SECTION XXXVII.

Of the Vanishing Stress.

OUR description of the concrete of speech, represented it as formed by an initial fulness, and a gradual decrease. Now, the construction indicated by the term Vanishing Stress, violates this usual law of the concrete. But I thought, the term, even with its verbal contrariety, would be more immediately intelligible, if not more exactly significative of the function, than any other more logical nomenclature. The vanishing stress does indeed exhibit a reversed progression of force, by its gradual increase from the radical, to the extreme of the vanish, both in its rising and falling direction. This must necessarily give something like an abrupt termination, with a fulness of sound, at the extremity of the concrete.

The peculiar vocal effect of the vanishing stress may be illustrated by the natural function of Hiccough. Indeed, this hic, or 'hitch'-cough has received a conventional name, that by its etymology, describes its very nature; and from its being instinctively practicable, may be the subject of experiment. The hiccough, then, is produced by the gradual increase of the guttural sound, until it is suddenly obstructed by an occluded catch, somewhat resembling the element k, or g: and if it be compared with a single effort of the common cough, it will in abruptness, exemplify the reverse difference between the vanishing and the radical stress. The hiccough however, does not, in all points, resemble the proper vanishing stress of speech, except the syllable which bears the stress, terminates with an abrupt element. The hiccough may be made on all intervals of the scale. In ordinary cases, it assumes that of the second or third: but when attended with great distress, as sometimes happens in disease, it is heard through the interval of the semitone.

The effect of the vanishing stress may be perceived in the speech of the natives of Ireland; many of whom apply it to the simple rise or fall, or wave, on all the principal words of a sentence. It is this function which produces that quick and peculiar jerk of syllabic sound, heard in the earnest pronunciation of the ignorant ranks of that people.

The vanishing stress is practicable on all the rising and falling intervals of the scale. On the wave, it is applied to the last constituent.

This stress being one of the forms of force, it gives to the several intervals, a more attractive power over the ear, than belongs to their natural concretes. Thus to the plain inexpressive second, it only adds that Irish jerk which deforms without enforcing speech. On the rising third, fifth, and octave, it gives intensity to the spirit of interrogation. On the downward course of these intervals, it enhances the degree of surprise and positiveness; and on the wave, adds force to the expression of its various forms.

The effect of the vanishing stress on a semitone, may be heard in the act of Sobbing. This is made on a concrete guttural sound, gradually increasing in force and terminated in some cases by the occluded catch. Now the vanishing stress on the semitone in discourse, is, as it were, a sobbing upon words, and serves to mark intensively, the plaintive character of the simple

concrete.

The nature of discourse occasionally requires so quick a time, that only the simple rise or fall can be employed: and yet, it may be necessary to designate clearly, the terminative points of the interval. This is accomplished by the vanishing stress. For a hasty utterance of complaint or interrogation, which has time for flight only in one direction, will, for the purpose of marking emphatically the extent of the interval, apply this terminative force to the simple rise or fall of the semitone, third, fifth, or

octave.

It was stated, the radical stress is effective, principally in distinguishing immutable syllables. On these the vanishing stress is not cognizable. It requires a longer time; and its

application thereon, gives an equal degree of force with the median stress: but it has much less dignity and grace than the gradual swell of this last named elegant manner of forcible expression.

SECTION XXXVIII.

Of the Compound Stress.

BESIDES the obvious effect of stress, when laid exclusively on the beginning, or middle, or end of the concrete, the cultivated and attentive ear, recognizes the abrupt opening of the radical, and the full termination of the vanishing stress, when used in succession on the same syllable, both in a rising and falling direction. The best reference, for illustrating this Compound stress, is to what vocalists call a Shake: for I shall endeavor to show hereafter, that the characteristic of this Grace of Song, consists in a rapid iteration of the concrete of speech, when impressed with both the radical and vanishing stresses.

The compound stress, though scarcely applicable to the narrow intervals of the scale, is distinguishable, on the wider spaces of the fifth, and octave. It may likewise be executed on the various forms of the wave; the final stress being then laid on the last constituent.

After what has been said of the radical and the vanishing stress, this under consideration being but a compound of them, it is scarcely necessary to remark, that it affords means for adding energy to the sentiments indicated by each simple constituent. And although the effect of a rapid alternation of the radical and vanishing stress, is beautifully exemplified in the shake of song, and may be deliberately shown in the speaking voice; yet this compound function cannot, on a short quantity,

be distinguished from the simple radical abruptness: nor indeed is there, in this case, time for its existence.

Let us suppose, a syllable of long quantity embracing the sentiment of angry or authoritative inquiry; and that the fifth, with protracted intonation, is the interval chosen for this interrogative. The force required here as the sign of anger or authority, would be represented by the radical stress, while the full-marked extent of the interval under the increased force of the vanish, would give a corresponding energy and impressiveness to the interrogation. The compound stress is however, by no means an agreeable form of stress. There is a snappishness in its character, that should always be avoided by a good reader, except on those rare occasions, which especially call for the peculiarity of its expression.

SECTION XXXIX.

Of the Thorough Stress.

By this form of force on the concrete, we are to understand, a continuation of the same full body of voice throughout its whole course. It may be applied to all the rising and falling intervals, and in continuation to the several constituents of the

wave.

The effect of this stress may be perceived, by rising an octave, with the same volume of voice through its whole ascent, and comparing it with the proper radical and vanishing octave, as represented by the first and last symbols, in the foregoing diagram. The peculiar character of this continued volume, will not only be apparent, but the interrogative effect of the octave will be greatly obscured by it: for the true interrogative inter

val is, through habit, known to the ear, by its attenuated vanish, as well as by its extent.

The thorough stress may perhaps be occasionally used for some particular purpose of forcible emphasis, especially when applied to short quantities. Its general, and more remarkable character on a long quantity, is that of uncouth and rustic coarseness and if I may so speak, its blunt impression on the ear, seems related to the delicate effect of the equable concrete, as a hard ebauching on the canvas, to the tinted color, and blended lights and shadows of the finished picture. With an exception of the case stated above, it is to be employed only for the vocal personation of those, with whom, as a coarse deformity of speech, it is natural. From time almost immemorial, every man, and every class of men has tried in vain, to satisfy the anxious inquirer, as to the exact, and comprehensible character of the true Christian, the honest Patriot, and the real Gentleman. In the last case, Aristocracy and Democracy, those eternal combatants, have always been the most remote from agreement. The latter however, particularly in our country of Equal Rights, Tyrannical Corporations, and Despotic Majorities, having come to a unanimity, has at last with a popular logic, given the acceptable definition; and thus terminated all invidious distinctions, by making every man a Gentleman, and every Woman a Lady. Leaving others to review the Census of this vast and novel Genus, on those points that may have fallen under their discriminating observation; it is only our part, to perceive among all the generic similarities, some specific differences of Intonation. For if that affable address, that refined reply, that vocal invitation to a well-bred sociability, that delicate vanish which gently passes from the ear to the heart; if in short, the kindly meaning of that equable concrete, is different from that clownish answer, which, figuratively, repels us with a vocal frown; that coldness of thought, and death of every sentiment, which are all embraced within the thorough stress: Then is he who has the graciousness of speech, that seems to change the stranger at once into the friend, a world-wide different from that laconic Dog in office, with his surly no, that