SECTION XXXVII.

Of the Compound Stress.

BESIDES the perceptible function of stress, when laid exclusively on the beginning or middle, or end of the concrete, it is within the power of the cultivated and attentive ear, to recognize the abrupt opening of the radical, and the full termination of the vanishing stress, when used in succession on the same syllable. The best reference I can make in illustration of this element, is to the vocal grace called a Shake: for I shall endeavor to show hereafter that the characteristic action of this grace consists in a rapid iteration of the concrete when impressed with both the radical and vanishing stresses.

This compound stress, when applied to syllables of long quantity, may be used on the narrow intervals of the scale; but it is more definitely audible on the wider spaces of the fifth and octave. It may likewise be executed on the various forms of the wave; in which case the final stress is laid on the last constituent.

After what has been said of the radical and the vanishing stress, of which this under consideration is but a compound, it is scarcely necessary to remark, that it affords means for adding force to the representation of the sentiments indicated by its constituents when used singly on a syllable. And though the effect of the alternate radical and vanishing stress is beautifully exemplified in the shake of song, and may be made manifest in the speaking voice; yet this compound function can not, on a short quantity, be distinguished from the simple radical abruptness: nor indeed is there, in this case, time for its existence.

Let us suppose that a syllable of long quantity conveys the sentiment of angry or authoritative inquiry; and that the fifth, with protracted intonation, is the interval chosen for this interrogative. The sharpness of effort required here as the sym

bol of anger or authority, would be rightly represented by the radical stress; whilst the full-marked extent of the interval under the increased force of the vanish, would give a corresponding energy and impressiveness to the interrogation. The compound stress is, however, by no means an agreeable mode of force. There is a snappishness in its intonation, which should always be avoided by a good reader, except on those rare occasions, that especially call for the peculiarity of its expression.

SECTION XXXVIII.

Of the Thorough Stress.

By this mode of force in the construction of the concrete, we are to understand, a continuation of the same full body of voice throughout its whole course.

It may be readily distinguished from the median, the vanishing and the compound forms of stress, when these are set on long quantities; and may therefore claim a separate notice in a philosophical analysis of speech. But I can not point out any peculiar expression in it, which is not conveyed by the compound stress, or by the radical when applied on short syllables.

This Thorough force may be given to all the intervals of the scale; and when spread over the wave, it is to be regarded as equalizing the stress throughout all its constituents.

SECTION XXXIX.

Of the Loud Concrete.

By the Loud Concrete, I mean that stress which distinguishes a given syllable from adjacent ones; the parts of the concrete still retaining the comparative structure of the radical and vanishing movement. It is, in short, what was called the natural concrete, magnified by force. It is not distinguishable as an element of stress, on a very short quantity; the radical stress being the proper mode of intension on such syllables.

As far as I perceive, it has no peculiar quality of expression. It is introduced here, only because it will be referred to, in a future section, on accent.

All the modes of stress which have thus been enumerated, may be applied to the various tremulous concretes, and to the tremulous wave. They give energy and variety to a tremor of the higher intervals, which serves for laughter, for interrogation, and for emphasis: and to that of the semitone, which constitutes the function of crying, and of plaintiveness in speech.

SECTION XL.

Of the Time of the Concrete.

THE radical and vanishing movement was represented as having an equable continuation of time, throughout its progress; and as having thereby a marked distinction from the varied proportions of the radical and vanish, in Recitative and Song.

The purposes of expression sometimes demand a change of this equability of the concrete, into a quicker utterance of its beginning, or middle, or end. This condition of time is closely connected with the application of the different modes of stress for it is difficult to give stress without running into quickness of time; and it is as difficult to give quickness of time, without marking the rapid part of the concrete with stress. The connate relation of these functions is most conspicuous in the radical stress; for its sudden burst is necessarily followed by a momentary quickness of utterance. The median and the vanishing stress, when strongly emphatic, likewise carry with them a rapid run of time: for there is in this forcible execution of these last named functions, an endeavor to reach, as far as can be on an unbroken concrete, the explosive nature of the radical. These fitful gusts of breath, if I may so call the quick transits through the radical, median, and vanishing places, may be employed, like the stress itself which respectively accompanies them, on all the intervals of the scale, and at the same places of the wave on which the stress is applied. There may also be a compound quick time of the concrete, attendant on the compound stress, in the prolonged movements of speech.

On the whole, regarding the time of the concrete separately from stress, I can not recommend it as a matter of any importance in the work of expression. I promised to analyze speech. This quickness was perceived; and I have therefore transiently noticed it.

SECTION XLI.

Of the Aspiration.

We have thus far learned that five accidents of sound,Quality, Time, Pitch, Abruptness, and Force, together with the absence of all impression in the Pause, do by their separate and their mingled influences, produce the varied efforts of speech already described.

The works of nature are cunning patterns of combination : and the function which is now to be considered, will make a new disclosure of the means for diversifying the effect of these elementary agents. The subject of this section does properly belong to the head of quality of voice. But since it has received a place and name among the alphabetic elements, and has peculiar properties, I give it here a separate discussion. 1 shall therefore endeavour to show that the element symbolized by the letter 'h,' or, as it is called, the Apiration, has eminent powers of force and expression.

By calling 'h' a mere breathing, some systematic authors have imagined they insure the right to reject this element from the alphabet. Let it be said, in truth, that the aspiration is suited only to near audience; and wants the fine vocal qualities of the tonics. But whilst 'harrow' and 'arrow' shall owe the difference of their meanings respectively to the presence and absence of the element, that breathing will fulfil the purpose of articulation, though it may not conform to the full definition of it. Notwithstanding, the defects of the aspiration can not be denied, under the cold measurement of orthoëpy, it is still pre-eminently entitled to notice as a powerful agent in oratorical expression.

The element 'h' is slightly susceptible of pitch and abruptness; but it admits freely of time. Through the exercise of this function it must be redeemed from an alleged insignificance, by furnishing the expressive interjection of Sighing. It admits, to a certain degree, of the variations of force; exhibiting most