As the rising third is sometimes used for emphasis alone, independently of its interrogative import; so the falling third may be employed without expressing surprise or command, merely for varying the effect of intonation. This may be illustrated by the following diagram.

There is certainly no inquiry conveyed by these words: yet we have the rising interval of the third on one of the emphatic syllables. But there is a feeling of admiration in the case, that may be expressed by the upward third. And it will be shown hereafter that all emphatic words, whatever other sentiments they may embrace, do carry with them something of the admirable. On this ground then the emphatic repetitions of the word brave might receive the same interval. I have varied the intonation by setting the plain rising second to the first brave, the downward third to the second, and the rising third to the last : and this appropriation, together with the falling third on the word none, in its third place, does at least produce a varied effect. Speakers who are not aware of the full efficacy of intonation, and who cannot therefore skillfully command it, endeavor to attain a desirable variety in these lines by a transfer of the emphasis of force; and apply it successively to none and but and brave. Such, I know, was, and perhaps still is the formula for these lines, in all our Schools and Colleges. Regarding here the apparent purpose of the poet, and the consistent design of vocal expression, this variation is altogether inadmissible. The contradistinction made in this case, by applying stress to different words, in each repetition, gives different meanimgs to the phrase. But reiteration is the rhetorical sign of fulness of feeling, or of

its rising energy; and never of a change of sense. The attempt therefore to vary the meaning of this phrase, which must be identical under any change of emphasis, offends against both dignity and truth, and betrays a limited power over the ample means for vocal variety. A full command of quantity, and of the nume rous forms of expression, renders it easy to relieve the ear from monotony on this passage, without changing or distorting the sense of the author: for, if the composition was a prompting of poetry, and not a mere trick of words and emphasis, the sense must have been intended, under any climax of feeling, to be one and the same, in all the repetitions.

In the above notation, I have not illustrated the uses to be made of time, force, the tremor, and other forms of intonation; though all are available, and give additional means for variety.

The downward radical pitch of the third is employed for the purpose of emphasis: particularly where this is necessary on immutable syllables. But there is a special use of this interval, for effecting a full consummation of the close of melody. In the eighth section it was shown that different species of the cadence denote various degrees of repose: the triad form, in which each of the radicals with its downward vanish, is heard distinctly in successive descent, being the most marked indication of the period. It is possible however, to increase the characteristic of this form, by additional means. When a melody is in the higher range of pitch, a gradual descent of the current, as it approaches the cadence, may be employed with that intent; and properly. But another more elegant and impressive manner is, to apply the downward radical change of a third, with either a rising or falling concrete, according to the effect desired, on some syllable preceding the close, as in the following notation:

Through E-den took

their sol- -i- -ta -ry way.

༼

When this line is read throughout, with only the radical change of a second, the cadence, with its three descending radicals. and concretes, does indeed mark a completion of the sense; but the radical skip of a downward third, from den to took, gives that warning of the period, or that note of preparation, which produces the utterly reposing conclusion, required by the audience, and due by the reader, at the termination of Paradise Lost. The last line of Pope's translation of the Iliad, may be read to the same notation. And peaceful slept the mighty Hector's shade.' It does not appear, in this form of the Cadence, that the syllable should be emphatic, except for its preparatory purpose; or that it should be, in different sentences, at any fixed distance from the cadence. Nor is a choice forbidden, between words more or less removed from the close, in the same sentence. In the two examples of iambic lines, it falls on the cesura of a like foot, in each. In the following, from the final Benediction of the Church-service, it occurs immediately preceding the Triad. The fellowship of the Holy Ghost, be with us all evermore. In the fulfillment of Elisha's imprecation on Gehazi, it may be placed either on the sixth or ninth syllable before the cadence, and perhaps on both. And he went out from his presence, a leper as white as snow.'

Other cadences denote, in various degrees, the conclusion of a particular sense. This Prepared Cadence, if we may so call it, implies that the subject itself, of a paragraph, a chapter, or a volume, is finished.

In the eighth section, five forms of the cadence are named. Now the Prepared, which is however, no more than an emphatic addition to the close, may be united with each of these, if we may perhaps except the feeble cadence; but its purpose is only strictly fulfilled when it is placed before the second triad, with a downward concrete on each of its constituents. All the forms of the cadence are severally required by speakers, to give a just character and variety to the close.

It is not expected, the reader will be able at once to distinguish, and to apply all the forms of the cadence. Some of them, however, cannot be mistaken. The prepared form of the

falling triad, is the most complete close; and this is clearly separable from what was called the feeble cadence, or the faintest indication of the period. With attention to our history, no ear will, on exemplification, confound the effect of the two triads, and the feeble, with that of the prepared cadence.

I have little to say of the minor third; the expression of its downward, like that of its upward concrete movement, is plaintive; but as well as my ear informs me, it is only heard as a fault in speech.

SECTION XXIV.

Of the Downward Second and Semitone.

I HAVE classed the Downward Second and Semitone, under the same head, on account of the limited extent of the remarks here made upon them. They have a high importance in speech, but it is principally as downward continuations of their previous rise, into that form of intonation, called the wave.

A remarkable use of the downward concrete second or tone, is as the last constituent of both the diatonic and the chromatic cadence. It forms severally, the constituents of the falling triad: and is used,- though its effect is not very conspicuous, -in the successions of the diatonic melody, for the purpose of contrast with the rising second, which, in the history of that melody, was, according to the progressive method of unfolding our subject, given as its sole characteristic.

The downward concrete semitone is employed for the purpose of variety, in the current of a chromatic melody. It is also applied to the first and second constituents of a chromatic cadence; the radical descent of this cadence being by the skip of a whole tone; and the downward vanish on the last or closing constituent, being through the space of that same second or tone.

In terminating the history of the downward intervals, one cannot avoid pausing for a moment, in admiration at the simple and well adjusted means, for the multiplied combinations, and apparent complexity of vocal expression. Nor can the prophetic eye of science and taste, well survey these means, without reaching to some foreknowledge of that Systematic Art of Speech, which at no distant day, must be raised upon the new and lasting foundation of Analytic Elocution. I have not extended the inquiry, nor presumptuously endeavored to apply the principles founded thereon, to the entire detail of the subject; being contented to encourage others towards a work of greater range and precision, by setting before them what is here accomplished, in a case of supposed impossibility. For if the Course-Art of Popularity is not now at work, to make the Fine Arts all his own, I must hope, there will be some beautiful finishing of that system for the ordering of speech, which is here but just begun. He who chooses to follow the path thus opened, may fortunately find himself among the first comers to an ungathered field: a field, unvisited and unclaimed, only because it is believed by the indolent, to be barren or inaccessible; or because the eye of irresolute inquiry has been turned from the leading star of observation, by the vain attractions of theory, and the delusive authority of names. For what does the term, genius for discovery mean, besides-the art of forgetting ourselves and others, and looking broadly, exclusively, and perseveringly at our work? Too many, alas! imagine they are doing all these things, when they are only thinking exclusively, and perseveringly, of themselves and notoriety; and hunting, sharp-scented, and broadly, after the favorable opinion of mankind.