gestures, when the body of the speaker is presented to the 
 persons addressed, precisely in front ; but when the body is 
 not thus presented, the gesture should not be similar. 
 
 The right arm, however, with the hand, is the principal 
 instrument of gesture ; and is frequently, nay, most generally, 
 used alone. When it is accompanied with the left, it gene- 
 rally moves in advance, and a little more elevated. This 
 advance and more elevated movement always constitutes the 
 principal gesture, let it be performed by either hand. It may 
 be said, then, that the principal gesture is performed by the 
 advanced hand, and the subordinate gesture by the relieved 
 hand. The best modern speakers use either the right or the 
 left hand, indiscriminate^, for the principal gesture, as occa- 
 sion may require. 
 
 One of the greatest rhetoricians and elocutionists of 
 antiquity, Quintillian, says that " the left hand never can, 
 with propriety, perform the gesture alone ; but it frequently 
 acts in support of the right hand." This may have been 
 suitable to the Romans, but is not now applicable to us. The 
 form of the ancient dress may account for this direction ; for 
 this obliged their speakers, if not totally to disuse their left 
 
356 
 
 POSTURES OF THE BODY. 
 
 hand, at least restrained its action very greatly. The skirt of 
 their togas was always carried on the left arm, thereby en- 
 cumbering it too much to be used much in gesture. The form 
 of the modern dress, however, relieves us of the ancient 
 embarrasment ; and we say that the left hand may, and fre- 
 quently does, perform the principal gesture : and this may be 
 done, — First, When the persons addressed are on the left 
 side ; — Second, When there is antithesis in the sentiment ,or 
 even in the structure of the sentence ; or, also, when persons 
 or objects are represented as opposed to each other, or as occu- 
 pying different relative situations ; as, judge and jury ; the 
 speaker and the house ; the ladies and the gentlemen, when 
 they are sitting separately; in these cases the left hand should, 
 alternately with the right, perform the principal gesture, — 
 Third, When in argumentation or discussion, after the right 
 hand has been for some considerable time employed, the left 
 may be used to relieve the right ; and, on some other occa- 
 sions, simply to give variety. The employment of both 
 hands is peculiarly graceful, and is more forcible and expres- 
 sive than the use of either hand alone. 
 
 Again, in simple narrative and dispassionate utterance, the 
 contrary or corresponding hand and foot may advance together 
 with grace and propriety ; but in passionate and earnest into- 
 nation, the corresponding hand and foot only should be ad- 
 vanced in the same gesture. In those passions which incline 
 us to advance toward their objects, as love, desire, anger, and 
 revenge, we are naturally inclined to advance with the corre- 
 sponding hand and foot. When, however, passions of a con- 
 trary nature, such as aversion, fear, terror, or hate, affect us, 
 we retreat with the opposite foot, and the corresponding hand 
 and foot are still advanced, as if the better to guard the head 
 and body, which are in these cases thrown back. To advance 
 the contrary hand and foot would, in all such cases, produce 
 awkward and unnatural distortions. 
 
 POSTURES OF THE BODY. 
 
 In speaking and reading, all postures of the body which are 
 calculated for repose, should be avoided. As grace and dig- 
 nity are of primary importance in vocal delivery, all positions 
 which are inconsistent with these attributes, should also be 
 carefully avoided. 
 
 The erect posture of the body is the one best suited to vocal 
 delivery ; the trunk, head, and limbs should be braced in pro- 
 
POSTURES OF THE BODY. 
 
 357 
 
 portion to the energy or mildness of the sentiments delivered. 
 This erect firmness of position indicates Majesty, Activity, and 
 Strength. The right foot should generally be about three or four 
 inches in advance of the left, the toes moderately turned out- 
 ward, and the body principally sustained by the left foot. 
 The reader may occasionally relieve himself by alternately 
 changing the right foot first to the left foot first, and vice 
 versa ; but the speaker will change to any position, as occasion 
 may require. 
 
 The sitting posture best suited to delivery is that in which 
 the body is sustained in the erect position by muscular action, 
 and the shoulders not resting against the back of the seat : 
 though the erect sitting posture, with the shoulders resting 
 against the back of the seat, may be used ; but this is least 
 suited to either reading or speaking. These several postures 
 are those most favorable to vocal delivery. 
 
 Manner of Holding the Book. 
 Ficr. 20. Fig. 21. 
 
 When reading, the book should be held in the left hand, 
 directly in front of the breast, and about six or eight inches 
 from it, and at just such a degree of elevation as not to con- 
 ceal the face of the reader from the audience. The fingers of 
 the right hand may be employed in lightly holding the corner 
 or margin of the book, to aid in supporting it, and assist in 
 turning over its leaves, as occasion may require, (Fig. 20,) or 
 they may be placed below the line the reader is pronouncing, 
 to aid him in keeping his place ; or the hand may be employed 
 in moderate gestures to enforce the sentiment. The eye in 
 these cases should be frequently taken off the book, yet in such 
 
358 CLASSIFICATION OF. GESTURE. 
 
 a manner as not to produce embarrassment, which may be 
 done more easily and conveniently at the close of a period or 
 paragraph. (Fig. 21.) 
 
 In reading an original composition, more gesture is required, 
 to enforce the sentiment ; and this should always be executed 
 by the right hand ; while the left is uniformly employed in 
 holding the paper. (Fig. 21.) The left hand thus employed, 
 may occasionally fall during the time the eye is on the audi- 
 ence, (Fig. 21,) and should not, except in cases of marked 
 energy, be used in gesture, and then only in connection with 
 the right. The eye should be directed to the audience as fre- 
 quently as possible. 
 
 A lecturer, in demonstrating on the black-board, should 
 stand to the side of it, with his face turned obliquely to the 
 board on the one side, and to the audience on the other ; or 
 alternately turning to the board and audience. The pupil at 
 school, however, may take his position either in front or a 
 little to the one side of the board, and his eye should be more 
 particularly or obliquely and intently turned on the dia- 
 gram. 
 
 CLASSIFICATION OF THE MOVEMENTS OF THE HAND. 
 
 In public speaking, it ought to be remembered, that the 
 action of the right hand should mainly predominate. The 
 employment of both hands should be rather sparing. Their 
 employment is proper only in the more animated parts of dis- 
 course, in earnest appeals, or in the expression of strong emo- 
 tions. When the excitement is very great, however, as in 
 poetic declamation, the action of both hands may greatly pre- 
 dominate with perfect propriety. When both hands are used 
 in ordinary cases, they should be held symmetrically, 
 
 The gestures of both hands may be classified from the con- 
 sideration of the following circumstances, because they denote 
 a sort of general relation in the expressions: — First, from the 
 place in which they are used ; — Second, from the time and 
 manner of their application ; — and, Third, from their various 
 combinations. 
 
 Some of these are used at the beginning of a sentence, 
 merely to indicate the commencement of action, as well as of 
 speech ; some are used for description ; some for explaining, 
 extending, or limiting ; some for enforcing the prominent 
 idea ; some, again, for suspending the attention previous to the 
 more decided gesture j and some for marking the termination 
 
SUSPENDING GESTURES. 359 
 
 of the sense, and the final result of the reasoning. These 
 gestures may be described under the following heads : 
 
 First, Commencing Gestures. 
 Second, Discriminating Gestures. 
 Third, Auxiliary or Alternate Gestures. 
 Fourth, Suspending or Preparatory Gestures. 
 Fifth, Emphatic Gestures. 
 Sixth, Significant Gestures. 
 
 I. Commencing Gestures begin the discourse by simply rais- 
 ing the hand or hands from rest, and, in general, not higher 
 than the horizontal position. These are used at the beginning, 
 and at the divisions of a discourse. 
 
 II. Discriminating Gestures comprehend all those gestures 
 serving to indicate persons or objects, as well as those used for 
 explaining, extending, limiting, or modifying the prominent 
 idea ; as also those employed in question and answer, when 
 made without vehemence. They are performed in the inter- 
 mediate degrees of the range of gesture, with moderate force, 
 and at small intervals. 
 
 III. Auxiliary or Alternate Gestures serve to aid or enforce 
 the gesture of the advanced hand. They are executed as fol- 
 lows : After the advanced hand has made its gesture on the 
 emphatic word, instead of passing to another gesture, on the 
 next emphatic word, it remains in the attitude of the last 
 stroke, till the retired hand is brought up in aid of it, either 
 by a similar gesture, or by a more decisive one. In this way, 
 variety and extraordinary energy are given to passages admit- 
 ting such gestures. They are more appropriately introduced 
 in instances of high passion ; as, also, at times in simple de- 
 scription, where they are executed more moderately. 
 
 IV. Suspending or Preparatory Gestures, are made by ele- 
 vating and contracting the arm, as preparatory to some 
 emphatic form of gesture. The hand cannot be brought down 
 in emphatic expression, till it has been first elevated. C071- 
 tracting, withdrawing, bending, or elevating the arm and hand, 
 are preparatory to pushing or projecting, to noting and 
 springing, as well as to the emphatic stroke. These gestures 
 are also called suspending, because they hold the attention of 
 the audience in a suspense, by the elevation of the arm on 
 some less important word or portion of a sentence ; and also 
 because they are expected to lead to some emphatic gesture on 
 a more important word which is to follow. It should be ob- 
 served, that not only those gestures which are elevated high 
 
360 EMPHATIC GESTURES. 
 
 in preparation for a descending stroke, are named suspending ; 
 but also all such as seem preparatory to others, and so hold 
 the mind in suspense. Though in some sense this is entirely 
 a subordinate part of gesture, yet on it depends essentially 
 the force as well as the grace of its termination. It must not 
 be executed too early, so as to have the arm too long sus- 
 pended ; nor too late, so as to make the gesture short or 
 hurried, or the subsequent one too late. In making this ges- 
 ture, it should be easy and natural, and be made in curved 
 rather than straight lines; it should seem to be prompted, as 
 indeed it ought to be, by the rising thought. In short, this is 
 but the commencement or preparatory part of the terminating 
 gestures. 
 
 V. Emphatic Gestures are made by the arm, fore-arm, hand, 
 and fingers, constituting that grand instrument of gesture, 
 called by Cicero " The Weapon of the Orator." The different 
 parts of this instrument are connected together by flexible 
 joints, admitting, by means of these, of the utmost variety of 
 motion. When the arm is brought down in gesture, it does 
 not, therefore, fall as though it had only an articulation at the 
 shoulder: but the upper arm falls first into its position, then 
 the fore-arm, and then the hand and fingers. This finishes 
 the gesture, and marks its complete termination ; and it is this 
 action of the arm which is called, and which gives the most 
 emphatic st?'oke of gesture. This stroke is susceptible of 
 every degree of force, according to the veolicity with which 
 the hand may be made to move, and it should always be 
 made to correspond, both as to time and energy, with the 
 vocal emphasis ; so that the emphatic distinction given to any 
 syllable by gesture, may fall upon the eye at the same point 
 of time with the greatest stress of the voice on the ear; and, 
 as regards energy of expression, should harmonize with it. 
 
 The hand being placed at the end of the arm, must, of 
 course, as being farthest from the centre of motion, describe 
 the greatest space. Its movements are, on this account, the 
 more conspicuous and striking. Moving, at the same time, 
 on a joint of its own, the wrist, it can spring with suddenness 
 and velocity, from its own exclusive centre to the particular 
 point, as the gesture approaches its intended limit. This sud- 
 den spring is also called a stroke of gesture, or springing, and 
 may be made in any direction in which the wrist can effect 
 the kind of motion described. The emphatic stroke, in all its 
 various forms of execution, including the curvilinear waves, 
 is to gesture, what vocal emphasis is to speech. It is em- 
 
EMPHATIC GESTURES. 361 
 
 ployed to distinguish, discriminate, and especially to mark 
 those portions of discourse to the eye, which the speaker 
 desires especially to impress, or compare with some others. 
 
 As the stroke of gesture is the visible method of illustrating, 
 discriminating, enforcing, and distinguishing particular words 
 or portions of discourse, its judicious and successful applica- 
 tion will greatly depend on a correct analysis of what is 
 spoken, if it be the language of another ; and on a right feel- 
 ing and the power of expressing it by gesture and the voice, 
 if the speaker should deliver his own sentiments. 
 
 This Emphatic Gesture requires care as to the preparatory 
 movement, that it be not commenced too soon, nor deferred 
 too late : yet such is the sympathy between the feeling, the 
 vocal expression, and the action, that when once the command 
 of all the vocal elements of expression has been acquired, and 
 freedom of feeling and action has been secured by a well- 
 directed practice, there will rarely be an}^ jarring between 
 them : the feeling will find a ready, full, and adequate ex- 
 pression, both in the voice, and in the accordant gesture. 
 
 It is perfectly obvious, then, that every mode of emphasis 
 by the voice, is susceptible of being accompanied by some 
 form of emphatic gesture; but every form of emphasis cannot 
 receive enforcement by the same gesture. For example, in 
 those forms of emphasis of which quantity is the chief ingre- 
 dient, made by the Wave, or Median Stress, the hand moves 
 in emphatic horizontal curves, or by obliquely rising curves 
 toward Zenith, or similarly descending ones to some down- 
 ward position. Whereas, in all forms in which short quantity 
 prevails, the movement is downward, and in vertical circles. 
 In the Vanishing, Compound, Thorough, Guttural, and the 
 Vocule Emphases, the gesture terminates abruptly > and gene- 
 rally with a downward movement. But the Radical Stress is 
 that which should be more particularly distinguished by a 
 strong percussion of the emphatic stroke of a downward ges- 
 ture, because they are both symbols of great energy. 
 
 In the more moderate state of the speaker's feelings, a mere 
 turn or wave of the hand, an elevation of the arm, or a 
 momentary arrest of the movement of a gesture, w T ill be all 
 that is necessary to express the sympathy in operation between 
 the mind and the body. 
 
 The right hand laid on the breast, or the middle finger 
 pointing to the heart, denotes an appeal to the conscience, or 
 intimates strong affection. 
 
 The index finger of the right hand gently laid in the palm 
 16 
 
362 SIGNIFICANT GESTURES. 
 
 of the left, is suited in deliberation, proof, or argumentation ; 
 sometimes it is pressed hard on the palm. 
 
 VI. Significant Gestures are such as are made by pointing 
 with the index finger to some object, placing the hand or 
 fingers on some part of the body, &c. They are here enu- 
 merated, and may be used as occasion requires. 
 
 Significant Gestures of the Head. 
 
 Hanging down of the head denotes shame or grief. 
 
 Holding it up, pride, courage, or firmness. 
 
 Nodding forward implies assent. 
 
 Shaking it, dissent. 
 
 Tossing it vertically backward, calling ; as, come here. 
 
 The inclination of the head implies bashfulness or languor. 
 
 The head is averted in dislike or horror. 
 
 It leans forward, in attention. 
 
 The Eyes. 
 
 The eyes are raised, in prayer, or appealing to God. 
 
 They weep, in sorrow. 
 
 They burn, in anger. 
 
 They are downcast or averted, inshame or grief. 
 
 They are cast on vacancy, in thought. 
 
 They are cast in different directions, in doubt and anxiety. 
 
 The Arms. 
 
 The arms are projected forward, in authority. 
 Both arms are spread or extended, in admiration. 
 They are both held forward, in imploring help. 
 They both fall suddenly, in disappointment. 
 
 The Hands. 
 
 The hand on the head implies pain or distress. 
 On the eyes, shame. 
 On the lips, silence. 
 
 On the breast, appeals to conscience, or intimates strong 
 emotion or affection. 
 
 Elevated and extended, surprise or astonishment. 
 Raised and averted, repels. 
 
 The hand is waved or flourished, in joy, or contempt. 
 Elevated, in defiance. 
 
SIGNIFICANT GESTURES. 363 
 
 Both hands raised and palms applied, or they are clasped, 
 in prayer or supplication. 
 
 Gently clasped, in thankfulness. 
 Both descend prone, in blessing. 
 They are clasped and wrung, in afliction or agony. 
 
 The Body. 
 
 The body, held erect, indicates steadiness and courage. 
 
 Thrown back, pride. 
 
 Stooping forward, condescension or compassion. 
 
 Bending, reverence or respect. 
 
 Prostration, the utmost humility or abasement. 
 
 The Lower Limbs. 
 
 Their firm position signifies courage or obstinacy. 
 
 Bended knees, timidity or weakness. 
 
 Frequent change, disturbed thoughts or uneasiness. 
 
 They advance, in desire or courage. 
 
 Retire, in aversion or fear. 
 
 Start, in terror. 
 
 Stamp, in authority or anger. 
 
 Kneel, in submission and prayer. 
 
A FEW THOUGHTS ON THE SUBJECT OF ELO- 
 QUENCE. 
 
 No man can be eloquent without a good elocution. 
 
 True eloquence is one of the most desirable attainments 
 within the reach and aspirations of man. It is an instrument 
 of the greatest power that man can wield; and if wielded in 
 accordance with the laws of God and Nature, will result in the 
 greatest good to man, and in the greatest glory to the Great 
 I AM. 
 
 In a country like ours, therefore, where education is free 
 to ally from the richest to the poorest; where all are eligible to 
 the highest places of trust, power, and usefulness ; we should 
 all strive after, and endeavor, in a vigorous effort, to attain 
 unto the utmost degree of the exercise of this power. Why 
 have we not a greater number of accomplished orators in our 
 country? We would venture to answer, because the principles, 
 words, and use of the English Language, are not sufficiently 
 taught and studied ; because the powers of the voice are not 
 sufficiently developed by a systematic course of vocal gym- 
 nastics, or elementary training. Our capacities for eloquence 
 are not to be depreciated ; indeed, the history of our country 
 furnishes many notable examples. Our institutions are more 
 congenial with it than were those of ancient Greece and 
 Home in their palmiest days of art. The physical features of 
 our noble country are also favorable to it ; and the severe 
 practical character of the national mind, especially adapted 
 to it. An imaginative people, like the French or Italians, 
 may produce musicians and poets; but the strenuousness of 
 the Greek, or the sternness of the Roman mind, the vigor of 
 the British, or, perhaps, better than either, the severer but rigid 
 energy of the American intellect, fits a community to excel in 
 genuine eloquence. 
 
 But these, our capabilities, only render it the more desirable 
 that the right principles of the art should be well understood. 
 While we justly boast of the superior prevalence of popular 
 intelligence among us, we cannot deny the inferiority of our 
 professional education; and in no respect is it more defective 
 than in those which involve the principles of a correct taste. 
 Elocution , though included in the programme of every college 
 
THOUGHTS ON ELOQUENCE. 365 
 
 in the land, is scarcely a study ; it is but incidental to the 
 course, whereas it ought to be fundamental ; it shouid be in 
 the beginning, in the middle, and in the end, a prominent and 
 important part. Our young men pass from college to the 
 bar, to the pulpit, and to the legislature, tolerably instructed, 
 it may be, in the other sciences appropriated to their respec- 
 tive pursuits, but scarcely acquainted with the practical art on 
 which depends their successful application. 
 
 Aid may be greatly afforded to the student of eloquence 
 by the due consideration of appropriateness and feeling. The 
 appropriateness of a composition, whether written or spoken, 
 is easily deduced from its object. If that object be to instruct, 
 convince, or persuade, or all these at the same time, we may 
 naturally expect that it should be, throughout, of a forcible 
 and earnest character, — indicating a mind absorbed in the 
 avowed object, and solicitous only about what may subserve it. 
 He will present nothing but what, under the circumstances, 
 is prompted by nature ; nature, not as opposed to a deliberate 
 effort to adapt the best means to the best ends, and to do what 
 is to be done, as well as possible ; for this, though in one sense 
 is art, is also the purest nature • but nature as opposed to 
 whatever is inconsistent with the idea, that the man is under 
 the dominion of genuine feeling, and bent upon taking the 
 directest path to the accomplishment of his object. True 
 eloquence is not like some painted window, which not only 
 transmits the light of day variegated and tinged with a 
 thousand hues, but calls away the attention from its proper 
 use to the pomp and splendor of the artist's doings. But it is 
 a perfectly transparent medium; transmitting light, without 
 suggesting a thought about the medium itself. Adaptation to 
 the one single object is every thing. These maxims have 
 been universally recognized in deliberative, forensic, and pul- 
 pit eloquence. 
 
 True eloquence may be defined in its principal characteris- 
 tics, to be, — 1. Practical reasoning, animated by strong 
 emotion : or to give a description of it rather than a defini- 
 tion, — 2. It consists in reasoning on topics calculated to inspire 
 a common interest, expressed in the language of ordinary life, 
 and in that brief, rapid, and familiar style which natural emo- 
 tion ever assumes. This style of true eloquence is characterized 
 by that brief, familiar and natural manner which a mind' in 
 earnest always assumes ; such as would be used by a man 
 engaged in earnest conversation, — intent on convincing his 
 friend of some momentous truth, or dissuading him from 
 16* 
 
366 THOUGHTS ON ELOQUENCE. 
 
 some fatal measure. Greater dignity or vehemence will arise 
 from the greater importance of the subject, or larger audience. 
 The same colloquial, but never vulgar diction will remain : the 
 same homely illustrations ; the same brevity of expression ; in 
 a word, all these peculiarities which mark a man absorbed in 
 his subject, and simply anxious to give the most forcible ex- 
 pression to his thoughts and feelings. 
 
 The best definition, perhaps, that we can procure is that 
 from Goldsmith, who says that a man may be called eloquent, who 
 transfers the passions and sentiments with which he is moved, into 
 the breast of another. In a word, to FEEL your subject tho- 
 roughly, and to speak without fear. These are the only rules of 
 eloquence, properly so called. 
 
 The following direction may aid, to some extent, in this im- 
 portant art. Be convinced of the truth of the object; be per- 
 fectly acquainted with the subject under consideration ; possess 
 yourself of your own self-possession, and speak fearlessly. By 
 this means, strong expressions, new thoughts, rising passions, 
 and the true spirit and style, will naturally ensue. Every suc- 
 cessful extemporiser will give to the last definition, the autho- 
 rity of an axiom which may be stated as a fundamental rule 
 in eloquence, viz : FEEL, AND BE FEARLESS. 
 
 Study well your subject, and know it ; then feel it ; and 
 while feeling it, speak it without fear. For expression is the 
 soul looking out through the eyes and countenance as windows, 
 upon the audience or persons addressed. But how command 
 this frame of mind, — this command of soul, — this feeling and 
 fearlessness ? This is a great question. 
 
 The advocate of notes proposes to protect himself by their 
 instrumentality, from fear and embarrassment. This he may do 
 to some extent, but almost invariably at the expense of tbe 
 other element,— feeling. The hard and minute labor of the 
 preparation, and the mechanical mannerisms of the delivery of 
 manuscript, can scarcely fail to impair the freshness and im- 
 petus of thought. We may be didactive and instructive, but 
 we can rarely be eloquent. This method may suit the Pro- 
 fessor's chair, or the Lyceum's desk ; but it is utterly at 
 variance with the spirit and intent of the pulpit. The people 
 might as well read for themselves; they may find better ser- 
 mons in their libraries. The pulpit ought to be didactive ; but 
 it ought to be more, — it should be the fountain of religious 
 sympathies, as well as of religious instruction ; it was designed 
 to keep alive the spirit as well as the truth of Christianity in 
 the world j and for this reason no proficiency of the people in 
 
THOUGHTS ON ELOQUENCE. 367 
 
 scriptural knowledge, can supercede its appointed instrumen- 
 tality. Preaching is not an adventitious appliance of Chris- 
 tianity, nor would we make it out a sacrament ; yet it stands 
 next to the eucharist and baptism, — the third great institution 
 of our religion, having as much authority and speciality as the 
 sacraments; and were the Bible in every man's hand, still 
 w r ould it stand a high ordinance of God, a source of vivifica- 
 tion and impulse to the Church, until the end of the world. 
 This is the main purport of the pulpit. If not, then the press 
 or the religious academy can supersede it. How can we recon- 
 cile with such views, that cold and lifeless retail of religious 
 truth from a manuscript, which is misnamed preaching? It 
 would seem the highest effect of the ludicrous, to imagine 
 Christ on the Mount, Peter on the day of Penticost, or Paul on 
 Mars Hill, reading a manuscript. How would it look, even at 
 the bar, or in the Senate ? 
 
 Briefs are much less objectionable, particularly on some oc- 
 casions, and may therefore be used to inspire confidence, and 
 prevent or relieve embarrassment, by sketching the principal 
 points of a discourse. 
 
 It may be remarked, that timidity is no serious reason for 
 discouragement, especially to the young speaker. Animal 
 courage seldom coexists with strong susceptibilities of the im- 
 agination or the heart. Few great captains have been eloquent. 
 Fevj distinguished poets or orators have shown much bravery. 
 Cicero declares that he always trembled before addressing a 
 public assembly. Demosthenes showed himself a coward, and 
 Whitfield confessed himself one. If these masters of their art 
 felt diffidence, there is no reason for discouragement to the 
 young orator. Press on, and nerve yourselves. For of all 
 qualities, animal courage is the least allied with other excel- 
 lences ; and it will be observed, that of all public speakers, 
 those bravoes who fear nothing have generally the least of that 
 energy or pathos which frequently makes a trembling man a 
 son of thunder^ or an angel of consolation. Diffidence in the 
 early career of a public speaker is, therefore, a good sign. It 
 denotes sensibility; and without sensibility there is no eloquence. 
 In time it may be sufficiently subdued, to have all its advan- 
 tages without its disadvantages. And it will always have the 
 one advantage mentioned by a classic and accomplished lawyer, 
 the younger Pliny, — "A confusion and concern in the counte- 
 nance of a speaker, casts a grace upon all that he utters ; for 
 there is a certain decent timidity, which, I know not how, is 
 infinitely more engaging than the assumed self-sufficient air of 
 confidence." 
 
368 THOUGHTS ON ELOQUENCE. 
 
 These thoughts are mainly taken from an article on public 
 eloquence by A. Stevens, of Boston, Q. R. This is a rare pro- 
 duction on account of its superlative excellence, and should, 
 therefore, be read by every student of eloquence. 
 
 Let the following concluding appeal, as you read aloud, thrill 
 through your nature, and ring unceasingly in your ears, until 
 you shall have attained the attainable. 
 
 Study well your subject whatever it maybe; adapt your 
 action, as well as your vocal powers, to the occasion and local 
 circumstances; the action to the word, and the word to the 
 action. Let your voice, countenance, mien, and gesture, con- 
 spire to drive home to the judgment and heart, your appeals, 
 arguments, conclusions, and deep convictions. Let nature, 
 guided by science, be your oracle, and the impulse of unsophis- 
 ticated feeling your monitor. Fill your soul with the mighty 
 purpose, turn aside from no labor, nor shrink from any effort 
 that may be necessary to this laudable enterprise. For self 
 made men are the glory of the world. 
 
INDEX. 
 
 Page 
 
 Introduction, ---------- 3 
 
 PART I. 
 
 Articulation, -----------. 11 
 
 Elements of the English Language, - - - - - 16 
 
 Vowels, or Pure Vocal Elements, .----- 16 
 
 Division of Vowel Elements, ----.--17 
 
 Voco-Aspir Elements, -------- 18 
 
 Aspir Elements, - - - - - - - -18 
 
 Structure of Vowel Elements, ------- 20 
 
 Table of Vowel Elements, - - - - - - [23 
 
 Explosion of Elements, - - - - _- - 26 
 
 Irregularity of Vowel Diphthongal Sounds, ----- 29 
 
 Table of Irregularity of Vowels and Diphthongs, - 30 
 
 Table of Consonant Elements, - - - - - - 40 
 
 Illustration of Consonant Elements, ------ 43 
 
 Classification of Consonant Elements, ------ 44 
 
 Description of Consonant Elements, - - - - 46 
 
 Table of the Union of Consonant and Vowel Elements, - - - 53 
 
 "Words of Difficult Combinations of Consonant Elements, - • 55 
 
 Sentences of Difficult Combinations of Successive Words, 58 
 
 Radical and Vanishing Movement of the Voice, - - - - 64 
 
 Syllabication, - - - - -» - - - -67 
 
 Position of Consonants, -------- 70 
 
 Philosophy of Syllabication, -------72 
 
 Coalescence of Sounds or Elements, ----- 72 
 
 Succession of Elementary Sounds, ------ 76 
 
 Rules for the Past Tense and Perfect Participle, - 84 
 
 PART II. 
 
 On the Elements of Expression, -------87 
 
 Enumeration of the Elements of Expression, ., - - - 89 
 
 Pitch, - - - - 90 
 
 Diatonic Scale, --------- 91 
 
 Chromatic Scale, --------- 91 
 
 Illustration of the Rising and Falling Concrete and Discrete Scale, 94 
 
 Production of Pitch, - - - - - - - - » 97 
 
 Table of the Compass of the Voice, ------ 99 
 
 Musical Tablature, - - - - -- - - ' - 101 
 
 Chords and Discords, -------- 102 
 
 Major and Minor Modes, - - - - - - - - 103 
 
 Table of the different Major Modes, 104 
 
 do. do. Minor do. - 106 
 
370 
 
 INDEX. 
 
 Table of the different Keys of the Speaking Voice, 
 Concretes of Speech, ------- 
 
 Waves, different kinds of, - 
 
 Melody of Speech, ------- 
 
 do. Phrases of -.---.- 
 
 Cadent Melody, 
 
 Cadence, different forms, --..-.. 
 
 do. Full, or Prepared, - 
 
 do. Faults to be avoided in the use of, 
 
 do. Examples of, - - - - 
 
 Cadent Melody, 
 
 Intonation at Pauses, ------ 
 
 Phrases of Melody, Powers or Indications of, - 
 
 do. do. Appropriation of, to the different Pauses, 
 
 Compound Melody, ------- 
 
 Chromatic do. - - - - 
 
 Semi-tone, Nature of, - 
 Chromatic or Semi-tonic Melody, 
 Tremor of the Voice, - - - 
 
 do. on the Tone, - - - 
 
 do. on the Semi-Tone, 
 Modulation or Transition, - - - 
 
 Staff of Speech, - - - - 
 
 Concrete Staff, - 
 Means of Transition, - 
 Time or Quantity, - - - - 
 
 Quantity of Syllables, 
 Expressive Power of Long Quantity, 
 Kate of Movement of the Voice, 
 Chronometor, - - - - - 
 
 Force of the Voice, - - - 
 
 Stress, Different Modification of, • 
 
 do. Radical, - - - - 
 
 do. Expressive power of Radical, - 
 
 do. Medium, - 
 
 do. do. Expressive power of, - 
 
 do. Vanishing, - - 
 
 do. do. Expressive power of, 
 
 do. Loud Concrete or Radico-Median, - 
 
 do. do. do. Expressive power of, • 
 
 do. Compound, - - - - 
 
 do. do. Expressive power of, 
 
 do. Thorough, .... 
 
 do. do. Expressive power of, 
 
 do. Guttural, - - - - - 
 
 do. do. Expressive power of, 
 
 do. Aspirated or Aspiration, 
 
 do. do. Expressive power of, 
 
 do. Of the Vocule, - - - ■ 
 
 Expressive power and use of the Vocule, 
 Accent, „.*-.. 
 
INDEX. 
 
 371 
 
 Accent, Definition of, 
 
 do. Power and use of. 
 Emphasis, 
 
 do. 
 
 do. 
 
 do. 
 
 do. 
 
 do. 
 
 do. 
 
 do. 
 Pauses, 
 
 do. 
 
 do. 
 
 do. 
 
 do. 
 
 Definition of, - 
 
 Expressive power of, 
 
 Rules for use of, 
 
 Application of, and Inflection, 
 
 General, - 
 
 Expressive power of the Rising and Falling, 
 
 Rules for Relation, or Inflection, 
 
 Grammatical or Sensific, 
 
 Rhetorical or Emphatic, - 
 
 Paragraphic, - 
 
 Poetic, - 
 
 Measure of Speech, - 
 
 do. Different kinds of Measures, 
 Rules for determining Measure and Pauses : 
 Rhythmus, - 
 Slurring, ------ 
 
 fori 
 
 scoring, 
 
 do. Shading, or Flight of the Voice, 
 Emphatic Tie, - 
 Intonation of Rising Concretes, --.-.- 
 Expressive power of the Rising Concretes, - 
 
 Intonation of Falling Concretes, ------ 
 
 Expressive power of the Downward Concretes, - 
 
 Intonation of Interrogation, ------ 
 
 Thorough and Partial Expression of Interrogation, - 
 
 Rules for the Application of the Thorough and Partial Expression, 
 
 Intonation of Exclamation, - - - - 
 
 do. of the Wave, ------- 
 
 Expressive Power of the Wave, ------ 
 
 Intonation of the Unequal Wave, ------ 
 
 Expressive Power of Unequal Wave, - - - 
 
 Orotund, ----------- 
 
 Vocal Expression of the Passions and Emotions, - 
 
 PART III. 
 
 Rhetorical Gesture, -------- 
 
 Positions of the Feet, ------- 
 
 do. of the Hands, - - - . - 
 
 Motions do. do. ------- 
 
 Introduction to an Audience, ------- 
 
 ^lovements During the Time of Speaking, - - - - 
 
 Postures of the Body, -------« 
 
 Manner of Holding the Book, ------ 
 
 Classification of the Movement of the Hand, - - - - 
 
 Emphatic Gestures, -------- 
 
 Significant Gesture of the Hand, - - - - 
 
 Thoughts on Eloquence, - ------ 
 
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 218 
 
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 343 
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 £52 
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E.REATA." 
 
 The reader will correct with his 'pencil the folloiviw* errors. 
 
 Page 
 
 41. In thirty-seventh line, and first letter of the line, » g' ought to be * q.' 
 
 42. Third line, next to the last word, the ' q' changes to « y.' 
 
 53. Table I., column ' k,' the second and third words, change ' p' into ' k.' 
 89. Under the head < Pitch,' ' Phases of Melody' should be « Phrases of 
 Melody.' 
 
 105. Third line, 'represents' should be 'represent.' 
 
 117. Second staff, a note should be placed on the second space, answering to 
 the last syllable of ' upo^.' 
 
 162. The next to the last sentence should begin with ' In the example beloiv? 
 The words ' as well as the pitch,' should come in after the 
 word 'vanishes;' and the first verb ' is,' should be ' are ;' and 
 the following word ' alsoj should be left out. The last two words 
 of this sentence should be ' these syllables,' instead of ' the syllable. 1 
 
 181. Tenth line from below, the word ' uses' should be ' use.' 
 
 183. The last sentence in the third paragraph should be erased. 
 
 196. Sixth line, the first ' the' should be < this.' 
 
 199. Last line, « is' should have the longest concrete, and ' nay' a shorter one. 
 
 213. Eleventh line, ' to' should be inserted before « gives.' 
 
 214. Seventh line, ' cood-ad,' should be ' coo-dad.' 
 
 216. Eighth line, the dash should have its place, on < Time? 
 
 222. The last word on this page, ' and,' should be erased. 
 
 223. First line, a comma after ' Thorough,' and one after ' Guttural,' taking 
 
 away the semicolon and the article ' the' after it. 
 
 242. First line of Note 1, ' Base,' should be ' case,' 
 
 248. Ninth line from below, ' on' should be ' or.' 
 
 253. Fifteenth line from below, < functions' should be ' function.' 
 
 256. Twelfth line, ' this' should be ' a,' and ' the' should be ' this.' 
 
 263. Seventeenth line, ' IV.' should be < VI.' 
 
 272. Ninth line, ' regulated' should be ' related.' 
 
 277. First line, ' gradually' should be ' generally.' 
 
 " Fourth line, ' severe,' should be ' serene.' 
 
 280. Tenth line from below, ' executions,' should be ' execution.' 
 
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