secondary accent is on the first syllable, let the preparatory rise or fall be well marked on it, but distinguish the primary accent by a distinctly greater force of inflexion. Thus:

Marked superintendant, disobediently, understanding, acrimonious.

When the word begins with an unaccented syllable, the voice marks on it a preparatory opposition of inflexion, as in the dissyllables before noticed. Words of this syllabication, then, have three vocal turns :-the leading inflexion on the accent, is prepared for by the secondary, which is itself introduced by a preparatory turn on the antecedent syllable. Thus:

When the word has two secondary accents, the one before the primary will take the preparatory opposition of inflexion, and the first secondary will, similarly, take a preparatory inflexion for the other. Thus :

Or, another perfectly admissible mode of inflecting such words, is, to give the first secondary accent the preparatory rise or fall for the primary, and the intermediate secondary a more limited inflexion in the same direction as the first; beginning either on the same note on which the first inflexion terminated, or thrown back a little. Thus :

The latter arrangement of inflexions makes the first secondary accent more emphatic than the second: the former arrangement gives the greater degree of prominence to the second secondary

accent.

When the primary accent precedes the secondary, the latter must be inflected in the same direction as the former: the inflexion being commenced either on the same tone with which the primary inflexion terminated, or thrown a degree backwards. Thus :

Any number of unaccented syllables after the accent, must follow the direction of the accentual inflexion, rising or falling, without retrogression, from the pitch of the accented syllable, unless the speaker purposely reverses the progression, in order to form a wave or circumflex.

Thus :

Marked literally, arbitrarily; generally, literarily.

We have been careful to show how the simple inflexions are applied to words of various accentual construction; because the principles which regulate their arrangement on the syllables of single words, are the same as those which govern their application to the verbal constituents of phrases and sentences.

The principles which regulate the expressive use of the inflexions will be found stated at page 270; and marked exercises will be found in the concluding section of this volume. The mechanism of the inflexions must always be correspondent to the principles exemplified in the above notations.

EXTENT OF THE INFLEXIONS.

We have chosen for our illustration of the mechanism of the inflexions, (page 261,) a staff of eight lines, that the seven degrees of inflexion noted upon them may represent the seven musical

intervals of the second, third, fourth, fifth, sixth, seventh, and octave. But since these intervals are not all composed of whole tones, an alteration of the staff would be necessary to represent them with proportional accuracy.

The musical student of speech may easily measure the intervals of his inflexions with the help of an instrument, by sounding the extreme notes of each interval, and sweeping his voice from one to the other; and he will find our symbols applicable for a strictly correct notation, if he think the subject worthy of so minute attention. We have contented ourselves with such an arrangement as speaks to the eye, without carefully consulting accuracy to the ear.

The following staff shows the musical succession of intervals in the octave. The broad spaces represent full tones, and the narrow spaces semitones. The notation shows a rise and a fall

This is the major mode of the diatonic scale. The intervals of the minor mode differ only in the extent of the first third, which consists of but one tone and a half, or three semitones, instead of two tones, or four semitones, as above. The interval of the minor third has a plaintively querulous effect; and the interval of the semitone is the universal expression of all ordinary plaintive sentiments. The student should practise inflexions on these latter intervals in order to acquire a naturally effective modulation of plaintive passages.

To the unmusical student it will be necessary to say something for his direction in the formation of chromatic or plaintive inflexions. Let him take as a key-sound the cry of "Fire," which, as has been observed by Dr Rush, is universally uttered on the interval of a semitone.

it,

Throw natural feeling into this word, and then, alternately with pronounce, with the same inflexion, the vowels, or any words of

fear or sadness, and the ear will soon learn to recognise, and the voice to produce, the semi-tonic interval.

The ordinary inflection of unemphatic words is through the interval of a second—a full tone-or if plaintive, of a semitone. The interval of a third is the common extent of a suspensive or conclusive turn; or, if emphatic, the interval of a fifth. The interval of the minor third is that of plaintive exclamation and interrogation; and the language of strong passion is generally uttered on the interval of the octave.

When, at the conclusion of a sentence, the voice falls only one tone, or through the interval of a second, the effect upon the hearer is satisfactory enough with respect to the completion of sense; but it is at the same time unsatisfactory, as leading him to expect the addition of something more, by way of illustration or enforcement. The inflexion is inconclusive and continuative; and, if nothing more be added, the hearer will feel disappointed, and unconvinced, however strong and convincing may have been the speaker's language. The tone is inconfident,-expressive of uncertainty and indecision, and therefore cannot carry conviction to a hearer. An utterance that is meant to be conclusive, cannot fall less than through the interval of a third; and in proportion to its emphasis, positiveness, and passion, it will range from that to a fifth or an octave.

When, at the end of a clause or sentence, the voice rises through one tone only, or the interval of a second the inflexion is fully expressive of incompleteness of sense, but it does not lead the hearer to anticipate the immediate consummation of the sense; the tone is progressive, not preparatory. A rise which is intended to excite the hearer's attention to the conclusive utterance to be next spoken, cannot be less than through the interval of a third; and in proportion to its emphasis of suspension-its querulousness and passion, it will range from that to the extent of a fifth or octave. Our notation of the simple inflexions may be understood to represent these musical intervals. Thus, 2nd, 3rd, 5th, 8th,

We do not profess, however, to be able by these marks to denote the inflexions with strict musical accuracy. We have no means of showing the infinite variety of radical points from which the well-proportioned inflexions of an effective speaker will be pitched. We only aim at representing degrees of inflexion which are relatively greater or less, and the radical points of which are above or below an assumed middle tone of voice.

COMPOUND INFLEXIONS.-CIRCUMFLEXES OR WAVES.

The two modes of vocal progression united on one syllabic utterance, or on the syllables of one accentual utterance, form those expressive compound inflexions, called circumflexes, or more accurately, as Dr Rush has named them, waves. These vocal waves are very common in all natural speaking. They are capable of much variety by the different proportion of their parts. A strong rise (of course beginning low) may be united to a fall of a semitone or an octave, or of any extent; and a full downward sweep may be blended with an equal variety of rising intervals. The following notation analytically illustrates the mechanism of the Wave, and the use of the typographic character by which we represent this vocal turn.

Marked arbitrary, honesty, indeed; liberally, exquisite, indeed.

The mark for the Rising Wave is placed above the accented syllable, because the inflexion begins and ends high: and the mark for the Falling Wave is placed below the accent, because the inflexion begins and ends low. These compound inflexions, like the simple ones, always commence on the accented syllable, and the same principles of preparatory inflexion which we have exemplified in treating of the simple inflexions, apply to the utterance of words or passages containing these compound turns. (See pages 264 and 265).

As we directed the student to practise the simple inflexions in their most extensive ranges at first, and by the association with them of the feelings which they naturally express, so, also, we recommend him to practise the mechanism of these compound inflexions in their most emphatic forms at first, and with the association of those sentiments which they naturally express.

The circumflexed or waved inflexions generally give to language