opened on a preceding subtonic or abrupt element. The loud concrete must be made on all the elements of the syllable without distinction: and the accentual impression by quantity must consist of the united time of tonics and subtonics, when the syllable is constructed with these different elements. But all this is only a denial of the truth of the rule, on the grounds of the phenomena of accent which have been pointed out in this section. Let us see how the rule corresponds with the fact of pronunciation. In the word action, the abrupt stress is on a vowel, (tonic) and yet the syllable is short and in the word revenge, the greatest impression is from the quantity of the subtonics (consonants,) and yet the syllable is long. Language is full of like examples; and from the illustration they furnish of the nature of accent, we may learn that the time of syllables bears no certain relation to stress, nor to other modes of the accentual agency. The prevalent error on this subject must be ascribed to the general cause of all errors,―The want of observation at first, and the assumption of notions to prevent observation ever after.

Mr. Walker has given a theory of accent, in which he makes it dependent on the rising and falling inflection, as indefinitely described by him. If the preceding history of intonation is true, and if it has been clearly comprehended, the reader must at once conclude that accent can have no fixed relationship to a rise of the voice or to its fall for it may be made with every essential characteristic, under either of these opposite movements; their junction into the wave; and under all the changeable phrases of melody.

Much has been said by authors on the subject of accent. But I began this analysis of the human voice, with a resolution to speak after nature; not after men.

SECTION XLV.

Of Emphasis.

THAT function which Rhetoricians call Emphasis, is defined to be a stress of voice on one or more words of a sentence, distinguishing them by intensity or peculiarity of meaning. Some writers, without seeming to care much about the point, indefinitely attribute to emphasis, a characteristic intonation: and Mr. Walker imagined he specified his idea of 'tone' throughout all its conditions, when he made an erroneous application of the upward and downward inflection.

But authority aside; let us try to do something to the purpose, by observing and recording.

It was stated that Accent is the fixed but inexpressive distinction of syllables by quantity and stress: alike both in place and nature, whether the words are pronounced singly from the columns of a vocabulary, or connectedly in the series of discourse.

Emphasis may be defined to be the-expressive but occasional distinction of a syllable, and thereby of the whole word, or of several successive words, by one or more of the specific modes of Time, Quality, Force and Pitch.

This notable function belongs essentially to the current of discourse; but it may be employed on solitary interjections, and on single words which stand as elliptical sentences. It will appear hereafter, that emphasis is no more than a generic term, including specifications of the use of every accident of the voice, for the purpose of enforcing sentiment and thought.

The stated conditions of the voice which constitute, accent being included among the enumerated causes of emphatic

distinction, it may be inferred, that in these particulars, accent and emphasis cannot differ from each other. The quantity, radical stress, and loud concrete, employed as the means of emphasis, have indeed the same characteristic nature, as in accentual agency; but their purposes in the former case invest them with the attractive influence of emphatic expression.

For a detailed account of the particular occasions of emphasis, the reader is referred to libraries. They contain many rhetorical works, setting forth this part of the subject, with comprehensiveness, perspicuity and taste. It is the aim of this essay to point out and to measure the vocal material of emphasis.

Emphasis as was stated above, produces its effect upon the ear, by means of the quality, and time of sound, the modes of stress, and the varied intervals of intonation. The particular enumeration of these means will be given under the following heads.

Of the Radical Emphasis.

WHEN an immutable syllable bears the accent of a word which is remarkable by sense, sentiment, or antithesis, the audible distinction can be made only in three ways: by quality of voice; a wide change in the phrase of melody; and the abrupt enforcement of the radical stress. The two former modes of emphasis on short syllables, will be noticed in their proper places. The last is here illustrated.

And with perpetual inroads to alarm,
Though inaccessible, his fatal throne;
Which, if not victory, is yet revenge.

If the strongly contrasted feature of the word victory is not represented by guttural vibration; or by aspiration, or some other available quality; or if it does not receive

the peculiar coloring, effected by a change of radical pitch upward or downward through the skip of a third, fifth or octave-If, I say, these are not used, the syllable vic must be raised into importance by means of the sharp radical stress: at least no other can be operative whilst the syllable is limited to its natural quantity.

It is true, even an immutable time as formerly said, may be carried rapidly through any interval of the scale; still if this rapid movement is not joined with the radical change, it does not deserve to be taken into account in this case.

Although the radical distinction is here spoken of as applicable to immutable syllables: it is plain from its nature, that it may be laid on those of indefinite time. But since these admit of the more agreeable modes derived from intonation, they less frequently require the strong explosion of the radical.

This emphasis is the symbol of sentiments of anger, violence, and energy of all kinds; and is the common mode of enforcement, whatever is the time of the syllable, when the spirit of discourse directs a rapid utterance. ·

Of the Median Emphasis.

THE prominent display of the sense of a word, by a gradual increase and subsequent diminution of voice, can be effected only on syllables of indefinite time. It gives an importance equal to that of the radical stress, but it exhibits the influence of force under a form of greater smoothness, dignity and grace. In the following sentence, the word sole contains a sentiment of warm and serious admiration, which is finely set forth by means of this emphasis.

Wonder not sov'reign Mistress, if perhaps
Thou canst, who art sole wonder!

Though the median mode of stress might be executed on the simple rise and fall of intervals, when considerably pro

tracted, yet it is most frequently made on the wave. In the present case the intonation of the word sole is through the wave of the second; the swell being at the junction of its two constituents.

The reader must bear in mind, that in assigning the mode of stress to this, and to preceding examples, I have been governed by the principles of speech laid down in this volume; and that I shall continue to apply them, in illustrating the other forms of emphasis included under this section for if these examples be read in any of those various ways which result from instinctive attempts in elocution, I shall in all probability be misunderstood. On this ground I would allot to the lines above quoted, that plain but deeply respectful character which belongs to the utterance of protracted quantities in the diatonic melody; giving to the emphatic syllable the importance of greater time; and smoothly enhancing it by the swell of the median stress.

Of the Vanishing Emphasis.

THE words which bear this mode of stress are characterized by a degree of violence, nearly equal to that which was said to belong to the radical emphasis. Why then are they distinguished from each other by name?-The radical is perceptible on immutable syllables;-the vanishing cannot be recognized upon them. Some extent of quantity is required for its display: and though the sentiment of quick energy, that prompts it, generally appropriates it to a simple concrete, which has just sufficient time to admit of its application, still it is sometimes effectively made on the utmost extension of the single movement, or the wave.

In the following examples this inversion of the natural concrete, may be employed as the symbol of angry impatience in the one case, and of threatening vengence in the other.

Oh ye Gods! ye Gods! must I endure all this?