skilfully command it, endeavor to attain a desirable variety in this case, by the transfer of emphasis. They apply it in the repetition, successively to none and but and brave Regarding here the apparent purpose of the poet, and the consistent design of vocal expression, this variation of emphasis is altogether inadmissible. The contradistinction made in this case, by applying stress to different words, in each repetition, gives different meanings to the phrase. But reiteration is the rhetorical sign of fulness of feeling, or of its rising energy; and never of a change of sense. The attempt therefore to vary the meaning of this phrase, which must be identical under any change of emphasis, offends against both dignity and truth, and betrays a limited power over all the means of vocal variety. The full command of quantity, and of the numerous modes of expression, renders it easy to relieve the ear from monotony on this passage, without changing or distorting the sense of the author: which, if the composition was a prompting of poetry, and not a mere trick of emphasis, must have been intended to be one and the same, in all the repetitions.

In the above notation, I have not illustrated the uses to be made of time and force: though both are available in this case, and give additional means for variety.

The downward radical pitch of the third which consists of a skip of three degrees, is employed for the purpose of emphasis: particularly where this is necessary on immutable syllables. But there is a special use of this interval, for effecting a full consummation of the close of melody which must not be overlooked. In the sixth section it was shown that different species of the cadence denote various degrees of repose: the triad form, in which each of the radicals with its downward vanish, is heard distinctly in successive descent, being the most marked indication of the period. It is possible, however, to increase the characteristic of this form by additional means. A gradual descent of the current melody as it approaches the cadence, is sometimes employed with that intent; and properly. But another more elegant

and impressive mode is, to apply the downward radical change of the third, on some syllable preceding the close, as in the following notation.

Through E-den took their sol- itary way.

When this line is read with the diatonic radical succession throughout, the cadence, with its three descending radicals and concretes, does indeed mark a completion of the sense; but the application of a downward radical change of the third on took, gives that warning of the period, or note of preparation, which produces the utterly reposing conclusion that is required by the audience, and should be effected by the reader, on this last line of Paradise Lost.

Other cadences denote, in various degrees, the conclusion of a particular sense. This Prepared cadence, if I may so call it, implies that the subject itself, of a paragraph, a chapter, or a volume, is finished.

Let us here take a view of the various kinds of cadence.

In the sixth section, five modes of the diatonic cadence were enumerated. Now the Prepared form just described may be united with each of these, thus constituting ten distinct species: to say nothing of the chromatic. These should be severally employed by speakers, not only to give just expression to the close; but likewise for the purpose of variety. If it would add precision to this subject, some of the forms of the cadence might be specifically named.

The first form described in the sixth section may be called the rising triad: because it consists of three constituents; and two of them have the upward vanish.

The second form may be called the falling triad.

The third may be called the first Duad: because it has but two constituents; the first embracing the space of two

tones.

The fourth may be called the second Duad: because with only two constituents, the last occupies the place of two

tones.

The fifth may be called the Monad form of the cadence, from the space of the three constituents being executed on one syllable.

It is not expected that the reader will be able at once to distinguish all these modes of the cadence: nor is it necessary. Some of them, however, cannot be mistaken. The prepared form when set before the falling triad, is the most complete close; and this is clearly separable from the monad, or what was called the feeble cadence, which gives the faintest indication of the period. I believe no ear will confound the effect of either of the triads, the monad and the prepared cadence.

I have little to say of the downward minor third; its expression, like that of its upward concrete movement, is plaintive; but as well as my ear informs me, it is not used for those purposes ascribed to the major third.

SECTION XXIII.

Of the Downward Second and Semitone.

I HAVE classed the Downward Second and Semitone, under the same head, an account of the limited extent of the remarks here made upon them. They have a high importance in speech, but it is principally as downward continuations of their previous rise, into that form of intonation which has been called the circumflex; but which, in the next section will be named the Wave.

The most remarkable use of the dowward second or tone, is as the last constituent of both the diatonic and the chromatic cadence. It forms severally the constituents of the falling triad: and is used in plain melody, for the purpose of varying the impression of the rising second, which, in the history of that melody, was given as its characteristic.

The downward semitone is sometimes employed for the purpose of variety, in the current of a chromatic melody. It may also be applied to the first and second constituents of a chromatic cadence; the radical descent of this cadence being by the skip of a whole tone; and the downward vanish on the last or closing concrete, being through the space of that same second or tone.

In terminating the history of the downward intervals, one cannot avoid pausing for a moment, in admiration at the simple and well adjusted means which nature has appointed, for the multiplied combinations and apparent complexity of vocal expression. Nor can the prophetic eye of science and taste, well look on their available means, without reaching to some foreknowledge of that Systematic Art of Speech, which at no distant day, must be raised upon the new and lasting foundation of Analytic Elocution. I have not extended the inquiry, nor made application of the principles founded thereon, to the entire detail of the subject; being contented to encourage others towards a work of greater range and precision, by setting before them what is here accomplished in a case of supposed impossibility. For I am persuaded there will be some beautiful finishing of that system for the ordering of speech, which is here but just begun. He who chooses to follow the path thus opened, may fortunately find himself among the first comers to an ungathered field: a field which has been unvisited and unclaimed only because it was believed by the indolent, to be barren or inaccessible; or because the eye of irresolute inquiry has been turned from the leading star of observation, by the vain attractions of theory, and the delusive authority of names. For what does the term, genius for discovery mean, besides

-the art of forgetting ourselves and others, and looking exclusively and perseveringly at our work? Too many, alas! imagine they are doing all these things, when they are only thinking of notoriety, and hunting after the favorable opinion of mankind.

SECTION XXIV.

Of the Wave of the Voice.

THE term Wave of the voice is here used to signify a continuation of the upward into the downward concrete movement. This function was known to the Greeks and is noticed by modern writers, particularly by Mr. Steele and Mr. Walker, under the term, Circumflex accent.

:

As the wave is composed of the two opposite courses of pitch, each of which has its different intervals; and as the direction of the outset of the voice, and the number of its flexures may vary, the reader must expect to find in the history of this symbol, numerous and somewhat complicated subdivisions.

The Wave is a very frequent mode of expression, and performs important offices in speech. It therefore becomes him who is willing to turn from the falterings of an instinctive elocution, to the fulness, the purpose, and the precision of scientific rule-it becomes him not to overlook the subject of the wave.

In order to represent this matter clearly, let the several upward and downward movements, which by their continuity make the wave, be called the Constituents. It is plain then that the constituents may be, octaves or fifths or thirds or seconds or semitones.