the words brook'd' and easily'-and between heaven' and 'deep track of hell,' will be made more manifest by the additional use of the emphatic tie.

In short, it is sometimes necessary to employ all the means of grouping upon a single sentence, in order to make the syntax and the sentiment obvious to the ear. The extreme distortion of English idiom in the following lines, must be exceedingly perplexing to a reader; and, so far as I know, can be rendered somewhat less embarrassing, only by the use of all these means. The passage is taken from the fourth book of Paradise Lost, at the end of Satan's address to the sun.

Thus while he spake, each passion dimm'd his face
Thrice chang'd with pale, ire, envy, and despair;
Which, marr'd his borrow'd visage, and betray'd
Him counterfeit, if any eye beheld.

Milton uses the word 'pale,' here, and at least in one other place of his poem, as a substantive. Its common adjectivemeaning tends to throw some confusion into the sentence. 'Ire, envy, and despair,' are in apposition with passion, and are severally concordant with the distributive pronoun 'each.' Now the only manner in which I can approximate towards a clear representation of this blameable piece of latinity, is by making a quick flight over the portion dimm'd his face thrice changed with pale,' and by an abatement thereon; by laying a strong emphasis on 'each passion,' and on 'ire, envy, and despair;' and by applying the phrase of the rising ditone, with a marked temporal pause, at 'pale.'

After all, it is a hard picture to paint for a taste that will have true colors-well laid on.

In the present section, and in the two preceding, we have been occupied, more by considering the audible means of displaying the sense of discourse, than by pointing out the signs of expression. But the delineation of sense must, in all cases, be co-existent with the representation of what is distinctively called sentiment.

In this section, and in other parts of this essay, I have been induced to select examples for illustration, from the prime works of poetry; inasmuch as the strength and variety of their execution, afford the widest field for the use of the re

markable functions of speech; and because I am persuaded, that if the principles which I am endeavouring to establish, be comprehended by the reader, he will have no difficulty in applying them to the less intricate modes of prose. Yet I must again repeat, that I have taken upon myself the part of a physiologist, not of a rhetorician.

SECTION XIII.

Of the Interval of the Octave.

In the foregoing history of expression, the part performed by the variations of Pitch was described, only as it appears in the radical and vanishing movement, through the interval of a single tone.

In speaking of the diatonic use of the concrete, and of its progress in the melody of simple narrative, it was said that the vanish never rises above the interval of a tone; and that the variations of the radical pitch, whether upwards or downwards, never exceed the limits of this same interval. Now such unpassionate narrative as was then supposed, is rarely found of any continuance: but the mode and occasions of the exceptions having been reserved for future explanation, I avoided confusing the subject then in hand, by restrictive remarks, which could not have been understood without much digressive explanation. The wider intervals of pitch which are used for expression, are now to be described.

By the term Octave, which is set at the head of this section, is meant the concrete rise of the voice, from any assumed place, through superior parts of the scale, until it ends or vanishes in the eighth degree, or in the octave to that radical at which it began. This concrete interval is employed for the expression of interrogation; and it is further used as one of the

means for distinguishing words, by the function which is called emphasis. The octave is not limited to those phrases alone which carry the common grammatical notation of a question. There are some declaratory sentences which are made interrogative, by intonation; and there are many occasions in discourse, on which the sentiments of the speaker are so nearly poised between certainty and doubt, that he admits, by an interrogative movement, the hesitation of inquiry, in the very confidence of assertion. The octave being the widest interval of the speaking scale, is significant of the greatest vehemence or earnestness of an interrogative sense. It is likewise the appropriate mode of intonation, if the question is accompanied with sneer, contempt, mirth, raillery, and the temper or triumph of quick and of peevish argument.

From the time required in drawing out the interval of an octave, it must be obvious, that this mode of interrogation can be executed conspicuously, only on a syllable capable of prolongation-How then can the interrogative expression be given on a short and immutable syllable? The process by which this is done, will be described hereafter, with particular reference to interrogative sentences. It may be here transiently illustrated by the following notation :

In this scheme, it is visible that the discrete change or skip is made from the radical line of the concrete octave, to a line along the height of the vanish of that same octave. Now immutable syllables, in an interrogative sentence, are transferred by radical change to the summit of the concrete interrogative interval, and thus discretely produce the expressive effect of that interval, though less remarkably than the indefinite syllables which pass through the concrete rise. As there are more short syllables than long ones in most sentences, the discrete change, as here exhibited, must be the predominating mode of interrogative intonation. The above scheme shows further, that after the radical pitch has assumed the line of the

vanishing octave, the voice proceeds in the diatonic melody on that line, until the occurrence of a syllable which requires and will bear the concrete rise; then the radical pitch descends to form a new octave concrete. Thus it appears, that the rule of intonation, laid down when speaking of the diatonic melody of simple narration, does not apply to the melody of interrogative sentences; for these employ a more extended concrete interval, and a wider discrete transition in their changes of radical pitch.

When the octave is used for the purpose of emphasis, the voice immediately descends after its concrete rise on the emphatic word, to the original line of radical pitch, as in the following notation :

But this matter of emphasis is to be treated more particularly, and to be illustrated hereafter.

I have to remark finally, on the use of the concrete octave and its radical change, as the means of interrogative and emphatic expression, that as this highest interval of the scale is employed for the most earnest degrees of these purposes, it is of less frequent occurrence in speech, than the following intervals of the fifth and the third.

SECTION XIV.

Of the Interval of the Fifth.

THE radical and vanishing Fifth, like the octave, is used for interrogation and for emphasis; but has, however, less of the smart inquisitiveness which is implied by this last interval. It is the most common mode of interrogative intonation; and may convey a question with sentiments of wonder and admiration. It has none of the flippancy of the octave; is equally capable of energy, and is always more dignified in its appeal. The explanatory remarks in the last section, on the subject of the change of radical pitch, in interrogation and emphasis, apply to the like uses of the fifth. That is, in interrogative sentences, after the voice has made a discrete change by radical pitch, through the interval of a fifth, the succeeding melody may continue at its elevation, till again brought down for the purpose of a new concrete rise and after the use of the fifth for emphatic distinction on a single word, the pitch immediately returns to the original line of the current melody.

From the preceding account of the intonation of the octave and of the fifth, we learn that their effects are cognizable under two different modes-the concrete rise, and the radical change; that the former of these modes is impressed more remarkably on the ear; and that the distinction between the interrogative and emphatic use of these intervals, consists in the difference of the number of syllables, to which these intervals are applied.

It was said that the intonation of the octave, whether by concrete or by radical pitch, is rarely employed; since a rise of eight notes above the ordinary line of utterance carries most speakers into the falsette. And even with those in whom the rise might not exceed the natural voice, the melody when suddenly changed to that height would often be ludicrous, from contrast; or would be in danger of breaking into the falsette in its variations; or would be beyond the limits of the speaker's skilful execution. These objections do not ap