intonation of the wider intervals, whether upward or downward. Thus these two contrary forms of the wave of the second, without adding any peculiar expression to the melody, give variety to the intonation of dignified and impressive discourse.

I am not aware that the double-equal wave of the second has a character different from that of its single form, except what may arise from extending the quantity of syllables. Indeed an unusual protraction of quantity in the diatonic melody, instinctively produces the double wave; since the voice may take this serpentine line, through the second, without producing any unpleasant snarl, similar to that of the double wave on some of the wider intervals.

There is what we called a Continued wave, or a progress of the line of contrary flexures beyond the term of three constituents. It is only to the time of an equal wave of the second in a diatonic melody, and of a semitone in the chromatic, that this continued extension, if at all, is to be added. For should some extraordinary expression of solemnity, upon an indefinite syllable, require an unusually protracted quantity; and should the time of the syllable not be exhausted, when the voice has passed through the three constituents of the double wave, it must if still continued, necessarily be carried-on either in the note of song, or through further flexures of the wave. When it takes the course of the flexures, the bad effect of the former case will be avoided: nor will this multiplied repetition of the rise and fall, through this small interval of a tone, produce any positive or unpleasant impression.*

I have ascribed an importance to the subject of this section, because it is the foundation of a very general principle in elocution. The reader will now perhaps admit our distinction between

It may be asked here, why, if the voice can be thus prolonged in speech, should the length of syllables, as stated in our fourth section, be restricted? The extreme prolongation, in the above case, is made on a single tonic or subtonic element: whereas proper syllables are the product of certain combinations of all the elements; and these by their position, in our language, arrest the syllabic impulse. The syllables all and ame might indeed be continued during the whole term of expiration; but when made in these continuous diatonic flexures, if at all true syllables, they are only exceptions to our general laws of syllabication.

the plain melody formed by a varied rise and fall of the voice through the interval of a tone, and that formed by the occasional introduction of other and wider intervals, producing what was distinctively called Expression. Now, very few speakers are able to execute this plain melody, in the beautiful simplicity of its diatonic construction. Some constantly use throughout their current, the rise of a third, a fifth, or a semitone: or give every emphatic syllable in an impressive form of the wave. Perhaps these faults arise from an ambitious attempt to effect a greater degree of dignified expression, or variety in the simple melody, than the speaker is able to accomplish by the second alone. In this attempt he employs some of the wide and exceptionable intervals, and by their continued repetition, produces a false intonation and a disgusting monotony. For these expressive intervals so remarkably affect the ear, that, unduly repeated, their identity becomes conspicuous and offensive. Whereas the simple and unobtrusive second, may be frequently repeated without producing a like disagreeable uniformity: since changes of the simple rising and falling second, of the direct and inverted equal wave of this interval, together with a judicious use of time, and pitch, afford sufficient variety to the diatonic melody, without destroying its characteristic plainness.

No one without inquiry on this subject, can be aware of the unpretending yet dignified force, the diversified succession, and severe simplicity of the diatonic melody, when conducted on the principles of the radical change formerly laid down; and varied by the appropriate disposition of the single rise and fall, the direct and inverted wave, the degrees of quantity, and certain forms of stress to be described in a future section. Upon the simple level, so to speak, of this melody, the occasional expression of the wider intervals comes with all the effect that variety of impulse and measurable contrast must necessarily produce. Whereas he who is constantly dealing out his semitones, thirds, fifths, and octaves, allows no repose to the ear; and when the real occasion for their expression occurs, the sensibility to their emphatic application is exhausted.

SECTION XXX.

Of the Equal Wave of the Semitone.

THE chromatic melody was formerly described as a succession of radical and vanishing semitones. But it was even then stated, there is a continuation of the rising into the falling interval, for the purpose of repeating the plaintive impression of the single concrete, and for adding length to the quantity of syllables. This wave is remarkably distinguished by its peculiar and attracttive expression. Its direct, inverted, and double forms have necessarily, from repeating the interval, greater plaintiveness and dignity than the simple rise; and at the same time furnish means for diversifying the current melody.

A mingling of the reverse forms of the wave, is required in the chromatic melody; for the continued repetition of this remarkable interval, and the frequent occurrence of the phrase of the monotone, make it desirable to vary the impression of the melody, without destroying the essential nature of its plaintive constituents. Now this is accomplished in a degree, by an appropriate disposition of the direct and inverted wave; these contrary movements having a difference of character, perceptible on comparative trial: for the effect of the simple rising interval, being different from that of the falling, the varied final constituent gives its character, respectively, to the reverse forms of the semitonic wave.

It may be remarked, on the subject of this and the preceding section, that whenever a good reader expressively prolongs the quantity of his syllables, and surely no one can read well without this use of quantity, he does instinctively employ these waves, in all deliberate and solemn utterance: while on the other hand, his voice assumes the simple rise and fall of these intervals, without the continuous flexure, in delivering those gayer and more

energetic sentiments that naturally suggest a shorter time of syllables, and a more rapid pronunciation.

If these then are the spontaneous and satisfactory efforts of the voice, on two such important points, it may be asked, why we should labor, so deeply in search of principles, that brought into practice, would be no more than the fulfillment of the instinct of speech. I have said, these points of intonation are accomplished by a good reader, if there can be a good reader, without the educative means of science; one to whom nature has given a mind, and sensibility, to assume the thoughts and feelings of an author, and the vocal power to represent them with propriety: by one who, when he feels the uneasiness of error, will give even painful industry for its correction; and who, in his self-directed labors, is unconsciously following the order, and effecting much of the purpose of scientific analysis and rule.

But how shall he find out, or preserve his way, who has not this native grace of improvement; who searches after right, without knowing what is wrong; and who copies both the faults and merits of an individual example, instead of reaching forth, under the direction of broad-founded precepts, to gather excellence by discriminative selection. It is to such a person that a development of the principles of speech becomes indispensable. To him the fulness of history, the strictness of definition, and the diffusive light of system, afford those aids, which the eagleeye of observation, and that sure-winged thrift of genius, which sometimes bears itself from instinct, up towards science, may not so strictly require.

SECTION XXXI.

Of the Wave of Unequal Intervals.

THIS term denotes a vocal movement, by contrary flexures, with constituents of different extent. Thus, if the voice rises. through a second, and then in continuation falls through a third; or falls through a given interval and rises through a different one, it is called the Unequal Wave.

It will at once be perceived, there is a direct and an inverted, a single and a double form of this wave; while the possible combinations of its constituents are so various, that the complex enumeration of them would be altogether useless, except the expression of each of their permutations could be pointed out. But the recognized varieties of its expression bear a very small proportion to its multiplied species. It embraces wonder, positiveness, and interrogation, in different degrees, according to the extent of the interval and the direction of its last constituent. I am not however able to assign to the unequal wave, in its various forms, any general characteristic of expression, except that of strongly marked scorn, and other feelings of a like nature and force. These sentiments are in a slight degree conveyed by the curling of the Equal wave, and even by the simple rising and falling fifth, and octave, when there is much stress, or an aspiration laid upon their vanishing extremes. But the most striking sign of contempt, and of similar sentiments, consists in a wide variation of the constituent intervals of the wave; especially if the wave is double, with the intonation strongly aspirated, or with a guttural vibration on its final

concrete.

This wave of unequal intervals is employed for the stronger, and generally exaggerated passions of the drama, and in the peevishness, and colloquial cant of common life: but it should be rarely used in the moderate temper of a greater part of written dis