unconsciously to the fullest requisites of precision for articulative or expressive purposes.

The powerful radical of passionative utterance thus placed at command by thorough discipline will be a full, compact body of sound, suddenly projected, and driven rapidly through the rapid concrete with a concentrated power. The increased volume of the orotund or the improved natural voice, gives this full body to the radical, relieving it from any thing like sharpness or barking hard

ness.

IMPERATIVE COMMAND.

Explosive Orotund, changing to Aspirated, Impassioned Force. Wider Intervals and Waves.

Thirds.

Gloster.- Stay you, that bear the corse, and set it down.
Anne.-What black magician conjures up this fiend,
To stop devoted, charitable deeds?

Gloster.-Villains, set down the corse; or, by Saint Paul,
I'll make a corse of him that disobeys.

1st Gent.---My lord, stand back, and let the coffin pass.
Gloster.—Unmannered deg! stand thou when I command:
Advance thy halberd higher than my breast,

Or, by Saint Paul, I'll strike thee to my foot,
And spun upon thee, beggar, for thy loldness.

Anne.-Would it were mortal poison, for thy sake! Gloster.--Never came poison from so sweet a place. Anne-Never hung poison on a fouler toad.

Out of my sight! thou dost infect mine eyes. Gloster.-Thine eyes, sweet lady, have infected mine. Anne.-Would they were basilisks, to strike thee dead! Giester. I would they were, that I might die at once.

Richard III," SHAKESPEARE.

IMPASSIONED FORCE.

"Oh, for a tongue to curse the slave,
Whose treason, like a deadly blight,
Comes o'er the councils of the brave,

And blasts them in their hour of might!
May life's unblessed cup for him

Be drugged with treacheries to the brim,—
With hopes that but allure to fly,

With joys that vanish while he sips,
Like Dead Sea fruits that tempt the eye,
But turn to ashes on the lips."

"Denunciation," THOMAS MOORE.

RADICAL STRESS.

Explosive orotund quality and radical stress, in its different degrees of force, from the merely forcible to the most violent forms of utterance, is illustrated in the following passage from Milton. High Pitch. Wider Concrete and

Discrete Intervals.

"Whence and what art thou, execrable shape,
That darest, though grim and terrible, advance
Thy miscreated front athwart my way
To yonder gates? through them I mean to pass,
That be assured, without leave ask'd of thee:
Retire, or taste thy folly; and learn by proof,
Hell-born, not to contend with Spirits of Heaven!
To whom the Goblin, full of wrath, replied :-
'Art thou that traitor angel, art thou he,
Who first broke peace in heaven, and faith, till then
Unbroken, and in proud rebellious arms

:-

Drew after him the third part of heaven's sons

Conjured against the Highest, for which both thou
And they, outcast from God, are here condemn'd,
To waste eternal days in woe and pain?

And reckon'st thou thyself with spirits of heaven,
Hell-doom'd, and breathest defiance here and scorn,
Where I reign king, and, to enrage thee more,
Thy king and lord! Back to thy punishment,
False fugitive, and to thy speed add wings;
Lest with a whip of scorpions I pursue

Thy lingering, or with one stroke of this dart
Strange horrour seize thee, and pangs unfelt before."

The difference between the stately movement of the epic, and the more colloquial, dramatic form of language, is strongly marked in the following passage, which calls for the aspirated orotund quality, and the sharper radical stress peculiar to the irascible indignation expressed in Gloster's words:

Gloster. They do me wrong, and I will not endure it.—
Who are they, that complain unto the king,

That I, forsooth, am stern, and love them not?
By holy Paul, they love his grace but lightly,
That fill his ears with such dissentious rumors.
Because I can not flatter, and speak fair,
Smile in men's faces, smooth, deceive, and cog,
Duck with French neds, and apish courtesy,

I must be held a rancorous enemy.

Can not a plain man live, and think no harm,
But thus his simple truth must be abus'd

By silken, sly, insinuating Jacks?

Grey. To whom, in all this presence, speaks your grace?
Closter. To thee, that hast nor honesty nor grace.

When have I injur'd thee? when done thee wrong?
Or thee?-or thee?-or any of your faction?

A plague upon you all!"

-"Richard III," SHAKESPEARE.

CHAPTER XXVI.

Final Stress.

218. FINAL STRESS is a greater or less enforcement of the final part of the syllabic concrete. Final stress, in its more forcible forms, is indicative of a hasty energy in the state of mind, similar to that expressed by energetic radical stress, still it differs from the latter in seeming to be more the result of a comparative predetermination or reflective. will directing the form of the vocal effort.

Radical stress comes with an instantaneous and almost involuntary burst from the organs, in the opening of the syllabic concrete; but in the final, they seem to be in conscious preparation, as it were, on the first part of the concrete, for the accumulation or concentration of effort at the close.

Final stress is, therefore, the natural means for expressing all mental states of a determined, resolute, or willful character; such as earnest resolve; dogged or fierce obstinacy; strong complaint; impatient or angry willfulness; earnest conviction; fretful impatience; supplication, etc. It may express these several states in various degrees, from the light coloring of a syllable or word by the energy of the final pressure on some moderate interval or wave, to the vivid force of the strongest jerk of sound, at the close of wide upward or down-sweeping intervals.

Final stress gives intensity to the interrogative character of the wide-rising intervals, adding in its more forcible degree the effect of angry impatience to the intonation of

the question, while it enforces in all cases the positiveness of the wide, downward intonation. Indeed, the strongest emphasis of final stress, when not interrogative, is always combined with the wider downward concretes or waves terminating with downward constituents; these two elements of effect, downward intonation and final stress, naturally combining to express the most determined positiveness of any passionative state.

To contrast the less forcible employment of final stress with its strong enforcement, let the words, I will not, be uttered with simply the strong determination of a fixed resolve, and there will be simply a firm pressure at the close of the descending interval on will not.

Then let the words I won't be uttered in the angry, impatient manner of a willful child, and the descending positive concrete of won't will exhibit that forcible jerk, or sudden powerful accumulation of sound at its termination, which constitutes final stress in its most highly expressive

form.

Final stress impresses the ear too strongly, even in its lighter degrees, to allow of its frequent and continued repetition as a drift in the current of discourse. It should be employed, therefore, only to mark occasional emphatic words, or successions of such words in impressive phrases, and then shaded in its degrees to their several gradations of emphatic value. For exercises for practice on final

stress see 147.

EXERCISES IN FINAL STRESS IN EXPRESSION.

HAUGHTY DETERMINATION AND PRIDE.—Expulsive Orotund. Impassioned Force. Falling Fifths and Waves.

“Thou may`st, thou shalt; I will not go with thee:
I will instruct my sorrows to be proud;