had expected to introduce it into my manual, but space forbids. I can only here repeat that every syllable must pass through a concrete on some interval of the scale, and explain that it derives its singleness of impulse and length from certain relations existing between this concrete function and the three classes of elements: tonic, atonic, and subtonic.

91. Every syllabic combination has its purpose in the expression of speech; those elements and combinations of elements which are lacking in the more agreeable qualities, fulfill an essential office in the force and energy of

utterance.

The tendency in the general treatment of spoken language seems to be to slight the importance of the consonant elements (subtonics and atonics) beyond that of their mere articulative functions. The subtonics, in addition to the resonant beauty of their vocal murmur, and their capacity for prolongation as final elements of syllables, are also elements of great force. They are the means by which it may be said one grasps or holds a word under the control of the organs; or they may be called (together with the abrupt atonics), when used initially, the slings, by whose motive power the tonics are projected from the mouth in expressive utterance, or in positive or enforced articulation.

If grace and beauty alone were to be considered in the utterance of language, it would lose much of its expressive character arising from these elements, which, owing to the peculiar relations existing between them and the tonics, add to its strength and intensity. A careful analysis of words will also show the expressive value of the atonics beside their mere mechanical functions in articulation.

92. Sheridan, who seems to have appreciated the real value of the consonants more than almost any other writer before Rush, says: "Nothing is more common than to

hear natives of this country (England) acknowledging the justness of the charge which foreigners make against the English tongue, that of abounding too much in consonants; and yet, upon a fair examination, it would appear that we have no more than what contribute to strength and expression. If the vowels be considered as the blood, the consonants are the nerves and sinews of a language." And again: As the blending of vowels in dipthongs gives the greatest sweetness to syllables, so the union of two or more consonants gives the greatest strength."

93. Smart, in speaking of the benefits of a "cultivated utterance of the consonants," says:

"It is understood that a language is harmonious in proportion as it abounds with open vowel sounds. Doubtless, in respect to melody alone, such a language must possess great advantages. Where softness, harmony, and sweetness are required in pastoral or elegaic poetry, and in that species of eloquence where the object is only to please and captivate, it will be used with great effect. But when we intend to be strong and nervous, to rouse and animate, whence is to come the corresponding energy in the language? In fact, real energy of pronunciation [delivery] does not consist in a vociferate utterance, but in active and forcible exertion of the organs; and if a language gives no room for any exertion of this kind, if to pronounce it properly the whole flow of language must roll upon the vowels, and the consonants be little dwelt upon, however harmonious such a language would be, it would want strength and vigor. It is certain that the English tongue is not chargeable with defects of this kind. On the contrary, the number of its monosyllables, which so often begin or end with clusters of consonants, and the frequent practice of shortening or entirely shutting the vowel sounds, have been the cause of taxing it with harshness. But, in this respect, it is presumed much depends on the person who pronounces it, because there are proofs that some consonants are capable of harmonious effects, and if care be taken in uttering them, may supply the want of a greater number of sounds purely vocal, at the same time that they preserve their quality by adding strength to pronunciation. As a proof of the tuneful quality of the vocal consonants [subtonics], we may remark

that a semi-vowel [subtonic] contains voice enough to be made the subject of a note in singing; that is to say, if any word ending with a vocal consonant-dell, for instance-occurred in a song under a long note, it is in the singer's power to make nearly the whole note run upon the 7. How soft and harmonious are the consonant sounds marked in italics in the following lines:

"It is a pleasure to a good reader or speaker when he has such sounds to utter. He dwells upon them, throws into them all the voice they are capable of receiving, and through their means mellows his whole pronunciation."

DIVISION OF SYLLABLES WITH REGARD TO THEIR QUANTITY OR CAPACITY FOR EXTENDED TIME.

94. The concrete is subject to limitations in the syllabic structure, and the capacity of syllables for prolongation is determined by the character and relative positions of the elementary constituents. All syllables may be divided with reference to their quantity, as affected by these conditions, into three general classes:

First, those which can not be prolonged without deforming their utterance or destroying their correct pronunciation. These are the shortest syllables in the language, and are called, from their unchangeable quantity, immutable syllables. They comprehend the most of those wherein. the concrete is terminated with an abrupt atonic element, preceded by a tonic and subtonic, or by a tonic and one or more atonics. Thus, in the following words the syllables italicized are immutable. Articulate the words, and try to make these syllables longer than their usual short utterance attendant upon the arrangement of their elements, and the result will be a deformity that will be at once rejected by the most undiscriminating ear.

Thou tat-tered, starveling up-start."

"I'll fight till from my bones my flesh be hack-ed."

95. The second class of syllables are those restricted in quantity, but still possessing a certain power of extension. These are composed of an abrupt terminating element, preceded by a tonic and one or more subtonics, with, in some cases, an additional atonic or atonics. The power of prolongation in these syllables lies in their subtonic and tonic sounds, but is limited to only a moderate extension of time by the terminating abrupt element. From this slight power of variation in respect of quantity, they are called mutable syllables. Of such are these italicized in the following sentences:

"Bub-Me, bubble, toil and trou-ble." "What news?"

"I am no mate for you."

John struck James.

You can not make him do it.

96. The third class consists of syllables capable of indefinite prolongation, and are hence called indefinite syllables. They comprehend all that are terminated by a tonic or subtonic, except b, d, and g. Of such are the following:

These syllables may also be uttered with as short quantity as the immutables, but their capacity for quantity or extension in time arising from the character and arrangement of their elements, is the point (or principle) consid ered in the present division.

CHAPTER X.

Exercises on the Elements in Syllabic Combinations.

TONIC ELEMENTS.

97. THE following exercise is intended to fix the attention more closely on each tonic element, as it occurs in words and syllables, with special reference to its clear, radical opening.

(1) Let the columns of words be given as individual utterances, complete and separate, with deliberate opening abruptness of the initial element, graduated from clear exactness to explosive force.

(2) Let them, then, be repeated across the page, with increased rapidity of succession at each repetition, thus securing to the organs the ability to pass rapidly from one utterance to the next. Each syllable, however, must be distinctly uttered.

(3) Take the same words arranged in sentential form, first uttering them with abruptness, graduated in force on the initial, in the same manner as in the exercises on the columns.

Next, read the words with moderate force, and with reference to the connection in groups, as indicated by the dividing bar.

A third repetition will be found of great benefit, as regards the formation of habits of exact and clear enunciation, by accustoming the organs to repeat the sentence with force and rapidity of movement, gradually diminished