metre corresponding to smooth force, representing therefore continuity, satisfaction, gentleness, delight, such, for instance, as one would naturally have in the tender, lovely, beautiful, grand, or sublime. In all the following quotations it will be noticed that the final syllable of each line joins without a break the rhythm of the following line. They all furnish illustrations of the poetic equivalent for smooth force.

And she looked like a queen in a book that night,

With a wreath of pearl in her raven hair,

And the brooch on her breast so bright.

-Aux Italiens: Lytton.

Our bugles sang truce, for the night cloud had lowered,
And the sentinal stars set their watch in the sky,
And thousands had sunk on the ground overpowered,
The weary to sleep and the wounded to die.

Here is the same in our regular English blank verse:

So all day long the noise of battle rolled
Among the mountains by the winter sea,
Until King Arthur's table, man by man,
Had fallen in Lyonesse about their lord.

-The Idyls of the King: Tennyson.

Abrupt and smooth poetic effects, corresponding to those of imitative elocution, have been noticed often, and scarcely need mention here. The following are abrupt : The pilgrim oft

At dead of night 'mid his oraison hears
Aghast the voice of time-disparted towers,
Tumbeling all precipitate down-dash'd
Rattling around, loud thundering to the moon.

-The Ruins of Rome: Dyer.

Then broke the whole night in one blow,
Thundering; then all hell with one throe
Heaved, and brought forth beneath the stroke

Death, and all dead things moved and woke.

On a sudden open fly,

-Epilogue: Swinburne.

With impetuous recoil and jarring sound,

The infernal doors, and on their hinges grate

Harsh thunder.

-Paradise Lost, 2: Milton.

And these are smooth:

Heaven open'd wide

Her ever-during gates, harmonious sound,
On golden hinges moving.

-Idem, 7.

And so never ending, but always descending,
Sounds and motions for ever and ever are blending,
All at once, and all o'er with a mighty uproar,
And this way the water comes down at Lodore.

The Cataract of Lodore: Southey.

CHAPTER VIII.

ELOCUTIONARY AND POETIC PITCH-TUNES OF VERSE.

Elements entering into the Tunes of Verse: Pitch and Quality-Pitch representing Reflective Tendency or Intellectual Motive-On its Instinctive Side by High and Low Key-What each represents-On its Reflective, by Rising, Falling, and Circumflex Movements-What each represents -When Influences from both Sides express Emotive Tendencies, by Melody-What Different Melodies represent-Pitch as used in Poetry— Which was formerly chanted-And has Tunes at Present-Shades of Pitch in Speech as Numerous as, and more Delicate than, in SongScientific Proof that Short Vowels are sounded on a High Key, and Long on a Low Key-Light, Gay, Lively Ideas represented by the Former; Serious, Grave, Dignified by the Latter.

E are to take up, now, the elements of elocutionary expression which enter into the effects of what are termed the tunes of verse. The first of these elements is pitch. This word means the same in elocution as in music, and indicates that the consecutive sounds of speech are related to one another in a way analogous to that in which, in singing, they move up and down the musical scale. A whole passage may be delivered on what is termed a high pitch or key, as when one is shouting to a person at a distance; or it may be delivered on a low one, as when one is groaning. Besides this, in uttering a whole passage, or a single syllable with what is termed an inflection, it is possible for the voice to rise, as is said, from a low to a high pitch, or to fall from a high to a low

one.

It is important to notice, also, that, in giving different degrees of pitch, it is not essential to manifest much either of physical energy or of those instinctive modes of psychical emotive expression most allied to it. A hand-organ, in which every note is sounded with the same force and quality, can nevertheless illustrate degrees of pitch so far as concerns this alone. But though neither physical energy nor psychical emotion is represented by pitch, we find that every man, in talking, directs his voice first to one key and then to another; and that, by so doing, he represents to us the general tenor of his reflections. Intelligence of these, therefore, is communicated by pitch; and, usually, too, very definite intelligence of them. What a man wishes to have his tones commumunicate, we can often infer by overhearing them, even amid circumstances rendering it impossible for us to distinguish clearly his words. Often, indeed, his words may mean one thing, and his intonations another, as when a teacher tells the parents of a boy in his school that their son is "doing very well," at the same time using a very decided rising inflection on the word "well."

It seems proper to say, therefore, that, in the main, pitch is that part of the generally emotive language of the intonations which is most reflective, representing what may be termed, distinctively, the mental movements, orwhat underlie these-the mental motives or aims. Thus the rising pitch on the word "well," as just quoted, indicates the speaker's motive in what he says. As affected by instinctive or physical tendencies, in the degree in which the predominance of reflective influences is least, the tones are kept on a high level of pitch, or on a "high key"; but as reflective influences become stronger, the tones are kept on a lower level of pitch, or on a "low key." In their