forcible expression of animal feeling, at the date of what is called the origin of language, we leave to the everlasting disputes of those who look for truth in fancy, and who teaze themselves in the pursuit of undiscoverable things.

Vociferations on syllables which do not contain the symbol of aspiration, nevertheless assume it, and corrupt thereby the pure character of the tonics. Nay, in the excessive force of such exertion of the organs, the voice is sometimes lost, from the atonic aspiration overruling the tonic vocality. The nature of these united functions, thus exhibited in the vehement force of the voice, may be illustrated by the subtonics y-e, and w-o, respectively a compound of aspiration with the monothongs ee-l, and The other three monothongs e-rr, e-nd, i-n, when united with the aspiration, become obscurely the basis of the several other subtonics. And although the subtonics are thus formed by the mingling of vocalities with aspiration, they may yet receive further aspiration, for the purpose of energetic expression.

00-ze.

The dipthongal tonics do not receive the aspiration with the same effect as the monothongs: since there is something in their nature, that prevents as great a change upon them as takes place on the monothongs, by a union with aspiration.

It was shown formerly that whispering, which is only the articulated form of aspiration, has its pitch, upon a succession of different alphabetic elements. Now whatever may be the difficulties of its intonation, when articulated, it does when joined with the tonics, move concretely through all the intervals of the scale, and unite itself with every form of stress.

In order to show how far this function assists in the expression of speech, let us keep in mind what was said above, on the instinctive union of a vehement exertion of the voice, with its aspiration; and consider further, two forms under which the simple aspiration is employed.

One is a sort of facetious comment of surprise and incredulity, in common use, consisting of an effort of aspiration modified by the tongue and lips, into what I formerly called the sufflated whisper. The movement of this sufflated interjection is that of

an unequal direct wave: the first constituent being a tone or wider interval, according to the spirit of the expression; and the second a descent to the lowest audible pitch.

The other effort of aspiration, is made by the larynx alone, and constitutes the function of Sighing. It consists of a simple inspiration, followed by an expiration, more or less prolonged through a falling second or wider interval, according to the intensity of feeling. A sigh is the well known vocal sign of distress, grief, and anxiety; and of fatigue and exhaustion, both of body and mind. Since these different cases include the general powers of expression, in the simple and natural aspiration, we can infer what will be the effect when this aspiration is joined with the vocality of speech.

It may seem, but can only seem, to be an exception to the consistencies of nature, that a quality of voice, which, under a quiet whisper, serves the purpose of concealment, should be found united with vocality in the most forcible exertion of speech. Such, however, is the fact; for aspiration conjoined with the vehement forms of stress, becomes a sign of great vocal energy. Its union therefore with a rising or falling interval of the scale, in the natural voice, increases the expressive power of that interval; and perhaps, adds the sentiment of eagerness, or sneer to intonations, that, in their purely vocal form, severally convey surprise, interrogation, irony, and command.

Should this union of aspiration with vocality be given with an abatement of voice, thereby approximating towards a whisper or a sigh, it will produce a difference of expression, according to the extent of its pitch. When a second or wider interval is employed, it becomes the sign of earnestness or of apprehension. Thus if the following lines be pronounced with a pure vocality of the elements, they will not express the earnest sentiment of the speaker.

Hah! dost thou not see, by the moon's trembling light,

Directing his steps, where advances a knight,

His eye big with vengeance and fate?

Nor would the point be gained, if the reading should be characterized by an aspirated vociferation. When the utterance

is reduced in force, and at the same time aspirated, the earnestness of the appealing interrogation, becomes immediately obvious.

Should an abated voice be aspirated on the tremulous movement of a second or wider interval, it may convey the sentiment of fear. When this abatement is aspirated on a simple rise, or a wave of the semitone, it is, as it were, an approximation to the sigh; and thus adds intensity to the plaintiveness or distress of the semitone on a pure vocality. When a tremulous intonation is superadded to the aspirated semitone, the voice exerts its ultimate means, for marking the deepest sadness, without the assistance of crying and tears.

Aspiration, when combined with different forms of stress, and with guttural vibration, to be described presently, especially expresses contempt, and the like sentiments: hence the ability to embue nearly every interval of intonation with that expression. Even the simple rising and falling movements, indicating inquiry, surprise, and emphatic affirmation, may, by this means, be made contemptuous: but the sentiment is more strongly marked when aspiration is applied to the wave; the bearing of scorn being most conspicuous on its unequal form.

SECTION XLIII.

Of the Emphatic Vocule.

IN that section where the elements are enumerated, we learned, that when the articulative occlusion, of an abrupt element is removed, there is a slight momentary issue of voice which completes the formation of its sound. This was called the Vocule. It is a diminutive form of Abruptness. Like all

other voices, it is susceptible of force. Its higher degrees of stress constitute the function named at the head of this section. The emphatic vocule denotes great energy of sentiment; and naturally follows a word, terminated by one of the abrupt ele

ments.

The vocules of b, d, and g, are vocal. Those of k, p, and t, are aspirated; but under a forcible emphasis, are sometimes changed to vocality. Only the most vehement feeling will justify the use of this redundant explosion, at the end of an emphatic word; and cautious management is necessary to prevent its forcible utterance from passing into rant or affectation.

When an abrupt element precedes a tonic, the vocule is lost in the sound of the tonic, which in this case issues, as it were, directly from the abrupt element. Thus in the word light, the vocule is distinctly heard at its termination: but if t immediately precedes the tonic i as in tile, the vocule is lost, and t seems to be only an abrupt commencement of the sound of i. This is the natural and proper coalescence, except the abrupt element terminates a word. For in this case a junction of the vocule with the tonic of a following word, may confuse pronunciation by destroying that clear limit which should give a separated individuality to every word of a sentence. This fault is sometimes even designedly assumed, in order to remedy a want of physical energy in pronunciation. Persons who design to give the utmost sharpness to their accents, and who cannot suddenly explode the voice on a tonic, avail themselves of the facility of bursting-out from the final abrupt element of a word into a succeeding tonic. Thus if the phrase bad angels, should require force, either for emphasis or for a distant auditory, it would, with a view to this explosion, be pronounced bad dangels. But as the arrangement of elements is a casual thing, it must happen that the same word will occur in discourse, both with and without a preceding abrupt element: and besides, the common exertion of force does not require the coalescence. These circumstances will prevent the effect of the junction becoming familiar to the ear, and thus passing for a proper and constant character of the word. A forcible pronunciation according to

this method, will therefore in some cases create mistakes, with regard to the sound of words; and lead in most instances, to that momentary hesitation on the part of an audience, which is incompatible with a ready and exact perception of oral discourse. Let the phrase, music sweet art, be pronounced in this manner, and the combination will present an image both ludicrous and contradictory.

If what has been said, on the means for effecting distinct articulation, by a full and clearly formed radical stress, is strictly applied, the designed purpose of this junction of tonic with abrupt elements may be accomplished without interfering with the perception of a clear outline in the boundary of words. Since this demarcation is necessary for effecting distinct and dignified utterance, in the thoughtful purpose of an exalted elocution.

In the rapid energy of colloquial speech, and in the passionate haste of emphatic discourse, this coalescence of the elements is more liable to occur: nor in these instances can it always be avoided.

SECTION XLIV.

Of the Guttural Vibration.

IN speaking of the mechanism of the voice, it was shown that the retraction of the root of the tongue, together with a closure of the pharynx, produces what seems to be a contact of the sides of the vocal canal above the glottis, and thus gives rise to a harsh vibration, from the gush of air through the straitened passage. This peculiar sound may be made on the tonic and subtonic elements; nor is their articulation much affected, by