mode of Force, to which it is partially related, I resolved to make it a mode by itself: yet a mode with differences in degree only, and not in form; and unlike every other mode, in having but one solitary position in speech,- at the opening of the radical. It is a manner, as it were, of enforcing Force, not merely by a higher degree of that force, but by another and peculiar mode. That is, abruptness may be added to force, to render it more emphatic; just as force may be added to intonation, to enhance its expression; or as any one mode of the voice may be united with another, for an additional or peculiar effect: thus making them, each with the other, co-efficient but not identical causes.

The mechanism and action that produce this Abruptness, or expression, consist in an occlusion of some vocal passage, and a forcing of the breath against that obstruction, till the voice issues with a sudden opening of the occlusion. Thus it appears to be but a momentary function; and so far distinguished from force, which is essentially made on some duration of time, quality or intonation; for force to be strong and momentary, must be abrupt. But further, abruptness may be equally applied to the initial of quality, to make its harshness more shocking; of the orotund, to make the fulness of its radical more dignified and impressive; and of pitch, to mark conspicuously its places on the scale. We have shown, on what occasions it governs the construction of syllables. We shall learn hereafter, how it effects clearness of articulation; how, in its moderate degrees, for it is here plainly contradistinguished from force,—it is the principal formative cause of the tremulous scale; and how it is related to the Shake of Song. Although the voice, without this natural abruptness, would want one of its striking and essential characteristics, and fail in one of its important uses, for emphasis and distinct articulation: yet the full and ready power over this means of energetic speech is possessed by few, and is only acquired by attention and strenuous effort. When in an individual, it seems to be natural, it is by animal instinct, the indication of an excitable nervous and muscular system; but not necessarily of a quick or effective intellect. The explosive bark of the dog, and the short, abrupt, and repeated

syllable-like put of the strutting turkey, are with each, as much a sign of mere animal anger, and unconscious vanity, as a like abruptness would be of some of the vulgar passions of ignorant

man.

To this explosion of the voice, which as the means of articulation and expression, has never been recognized, or has received but a transient and heedless notice, we have occasion to make continual reference, in the course of this work. Its most remarkable employment will hereafter be shown, in the full and sudden opening of the radical movement. This Radical stress, as we call it, will be classed under the Mode of Force, not therefore regarding it as belonging to that place; but merely to connect it in order, with two of the other stresses which, having no abruptness, are properly included under the Mode of Force.

SECTION XI.

Of the Time of the Voice.

Two of the cherished relationships of man to man, are selfishness and emulation. Accustomed therefore to regard himself in the light of personal importance, and of relative position, he is prone to look for consequence and rank in natural things. But nature affects neither egotism nor precedence. When the five modes of the voice are brought before us, we have that active leaven of human curiosity, to discover which is the most important. But all are essential and equal in the scheme of creation: where alone, the Republican Idea does, or perhaps ever can present itself. Considering Quality,-or its Substratum as notional metaphysicians would call it, to be the material of the voice, we see the necessity of its universality: and we shall

find that Time, the mode we are now about to consider, is an equally pervading constituent of speech.

The degrees in duration or in the time of the voice, are represented though indefinitely, by the terms, long, short, quick, and slow; and are variously used, both for simple narrative, and for expression.

To be definite, let long and short designate the time of the syllables relatively to each other; and quick and slow, the utterance of any series or aggregate of words. Thus a syllable is said to have a long or short time, or Quantity, as it is called in this case; while a phrase, an entire sentence, or a larger portion of discourse is said to be pronounced in quick or slow time. The occasions for employing these last divisions of time are well known. Sentiments of dignity, deliberation, doubt, and grief affect a slow time; those of gaiety, anger, and eager argument, together with parenthetic phrases, assume the quick time in utterance.

It is necessary, however, to be more particular, on the time of individual syllables, comparatively considered; and to regard them otherwise than under their ordinary prosodial distinctions.

The times of syllables exhibit undistinguishable shades of difference, from the shortest utterable, to their utmost prolongation in oratorical expression. To reduce this indefinite view to available divisions, for future reference, we will arrange syllables under three classes. Let the First embrace those restricted to the shortest quantity: the Second, those limited to a quantity somewhat greater than that of the first: the Third, those, of a quantity, varying from the shortest, to even an indefinite prolongation.

To the First class belong many of those syllables, terminated by an abrupt element; and containing a tonic, or an additional subtonic, or the further addition of an atonic, such as at, ap, ek, hap-less, pit-fall, ac-cep-tance. It is not the shortness alone of syllables that constitutes the criterion of this class; since some, belonging to the third, may be, and sometimes are, in common usage, equally short. The syllables now under consideration, have this essential characteristic; they cannot be

prolonged, but with deformed pronunciation. The word convict, when accented on the first syllable as a noun, and on the last as a verb has, in simple utterance, a certain quantity allotted to the accented syllable. If, for the purpose of oratorical expression, with the noun, the time of the first syllable is indefinitely prolonged, the identical character of the word still remains, notwithstanding that extension. But when we give the last syllable of the verb, to convict, a similar extension, its drawling pronunciation is remarkably deformed. The syllables assigned to the first class, not admitting of any alteration in quantity, may be called Immutable syllables. I shall hereafter show their relations to the movements of pitch, and to the functions of accent and emphasis.

To the Second class belong most of those syllables, terminated by an abrupt element, and containing one or more subtonics or atonics, with a short tonic. The subtonic in this case, allows an additional time greater than that of syllables in the preceding class; while the abrupt element and the short tonic, limit even this moderate extension. Of this class are yet, what, lip, grat-itude, des-truc-tion. In these instances the syllables are longer than those of the immutable class; and for the purpose of expression, the subtonics may be slightly extended beyond their length, in simple utterance. But with undue prolongation, they have the same offensive drawl, perceived in the forced extension of the immutable class. As those included under the present head admit of a slight change in quantity, they may be called Mutable syllables.

To the Third class belong all those syllables, terminated by a tonic element, or a subtonic, except b, d, and g. Of this nature, are go, thee, for, day, man, till, de-lay, be-guile, ex-treme, and er-ro-neous. If the speaker has a ready command over the subtonics b, d, and g, so as to give full audibility to their essential guttural murmur, their position, at the end of a syllable, does not absolutely prevent an indefinite prolongation, as in the words deed, plague, babe, res-tored. But the effect in these cases, is by no means to be compared with that of an extension of time upon other subtonics, and on tonics. In

the above pure examples of this class, it will be found, that to whatever necessary degree the quantity may be prolonged, the character of the syllable will still be preserved, without the disagreeable effect, produced by an indefinite increase of time, under the preceding classes. It is the peculiar nature of these syllables, that they seem to be the same, under every degree of prolongation; while the immutable and mutable, in some cases almost lose their identity, by too great an addition to their time. From their allowable variety, the syllables of this class may be said to be of indefinite quantity; and may be called Indefinite syllables. They furnish important means for the expression of speech; some of its most effective forms, being made on syllables, with this power of indefinite prolongation.

The reader is to receive the foregoing classification, as one adapted to our view of the expressive powers of time. The investigation of the causes of expression, soon suggested the necessity of other distinctions of quantity, than those of long and short; which, after a millennium and more, of pretending observation, we continue to transcribe from the meager record of Greek and Latin prosody. The phenomena of expression first directed the division here made; and however it may be otherwise applied, it will be necessary for the explanation of future parts of this essay. Whatever may be thought of its sufficiency, I must still believe it is high time for the superannuated sages of classical literature to throw aside the Greek and Roman auscultation in their prosodial researches; and try if time, with a new vocal analysis, may not effect upon them one of those renovations of sense, which, it is said, have now and then resuscitated the torpid perceptions of extreme longevity.

The power of giving indefinite prolongation to syllables, for the purpose of expression, is not commonly possessed by speakers. It is true, the daily use of the voice frequently calls for forcible expression: but daily discourse is often mere narrative or description; or if directed by strong emotion, its sentiments are those of active argument, or of contending interests, which employ, for the most part, the short time of syllables and the quick course of utterance. Still, the assertion that a long