For

tion, founded on the more obvious difference of the cases. plain narrative and simple thought, we employ the Diatonic melody.

This melody, consists of a simple rise through the concrete of a tone, varied by the occasional use of the downward tone; with a radical pitch changing through its several diatonic phrases; and a termination of the melody by the descent of the cadence. The grace and refinement of speech, in this case, is largely dependent on that construction of the radical and vanish, which displays a full and well-marked opening of the concrete, and a gradual diminution of its force. These are the constituents employed, and this their disposition, for reading plain narrative or description: and generally, if such subjects, as the definitions of astronomy, title-deeds of property, and gazette advertisements, are not read for the most part, in this style of intonation, the effect will be unsuitable to their passionless thoughts.

In the above cases, as well as in others, requiring the diatonic melody, the movement is supposed to be with a tripping step and a short quantity. If however, the thoughts should have a dignified importance, an increase of quantity in the accented syllables, together with a general slowness of the time will be assumed the concrete still continuing in its simple, though somewhat more protracted form.

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Should this deliberate character be further raised into solemn dignity, the melody will assume the mingled progression of the direct and the inverted-equal wave of the second. Much of the Church-service should be read with this plain protracted intonation. It conveys in full, the sentiments of august composure, solemnity, and veneration. A proper management of the contrary courses of the waves, together with a change of radical pitch, gives sufficient variety to the melody: while it avoids the forceful impression of wider intervals, that would overrule the selfpossessed ease and grave simplicity of this unobtrusive intonation. This style of melody, includes the means for producing that graceful dignity of voice, which is in vain attempted through the breadth of 'o's and 'aw's in mouthing; through strong

percussive accents with long pauses; the waves of the wider intervals; and that heartless affectation which passes without motive or rule, in unexpected transition from the strongest cushion-beating emphasis, or stage vociferation, to the attempted significancy of a mysterious whisper.

Although the diatonic melody is represented above, as consisting exclusively of the second and its waves, yet it must be understood that the rise, and fall, and wave, of wider intervals, are frequently found mingled with the simple second, and its waves. For this plain melody may happen to contain a question; which must be made, according to its grammatical construction, or its sentiment, either with a thorough or partial use of the intervals of the third, fifth, or octave: or some words conveying a sentiment of surprise, positiveness, or scorn, or mirthful admiration, may call for distinction above the rest. Now the emphatic syllables of such words are so distinguished, by the wider rising and falling intervals of the scale, and by the wider waves, either in the concrete or discrete form.

These last remarks, showing how the two purposes of speech are unavoidably connected with each other, bring us to the second division, properly called, Expression. This is effected by the wider intervals, both in an upward and downward direction, and by the wider waves. But, with some exceptions, the expressive intervals are only applied occasionally; and not generally, like the second, in a diatonic melody. It will be shown, in a section on the Drift of the voice, to what extent, phrases and sentences of expressive intervals may be employed.

There is one expressive interval of the scale, the Semitone, sometimes employed on single words, and conveying a sentiment of complaint, pity, tenderness, or supplication. But its more general use is on phrases, and sentences, and throughout discourse. This is called the Chromatic melody. Like the two forms of the Diatonic, its current is either in the rise and fall of the simple interval, for less deliberate and serious sentiment; or for its more plaintive and dignified expression, in the equal wave of the semitone, with the variations of its direct and inverted, its single and its double forms. Some parts of the

Church-service, containing words of complaint, penitence and supplication, call for this solemn wave of the chromatic melody.

Other functions contribute to the means of correct, elegant, and expressive speech. These were considered under the terms, Quality of voice; Melody, or the run of radical pitch on its different phrases; Pauses, with the proper phrases of intonation to be used at them; and Grouping, or the means of impressing on an auditor, more definitely, the syntatic relation of words and phrases, by means of pause, emphasis, and the variations of time and force.

This summary includes the constituents, thus far enumerated, that enter into the composition of melody. Some important functions, yet to be described, will furnish us with the signs of other sentiments.

SECTION XXXII.

Of the Intonation of Exclamatory Sentences.

THE downward concretes, and the wave, are variously expressive of surprise and admiration; and as these, with like sentiments, are embraced by that form of speech, called Exclamation, I shall point out some of the principles that seem to govern the use of these intervals, in Exclamatory sentences.

Beyond a mere admission of the existence and importance of such a thing as intonation in the art of speaking, Philology has given no other explanation of its specific forms, than what is vaguely signified by the common notes' of Interrogation and Exclamation. But as these notes only imply some undescribed peculiarity of voice, without being employed according to a system or rule of intonation, they can be considered as no more

than grammatical symbols to the eye. The indefinite state of knowledge, with regard to the intonation of these forms of speech has been further confused by the vague uses of their symbols. For we find the note of interrogation often applied to what are really interjective, or argumentative appeals: and what, by the light of inquiry may be shown to be strictly exclamatory.

In the section on interrogative sentences, it was shown even in the questions, there exemplified, that the downward intervals and the wave, are often necessary for the partial, and occasionally for the thorough intonation. Had the reader been prepared, by previous explanation of the nature of these intervals, it would have been more particularly shown, that some questions with the grammatical form, are made, altogether by these downward movements. He may therefore now be told, after what has been said of the positive expression of the falling intervals, that whenever a question employs the direct wave, or the downward movement, the interrogative character is lost in the sentiments which require these adopted intervals.

Interrogations are, in their purpose or spirit, Questions of Belief; Appealing; Argumentative; Exclamatory; and Imperative questions.

The Question of Belief has a latitude of meaning, from a mere intimation by the inquirer, of his knowledge upon the subject of the question, to his full assurance, that the answer must accord with the hopes and belief that prompted his question. This question takes its purpose and spirit from its construction; and infers it from the premises of facts, feelings, and reasons, preceding the question; or, if we may so abuse the term, premise, from the subsequent action or discourse; constituting what we called the collateral grounds of indication in a question.

In treating formerly, on negative questions, some examples were given, in which the tendency to partial interrogation, was overruled and the question made thorough, by the energetic feeling of the appeal. But the questions, reserved for this section, contain the Spirit of Belief to a degree, that calls universally, for an intonation of the positive downward intervals.

I have therefore included the above named forms of interroga

tion under the present head of Exclamatory Sentences; for these require the same downward forms of pitch. It will be difficult however to draw a precise line of separation between the pure interrogation of the rising intervals, and the interrogative use of the downward positive movement. And though we may not be able to make the points of their near resemblance, a matter of exact discrimination, this is no reason, we should not describe and arrange their manifest distinctions.

The Appealing Question. The spirit of this interrogatory is, in most cases, that of positive conviction. For no one ever appeals, but with the expectation of judgment in his favor. The appeal is put in the questionary form, either with a persuasive deference; or with cunning sophistry, as a leading idea towards the required decision. Now the real or the feigned belief of the interrogator produces, in questions of this kind, the same downward intonation that positive declarations require. I say the reference of these questions is made, rather for confirmatory approbation than for the unbiassed voice of judgment; and this is more clearly exhibited in the forms of poetical appeal to the will of heaven. For this implies the highest assurance on the part of the interrogator. Thus in the fourth act, and second scene of Julius Caesar, Brutus says,

Judge me ye Gods! Wrong 1 mine enemies!

And if not so, how should I wrong my brother!

Here are two appealing questions put, not in the doubt of inquiry, and with anxiety for a reply, but with the full expectation of a favorable hearing. The words in italics therefore properly require throughout, the downward intonation. In truth, the spirit of the expression is exclamatory.

There is a fine example of this question, in Hamlet: where this Prince comes upon the king, at prayer, after his penitent soliloquy.

Now might I do it, pat, now he is praying;

And now I'll do't; and so he goes to heaven:

And, so, am I revenged?

The last line is an appealing question of belief, to the speaker's