third, fifth or octave, or through the wave of these intervals, it joins the sentiment of derision, mirth, joy or exultation to that of interrogation, surprise, command, or scorn, conveyed by the smooth concrete of those intervals. In short, it is the introduction into speech of what is transferable in the function of laughter; and it adds thereto all the meaning and force of its satisfaction.

The tremor on these higher intervals is used principally for emphasis, as will be illustrated hereafter though in playful discourse, it is sometimes heard in continuation on more than one syllable, and occasionally even on short sentences.

There is a use of this laughing tremor, if I may so call its execution on these intervals, which deserves notice. I mean that hysterical exclamation which is heard in the higher scenes of the drama. In this case, the tremor seems to be subservient to all species of expression: for there is scarcely a passion, whether of joy or suffering, in which it may not be effectively used. One can understand readily why this vehement expression should mark the excess of those feelings which are naturally connected with laughter: but it is not at once manifest why nature should so reverse the ordination of her signs, as to give the concrete tremor of the second or of higher intervals, to those sentiments which in cases of less excitement instinctively receive the semitone or the minor third. Let us try to explain this matter.

The occasions on which this hysteric laugh is employed, are those of the highest possible intensity of distress. Now by the ordinary rule of moderate expression, the tremulous semitone should be used and with this indeed the expression does generally begin. But as the feeling increases in vehemence, the mind becomes so far overruled by its excess as to dissever the natural association: and the voice, giving way to the mere habit of employing the higher intervals for keen expression, leaves the concrete tremor of the semitone or minor third for the more free expansion and piercing energy of the third or fifth or octave. This is the reason why in hysteria, which is usually brought on by distress, or other strong emotions, the ordinary course of expression is averted; and whilst the more moderate forms of this disease are signified by the semitonic intonation, its higher gusts are characterized by an idiotic

laugh. On the whole, although this last mentioned mode of expression, when under skilful management and taste, is often both proper and effective, yet as it is generally accompanied with considerable grimace, is a positive thing, and can be well heard in the remote corners of the gallery, it is too apt to be contrived for gathering in the eyes and ears of an audience, by actors, who without feeling its rarely appropriate occasions, are yet by accident master of its mechanical execution.

It requires more than common facility of voice to perform the tremor with precision and elegance. Its full efficacy and most graceful finish is accomplished by giving it the greatest number of breaks or iterations of which the assumed interval is susceptible; by making the constituent tittles in fluent succession, with a distinct accent, with equal time and force, and with a ready power of ascent and descent through the scale.

As the tremor may be applied to all the intervals both ascending and descending, and to their combination in the wave: and as these elements bear different kinds or various degrees of expression, it follows, that the character of the tremor may appear under other modifications than those of joy and sorrow. For if it be set upon a downward interval, say of the fifth, the expression will be of a graver cast than when heard on a rise of the same extent and on the upward second it will have less gaiety than belongs to the tremulous fifth or octave.

After the preceding view of the simple intervals, and of the tremor, the reader may be able to foresee and to recognise the effect of any other detailed combinations. If with all I have said he can not do this for himself, it would be to no purpose to do it for him. It is an agreeable office to stand prompter to a pausing, yet a ready comprehension: but it is a groaning service to be obliged to push on a feeble or unwilling intellect to the last syllable of its part.

SECTION XXXIII.

Of Force of Voice.

THE words loud and soft, strong and weak, are used in common language, to signify the variations of sound comprehended under the generic term at the head of this section.

This subject may be set in two aspects. Force of voice may be applied to phrases, or to one or more sentences, in order to distinguish them from adjacent phrases or sentences in discourse. It may likewise be limited to single words, to syllables, and to certain parts of the concrete movement, to distinguish them from other words and syllables, and from other parts of the concrete. The detailed history of this limited application of force, will be given in the six following sections. Under the present head I speak transiently of its use on phrases and

sentences.

Writers on elocution, and school books on the art of reading, give general rules for enforcing and reducing the voice, on continued passages. It is not necessary to swell the bulk of this volume, by transcribing them. It may not however be useless to run over the process by which a philosophical inquiry might be conducted, for the purpose of reaching the principles that govern the association of certain degrees of force, with the circumstances of the speaker, or with affections of the mind.

From the wide reach of an intense exertion of the voice, there is an obvious propriety in its employment, when distance is pictured in discourse. The indication of nearness, on the contrary, is well expressed by an abatement of that force.

Secrecy muffles the voice against discovery and doubt, whilst it leans towards a positive declaration, cunningly prepares the subterfuge of an undertone, that the impression of its possible error may be least exciting and durable.

Certainty, on the other hand, in the full desire to be heard, distinctly assumes all the impressiveness of strength.

Anger in like manner uses force of voice, because its charges and denials are made with a wide appeal, and in the sincerity. of passion and if I may make distinctions on this point, the same mode is employed in uttering those feelings which are blended with anger, such as hate, ferocity and revenge.

All those sentiments which are unbecoming or disgraceful, smother the voice to its softer degrees, in the desire to conceal even the voluntary utterance of them.

Joy is loud in calling for companionship, through the overflowing charity of its satisfaction.

Bodily pain, fear and terror, are also strong in their expression with the double intention, of summoning relief, and repelling the offending cause when it is a sentient being. For the sharpness and vehemence of the full strained cry are universally painful or appalling to the animal ear.

In thus amusing the reader with fancies, for so I ought to call them, I have perhaps ventured too far into the vain and presumptuous doctrine of Final Causes. But though we have therein temporarily strayed, let us not forget the duties of philosophy It is her office to inquire how things exist; the knowledge of why they so exist, must be the last act of favor which time and toil will bestow. Our steps over the works of man may go hand in hand with the comprehension of their final causes for the author can tell us the narrow purpose of their parts. But the final causes of nature will be unfolded, only in the last recapitulating chapter of her infinite revelation.

From this cursory view of force, when employed on aggregates of words, I pass to consider in the following sections, the circumstances under which force or stress may be laid on single words or syllables, and on different parts of the radical and vanishing concrete. It will be shown, that an attentive and well disciplined ear has the ability to perceive the different. effects of stress, when set on the beginning, the middle, and the end of the concrete movement, or when heard in immediate succession at its extremes that force of utterance may be so continued throughout the concrete, as to alter the characteristic feebleness of the vanish: and that whilst the relative structure of radical and vanish, formerly described, remains

the same, force may magnify proportionally the whole of the

concrete.

These functions are successively denominated, in the six ensuing sections-the Radical, the Median, the Vanishing, and the Compound stress, the Thorough stress and the Loud

concrete.

SECTION XXXIV.

Of the Radical Stress.

THE Radical stress consists in an abrupt and forcible emission of voice at the beginning of the concrete movement.

The Natural radical and vanish, described in the second section, which I here call natural, to distinguish it from the other forms enumerated above, was indeed represented as having an initial fulness; but the function of stress, now under consideration, is characterized by a higher degree of force and a more sudden explosion, in the first opening of the voice whilst the subsequent vanish is carried on in the diminishing structure of the natural concrete. There are so few speakers, able to give a radical stress to syllabic utterance, with this momentary burst which I here mean to describe, that I must draw an illustration from the effort of coughing. It will be perceived that a single impulse of coughing, is not in all points exactly like the abrupt voice on syllables; for that single impulse is a forcing out of almost all the breath: yet if the tonic element 'a-we' be employed as the vocality of coughing, its abrupt opening will truly represent the function of radical stress when used in discourse.

The clear and forcible radical stress can take place only after