are still expressed by this intonation of the wave of the semitone.

The Wave of the Second. The interval of the second, whether in a rising or falling direction, being the symbol selected by nature for plain unimpassioned discourse, we can not properly call it an element of expression. But as the downward return of this element into the form of the wave, produces a long quantity, it necessarily adds to the second the peculiar effect of that quantity. It is this element, when extremely protracted, that gives to discourse a full character of dignity, solemnity and grandeur, without infecting it with the vivid coloring which belongs to the other accidents of quality, abruptness and force, and to the wider intervals of intonation.

The Waves of the Third, Fifth and Octave. The forms of the wave are so various, that it would far exceed the elementary purpose of this work to attempt to enumerate them, and to assort them with the passions. I sufficiently unfolded, in a former section, the principles on which their expressions depend. The character of the above-named intervals in their simple form, has a large influence in determining the expression of the wave. The upward vanish of the last constituent of the inverted forms has the force of interrogation; and the downward course of the last constituent of the direct, carries the expression of surprise. If then the wave has the same character as the simple element, without the conjunction of the previous rise or fall, what need is there of its existence? -It affords the means of giving long quantity to syllables, and consequently of expressing the designed emotions with dignity. In the double form, the wave denotes sneer, mockery, petulance, contempt and scorn: but these two last are more conspicuously exhibited by conjoining an aspiration with the wave.

The wave of the minor third is only a more impressive form of that character which belongs to its rising and falling constituents; and like them, it has no place but as an occasional emphasis in the chromatic melody.

The Radical Stress. From what was formerly said of this element, we know it to be the means for adding increased degrees of impressiveness to all the other symbols of the passions which are capable of receiving it. Though it is more particu

larly employed on immutable syllables, yet when a discourse is in quick time, it is the mode of stress even on those of indefinite quantity. Anger, wrath, rage, impatience and mirth, are generally uttered with haste, and therefore take on this mode of stress, in emphatic places. It is employed on the imperative words of authority; for it has among the modes of stress, a degree of positiveness similar to that which is expressed by the downward intervals, among the modes of intonation.

The Median Stress. The radical stress was shown to be the means for enforcing the sentiments which employ short syllables. The median stress is the mode of enhancing the power of those which demand a long quantity, together with a smooth utterance. I speak of the qualification of smoothness, since long quantities do sometimes for particular purposes take on the abrupt opening of the radical, or the final jerk, if I may so call it, of the vanishing stress. The states of mind which call for the median force, are those represented by the waves of the various intervals; particularly the dignity of the wave of the second, and the plaintiveness of that of the semitone. Of these kinds are awe, respect, deliberation, solemnity, supplication, and reverential submission. It is likewise to be remembered that this median stress may be executed on a simple rise or fall, when it is unusually prolonged; thus the downward vanish of surprise may sometimes be invested with this mode of force.

The Vanishing Stress. So much was said of this stress in a former section, and its expression was so particularly noticed, that it is unnecessary to repeat the detail here. It is a mode of force far inferior, in point of dignity, to the last mentioned element; but it is sometimes highly effective on those words which carry the passions, represented by the semitone and higher intervals, such as grief, surprise and interrogation: for by impressing the extremes of these intervals on the ear, it points out their several ranges more distinctly than they are marked by the natural vanish.

The Compound Stress. I said formerly that this Compound stress is scarcely distinguishable from the thorough stress and the loud concrete. These three subjects may therefore be embraced under the present head. They are indeed

separate functions of the voice; but in reference to any practical application, it is unnecessary to allot different expressions to them. When set on immutable syllables they are identical in effect, with the radical and the vanishing stresses; nor does their expression differ greatly from that of these elements, even when heard on longer quantities. Whenever the compound stress is clearly made out, which may be the case on syllables unusually protracted, the expression will be more notable than that of either of its two constituent stresses. The three modes of force which are here classed together may be considered as the proper symbols of energy or violence of passion.

The Tremor of the Second and of higher Intervals. The tremulous movement, when applied to the intervals here named, serves to designate a number of sentiments considerably different from each other. And here again we have an instance of a principle extensively operative in the expression of the passions: for these sentiments, though set within the same general-frame of intonation, have their specific divisions. marked by the conventional terms which describe them. The tremor of the second and of higher intervals is shown in the expression of exultation, mirth, pride, haughtiness, sneer, derision and contempt; and in effecting these expressions, the elements may move through the simple rise or fall, or through the wave.

The Tremor of the Semitone. The tremulous movement through the semitone on a tonic element, is the crying-voice. When therefore it is used in syllabic intonation, it gives a sign of deeper distress to the sentiments which are associated with the simple semitone. These have already been enumerated, and need not now be repeated. All of them embrace a greater or less degree of the condition of suffering; and though they may differ as widely as the several emotions of grief, tenderness and supplication, each of which carries the semitone, yet when they are highly strained or become excessive, they naturally and alike fall into the tremulous intonation.

The Aspiration. The reduction of the pure quality of the tonics and subtonics by a commixture with the aspirated element, produces a symbol of many and differing states of mind. It always accompanies the force of vociferations; and is the

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faint sign of secrecy. It is joined with the loud utterance of all energetic sentiments, when they are not strained into the falsette. It also indicates the emotion of earnestness, curiosity, surprise, and horror. I did, on a former occasion, assign the expression of contempt, sneer and scorn to the wave, particularly in its unequal form. But even this does not carry the full measure of these passions, if an aspiration is not mingled with the intonation: and it is still further to be remarked, that when the aspiration is joined with any form of the wave, and with any of the simple upward or downward intervals, it communicates to them the power of representing these last named passions.

The Guttural Emphasis. This is a harsh element, and therefore belongs to all those states of mind which are classed under ill-humour; including dissatisfaction, peevishness and discontent. But it likewise appears in the strained ferocity of rage and revenge, and is the common sign of shaming rebuke. It also has an import of sneer, contempt and scorn.

Of the Emphatic Vocule. This is purely an element of force, and in the particular words which admit of it, is the sign. of anger and rage, and of vehemence in any passion. It is however of rare occurrence; and being almost needless in cultivated elocution, ought perhaps to be even more rare than it is.

The Broken Melody. The current melody has been represented as a succession of intonations, employing every species of interval both in concrete and in radical pitch; and intersected by pauses, applied as often as the sense, or a call for vivid delineation may require. But there are particular states of mind which over-rule the occasions, and grammatical proprieties of pausing, thereby producing notable rests after very short phrases, and even after every word of a sentence, without reference to the connexions of syntax. I use the term Broken Melody, to signify those interruptions in utterance, which the excess of certain passions sometimes creates.

The nature of this function will be best explained by giving the physiological analysis of it.

In the section on the mechanism of the voice, I spoke of two modes of expiration under which speech might be made: one resembling an act of sighing, by which all the breath is

sent forth in a simple impulse of short duration, and within which, scarcely more than one or two words can be uttered with ease. The other mode of expiration is used in common speech. Within it, we are able to utter whole sentences, by a frugal use of the breath, in giving out small portions at a time, for the successive syllables. Since the former of these modes, seems to draw off all the contents of the lungs, if I may so speak, it might be called the Exhausting breath: and the latter from its being held back to be dealt out as the syllables require it, may be called, for the want of a better name, the Holding breath.

I said formerly in treating of the orotund voice, that an infant begins to speak in the exhausting mode. It occurs likewise when one is out of breath,' from exercise; and in the extreme debility of disease. Hence in these cases, there is often not more than one syllable heard in a single act of expiration. The breath on which the tremulous movement of laughter and crying is executed, is of this kind. I know the tremor makes a slight difference here: but if the reader will for a moment make the experiment, he will quickly feel that he laughs and cries himself, if I may so speak, to the bottom of his breath; and that he can not without an inhaling pause, continue the tremulous function, for that prolonged period, through which he is able to carry common speech.

This state of the respiratory organs which occurs in the exhausting breath, is produced by a high degree of certain feelings. Thus the operation of deep distress involuntarily creates this kind of expiration, in the form of a sigh. Now when we are under the influence of bodily pain or mental suffering the words which come forth, are borne upon the exhausting breath; which allows but one, or at most two or three words to a single act of expiration: and thus by the intersections of repeated pauses, the Broken melody is produced. It will be the same, if an excess of feeling should blend the tremor of laughter or crying with discourse: for by the above described nature of these functions, the melody must be interrupted by the frequent necessity of inhaling. It may be asked-why the breath may not be rapidly recovered, as it is in the momentary stops of discourse, which are sometimes scarcely perceptible. The reason is this: In the holding expiration of