descent of the cadence. The smoothness and beauty of delivery, 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 elements employed and this their disposition, for reading plain narrative or description: and I am sure that if the definitions of astronomy, title deeds of property, and gazette advertisements, be not read in this style of intonation, the effect will be unsuitable to their passionless thoughts.

In the above cases, as well as in the wider range of subject to which the diatonic melody is applied, the movement is supposed to be with a tripping step and the quantity not unusually prolonged. If however the thoughts should have some bearing of importance, and call for more impressiveness, an increase of quantity in the accented syllables, together with a general slowness of the time will be assumed: the concrete still continuing in a rising though protracted form.

Should this deliberate movement be further urged by the influence of sentiments of solemn dignity, the melody will assume the form of the mingled progression of the direct and inverted equal wave of the second. There is much of the church service which should be read with this plain protracted intonation. It conveys in full, the sentiments of august composure and solemnity and veneration. The proper management of these contrary directions of the wave gives sufficient variety to the melody: whilst it avoids those forceful impressions of higher intervals of the scale, which would break the stately ease and designed simplicity of the movement. I believe the account of this last style of melody, includes the true history of the production of graceful dignity of voice; which is in vain attempted through the breadth of 'o's and aw's in mouthing; strong percussive accents with long pauses; the waves of wide 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.

Though the above forms of melody are here represented as being used independently of any other mode of intonation, yet it must be understood that the rise and fall and wave of the second which give them the diatonic character, are almost uni

versally found mingled with the symbols of higher expression. For these melodies may happen to contain a question; which must be made, according to its grammatical construction, or to the sentiment which dictates it, either with a thorough or partial use of the intervals of the third or fifth or octave. And though they may embrace no interrogation, yet some words which convey a sentiment of surprise, or positiveness, or scorn, or serious 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 various forms of the wave: this effect being produced either by the concrete or the discrete mode of intonation.

There is another interval of the scale,-the Semitone, which is used for the emphatic distinction of single words, and which conveys a sentiment of complaint or pity or tenderness or submissive supplication. But the more general use of this semitone is upon phrases, sentences, and even throughout the long track of discourse. This is called the chromatic melody. It too has its structure of a simply ascending concrete, which gives the least degree of the sentiments of this melody, on its least prolonged quantities. It has also the higher wrought and more dignified degree of expression, belonging to the equal wave of the semitone, in the variations of its direct and inverted, its single and its double forms. Some parts of the church service which contain the words of complaint, penitence, and supplication, call for this solemn wave of the chromatic melody.

There are other elements which serve to make up the phenomena 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 and the proper phrases of intonation to be used at them ;—and the grouping of the voice, or the means of impressing on an auditor more definitely the syntactic relation of words and phrases, by means of pause, emphasis, and the variations of time and force.

This summary includes the elements which have thus far been enumerated. There are some important functions, yet to be described, which will furnish us with the symbols of

other sentiments.

SECTION XXXI.

Of the Intonation of Exclamatory Sentences.

In describing the nature of the downward concrete and the wave, it was said that these movements are variously expressive of surprise and admiration. Now as these and like sentiments are embraced by that form of speech which grammarians have called Exclamation, I shall endeavour to give an outline of some of the principles that seem to govern the intonation of Exclamatory sentences.

I have already said that-besides a mere admission of the existence and importance of such a thing as intonation in the art of speaking, our institute of Philology has never given any other analysis or notation of its specific modes, than that which seems to be signified by the common notes' of Interrogation and Exclamation. But as these notes merely imply some undescribed peculiarity of voice, without being grounded on any analysis or rule of intonation, they can be considered as no more than grammatical symbols to the eye. This indefinite state of knowledge with regard to the intonation of these forms of speech, has been further confused by the vague uses of their grammatical signs. For we find the note of interrogation often applied to sentences which are really interjective or argumentative appeals: and which by the light of analysis we now possess may be shown to be strictly exclamatory.

Had the reader been prepared by previous description of the downward concrete and the wave, I would have shown in the section on interrogative intonation, that some questions are made by these movements of pitch. But even this does not form an exception to the principle that purely inquiring interrogation, if I may so call it, is made by the rising intervals alone: for I am here to show, after what has been said of the reverse expression of the falling intervals, that whenever a question employs the direct wave, or the downward movement, the in

terrogative character is lost in the sentiments which require these adopted intervals.

Interrogations are— -Purely Questionary ;- -Appealing; -Argumentative ;-Exclamatory; and-Exclamatory; and Imperative. The Questionary requires the rising intervals in the thorough, or in various degrees of the partial application, as set forth under the proper head of Interrogative intonation. Some of the others denote on the part of the interrogator, that positive belief upon the subject of his own question, which calls for the use of the downward concrete or the direct wave. I have therefore included these forms of interrogation under the head of exclamatory sentences; which we shall see require the above named elements of pitch. It will be difficult however to draw a precise line of separation between those forms of speech which require the pure interrogation of the rising intervals, and the interrogative application 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 that 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 on one ever appeals but with the expectation, that judgment will be given in his favor. The appeal is put in the questionary form, either with a persuasive deference, or else with a cunning sophistry to set the required decision within the view of the person appealed to. Now the real or the feigned conviction on the mind of the interrogator produces, in questions of this sort, the same downward intonation that positive declarations require. I say the reference of these questions is made, rather for confirmatory approbation than for the unbiased voice of judgment; and this is more clearly exhibited in the forms of poetical appeal to the decision and will of heaven. For surely this implies the highest assurance of conviction on the part of the interrogator. Thus in the fourth act, and second scene of Julius Cæsar Brutus says,

Judge me ye Gods! Wrong I 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 as to a reply, but with the full expectation of a favorable judgment. The words in italics therefore properly require throughout, the downward intonation. In truth, the spirit of the expression is exclamatory.

The Argumentative or Conclusive Question. The object of this question is not that of inquiry; for it is generally addressed upon data, that make the phrase, though grammatically an interrogation, rather a logical conclusion from premises that have been asserted or admitted. Thus Antony over the body of Cæsar says

He hath brought many captives home to Rome,
Whose ransoms did the general coffers fill:
Did this in Cæsar seem ambitious!

Or as more strongly marked in this :

You all did see that on the Lupercal,
I thrice presented him a kingly crown,
Which he did thrice refuse.

Was this ambition!

These arguments, for so I call them, though addressed with the words of a question certainly can not be received in the spirit of one. That spirit is really inferential that Cæsar was not ambitious. In short these cases belong to what may be termed an interrogative syllogism, of that species which logicians call an Enthymeme, or an argument of two propositions only, the minor and the conclusion: thus

Cæsar thrice refused a kingly crown;
Therefore Cæsar was not ambitious.

The syllogism being completed by the addition of its major term: thus

An Ambitious man would not refuse a kingly crown;
But Cæsar thrice refused a kingly crown,-

Therefore Cæsar was not an ambitious man.