indicated by the term Vanishing Stress, annuls, in this case, the general law of the concrete. But I thought, the adopted term, even with this verbal contrariety, would be more immediately intelligible, if not more exactly significative of the function, than any other newly invented nomenclature. The vanishing stress does indeed exhibit a reversed progression of force, by a gradual increase from the radical, to the extreme of the vanish. This mode of production must necessarily give something like an abrupt termination, with a fulness of sound, at the extremity of the concrete.

The peculiar vocal effect of the vanishing stress may be illustrated by the natural function of Hiccough. I choose this mode of making the reader familiar with the perception, because the function has received, in this instance, but without attention to its construction, a conventional name, and because it may be readily imitated for the purpose of experiment. The hiccough, then, is produced by the gradual increase of the guttural sound, until it is suddenly obstructed by an occluded catch, somewhat resembling the element k, or g. If this mode of sound be compared with a single act of coughing, the difference between the vanishing and the radical stress will be conspicuous. The hiccough, however, does not resemble the proper vanishing stress of speech in all points; for this last function does not necessarily end like the hiccough, except the syllable which bears it is terminated by an abrupt element. The hiccough may be made on all intervals of the scale. In ordinary cases, it assumes that of the second: but when it is attended with great distress, as sometimes happens in disease, it is heard through the interval of the semitone.

The effect of the vanishing stress may be perceived in the speech of the natives of Ireland; many of whom employ it, in the form of the simple rise or fall, or wave, on all the principal words of a sentence. It is this function which produces that quick and peculiar jerk of syllabic sound, heard in the earnest pronunciation of the lower orders of that people.

The vanishing stress is practicable on each of the rising and falling intervals of the scale. When used on the wave, it must be understood as occurring on the last constituent.

This stress being one of the modes of force, its operation consists in giving to the characteristics of the several intervals, a more attractive power over the ear, than belongs to their natural concretes. Thus in the second, which has no peculiar expression, it only adds that Irish jerk which deforms without enforcing speech. On the third, and fifth, and octave, it gives intensity to the spirit of interrogation. On the downward course of these intervals, it enhances the degree of surprise and positiveness; and on the wave, adds power to the expressions which belong to its various con

structions.

The effect of the vanishing stress on a semitone, may be heard in the act of Sobbing. This is made on a guttural sound gradually increasing in force and terminated in some cases by an occluded catch. Now when the vanishing stress on the semitone is used in discourse, it is, as it were, a sobbing upon words; and serves to mark intensively, the distressful character of the simple concrete. The expression of pain or grief may require enforcement, when uttered with that quickness of time which does not admit of the doubled influence of the semitone, produced by the wave of this interval. This increased effect may be given to the simple movement in quick time, by the vanishing stress; which brings out in high relief the dimensions of the interval, and the mournful display of its expression.

Upon this subject it may be remarked in relation to all the intervals, that the nature of discourse occasionally requires so quick a time that only the simple rise or fall can be employed and yet, it may be highly necessary to designate a given interval strongly and clearly. This can be accomplished by the vanishing stress. For a hasty utterance of complaint and of interrogation, which has time for flight only in one direction, will, for the purpose of marking its several symbols on the ear, apply this terminative force to

the simple rise or fall of the semitone, third, fifth, and

octave.

It was stated that the radical stress is effective, principally in distinguishing short quantities. On these the vanishing stress is not cognizable. It requires a longer time; and its application thereon, gives an equal degree of force with the median stress: but it has much less dignity and grace than the gradual swell of this last named mode of forcible expression.

SECTION XXXVII.

Of the Compound Stress.

BESIDES the perceptible function of stress, when laid exclusively on the beginning, or middle, or end of the concrete, it is within the power of the cultivated and attentive ear, to recognize the abrupt opening of the radical, and the full termination of the vanishing stress, when used in succession on the same syllable. The best reference for illustration of this function, is to the vocal grace called a Shake: for I shall endeavor to show hereafter that the characteristic action of this grace consists in a rapid iteration of the concrete, when impressed with both the radical and vanishing stresses.

The compound stress, when applied to syllables of long quantity, may be used on the narrow intervals of the scale; but it is more definitely audible on the wider spaces of the fifth and octave. It may likewise be executed on the various

forms of the wave; in which case the final stress is laid on the last constituent.

After what has been said of the radical and the vanishing stress, of which this under consideration is but a compound, it is scarcely necessary to remark, that it affords means for adding force to the sentiments indicated by each constituent stress, when used singly on a syllable. And though the effect of the alternate radical and vanishing stress is beautifully exemplified in the shake of song, and may be made manifest in the speaking voice; yet this compound function cannot, on a short quantity, be distinguished from the simple radical abruptness: nor indeed is there, in this case, time for its existence.

Let us suppose that a syllable of long quantity conveys the sentiment of angry or authoritative inquiry; and that the fifth, with protracted intonation, is the interval chosen for this interrogative. The sharpness of effort required here as the symbol of anger or authority, would be rightly represented by the radical stress, whilst the full-marked extent of the interval under the increased force of the vanish, would give a corresponding energy and impressiveness to the interrogation. The compound stress is, however, by no means an agreeable mode of force. There is a snappishness in its intonation, which should always be avoided by a good reader, except on those rare occasions, that especially call for the peculiarity of its expression.

SECTION XXXVIII.

Of the Thorough Stress.

By this mode of force in the construction of the concrete, we are to understand, a continuation of the same full body of voice throughout its whole course.

It may be readily distinguished from the median, the vanishing, and the compound forms of stress, when these are set on long quantities; and may therefore claim a separate notice in a philosophical analysis of speech. But I cannot point out any peculiar expression in it, which is not conveyed by the compound stress, or by the radical when applied on short syllables.

This Thorough force may be given to all the intervals of the scale; and when spread over the wave, it is to be regarded as equalizing the stress throughout all its constituents.

1000

SECTION XXXIX.

Of the Loud Concrete.

By the Loud Concrete, I mean that stress which distinguishes a given syllable from adjacent ones; the parts of the concrete still retaining the comparative structure of the radical and vanishing movement. It is, in short, what was called