Of the Median Emphasis.

THE prominent display of the sense of a word, by a gradual increase and subsequent diminution of voice, can be effected only on syllables of indefinite time. It has an importance equal to that of the radical stress, under a form of greater smoothness, dignity and grace. In the following sentence, the word sole contains a sentiment of warm and serious admiration, finely expressed by means of this emphasis.

Wonder not sov'reign Mistress, if perhaps

Thou canst, who art sole wonder!

Though the median stress might be executed on the simple rise and fall of intervals, when considerably protracted, yet it is most frequently made on the wave. In the present case the emphatic intonation of the word sole is through the equal wave of the second or third; the swell being at the junction of its two constituents.

The reader must bear in mind, that in assigning the form of stress in this, and the preceding examples, I have been governed by the principles of speech, laid down in this volume; and that I shall continue to apply them, in illustrating the other forms of emphasis, included under this section: for if these examples be read in any of those various ways, resulting from instinctive attempts in elocution, I shall in all probability be misunderstood. On this ground, I would allot to the lines above quoted, the plain but deeply respectful character, effected by prolonged quantity, in the diatonic melody; giving to the emphatic syllalable the importance of greater time either in the wave of the second, or third, or even fifth; and smoothly enhancing it by the swell of the median stress. It is not within our present purpose, but it might be added, that thou should have the wave of the second or third to connect it both by time and intonation, under the emphatic tie, with sole; and that canst should be set at a ditone above thou, to assist the emphatic tie, in carrying on the voice, and with it the sense of the line.

Of the Vanishing Emphasis.

THIS form of stress is characterized by a degree of force, nearly equal to that of the radical emphasis. Why then are they distinguished from each other by name? The radical is appropriate to immutable syllables; the vanishing cannot be recognized on them; for some extent of quantity is required for its display: and though the sentiment of hasty energy, that prompts it, generally assigns it to a simple concrete, with just sufficient time for its application, still it is sometimes effectively made on the utmost extension of the single movement, and the wave.

In the following examples, this inversion of the natural or simple form of the concrete, may be employed for the expression of angry impatience in the one case, and of threatening vengeance in the other.

Oh ye Gods! ye Gods! must I endure all this?

Oh! that I had him,

With six Aufidiuses, or more, his tribe,

To use my lawful sword.

The words here marked in italics, when pronounced with the vanishing stress, have that Irish provincialism, which characterizes in a degree, this species of force; the final abrupt element in these cases, contributing to the effect, by its occlusion.

This form of stress is often used for an energetic question: since in this way, the extent of the interrogative interval, with its emphatic boundary, is more forcibly impressed on the ear.

A cause of the peculiar expression of the vanishing emphasis, may be this: From the ordinary habit of the voice in the simple concrete, it is difficult to produce a final fulness and force, without giving rapidity of time to its execution: and this adapts it to the active sentiment, represented by the vanishing stress.

Of the Compound Emphasis.

A DEGREE of emphatic distinction by stress, stronger than that of the preceding forms, may be applied to syllables of indefinite time; for these, under the direction of vehement feeling, may receive their force from both the radical and vanishing stress as in the following urgent call.

Arm warriors arm for fight, the foe at hand,
Whom fled we thought, will save us long pursuit

This day.

The imperative words here marked in italics, require the use of this double form of stress, either on a wide downward interval, or an unequal-direct wave, with a wide downward constituent. It is however more particularly appropriate to the forcible expression of interrogative sentiments. The reason of this is given in the thirty-eighth section; and I here cite an example, from the scene of Hamlet's violence towards Lærtes, at the grave of Ophelia.

Dost thou come here to whine?

To outface me by leaping in her grave?

The intense spirit of these questions call for the Thorough interrogative intonation; and the emphatic importance of the word whine, requires the rising octave with the compound stress upon it. Thus the radical abruptness on i, sets forth the threatening rage of the prince; while the vanishing stress on n, conspicuously denotes the inquiry, by marking the extent of the interrogative interval.

This is not the place to speak of the aspiration, to be joined with the compound stress, for the expression of the contempt or scorn, the question may contain.

On the whole, I confess, the discrimination of this species of emphasis, in the current of pronunciation, is not so easy, as that of the preceding. Still it does exist in the nature of the voice. Its effect is peculiar to itself: and by deliberate analysis it is clearly resolvable into the above named constituents.

Of the Emphasis of the Thorough Stress, and
the Loud Concrete.

IN detailing the assignable forms and degrees of force, those of the Thorough stress, and the Loud concrete, were described as different from the rest, and from each other.

But I am not disposed to insist upon the importance of these distinctions, for the practical purposes of elocution. They exist however, as forms of stress; and as emphasis, perhaps exert their influence upon the feeling, and understanding. Yet they are not, either in nature or degree, when employed on short quantities, so distinguishable from the radical, and the compound stress, and from each other, as to require special exemplification. Peculiarity of character in these forms of stress, is relative to the time of syllables: for when this is not so short as to require an emphasis of the radical stress, nor of sufficient length to admit of a protracted application of force, the required distinction may be effected by the loud concrete, or the thorough stress, as in the marked syllables of the following lines; where the first may receive the former, and the second, the latter form of stress. This knows my Punisher: therefore as far From granting he, as I from begging peace.

On this subject, let it be kept in mind, that although the thorough stress may be used, under the limitation of emphasis, on short, and perhaps occasionally on longer quantities; yet when unusually prolonged, and applied to a current melody, it has that rustic coarseness, ascribed to it, in the thirty-ninth section.

Of the Aspirated Emphasis.

THE earnestness and other expressive effects of aspiration, may be spread over a whole sentence. The same expression is sometimes restricted to a single word; thus constituting the aspirated emphasis. Many words claim this emphasis from the essential energy of their meaning; and these, in some cases

have the literal symbol of aspiration, as havoc, horror, huzza. A similar remark may be made with regard to some of the interjections. I need not quote instances of aspirated utterance in the exclamations of passion, and in the pure breathing of a sigh: the pages of the drama are full of examples.

In the following dialogue from Julius Caesar, the effect of aspiration, in marking an earnest sentiment, is sufficiently obvious, on the words ay, and fear, set in italics.

Brutus. What means this shouting? I do fear the people
Choose Cæsar for their king.

Then must I think you would not have it so.

And again, in the Tent scene, the earnest repugnance of Cassius is manifested by an aspiration on the word chastise

ment.

Brutus. The name of Cassius honors this corruption,

And chastisement does therefore hide his head.

Cassius. Chastisement!

When aspiration is combined with the vanishing stress on a simple concrete, or on the various forms of the wave, it conveys an expression of sneer, or contempt, or scorn.

Aspiration may be applied to syllables of every variety of time; to all forms of force; and all intervals of intonation.

Of the Emphatic Vocule.

WHEN an emphatic word terminates with an abrupt element, and is followed by a pause, that slight issue of sound, called the Vocule, generally receives a continuation of force from the emphatic word: and this, by its explosive effort, becomes the sign of passionate excitement.

There are occasions on which this vocule may be used, with a view to press into a syllable all the power of emphasis. But it comes so close to affectation, that I hesitated about its classification, as a fault, or as an assistant enforcement of speech.