I knew when seven justices could not make up a quarrel; but when the parties were met themselves, one of them thought but of an if: as if you said so, then I said sô; and they shook hands and were sworn brothers.

The slightest attention to those turns of voice on the word so, which every one who has the least idea of comic humour must necessarily adopt in reading this passage, will sufficiently exemplify the existence and utility of these two circumflexes.

These five modifications of the voice may be called absolute; as they are the only possible ways of varying it so as to make one mode essentially different from the other. High and low, loud and soft, quick and slow, which may accompany them, may be called comparative modifications, as what is high in one case may be low in another, and so of the rest.

Explanation of Plate I.

By the foregoing analysis of the voice, we perceive it is divisible into two simple inflexions; the rising and falling inflexion; and each of these again is divisible into two sorts of the same kind. The rising inflexion is divisible into that which marks a pause where the members are intimately connected in sense, (as at the word satisfactorily, N° V.) and that where they terminate in a question (as at N° I. on the word No); in both which places the inflexion of voice is exactly the same, but should be somewhat higher and more continued at the note of interrogation, than at the comma. flexion is likewise divisible marks a member containing

The falling ininto that which perfect sense not

necessarily connected with what follows (as

No I. at the semicolon at did;

and at N° IV. at

the colon at commandments); and that which marks the close of a period (as N° IV. at man): these two are essentially the same inflexion, and differ only as they are pronounced in a higher or a lower tone, the former terminating the members at did and commandments, in a middle or higher tone; and the latter, after a gradual fall of voice upon the preceding words, sinks into a lower tone upon the word man.

The two circumflexes, N° VI. and N° VII. fall and raise, and raise and fall the voice upon the same syllable, in which operation the vowel seems to be considerably extended for which reason, in the rising circumflex, N° VI. I have extended the vowel o by doubling it, and giving the first part of the vowel to the falling, and the last to the rising inflexion. In the other example, N° VII. you, being a diphthong, admits of a double sound, exactly equivalent to the letter u, which, being analysed, is no more than ye oo, pronounced as closely together as possible (See Critical Pronouncing Dictionary in the Principles, No 39, 171, and N° 8, in the notes); and therefore, if we might be permitted to violate spelling for the sake of conveying the sound, the first part of the word might be pronounced ye, with the rising inflexion, and the last part like oo, with the falling.

In this exhibition of the several inflexions of the voice to the eye, we have an opportunity of observing the true nature of accent. The accented syllable, it may be observed, is always louder than any other either before or after it; and when we pronounce the word with the falling inflexion, the accented syllable is higher as well as louder than either the preceding or succeeding syllables; as in the word satisfactory, No III. But when we pronounce this word with

the rising inflexion, as in No II. though it is louder and higher than the two first syllables, it is certainly lower than the three last. Did he answer satisfactorily? Those who wish to see a more minute investigation of the nature of accent, may consult Elements of Elocution, Part II. page 183.

The different States of the Voice.

AFTER the foregoing analysis of the voice into its several modifications or inflexions, we may take occasion to give a sketch of those states or varieties of which it is susceptible in other respects. Besides the inflexions which have been just enumerated, the only varieties of which the voice is capable, independent of passion, are, high, low; loud, soft; and these, as they succeed each other in a more or less rapid pronunciation, may be either quick or slow. The terms forcible and feeble, which are certainly not without ideas to which they are appropriated, seem to be severally a compound of two of these simple states; that is, force seems to be loudness and quickness, either in a high or a low tone; and feebleness seems to be softness and slowness, either in a high or a low tone. This, however, I wish to submit to the consideration of the philosophical musician. As to the tones of the passions, which are so many and various, these, in the opinion of one of the best judges in the kingdom, are qualities of sound, occasioned by certain vibrations of the organs of speech, independent on high, low, loud, soft, quick, or slow, which last may not improperly be called different quantities of sound.

It may, perhaps, not be unworthy of observation to consider the almost unbounded variety

which these principles produce by a different combination with each other. The different quantities of sound, as these states of the voice may be called, may be combined so as to form new varieties by uniting with any other that is not opposite to it. Thus high may be combined with either loud or soft, quick, or slow; that is, a high note may be sounded either in a loud or a soft tone, and a low note may be sounded either in a loud or a soft tone also: and each of these combinations may succeed each other more swiftly or slowly. While forcible seems to imply a degree of loudness and swiftness, and feeble a degree of softness and slowness, either in a high or a low tone. This combination may, perhaps, be more easily conceived by classing these different quantities in contrast with each other.

High, loud, quick, {

Low, soft, slow,{

Forcible may be high, loud, and quick, or low, loud, and quick.

Feeble may be high, soft, and slow, or low, soft, and slow.

The different combinations of these states may be thus represented:

When these states of the voice are combined with the five modifications of voice above-mentioned, the varieties become exceedingly numerous, but far from incalculable. Perhaps they may arise (for I leave it to arithmeticians to reckon the exact number) to that number into which the ancients distinguished the notes of music which, if I remember right, were about two hundred.

Practical System of the Inflexions of the Voice.

WORDS adopt particular inflexions, either according to the particular signification they bear, or as they are either differently arranged or connected with other words. The first application of inflexion relates to emphasis, which will be considered in its proper place; the last relates to that application of inflexion, which arises from the division of a sentence into its component parts, by showing what turns or slides of voice are most suitable to the several distinctions, rests, and pauses of a sentence. For this purpose the rising inflexion is denoted by the acute accent, thus (), and the falling inflexion by the grave accent, thus (`).

COMPACT SENTENCE.

Direct Period, with two Conjunctions.

RULE I. Every direct period, so constructed as to have its two principal constructive parts connected by correspondent conjunctions, requires the long pause with the rising inflexion at the end of the first principal constructive member.

EXAMPLES.

As we cannot discern the shadow moving along the dialplate, so the advances we make in knowledge are only perceived by the distance gone over.

As we perceive the shadow to have moved, but did not perceive it moving; so our advances in learning, consisting of insensible steps, are only perceivable by the distance.

As we perceive the shadow to have moved along the dial, but did not perceive it moving; and it appears that the grass