where terminal stress would be appropriate. In emphatic passages one should be careful to stop the sound when at its loudest.

103. Compound Stress, beginning like Initial and ending like Terminal <; and sometimes, in passages characterized by Terminal Stress, both beginning and ending like Terminal <<; and in each form beginning loud and ending loud, with its softest part in the middle, is used in its first form, X, for a combination of the ideas conveyed by Initial and Terminal Stress; i. e. when one wishes both to express and to impress his thoughts, also for vehement determination, or demonstrative astonishment or horror. In both of its forms it is used wherever there are long emphatic, especially circumflex, slides, both the beginning and the end of which it seems important to bring out with distinctness; therefore, usually upon words expressing comparisons and contrasts, especially on those expressing irony, sarcasm and contemptuous mockery.

In the following extracts the Compound Stress falls on the words in italics.

Slightly aspirated orotund, sustained force.

1. Are you really prepared to determine, but not to hear, the mighty cause upon which hang a nation's hopes and fears? You are? Then beware of your decision! By all you hold most dèar,—by all the ties that bind every one of us to our common order and our common country, I solemnly adjùre you,—I wàrn you,— I implore you,― yea, on my bended knèes I supplicate you,-reject not this bill!

Idem.

2. You blocks, you stones, you worse than senseless things!
O you hard hearts! you crùel men of Ròme!
Know you not Pómpey? many a tíme and óft
Have you climbed up to walls and battlements,
To towers and windows, yea to chimney-tops,
Your infants in your arms, and thére have săt
The livelong day with patient expectation,
To see great Pompey pass the streets of Rome;
And do you now put on your best attíre?
And do you now cull out a holiday?
And do you now strew flowers in his way
That comes to triumph over Pompey's blood?
Begone

Pure, high, sustained force, varied melody.

3. "The birds can fly, an' why can't I?

Must we give in," says he with a grin,

"That the bluebird an' phéebe are smarter'n we be?”

Pure, high, varied melody.

4. The meaning of Meek she never knew,

Idem.

But imagined the phrase had something to do
With "Moses," a peddling German Jew,
Who, like âll hawkers, the country through
Was a person of no position:

And it seemed to her exceedingly plain,
If the word was really known to pertain
To a vulgar German, it wasn't germane,
To a lady of high condition!

I'll see thee hanged ere I
give a thousand pound I
You are straight enough in
Call you

5. Fal. I call thee coward! call thee coward; but I would could run as fast as thou canst. the shoulders; you care not who sees your back. that backing of your friends? A plague upon sûch backing! Medium pitch, orotund and guttural.

6. What's banished, but set free

who says this? my head?

From daily contact of the things I loathe?
"Tried and convicted trăitor!
Who'll prove it, at his pêril, on
Bánished? I thank you for't!
I held some slack allègiance till
But now my sword's my own.

See, also, §§ 211, 212, 213.

It breaks my chain! this hour,—

a. This stress is especially effective on a long slide made on a single syllable that ends a word; e. g. I supplicate you, I implore you.

The syllables that follow the inflection on supplicate prevent our using the Compound Stress on that (see § 45: b, c). It will be noticed, also, that the same principle sometimes prevents our using Compound Stress even where we have the circumflex (§ 45: c).

b. Used excessively, Compound Stress makes delivery seem sometimes snappish, and sometimes overdone, in the matter of emphasis.

104. Thorough Stress, a strong stress throughout the syllable, is sometimes described as a combination of Initial, Median and Terminal, but, as given by a flexible

cultivated voice, it perhaps might better be described as a very strong form of Median Stress. In either case, it would begin and end loud, and indicate a combination of the ideas conveyed by Initial, Median and Terminal; i. e. positiveness, push and feeling, all together; therefore, rapturous triumph, vehement appeal, lofty command, indignant disdain or soul-stirring agony.

Moderately high aspirated orotund.

1.

The world recedes; it disappears!
Heaven opens on my eyes! my éars
With sounds seràphic ring:

Lend, lend your wings! I mount! I fly!
O grave! whère is thy victory?

O death! where is thy sting?

High orotund, explosive sustained force.

2. Cheer answer chéer, and bear the cheer about. Hurrah, hurràh, for the fiery fort is ours!

Idem.

"Victory, victory, victory!'

3. Forward, through blood and toil and cloud and fire!
Glorious the shout, the shock, the crash of steel,
The volley's roll, the rocket's blasting spire!

They shake; like broken wàves their squares retire.
On them, hussars! Now give them rèin and hèel!

Idem.

4. Some to the common pulpits! and cry out "Liberty, freedom and enfranchisement!"

Low aspirated pectoral.

5. Poison be their drink;

Gall, worse than gall, the daintiest meat they taste;
Their sweetest shade, a grove of cypress trees;
Their sweetest prospects, murdering basilisks;
Their softest touch as smart as lizard's stings,
Their music frightful as the serpent's hiss,
And boding scrèech-owls make the concert full
With the foul terrors of dark-seated Hèll.

As a rule, this stress needs to be more avoided than cultivated. Except when used with discrimination, its inflexibility, devoid of the graceful and delicate tones characterizing other forms of stress, renders it a disagreeable mannerism, suggesting, when employed on the stage, rudeness and vulgarity.

105. Tremulous Stress (so called) is hardly a form of stress, but a trembling movement of the voice produced in the throat, and characterizing a whole passage rather than the emphatic words in the passage. It indicates exhaustion, whether it come from age, sickness, weakness, or an excess of emotion, either of joy or of grief.

Pure, medium pitch.

1. Pity the sorrows of a poor old man,

Whose trembling limbs have bórne him to your door. Pure, medium pitch, moderate time.

2. If you're waking, call me early, call me early, mother dear,

For I would see the sùn rise upon the glád Néw Yèar.
It is the last New Year that I shall ever sèe,

Then you may lay me low i' the moùld, and think
no more of me.

Oratund, medium pitch.

3. Have mercy upon me, O Gòd, according to thy lovingkindness: according unto the multitude of thy tènder mèrcies, blot out my transgressions! Wash me thoroughly from mine iniquity, and cleanse me from my sin. For I acknowledge my transgrèssions, and my sin is ever before me. Against thee, thee only, have I sinned, and done this evil in thy sight. Hide thy face from my sins, and blot òut all mine iniquities!

High, pure, aspirated, fast.

4. You must wake and call me early, call me early, mother dear;

To-morrow 'll be the happiest time of all the glad
New Year;

Of all the glad New Year, mother, the måddest, mèr-
riest day;

For I'm to be Queen o' the Mày, mother, I'm to be
Queen o the Mày.

Orotund, rather low.

5. Còld is thy brow, my son! and I am chill, as to my bósom I have tried to prèss thee! How wàs I wont to féel my pulses thrill like a rích hàrpstring, yearning to carèss thee, and héar thy sweet "My father!" from those dumb and cold lips, Absalom!

See, also, §§ 91, 228.

A discriminating use of the tremor imparts to delivery a rapturous or pathetic effect that nothing else can give; used in excess, it is enfeebling.

Let the student now read over the passages given as illustrations in §§ 107-120, 123-137, 140-145, and § 149, and determine for himself the kind of stress that should be used with each quotation.

GENERAL FORCE.

106. By this is meant the force that characterizes series of words in phrases or sentences, rather than single words or syllables. It may be divided, according to the kind of mental energy (§ 32) that it expresses, into abrupt and smooth force; according to the degree of this energy, into loud and soft force; or according to the nature of the force itself, as influenced by the action of the vocalizing organs, into sustained, natural and suppressed; as influenced by the action of the lungs, into explosive, expulsive and effusive (§ 8). Besides this, it is further modified by the kind of stress used with individual words,- all which facts are sufficient to show that the character of General Force is somewhat complicated. But a little attention given to the following explanations will reveal to the student that the right use of all these different varieties of force depends on the application of a few general principles, which it is not difficult to understand. Let him first learn when to use loud or soft, abrupt or smooth force; then all that follows will show him how to use these.

107. Abrupt Force is used when there is an excess of energy, which seems to have a constant tendency, as it were, to burst through the form. If this excess come from a great degree of excitement, or of irritation, as in rage, horror, detestation, etc., we have

a. Loud Abrupt Force, usually on a low key with orotund, aspirate or guttural quality.

Practice the following, and all the examples in § 149, changing the force as indicated by the italics. Keep a low key, expelling tones from the abdomen (§ 2). Dost thou come here to WHINE?

TO OUTFACE me by leaping in her grave?

BE BURIED QUICK WITH HER, and so will Î.

And if thou prate of MOUNTAINS,―let them throw
MILLIONS OF ACRES on us, TILL OUR GROUND

SINGEING HIS PATE, AGAINST THE BURNING ZONE,
MAKE OSSA LIKE A WART. Nay, an' thou'lt MOUTH,

I'll RANT as well as thou.

(See, also, exercises in § 14; also §§ 110, 114.)