If we give emphatic importance to the word more, solely by the extent of quantity, and not by peculiarity of intonation: and if this quantity be spread upon an unequal wave of the rising second and falling fifth, with a view to give a feeble cadence to the dignified protraction of the word: then, in apportionment of the elements, if m should be carried through the rise of the second, and continued downward through nearly the whole extent of a fifth, the o and r being rapidly made at its termination, the word will not be well articulated. But if the time of the wave be divided into three parts severally about equal, and the m, o, and r be respectively assigned to these parts, the word will have all required distinctness.

Many immutable syllables beginning with a subtonic, are, in the current of dignified utterance, sometimes prolonged beyond the limit of their allowable time. When this practice is assumed by oratorical license, the added quantity is generally expended wholly on the initial subtonic. Thus if the syllables not, met, rock, lit, that, and vic, be unusually prolonged, there will be less departure from proper pronunciation, by giving the additional quantity to the subtonics, than to the tonics. Still there will be a want of that distinctness by which a syllable is immediately recognized: for syllables are known in part, by the habit of their quantity, both in the absolute time of the whole, and the comparative time of their constituent elements. Now in each of the above instances, the time of the several elements should strictly, be about equal, but by supposition, they are not; for while the subtonic is unduly extended, the tonic and the following abrupt element have only their proper momentary duration.

And this disproportionate time of the elements, here assigned as the cause of indistinctness in speech, will be shown, to be still more frequently a cause of inarticulate pronunciation in the Singing voice.

In the instances of the word plain and more, the time of the concrete should be apportioned equally among the elements; and this is necessary for the correct pronunciation of many other syllables, having a similar construction. But we cannot

give a universal rule on this point; since such indefinite syllables, as men, run, lin, and gel, have their prolongation on the subtonic elements, and will not bear addition to their short tonics.

The radical stress may be exhibited both on immutable and on indefinite syllables; in the former case, the shortness of the quantity produces as it were a mere explosive point of sound.

This stress may be given to all concrete intervals both rising and falling, and to the beginning of the wave.

From what has been said, it must not be understood, the radical stress is used, merely to give the distinction of loudness to immutable syllables: the enforcement is likewise appropriate to the various sentiments embraced by them. But this form of stress is more particularly a sign of the highest degree of passion.

SECTION XXXVI.

Of the Median Stress.

THE Radical stress is principally effective in distinguishing immutable syllables. Long quantities, admitting other means for attracting the ear, more rarely require the initial explosive fulness. They receive their stress, with greater embellishment, from an enforcing of the middle portion of the concrete move

ment.

As a pause is always the preface to abruptness, the explosive characteristic of the radical stress, cannot be employed during the course of a continuous movement. The Median stress is therefore a gradual strengthening and subsequent reduction of the voice, similar to what is called a Swell in the language of

musical expression.

There is this difference between them.

The swell of song is sometimes on a note continued upon the same line of pitch: whereas the median stress is always in either an upward or downward course; or about the junction of these opposite movements, in the wave.

This form of force is not applicable to all the intervals of the scale. Its very nature indicates the necessity of protracted quantity for its execution; and therefore, that it is generally, if not always applied to the waves. It might perhaps be distinguishable on the simple rise, and fall of the fifth and octave, when slowly prolonged. It is not practicable on the simple rise or fall of the second; for the quantity of this interval, as well as that of the semitone, is rarely extended to any considerable degree in its simple state. When a melody of these intervals, conveys a dignified sentiment, the required long quantity, is made on their waves. In this case the median stress is applied to about the middle of the course of the concretes: that is, about the junction of the two lines of contrary flexure. And what is here said of these waves, must be understood of the wave of every interval. When the median stress is applied to the double wave, it is laid on the course of a downward or an upward constituent, as the wave may be direct or inverted; for such constituent will be, in each case, respectively, the middle portion of its whole extent.

The median stress is applicable to the intervals of the tremulous scale: and in effect, only enforces by greater loudness, the tittles in the middle of any given interval, or at the junction of a single wave, or on the middle constituent of a double one. When thus employed, it adds impressiveness to the sentiments signified by the tremor, and affords variety to the ear.

Inasmuch as force, under any form, may be used with other means of expression, its principal purpose, in combination, is to enhance the power of those other means: Thus the median stress on the wave of the second, gives dignity to the diatonic melody: on the wave of the semitone, it adds to its plaintiveness: on the downward fifth and octave, it adds to the degree of its wonder or positiveness: on the rising fifth and octave, it

sharpens the spirit of interrogation: and on the wider waves, it gives dignity and force to their several expressions. Such is likewise the effect of the radical stress, and with an energy sometimes amounting even to violence. But the median stress now under consideration, sets forth intensity of voice, with greater dignity than all the other forms of force. The radical stress having an abrupt opening, and the vanishing, as will be shown presently, having a sudden termination, there is a sharp earnestness in their manner, not conveyed by the median: the aim and power of which 'in the very torrent of expression,' is to beget a temperance which may give it smoothness.'

Here pardon me, reader, when I pass from instruction to eulogy.

If she could now be heard, I would point in illustration to Britain's great Mistress of the voice. Since that cannot be, let those who have not forgotten the stately dignity of Mrs. Siddons, bear witness to the effect of the graceful vanish of her concrete, and of that swelling energy, by which she richly enforced the expression of joy, and surprise, and indignation. But why should I be so sparing in praise, as to select her eminent exemplification of the single subject before us; when it seems to my recollection, a whole volume of elocution might be taught by her instances.

It is apparently a partial rule of criticism, but when drawn from delicate perceptions, enlightened by cultivation, it is the best, to measure the merit of Actors, by their ability to give with audible conformity, that same expression of the poet, which the soul of the hearer is whispering to itself. Such is the rule, that in my early days of ignorance, but not of insensibility, set up this great Woman's voice, as a mirror for every trait of thought and feeling, in which one might recognize his deep, unuttered sympathy, and love the flattering picture as his own. All that is smooth, and flexible, and various in intonation; all that is impressive in force, and in long-drawn time; all that is apt upon the countenance, and consonant in gesture, gave their united energy, and gracefulness and grandeur, to this one great model of Ideal Elocution. Her's was that hight of excellence,

which, defying mimickry, can be made imaginable only by being equalled.

Such was my enthusiastic opinion, before a scrutiny into speech had developed a boundless scheme of criticism and instruction; which, in admitting that nature may hold within her laws, the unrevealed power of producing occasional instances of rare accomplishment of voice; yet assures us, that nothing but the influence of some system of principles, founded on a knowledge of those laws, can ever produce multiplied examples of excellence, or give to any one the perfection of art. There is a pervading energy in science which searches, discovers, amplifies, and completes; and which all the untrained strength of spontaneous effort can never reach. I do not wish to be asked, how this 'most noble mother' of her Art,-with only those unwritten rules of genius, that still allowed her to incur the dangers of the scanty doctrines of her School,- would be accounted by the side of another Siddons, making her selections of sentiment and taste, from the familiar rudiments and measurable functions of the voice; and able by the authority of an unindulgent discipline to be a rational critic over herself. With a full reliance on the surpassing efficacy of scientific instruction, still in the contentment of recollection, I would not wish to answer this question.

The vision of the Great Actress is before me! If I am beset by an illusion, which another hearing might dispel, I rejoice to think I can never hear her again.*

In the title 'most noble mother,' I refer to the salutation of Coriolanus to Volumnia: for it is in this character Mrs. Siddons always comes like a speaking picture, upon my memory; embodying the pathos, the matron dignity, and the indignation, together with the other moral solemnities of the scene of intercession in the Volcian camp.