ments, and selecting one of the long vowels, let him begin it with moderate force, carrying it through any one of the intervals, (say a rising third or fifth) with long quantity making a strong and sudden jerk at its termination, and an impressive exhibition will be made of the kind of stress we are describing. As soon as he has ascertained the nature of the movement he may then practice it upon the other intervals of the scale. It may be also manifested on the consonants susceptible of quantity.

This stress is often employed to make the concrete interval of thirds and fifths more conspicuous in interrogation. It expresses impatient ardor, complaint, hasty and irritable interrogation, surprise, and fretfulness. It is often heard in the fretful complaints of children. It is more or less the habit of some voices, as well as a national characteristic.

Some striking examples of its use will be given under Emphasis. We would remark, however, that if its application is to be natural, it must be "touched lightly." In the trials of beginners to verify elements, they are apt to be given in an excessive degree, or in a bungling man ́ner. This leads some superficial people to condemn the art of elocution, as if it produced an unnatural or artificial method of speaking. But time and practice are necessary to success in every art. Let the ear be first impressed by a marked exhibition of the elements, and then let them be diligently practiced till their expression becomes easy and natural. All this may be effected in much less time than is required to play well on a flute or a violin.

COMPOUND FORCE.

FORCE is sometimes applied at both ends of a syllable. Some examples of this will be given under Emphasis. For practical purposes, nice distinctions between this compound use of force, and that last described, are not necessary.

MEDIAN FORCE.

BUT force is sometimes heard under another form. Not at the opening of a syllable--not at its terminationbut conspicuously during its pronunciation. This peculiar application of force, Dr. Rush calls median stress. Let the following directions be observed in the pronunciation of the subscribed syllables, sole, hail, feel, 1. Let each be opened with moderate force-let the voice gradually swell in volume as it proceeds, till the force becomes conspicuous, and then let it diminish in the gradual manner in which it increased, and end in the usual vanish and the median stress will be heard. This kind of force can only be shown in syllables of long quantity, and naturally carries them through some form of the wave. The practice should be on the wave of the second. Median force is well known in music by the term swell. It is a conspicuous ornament of song, and may be employed with equal effect, in speech. It gives emphasis to words without communicating to them a character of sharpness or violence; enforcing with agreeable smoothness, the expression of those modi

ASPIRATED MOVEMENTS OF THE VOICE. 123

fications of joy, exultation, hope, and surprise, which are compatible with personal dignity. It also gives emphasis to words of insinuation, and to such as express solemn grandeur, reverential awe, and kindred emotions. Several examples of the application of Median Stress, will be given under Emphasis. We conclude by observing, that, it is the proper emphasis in all subjects requiring long quantity;-consequently, in all those of a dignified character. It is an element requiring great delicacy in its management. The swell is in general, only slightly marked, when naturally used;—any thing like violence, is foreign to this species of emphasis.

Whenever it is practised upon the alphabetic elements, the circumstances to be aimed at, are, that the swell should be gradual and moderate, but at the same time distinctly marked, that it should decline gently and equably as it began, and end in a delicate vanish into silence, after a prolonged quantity. Great pains should be taken to acquire a power over median stress. The long vowels are eminently susceptible of it. It may be farther practised upon the tables of words, under the head of quantity, page 106.

ASPIRATED MOVEMENTS OF THE VOICE.

SEVERAL of the elements are uttered by mere whispering for instance, f, s, sh, th, wh, ch, and others. All these elements are alike in one generic quality. They have no sound in the throat. They are under any increase of stress, mere forcible breath. The vowel elements, as may be proved by turning to the tables, have

no aspiration in their customary mode of utterance. Some of the consonants are free from it, while others are entirely aspirate, and others partly vocal in the throat, and partly aspirate. It is possible to mingle aspiration with all the vowel elements: let this be tried upon 0, 00, ee, a. It is possible to make them entirely aspirate, by whispering them. Aspiration can be breathed among words in a greater or less degree, till they become perfect whispers. If words are vociferated with excessive violence, they become aspirated. This is sometimes a cause of indistinct articulation, particularly in the ranting of the stage. Aspiration, in this case, depends upon a greater quantity of air being forced from the throat, than can be brought into vibration against the roof and sides of the mouth. Aspiration gives to words an air of mystery. It expresses excessive earnestness, strong anger, sneering contempt, scorn, and violent rage. Hissing, which is unmixed aspiration, expresses scorn in the highest degree. Aspiration adds to the scornful expression of the unequal waves. It is an element requiring care in its use.

EXAMPLES.

Aspiration should prevail in the following mysterious passage.

"Then first, with amazement, fair Imogine found
That a stranger was placed by her side;

His air was terrific; he uttered no sound;

He spoke not, he moved not, he looked not around,
But earnestly gazed on the bride."

And in the following.

Shylock. How like a fawning publican he looks

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GUTTURAL EMPHASIS.

THERE is a harsh grating sound in the throat, expressive of the highest degree of loathing, scorn, and anger, which is sometimes required in the strong expression of dramatic reading.

It requires to be united with strong radical stress, and is always accompained with aspiration. See example under Emphasis.

ACCENT.

THE property of syllables, so well known by the name of accent, is dependent on the perception the ear has of force and time. The former communicates accent to short, the other to long syllables.

Short syllables-vic-tory, tem-poral, ra-pidly. Long -ho-ly, an-gel, fear-less.

QUESTIONS TO RECITATION TENTH.

1. What are the ways in which force is applied to syllables?

2. What is meant by radical stress?

3. What by vanishing?

4. What by median?

5. What by compound?

6. To what subjects is radical stress appropriate?

7. To what median.

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