These last two lines have an embarrassing construction. The phrases inspiring air, and hunter's call are in apposition; but there intervenes a clause, that might make rung pass for an active verb, and thereby render call the objective to it. To show, therefore, that by hunter's call the author means the inspiring air, previously mentioned, the words marked in italics should receive emphatic stress. This is the best means for clearly impressing on the ear, that natural order which is interrupted by the construction.

This emphatic tie is often employed in combination with other means of grouping. Thus, in the several examples, illustrating the use of the phrases of melody, their influence will be assisted by applying this connecting emphasis to comet and fires; children's and passed; peace and faith. In the examples of the flight, the relationships between the words brook'd and easily ; and between heaven hides nothing and nor the deep tract of hell, will be more manifest by the additional use of the emphatic tie.

In short, it is sometimes necessary to employ all the means of grouping upon a single sentence, in order to correct an irregular syntax, and supply an ellipsis to the ear. The extreme distortion of English idiom in the following lines, must be exceedingly perplexing to a reader: and, as far as I understand the grammar, and sense of the description, can be rendered somewhat less embarrassing, only by the use of all these means. The passage is taken from the fourth book of Paradise Lost, at the end of Satan's address to the sun.

Thus while he spake, each passion dimm'd his face
Thrice chang'd with pale, ire, envy, and despair;
Which marr'd his borrow'd visage, and betray'd
Him counterfeit, if any eye beheld.

Milton uses the word pale, here, and again near the close of his tenth book, as a substantive. Its common adjective-meaning tends to throw some confusion into the sentence. Ire, envy, and despair, are in apposition with passion, and are severally concordant with the distributive pronoun each. Now the only

manner in which I can approximate towards a clear representation of this blameable piece of latinity, is by making a quick flight over the portion, dimm'd his face thrice changed with pale, and by an abatement thereon; by laying a strong emphasis on each passion, and on ire, envy, and despair, thus marking the concord, by the emphatic tie; and by applying the phrase of the rising ditone, with a pause, at pale.

After all, it is a hard picture to paint, for a taste that will have true colors, well laid on.

Upon these last two subjects, we have been more occupied, with the audible means for marking the sense of discourse, than with the signs of expression. But the delineation of sense must, in all cases, be co-existent with the representation of what is distinctively called sentiment.

In the present section, and in other parts of this essay, the exemplifications are chiefly extracted from two illustrious Poets: since the boundless range of their sentiments; the arresting, but resolvable intricacy of their style; the thoughtful bearing of their emphasis; together with the insignificance of scarcely a word, afford every variety of construction, and every turn of feeling, for exercising the full-sufficient, and illuminating powers of the voice. And as the greater includes the less, I am persuaded, that should the principles therein established, be adopted by the reader, he will have no great difficulty in applying them, to more simple and natural constructions, whether of conversation, or of narrative, or impassioned discourse, both in poetry and prose. But while thus drawn aside, from the perfection of nature in the human voice, to eulogize the admirable things of intellect, which it is intended and ready to display; let me again repeat, I have taken upon me, not the part of the Rhetorician, but merely of a Physiologist of Speech.

SECTION XIV.

Of the Interval of the Rising Octave.

IN the foregoing sections, the variation of Pitch was described, only as it appears in the radical and vanishing movement through the interval of a single tone.

It was shown, under the head of the melody of simple Narrative, that the vanish never rises above the interval of a tone; and that changes of the radical pitch, whether upward or downward, never exceed the limits of this same interval. Now, such plain narrative melody as then supposed, is rarely found of long continuance but to avoid confusing the subject, I deferred the notice of those variations, both of concrete and discrete pitch, so generally interspersed throughout its current. The wider intervals of pitch, used for expression, in the course of a diatonic melody, are now to be described.

By the term rising Octave, when applied to speech, is meant the movement of the voice, from any assumed radical place, through superior parts of the scale, until it ends or vanishes in the eighth degree above that radical place. This concrete interval is employed for the expression of interrogation; and for astonishment, wonder, and admiration, when they imply some slight sentiment of doubt or inquiry. It is further used, for the emphatic distinction of words. Nor is it limited to phrases, having the common grammatical construction of a question; for even declaratory sentences, are made interrogative by the use of this interval.

Although the voice in interrogation, and emphasis, may sometimes rise above the eighth, of the natural voice, and into the falsette; the octave is the widest interval of the speaking scale, technically regarded in this work. It expresses therefore the most forcible degree of interrogation, and of emphasis, on a rising interval. It is the appropriate intonation of questions accompanied with sneer, contempt, mirth, raillery, and the temper or triumph of peevish or indignant argument.

From the time required in drawing out the interval of an octave, this form of interrogation can be executed conspicuously, only on a syllable of extended quantity. How then can the interrogative expression be given to a short and immutable syllable? The means for effecting this, will be described hereafter, with particular reference to interrogative sentences. It may be here transiently illustrated by the following notation:

In this diagram, a discrete change or skip is made from the radical line of the concrete octave, to a line along the hight of its vanish. Now immutable syllables, in an interrogative sentence, are transferred by this discrete or radical change, to a line of pitch at the summit of the concrete interrogative interval, and thus discretely produce the expressive effect of that interval, though less remarkably than the indefinite syllables which pass through the same extent of the scale by the concrete rise. As there are more short and unaccented, than long and accented syllables, in discourse, the radical change, here exhibited, gives the general character of interrogative intonation. The diagram shows further, that after the radical pitch of the short quantities has assumed the summit-line of the octave, it proceeds in the diatonic melody on that line, until the occurrence of an indefinite syllable; when the radical pitch descends, to form a new concrete rise of the octave. Thus it appears, the rule of intonation, laid down when speaking of the diatonic melody of simple narration, does not apply to the melody of interrogative sentences; for these employ a more extended concrete interval, and a wider discrete transition in their changes of radical pitch. When an octave is used for the purpose of emphasis, the voice, after its concrete rise on the emphatic word, immediately descends to the original line of radical pitch, as in the following notation.

But this subject of emphasis will be considered particularly, hereafter.

The concrete octave and its radical change, being employed for very earnest interrogation, and for a high degree of expressive emphasis, are of less frequent occurrence in speech, than the following intervals of the fifth and the third.

SECTION XV.

Of the Interval of the Rising Fifth.

THE rising radical and vanishing Fifth, like the octave, is used for interrogation; for wonder and admiration, when they embrace a slight degree of inquiry or doubt; and for emphasis. It has, however, less of the smart inquisitiveness, of this last interval; is the most common form of interrogative intonation: and without having the piercing force of the octave, is equally capable of energy, and is always more dignified in its expression. The explanatory remarks in the last section, on the subject of the change of radical pitch, in interrogation and emphasis, apply to the like uses of the fifth. That is, in interrogative sentences, after the voice, in adapting itself to short quantities, has made a discrete change by radical pitch, through the interval of a fifth, the succeeding melody continues at its elevation, till again brought down for the purpose of a new concrete rise. And in like