most common. And this may serve to set the power of intonation in the strongest light; for thus it seems to be the art of speaking almost without words. From the monosyllable, the exclamation varies in extent through degrees of the ellipse to the full syntax of a sentence. Though there are few that are not curtailed by the force of passion. Exclamations might then be arranged according to their structures,-as grammatically imperfect, or as complete. I shall class them by the sentiments that prompt them.

When I say that exclamatory sentences generally, if not always, bear the falling intervals or the wave, it must be understood that the extent of these intervals is in proportion to the force of the sentiment. Thus the following interjective reflection, from its moderate temper, might require no more than the downward second or its direct wave.

O withered truth!

Whilst the energetic emphasis of Hamlet's revengeful exclamation at the atrocity of the king,—

O villain, villain, smiling damned villain!

should receive the deep and forcible descent of the octave. 'Of the many kinds of exclamatory sentences, I shall only notice,The Admiring,-The Plaintive,--The Scornful, and the Imperative; since these illustrate the several modes of intonation which this style of composition requires.

The Admiring Exclamation. Admiration is a sentiment felt upon new perceptions or thoughts. Now the newness of objects, or of the thoughts of them, involves in a degree the sentiment of inquiry as to their quality or nature; and thus seems to call for the use of the rising intervals. But this sentiment has not quite the force which would require a verbal or a vocal question: whilst, at the same time, there is in the character of Exclamation, a positive conviction of the high importance of the object of Admiration. It is from embracing these two sentiments that the admiring exclamation calls for the direct wave or union of the rising and falling intervals; the positive character of the exclamation by the downward course of the

last constituent, predominating over whatever there may be of inquiry that gives occasion for a previous rise. Let us take as an example, the following description of the assembling of the fallen Angels at Pandemonium :

So thick the airy crowd

Swarm'd and were straightened; till the signal given,

Behold a wonder!

Here, of the words in italics, the syllables 'hold' and 'wond' require the direct wave of the fifth, and by their indefinite quantity freely admit of it.

The Plaintive Exclamation. I have shown in the eighteenth section, in what manner a plaintive interrogation may be made, by the junction of the semitonic expression with the wider upward intervals. The plaintive exclamation is produced by the rise of the semitone continued into the descending third or fifth or octave, according to the force of the sentiment; thus constituting a direct wave of unequal intervals. The direct wave of the semitone and fifth is the proper intonation, for the accented syllables of the following plaintive exclamation of Macduff:

O Banquo, Banquo,
Our royal master's murdered!

The Scornful Exclamation. It was said in the thirtieth section that Scorn, according to its degree, is expressed by the simple rise or fall of the wider intervals, or by the various forms of the wave, when made with an aspirated or a guttural voice; the lighter degrees of expression, or the simple rise and fall being appropriate to the sneer, and the stronger, to the deepest contempt and execration. Now when such sentiments are contained within short emphatic sentences, it constitutes what I have called the Scornful Exclamation; as in the following, from the Merchant of Venice.

Bassanio. This is seignor Antonio.
Shylock.

How like a fawning publican he looks!

The sentiment of this last line will be properly expressed, if the syllables in italics receive the unequal wave of the rising fifth and falling octave, under a slight degree of guttural aspiration whilst the other short quantities of the sentence are uttered in the falling fifth, with the like aspiration.

The Imperative Exclamation. An imperative sense universally requires a downward interval or a direct wave. Other elements, such as the modes of stress, aspiration, and guttural emphasis, to be spoken of hereafter, serve to mark the degrees of force or authority in the command. The following exclamation of Macbeth to the Ghost of Banquo, requires the downward fifth or octave throughout; according to the energy the speaker may think appropriate to its delivery.

Hence horrible shadow,"

Unreal mockery hence!

But I need not pursue this subject further. 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 illustrated in composition. I have by these few instances, shown the grounds of classification: and when hereafter elocution shall, upon the foundation of our present analysis, be raised into a science, and so cease to be, as it is now, a mere animal function, all those things whose end I but perceive, shall be in fact accomplished by others.

Upon the subject of Interrogation and Exclamation, it is to be remarked that in some cases, emphatic distinction 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 concretes and direct waves of exclamation. The contrasts of intonation in such instances constituting one of the characteristics of what is called emphasis, or an impressive designation of single words.

SECTION XXXII.

Of the Tremor of the Voice.

IF the reader has borne in mind the definitions contained in the first section of this essay, he must be aware that the functions of pitch thus far analyzed are, severally, phenomena of the concrete and discrete scales, and of the chromatic. I design to speak now of an element of expression derived from the Tremulous scale.

This scale consists of a rise and fall through the octave, by the successive steps of that particular play in the throat which in common language is called gurgling. I have not invented the term Tremor as significative of a mode of the voice: but I here first give an analysis of the function, and decree its systematic arrangement, as conducive to the establishment of principles, for the attainment of correctness and elegance of speech.

In treating of the tremulous scale, I gave a very general account of its construction. I must now be more particular.

It has more than once been affirmed in this essay, that every effort of the voice is necessarily made through the radical and vanishing movement: and I hope it has been satisfactorily shown, that the audible characteristic of the several intervals of the scale may be distinctly recognized, even on the shortest immutable syllables.

Since then each of the tonic and subtonic elements does, even in its shortest time, always pass through the concrete, it follows that, however quickly successive any one of them may be repeated, each impulse of the iteration must be a concrete interval. If therefore the tremor be made on any of the above named elements or their syllabic combinations, the successive constituent impulses of that tremor will each consist of an

abrupt radical and of a rapid concrete of some one interval of the scale. Taking the name of the interval as a designation, there may be a tremor of the semitone, of the second, of the third, of the fifth and of the octave. That is, each of the successive impulses may rapidly rise or fall through those intervals respectively. In this case the impulses are supposed to be continued on the same line of radical pitch, the vanishes rising therefrom to their required heights; but it is easy to understand that whilst the iteration of the tremulous impulses is going on, through any concrete interval, for instance the second, the radical pitch of these concrete seconds may be carried upward or downward through the whole compass of the voice, This change of radical pitch in the tremulous movement is made in two ways.

First: A given number of these iterations of the tremor, or Tittles, if I may so call its several impulses, are continued on one line of radical pitch. A change is then made through the upward interval of a tone. On this line the tittles are again continued; and thus by an alternate succession of iterations on a line, and changes by proximate degrees, the voice may ascend through the whole extent of the scale. In this way it is manifest that the rise is merely through the diatonic scale of song, with the addition of the tremor on each of the stated places of the scale.

Secondly: The ascent through the scale may be made by each tittle of the tremor being taken successively above the last, at a less distance than the tone or even the semitone. In this way, by a gradual rise of the radical pitch, the whole compass of the voice may be traversed.

We have no means for ascertaining the extent of space between the tittles, in this rise of the tremor. It may be inferred that it is considerably less than a semitone: For if we make a tremulous movement through any cognizable interval, for instance an ascending third, and this may be accurately done by first familiarizing the ear with the effect of the simple interval in its skip from first to third, and then comparing it with that of a rise by the tremor-it will be perceived, that in this gradual ascent, the number of tremulous steps greatly exceeds five; for that is the number perceived in executing a third, through the degrees of the semitonic scale.