the "concrete movement," which adds impressiveness to the expressions of the pathetic and tender emotions, and which is essential to give appropriate utterance to sentiments embracing the idea of respect, reverence, dignity, or deliberation. REMARKS ON THE VANISHING STRESS. 117. "Vanishing stress" commences on a slightly prolonged suppressed tone, and terminates in an abrupt, forcible explosion. It is merely a deferred "radical stress." It requires long quantity, is practicable on the rising and falling intervals of the scale, and its operations consist in giving to the several intervals a greater and more attractive power than belongs to their natural "concrete movement." 118. In the downward course of the interval, it enhances the degree of surprise and positiveness, and is of signal importance in uttering the sentiments of warning, positive assurance, and in expressing an unyielding determination of purpose. It is the function which imparts great force to the expressions of contempt and other kindred feelings. 119. The following diagram is designed to show the movement, force, and volume of the voice in exercising on the radical, median, and vanishing stress: Radical Stress. Median Stress. Vanishing Stress. EXERCISES ON THE RADICAL STRESS. Vowel Elements and Words. 120. A, E, I, O, U, OI, OU. Ale; all; arm; at; eve; end; iron; imp; old; ooze; on; off; use; up; oil; our. Fame; fall; farm; fat; love; lend; vine; victory; more; moon; morn; foil; found: burst; dare; down. Exercises on Sentences. 121. He woke to hear his sentry's shriek "To arms! they come! the Greek - the Greek!" 122. Down, soothless insulter! I trust not the tale! 123. Next, Anger rushed: his eyes, on fire, In lightnings owned his secret stings: And swept with hurried hand the strings. 124. It is strange! — it is dreadful! Shout, Tyranny, shout, Through your dungeons and palaces! Freedom is o er. 125. Whence and what art thou? execrable shape! EXERCISES ON THE MEDIAN STRESS. Vowel Elements and Words. 126. A, E, I, O, U, OI, OU. Aim; arms; grand; fall; feel; tear; mend; time; give only; move; on; your; young; toil; round. Exercises on Sentences. 127. Hail, holy Light! All hail, thou lovely queen of night! 128. Eternity, thou pleasing, dreadful thought! 130. These are thy glorious works, Parent of good, 131. Farewell, a long farewell, to all my greatness! 132. Farewell! Heaven smile propitious on thy cause, And favoring breezes waft thee to the arms of love paternal EXERCISES ON THE VANISHING STRESS. Vowel Elements and Words. 133. A, E, I, O, U, OI, OU. Name; warm; all; evil; event; refine; oppose; refuse; destroy; profound; slave; what; this; you; when. Exercises on Sentences. 134. But, whatever may be our fate, be assured, be assured, that this declaration will stand. It may cost treasure, and it may cost blood; but it will stand — and it will richly compensate for both. 135. Down, soothless insulter! I trust not the tale. 136. "What! leave the combat out?" exclaims the knight. 137. I'll not be made a soft, dull-eyed fool, 138. To shake the head, relent, and sigh, and yield To Christian intercessors. Follow not! I'll have no speaking. I will have my bond! My ear is pained, My soul is sick, with every day's report Of wrong and outrage, with which earth is filled. 139 Cas. Must I endure all this? Bru. All this! Ay, more! Fret till your proud heart break. Go, show your slaves how choleric you are, And make your bondmen tremble. Must I budge? Must I observe you? Must I stand and crouch GENERAL REMARKS ON STRESS. 140. Stress is merely the mode by which force is made perceptible or impressive on phrases, on single words, sometimes on syllables, and sometimes exclusively on a single letter in a syllable; and this, as we have seen, may lie conspicuously either on the first, middle, or last part of the sound. It frequently happens, especially in dramatic reading, and occasionally in poetic and beautiful description, that various kinds and degrees of "stress "" are laid on different words in the same sentence, and sometimes even in the same phrase. The following may serve 141. Hear me; for I will speak. Must I give way and room to your rash choler? 142. OBSERVATIONS. In the first line in the above sentence, the word "hear" is intended to give utterance to the emotions of anger, peremptory command, and impetuous resolution; and the natural expression of these and similar emotions, requires abrupt "radical stress," short quantity, and downward inflection. Why not lay it down, then, as a principle, that all similar sentiments are to be expressed in a similar manner? It is therefore confessedly requisite, that the reader should have a full command over these functions of the voice, so that they "will come when he does call for them," and give a true and vivid coloring to the sentiments he intends to utter. 143. Again, the word "will," in the first line of the above sentence, is intended to express an unyielding determination of purpose; and the natural expression of this and similar sentiments, requires the "vanishing stress," long quantity, and downward inflection. Why not lay it down here, also, as a principle, that all similar sentiments are to be ex 144. Yes, I must die! Blow on, sweet breeze, blow on; Give me one look, before my life be gone! O, give me that! and let me not despair — 145. The above passage is expressive of the sentiments of supplication and reverential submission; and the natural expression of these sentiments, and others of a dignified and solemn description, requires the "median stress;" modified, however, at times, and according to the nature of the case, by a semitone and tremulous movement of the voice, in order to give the highest degree of impressiveness to the intended meaning. Why not lay it down as a principle, then, that passages expressive of similar sentiments are to be read in a similar manner? 146. Thus, to deduce rules from observations of particular instances, is what the art of elocution professes to do; and it is clear, when this is done, a great point is gained; the business of learning to read will be greatly facilitated, and the progress which the attentive student may make will be both sure and rapid. TREMULOUS MOVEMENT OF THE VOICE. 147. TREMOR is the introduction into speech of what is transferable in laughter. It consists in ingrafting upon, or giving to, the "concrete movement" a continued succession of distinct impulses, or |