'e-rr' 'e-nd' i-n,' when united with the aspiration, become obscurely the basis of the several other subtonics. And though the subtonics are thus supposed to be, in a manner, formed by the mingling of vocalities with aspiration, they are yet capable of a further addition, for the purpose of force or oratorical expression.

The diphthongal tonics do not receive the aspiration with the same effect as the monothongs: since there is something in the nature of the diphthongs which prevents as great a change upon them as takes place on the monothongs, by a union with the aspiration.

It was shown formerly that whispering, which is only the articulated mode of aspiration, has its pitch formed upon a succession of different alphabetic elements. Now whatever may be its difficulties of intonation as a simple breathing, it does when joined with the tonics move through all the intervals of the scale, and take on every form of stress.

In order to show how far this element assists in the operations of speech let us keep in mind what was said above, on the spontaneous connexion between a vehement exertion of the voice and its aspiration; and consider, further, the two following forms of expression.

There is a sort of facetious comment of surprise and incredulity, consisting of an effort of aspiration modified by the tongue and lips, and having all the qualities of whistling except shrillness. The movement of this aspirated interjection is that of an unequal direct wave: the first constituent being a tone or higher interval, according to the spirit of the expression; and the second a descent to the utmost audible pitch of the breath.

The other effort of aspiration to which I alluded, is made by the larynx alone. It is the function of Sighing: and its pitch is sometimes the simple rising, but more frequently the falling concrete through a second or wider interval, according to the intensity of the feeling which prompts it. This is well known to be the symbol of distress, grief and anxiety; and of fatigue and exhaustion, both of body and mind. Now since these different cases include the general powers of expression, in the simple and natural aspiration, we can therefrom infer what will

be the effect when this breathed element is joined with the vocality of speech.

It may seem an exception to the consistencies of nature, that a quality of voice, which, under the form of a whisper is the symbol of the desire of concealment, should be found united with the most forcible exertion of the organs. Such, however, is the fact; for when the aspiration is conjoined with loudness, in some of the vehement modes of stress, it becomes a sign of the highest vocal violence. Its union therefore with any rising or falling interval of the scale, gives increase to the expressive power of that interval; and if I do not mistake, adds the sentiment of eagerness, or sneer to those intonations, which, in their purely vocal form, severally convey surprise, interrogation, irony, and command.

Should this aspiration be given with an abatement of voice, thereby approximating towards a whisper or a sigh, it produces a difference of expression, according to the extent of its pitch. When the second or higher interval of the scale is employed, it becomes the eminent symbol of earnestness or of apprehension. Thus, if the following lines be pronounced with a pure vocality of the elements, the expression will fall short of the feeling of the speaker:

Hah! dost thou not see, by the moon's trembling light,
Directing his steps, where advances a knight,

His eye big with vengeance and fate?

Nor would the point be gained, if the reading should be characterized by an aspirated vociferation. But if the utterance is reduced in force, and at the same time aspirated, the earnestness of attention and appealing interrogation, becomes immediately obvious in this created huskiness of voice.

When an abated voice is aspirated on the tremulous movement of the second or higher interval, it may convey the sentiment of fear. When this abatement is aspirated in a simple rise or a wave of the semitone, it is, as it were, a borrowing from the sigh; and thus gives intensity to the plaintiveness or distress which belongs to the simple vocality of the semitonic movement. But when the tremulous intonation is superadded to the aspirated semitone, the voice exerts its ultimate means,

for marking the deepest sadness within the limits of crying and

tears.

Aspiration when combined with the different forms of stress, and with guttural emphasis to be described presently, especially expresses contempt, and the like sentiments: hence the ability to embue nearly every interval of intonation with that expression. Even the simple movements which indicate surprise, inquiry and emphatic declaration, may, by this means, be made contemptuous: but the sentiment is more strongly marked when the aspiration is applied to the forms of the wave; the bearing of scorn being most conspicuous on its unequal structure.

IN that section where the elements are enumerated, we learned, that when the articulative occlusion, by which the abrupt elements are made, is removed, there is a slight momentary issue of voice which completes the structure of these sounds. This was called the Vocule. Like all other voices it is susceptible of force. Its higher degrees of stress constitute the element named at the head of this section. The emphatic vocule marks great energy of sentiment; and naturally follows those words which close with one of the abrupt elements.

Three of the vocules are vocal, and three aspirated. The vocules of 'k' 'p' and 't,' which constitute the last class, are often changed from an aspiration to vocality, in an attempt to give stronger emphasis to their termination. No other than the most vehement feeling will justify the use of this element of force, at the end of an emphatic word; and the most cautious

management is necessary in order to prevent its forcible utterance from having the effect of rant or affectation.

It was stated formerly that when an abrupt element precedes a tonic, the vocule is lost in the sound of the tonic, which in this case issues, as it were, directly from the abrupt element. Thus in the word 'light,' the vocule is distinctly heard at its termination but if 't' immediately precedes the tonic 'i' as in 'tile' the vocule is lost, and 't' seems to be merely an abrupt commencement of the sound of 'i.' This is the natural and proper mode of coalescence, except the abrupt element terminates a word. For in this case a junction of the vocule with a following tonic may confuse pronunciation by destroying that clear limit which should give a separated individuality to every word of a sentence. This fault, is sometimes even designedly assumed, in order to remedy a want of physical energy in pronunciation. Persons who are called upon to give the utmost sharpness to their accents, and who have not the practical skill to explode the voice suddenly on a tonic, avail themselves of the facility of bursting out from an abrupt element, into the tonic of a succeeding word. Thus if the phrase 'bad angels,' should require force, either for emphasis or for a distant auditory, it would, with a view to this explosion, be pronounced bad-dangels.' But as the arrangement of elements is a casual thing, it must happen that the same word will occur in discourse, both with and without a preceding abrupt element: and besides, the common exertion of force does not require this coalescence. These circumstances will prevent the effect of the junction from becoming familiar to the ear, and thus passing for a proper and constant character of the word. A forcible pronunciation according to this method, will, therefore, in some cases, create mistakes in the sound of words; and lead in most instances, to that momentary hesitation which is incompatible with an exact perception of oral discourse. Let the phrase 'music sweet art' be pronounced in this manner, and the combination will present an image both ludicrous and contradictory.

If what has been said, on the subject of distinct articulation, as effected by the full and clearly formed radical stress, be thoroughly applied, the designed purpose of this junction of tonic with abrupt elements may be accomplished without in

terfering with the perception of a clear outline in the boundary of words. For this demarcation is necessary towards that distinct and deliberate utterance which characterizes the dignified departments of an exalted elocution.

In the rapid energy of colloquial speech, and in the passionate haste of elevated delivery, this coalescence of the elements is more liable to occur: nor in these instances can it always be avoided.

SECTION XLIII.

Of the Guttural Emphasis.

IN speaking of the mechanism of the voice, it was shown that the retraction of the root of the tongue, together with a closure of the pharynx, produces what seems to be a contact of the sides of the vocal canal above the glottis, and thus gives rise to a harsh vibration, from the gush of air through the straitened passage. The peculiar sound is made on the tonic and subtonic elements, the varieties of which may be distinguished, notwithstanding their combination with this grating noise. I have called this function of the voice, the Guttural emphasis on account of its apparent causal mechanism, and from its being a forcible expression of the sentiment which dictates it.

This guttural element is practicable on all the intervals of the scale and it adds to their respective characteristics, its own peculiar expression. This expression consists in the strongest degree of contempt, disgust, aversion or execration ; and these sentiments are most strongly marked on the intonations of the wave.

When this guttural grating is given with the exploded radical stress, it makes the speaker himself feel, in its disruption