interrogative expression on the concrete interval comes so near the close, it is generally continued, by the last syllable rising with the radical change.

When the final syllable is emphatic, and of indefinite time, the cadence is made like that of the last diagram, in the preceding account of thorough expression.

The

The history here given of interrogative intonation, embraces a few leading points of its purposes and effects. The subject offers some interesting views on the philosophy of the human mind, as well as that of speech. It shows how far, the demands of thought outrun the significant powers of the voice; how counter-currents of expression meet without confusion, and how varied sentiments, under the same forms of intonation, are contradistinguished by the conventional specifications of language. I leave the discovery, and better arrangement, of other phenomena, and the exhibition of reason and rule of their variety, for the observation of others. Upon some future extension of the principles of this essay, to the universal practice of speech, the subject of interrogative intonation will form a full chapter of methodic detail. I see, perhaps dimly, some of its abundant and unsorted materials; but have not time, if even the ability, to light-up, to gather-in, to disentangle, to specify, combine, and complete. What is here done, may seem to be too much. For the present age, I believe it is. But this is a concession altogether foreign to the progress of knowledge, and to the pleasure we derive from its development. A history of the desirable and welcome truths of Nature, in the dignified confidence of even its humble contributions, no more asks the favor and applause of those who read, than Nature herself asks the gratitude and worship of those who enjoy her bounties. She gives what she gives, for her own purposes, without distracting her self-energized dispensations, by the subordinate schemes of ambitious expectation. A record of her admirable things should be, in all, the image of her; and perhaps he would both do and enjoy more, in the work of discovering and describing her, who could catch a portion of the unostentatious spirit with which she bestows, and who could put on some of her indifference, to the, too often, thoughtless praise or blame of those who receive.

SECTION XVIII.

Of the Interval of the Rising Second.

WE return from the foregoing account of the use of the wider intervals of pitch, in the construction of interrogative melody, to the enumeration and description of other intervals of more limited extent, but of no less essential efficacy in the scale of intonation.

The rising interval of the second, or the rising radical and vanishing tone, has in previous parts of this essay been attentively considered, both as regards its nature and its position in speech. In continuing our orderly notice of all the intervals of the scale, we here resume the subject of this Second, with some further remarks on its important uses. It is the basis of the diatonic melody; and in correct and agreeable elocution, is more frequently used than any other interval: since it is appropriate to those parts of discourse which convey the plain thoughts of the speaker; as contradistinguished from the feelings and emphatic sentiments, that call for wider intervals, and other signs of Expression. Although the Tone, in its simplest state, is thus excluded from among the especial agents of expression, we shall learn hereafter, it may be made impressive by stress on different parts of its concrete; and that an extension of the voice into the wave of this interval, gives great dignity, to the diatonic melody, without destroying the plain and unobtrusive character of its intonation.

The radical and vanish is a necessary function of utterance; or in other words, no syllabic impulse can be made without its passing through some one form of the concrete. But in asserting here, that immutable syllables in a diatonic melody do pass instantaneously through the second or tone, I confess my ear cannot measure the progress of the transition. Yet I am led to the conclusion, by the following considerations. Every concrete utterance of a tone, with its measurable incre

ments of time and motion, has manifestly the radical and vanishing progression. Now when the time of this slow and manifest concrete, is gradually shortened, in repeated pronunciation, till the syllabic impulse becomes, as it were, a mere point of sound, the characteristic effect of this instant-impulse on the ear, does not differ materially from that of the concrete, in which the increments of time and the progress of pitch are measurable.

But further, it has been shown that the concrete interrogative intervals of the third, the fifth, and the octave, may be passed through on an immutable syllable. This was proved by the peculiar effect of the interrogative voice being thereon distinctly cognizable and we shall learn in the next section, by the peculiar expression of the semitone, which cannot be mistaken, that it does likewise pass through the concrete, on the shortest syllables. Now we can scarcely suppose, the Tone, has not the same concrete. movement on momentary syllables, as all the other intervals of the scale, when uttered with the same momentary impulse. This however, is certain; there is a plain but characteristic effect in the momentary enunciation of immutable syllables, clearly distinguishable from that of their protracted utterance through the concrete space of a semitone, a third, and other wider intervals. This may be a mere point of voice; but for the above reasons, we are scarcely allowed to doubt, its being a rapid concrete passage through the second or tone.

Perhaps the reader may desire to know particularly, what portions of discourse receive the tone or second; and with what continuity the diatonic melody, is employed. In describing and illustrating this melody, it was for a purpose, represented as extended through successive sentences. The diatonic movement is however, rarely found of long continuation: the current of the Tone being interrupted by other forms of upward and downward concrete and radical pitch. We have already learned in what manner the wider rising intervals are employed in this melody, both for emphasis, and interrogation; but other intonations are also occasionally introduced for this same purpose of emphatic expression. As then, occasions for using these expressive intervals occur in most discourse, the diatonic melody generally

exists only in detatched portions; its continuity in the tone or second, being interrupted by these other intervals, more or less frequently, as the occasions for their expression return. A Gazette advertisement, a legal instrument, and the purely communicative style of plain narrative and description, may generally be read in the thorough diatonic melody. Yet even these must have emphatic words; and there are few compositions, addressed to taste, that have not their melody varied, by the more or less frequent occurence of other intervals than the second. According to the line I have endeavored to draw between mere thoughts, and what are called sentiments or feelings, and consistently with their appropriate intonation, it might be supposed, the demonstrations of Euclid should be read in one continuous stream of diatonic melody; but even these are perpetually varied by wider intervals, introduced upon illative, absolute, and conditional phrases. The fragments of diatonic melody, occurring in prose declamation, in poetry, and in the drama, are generally of limited extent and common conversation, when not didactic, nor designedly solemn, nor unavoidably dull, in the heedless purposes of its intonations, almost effaces the simple lines of this melody, by the vivid coloring of its widely varied intervals.

Since the diatonic melody, is assigned restrictively to a certain character of discourse; and since it is desirable that this melody should be executed with the greatest propriety and elegance, we must carefully regard the uses of the interval of the second for the attainment of these ends.

This proper second of the diatonic melody, being incapable of the intonated expression of other intervals, is limited in its characteristic powers, to the means of time, and stress, on its own simple concrete, and wave. The different forms of stress applicable to a concrete rise of the second, will be described in a future section. The other principal means for adding dignity and grace to a passage of this plain melody, and for producing a well measured rythmus, is by the varied length, of syllabic quantity: the prolonged quantity being made by a continuation of the upward into the downward tone, in the form of a wave. It is not however, prolongation alone, that produces a clear and

agreeable effect, in a dignified form of diatonic speech. That length should be made in the equable concrete movement: and further, the wave, as well as the simple rise, should have the initial fulness, and gradual termination, except otherwise varied by the purposes of stress. He who has not cultivated his voice in these particulars, will find it difficult to give extended length to an indefinite syllable, with its co-existent equability and vanish: and will, on trial, be very apt to carry out a long quantity, with the intonation of song. But if he will throw away some of his ideas, about a 'Natural Turn' for things; and all his vain conceit about self-sufficient Genius; cease to believe, that a good elocution, is co-eval with the first cries of infancy; and then set himself to learn the rudiments, and overcome the difficulties of this elegant art, the light and guidance of a special purpose in study and practice, may lead him to an unerring command over the equable concrete; and to the attainment of every propriety of speech.

Facility in managing long quantities on indefinite syllables, with a precision of interval, and a smoothness and nicety of vanish in the execution of this equable movement, is one of the most effective resources of a speaker. The skillful performance of this concrete function, in the impressive fulness and dignity of the Orotund voice, gives the acknowledged satisfaction to a discerning ear, when an Actor, as I have heard one, first breaks his silence in the dialogue; even by a solitary syllable. With this accomplishment of voice, his opening effort receives at once, from a competent critic, the seal of approbation: while the Young Genius of Inspiration, stooping for help, to Green Room traditions, and distracted, perhaps by a buzz in the audience or a mistake of his Costumer, is obliged to work through a whole act, before he can, in the language of a Natural strutter of the Stage, bring himself up' to his voice.