SECTION XXX.

Of the Wave of Unequal Intervals.

By the term here employed I mean to denote that element of expression, which consists of lines of contrary flexure, but which is compounded of different intervals. Thus, if the voice rises through a second, and then in continuation falls through a third; or if it falls through a given interval and rises through a different one, it is called the Unequal Wave.

It will at once be perceived that there is a direct and an inverted, a single and a double form of this element: and that the possible combinations of its constituents are so various, that the complex enumeration of them would be altogether useless, except the expression of each of their permutations could be pointed out. But I am not aware that the varieties of expression bear the least proportion in number to the multiplied species of this symbol. It embraces indeed wonder, positiveness and interrogation, in different degrees, according to the extent of the interval and the direction of its last constituent. I am not however able to assign to the unequal wave, any general characteristic of expression, except that of strongly marked scorn, and other feelings of a like nature and force. These sentiments, as formerly remarked, are in a slight degree conveyed by the curling of the equal wave, and even by the simple rising and falling fifth and octave, when there is much stress, or an aspiration laid upon their vanishing extremes. But the most striking sign of contempt consists in a wide variation of the constituent intervals of the wave; especially if the wave is double, with the intonation strongly aspirated, or with a guttural energy on its final concrete.

This wave of unequal intervals is found in the representation of the higher passions of the drama, and in the peevishness and colloquial cant of common life: but it should be rarely used in that moderate temper which belongs to the greater part of written discourse. It has a vulgar earnestness and a quaint

familiarity which render it adverse to a grave or graceful design of speech.

If the expression of scorn is required in a current melody of dignified or solemn utterance, it is, when under the direction of feeling and taste, generally made by the proper application of stress and aspiration to the simple rise or fall of the third or fifth, which conveys a more moderate degree of this sentiment; at furthest, in such a case, the expression is not carried beyond the aspirated structure of the single-equal wave.

There is a peculiar use of the unequal wave, described under the head of Chromatic melody, which forms an exception to the above attribution of the sentiment of scorn to this symbol. I allude to its employment, for the purpose of chromatic interrogation. For in this case it is necessary to give, on the same syllable, an intonation both of plaintiveness and of the question; and this grafting can be accomplished, only by subjoining to the equal direct wave of the semitone, or to the first constituent of its inverted form, the rise of the third, or fifth or octave. But it is proper to remark here, that this, and other modes of the unequal wave, cease to be expressive of scorn, only by withholding the aspiration from them, and by avoiding a strong guttural stress on its last constituent.

There is likewise a form of the unequal wave, by which the cadence of a chromatic melody is made on one syllable: for in this case the voice rises through the interval of a semitone, and then in continuation descends concretely a third for the close. And it may be recollected that I said, this mode of intonation was not to be used, on account of its peculiar expression being unsuitable to the general character of repose which belongs to the cadence. From the nature of its constituents, it bears the sentiment of plaintive or querulous surprise, and consequently is admissible on the last long quantity of a chromatic sentence, only when this sentiment is set forth in its final word. If however the element be increased in force towards its close, and if it be aspirated, it will bear more conspicuously the expression of querulous scorn.

The wave, under every mode, requires more than any other element, the use of syllables of indefinite time. We may therefore comprehend why long quantities are necessary for reaching the full dignity of utterance, since these alone are

capable of bearing the wave: the dignity of expression being the result of the junction of the higher intervals, on emphatic words, and of the wave of the second or the semitone, in the continued current of the diatonic or chromatic melody. With the light of this principle, the reader may see on what defensible ground I formerly asserted, that the majestic movement of the first line of the second book of Paradise Lost, was shocked by the occurrence of the word 'state.'

High on a throne of Royal state which far

All the accented syllables of this line except 'state' are of indefinite quantity, and will bear the equal wave of the second. The same is true of nearly all the syllables in the three succeeding lines of the passage: and with the exceptions here alluded to, the whole is admirably fitted, in its time, for the vocal representation of this magnificent description by the Never-equalled Poet.

From an inattention to this point of quantity, it often happens that poets use syllables of immutable time, in those emphatic places which call for the expression of the wave. The case in the following example, which was cited in the ninth section, will now be better understood.

And practised distances to cringe, not fight.

The sentiment of scornful exultation conveyed by the words 'not fight,' here requires a form of the unequal wave on each of these syllables; but from the limitation of their quantity, it is impossible to apply these elements without the most disgusting departure from correct pronunciation.

In speaking of the various ascending and descending concrete intervals, it was shown that a similar, though diminished effect of intonation was produced by the leap or change of the voice, from the radical of any concrete to the top of its vanish, without passing through the intermediate space. Now since the wave is only a junction of the concretes of its constituents, it might naturally be supposed that some expression analogous to the effect of a concrete wave, may be produced by

radical changes to the extremes of its flexures. A correspondence of this kind may be displayed on some of the forms of the wave. Thus in the case of the words 'not fight' given above, some approximation may be made towards the required expression of the continued concrete, by giving the particle 'not' at a discrete fifth above the line of the current melody; then returning discretely to that line on fight;' and subsequenty rising from it with the rapid concrete of a third thus producing a kind of discrete imitation of the direct-doubleunequal wave of the fifth and third. For if we suppose the intonation of cringe' to be on a line with the current melody, and a concrete to be carried from its place, through the points of the rising and falling discrete fifth above mentioned, it will, with the rapid vanish of the third, form such a wave. This mode of discrete intonation by the higher intervals, comes much nearer to the expression of contempt designed by the exultation of Satan, than can possibly be reached on the triad of the cadence, to which the voice is prone, in this case, from the short time of the syllables, and their position at the close of a

sentence.

Another example which was given in the ninth section, may serve still further to illustrate this design to imitate, by means of radical changes, the full expression of a wave of equal intervals, when a limited syllabic time, renders its prolonged movement impracticable.

Faithful to whom? To thy rebellious crew?
Army of Fiends, fit body to fit head.

The words here marked in italics convey the sentiments of admiration and scornful compliment, and would be intonated by a good reader, with an alternate skip of the radical pitch through the rise and fall of a fifth for in this way only, that is by marking the extremes of intervals, which, upon extendible syllabic quantity would be given as a wave, can that open eye of wonder, and snarling of scorn, be substitutively executed. But even with all the assistance from the radical skip, the reader, if he possesses the soul of elocution, must still find it imprisoned within these words.

I wish here to recall the attention of the reader to the subject of syllabication, which was treated of in the fourth section. It was there said, that the various accidents of syllables are governed by the function of the radical and vanishing movement. I then hinted that the flow of syllabic sound is not always limited by the extent of the upward and the downward concrete; but that the impulse is practicable upon another form of pitch. We are now prepared to hear that the unbroken current of the voice, may be carried through the contrary movements of the wave, without destroying that singleness of impression which constitutes one of the characteristics of a syllable.

I said enough on the subject of elemental utterance, to make this matter explicable by a few words. The wave is a continuous sound, and consequently affords no opportunity for the silence-breaking outset of a new radical, which, with its following vanish would produce another syllable. For it was shown that an interruption of the concrete, whether made wilfully by pause, or necessarily by the occurrence of an abrupt or an atonic element, is unavoidably the end of one syllable, and the preface to the beginning of another.

After the description which has thus far been given of the individual functions of the speaking voice, we may take a more comprehensive view of the subject, by recapitulating the account of these elements as they appear in the connected current of discourse and thereby show them in the joined relations of synthesis, as well as in the separate individuality of decomposition.

We speak to communicate our ideas, and, if the difference of the cases is allowed, to express our feeling or sentiments. Language should therefore have a set of symbols for each of these modes. But as it is difficult, if not impossible, to draw a definite line of distinction between mere thoughts and what are called sentiments; so the oral symbols which respectively represent them can not be absolutely disjoined in arrangement. I have, however, endeavoured to give a practical division founded on some of their obviously dissimilar phenomena.

That which I call the plain diatonic 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 playing in its several phrases; and a termination of the melody by the