ments of time and motion, has manifestly the radical and vanishing progression. Now when the time of this slow and manifest concrete, is gradually shortened, in repeated pronunciation, till the syllabic impulse becomes, as it were, a mere point of sound, the characteristic effect of this instant-impulse on the ear, does not differ materially from that of the concrete, in which the increments of time and the progress of pitch are measurable.

But further, it has been shown that the concrete interrogative intervals of the third, the fifth, and the octave, may be passed through on an immutable syllable. This was proved by the peculiar effect of the interrogative voice being thereon distinctly cognizable and we shall learn in the next section, by the peculiar expression of the semitone, which cannot be mistaken, that it does likewise pass through the concrete, on the shortest syllables. Now we can scarcely suppose, the Tone, has not the same concrete movement on momentary syllables, as all the other intervals of the scale, when uttered with the same momentary impulse. This however, is certain; there is a plain but characteristic effect in the momentary enunciation of immutable syllables, clearly distinguishable from that of their protracted utterance through the concrete space of a semitone, a third, and other wider intervals. This may be a mere point of voice; but for the above reasons, we are scarcely allowed to doubt, its being a rapid concrete passage through the second or tone.

Perhaps the reader may desire to know particularly, what portions of discourse receive the tone or second; and with what continuity the diatonic melody, is employed. In describing and illustrating this melody, it was for a purpose, represented as extended through successive sentences. The diatonic movement is however, rarely found of long continuation: the current of the Tone being interrupted by other forms of upward and downward concrete and radical pitch. We have already learned in what manner the wider rising intervals are employed in this melody, both for emphasis, and interrogation; but other intonations are also occasionally introduced for this same purpose of emphatic expression. As then, occasions for using these expressive intervals occur in most discourse, the diatonic melody generally

exists only in detatched portions; its continuity in the tone or second, being interrupted by these other intervals, more or less frequently, as the occasions for their expression return. A Gazette advertisement, a legal instrument, and the purely communicative style of plain narrative and description, may generally be read in the thorough diatonic melody. Yet even these must have emphatic words; and there are few compositions, addressed to taste, that have not their melody varied, by the more or less frequent occurence of other intervals than the second. According to the line I have endeavored to draw between mere thoughts, and what are called sentiments or feelings, and consistently with their appropriate intonation, it might be supposed, the demonstrations of Euclid should be read in one continuous stream of diatonic melody; but even these are perpetually varied by wider intervals, introduced upon illative, absolute, and conditional phrases. The fragments of diatonic melody, occurring in prose declamation, in poetry, and in the drama, are generally of limited extent and common conversation, when not didactic, nor designedly solemn, nor unavoidably dull, in the heedless purposes of its intonations, almost effaces the simple lines of this melody, by the vivid coloring of its widely varied intervals.

Since the diatonic melody, is assigned restrictively to a certain character of discourse; and since it is desirable that this melody should be executed with the greatest propriety and elegance, we must carefully regard the uses of the interval of the second for the attainment of these ends.

This proper second of the diatonic melody, being incapable of the intonated expression of other intervals, is limited in its characteristic powers, to the means of time, and stress, on its own simple concrete, and wave. The different forms of stress applicable to a concrete rise of the second, will be described in a future section. The other principal means for adding dignity and grace to a passage of this plain melody, and for producing a well measured rythmus, is by the varied length, of syllabic quantity: the prolonged quantity being made by a continuation of the upward into the downward tone, in the form of a wave. It is not however, prolongation alone, that produces a clear and

agreeable effect, in a dignified form of diatonic speech. That length should be made in the equable concrete movement and further, the wave, as well as the simple rise, should have the initial fulness, and gradual termination, except otherwise varied by the purposes of stress. He who has not cultivated his voice in these particulars, will find it difficult to give extended length to an indefinite syllable, with its co-existent equability and vanish: and will, on trial, be very apt to carry out a long quantity, with the intonation of song. But if he will throw away some of his ideas, about a 'Natural Turn' for things; and all his vain. conceit about self-sufficient Genius; cease to believe, that a good elocution, is co-eval with the first cries of infancy; and then set himself to learn the rudiments, and overcome the difficulties of this elegant art, the light and guidance of a special purpose in study and practice, may lead him to an unerring command over the equable concrete; and to the attainment of every propriety of speech.

Facility in managing long quantities on indefinite syllables, with a precision of interval, and a smoothness and nicety of vanish in the execution of this equable movement, is one of the most effective resources of a speaker. The skillful performance of this concrete function, in the impressive fulness and dignity of the Orotund voice, gives the acknowledged satisfaction to a discerning ear, when an Actor, as I have heard one, first breaks his silence in the dialogue; even by a solitary syllable. With this accomplishment of voice, his opening effort receives at once, from a competent critic, the seal of approbation: while the Young Genius of Inspiration, stooping for help, to Green Room traditions, and distracted, perhaps by a buzz in the audience or a mistake of his Costumer, is obliged to work through a whole act, before he can, in the language of a Natural strutter of the Stage, bring himself 'up' to his voice.

SECTION XIX.

Of the Interval of the Rising Semitone; and of the Chromatic Melody founded thereon.

THE smallest but not the least important division of the scale, through which the radical and vanish may be heard, is the interval of a Semitone. In the second section of this essay, we learned the means for acquiring a distinct perception of this concrete interval. It was there said,—if, in ascending the scale, the effect of the transition from the seventh to the eighth place be compared with the syllabic utterance of a plaintive sentiment, their identity will be acknowledged. Now the interval from the seventh to the eighth, in the diatonic scale, is a semitone. This interval is used in speech for the expression of complaint, pity, grief, plaintive supplication, and other sentiments allied to these.

In ascending through the diatonic scale, by a repetition of the word fire, subdivided into two syllables, with a prefix of the subtonic ye to the last, so that fi and yer shall be alternately set on successive points of the scale, the transition from the seventh to the eighth place gives to the word, here reduced to a single syllable, the same plaintive expression it has through the streets, in the outcry of alarm.

Intonation by the concrete semitone, is universally, the sign of animal distress; and when exemplified by the scale, the effect is very different from that of the concrete passage of the word as a single syllable, through the space of a whole tone, between its first and second degrees. Among a multitude of voices where the alarm is given by public cry, this utterance through the second is occasionally heard: and perhaps some of my readers may be able to call to mind the defect of its dissonant difference from the plaintive intonation of the great majority. It cannot be exemplified by the pen: but when the uncommon impression of a particular cry, among a number, is not produced by quality or shrillness, it generally arises from this misapplied

form of pitch. We are much disposed to estimate men by assumed characteristics of their classes; and though our judgments thereby may sometimes be erroneous, there is often truth, and always caution in this method of opinion. Be this as it may, I never hear the phlegmatic cry of fire, through a whole tone, without a pursuasion of the general impotence or deformity of the voice or the ear, that in this particular, can so far transgress the ordination of nature.*

The semitone is employed for the expression of gentleness of feeling and rarely for great energy, harshness, or impetuosity of thought. It affects generally a slow time and long quantity. The interjective exclamations of pain, grief, love and compassion, are prolongations of the tonic elements on this interval. But its effect is distinctly perceptible, on the short time of immutable syllables. For it will be found on experiment, that the word cup, and other immutables, can be uttered with a plaintive intonation, even in its shortest time. Since then this plaintiveness, on long quantities, distinctly measurable, is always produced by the concrete semitone, and not by any other known interval of speech; it may be fairly concluded, when this plaintiveness

* Since the first publication of this work, in eighteen hundred and twentyseven, the practice of public out-cry in the streets of Philadelphia, has now in eighteen hundred and fifty-five, entirely passed away. Instead therefore of being as formerly, aroused, in the stillness of midnight, by the Watchman's hollow Orotund, to the plaintive interests, and solemn contrasts of near and distant solitary cries, awaking our safety to sympathy with the perils of a conflagration; hear what we have now, under the prosperous onward-ism of our great political, moral and æsthetic 'mission': the Alarm-bells of a whole city at once; the jangling clappers of Hose-carriages without number; the ceaseless roar of inarticulate trumpets; the screams of boys; the yells of men; the wrangling preparations for a street-fight; the out-shouting shouts, upon the first volley of stones; the discharge of revolvers; the uproar of a thousand brutal throats; and the silent absence of a 'non-committal' republican police. After the Imperial Roman had robbed-out every Treasury, every Temple, and every private purse, within reach of his quarrelsome and ruthless sword, his avaricious courage failed; and the Barbarian came back, and down upon him in righteous revenge. We with overmatching cupidity, are pursuing and exterminating the Native Indian from his Land. But Hah! with retributive justice, he seems, in the forced submission of his retreat, to have thrown away to the winds, his gross and unlawed spirit; which now, like a national malaria, is spreading an avenging savagism among his conquerors.