from his organs, that the effect must spread widely around him : and whilst it assaults the air with its percussion, that it must break through the ear, into the understanding and heart of an audience.

Having thus described the particular species into which the generic affections of Pitch and Force are subdivided; and having marked out some of the occasions for their application in speech, we are now prepared to consider the special points of these functions, comprehended under the terms Accent and Emphasis. This detail will form the subjects of the two following sections.

SECTION XLIV.

Of Accent.

ACCENT is defined in philology, to be-the distinguishing of one syllable of a word from others, by the application of a greater force of voice upon it. This is a true, but limited account of accent: for it will be found on analysis that the accentual characteristic consists in a syllable being brought under the special notice of the ear. This may be done by force; but it will be shown presently that it may be likewise effected through other audible means.

No word when uttered singly, except as an ellipse, conveys any intelligible meaning. Accent, which is one of the qualities of individual words, can not therefore embrace what is properly called expression. When the conspicuousness of a syllable, whether made by force or other means, carries with it a remarkable meaning or a feeling, it constitutes the function called Emphasis.

If the difference, thus stated, between accent and emphasis

is accurately pointed out, Accent may be defined in general terms, to be-the inexpressive distinction made between the syllables of a word. This simply audible prominence may be effected by the radical stress,—the loud concrete, and—a longer quantity on the noted syllable.

In the first place. The radical stress constitutes the accent on immutable syllables. The word 'victory' has three short syllables, and the accent on the first consists of this mode of stress the brevity of the syllable not admitting the perception of a continuation of loudness. If therefore any distinction is to be made by force, the syllable must burst with the requisite fulness into a momentary existence. The accent may be transferred to either of the other syllables, by giving the highest degree of abruptness respectively to each.

Secondly. Syllables which have length sufficient to render the radical and vanishing movement cognizable, admit of accentual distinction by the loud concrete. In the word 'Padington,' the three syllables are of moderate length, and about equal. As the first has quantity sufficient to prevent the necessity of adopting the explosive radical stress, its high-relief in pronunciation can be brought out by the loud concrete alone. In this example the accent may be easily transferred to either of the other syllables, by a slight increase of force and it is to be remarked, of syllables to which the loud concrete is applicable, that they readily receive at the same time an addition of the radical stress. But the former mode of distinction being adequate to the inexpressive denoting of accent, there is no call for the further help of the radical abruptness, except on occasions which require the expressive distinction of emphasis.

Thirdly. When the time or quantity of one syllable exceeds the rest, that syllable readily receives the accent, and even when unassisted by loudness or abruptness sometimes necessarily assumes it. If the word 'victory' be pronounced with the usual degree of radical stress, on the first syllable, and the second be subsequently prolonged as if written 'victoe-ry,' the distinguishing impression of the accent, which in this case may be called the Temporal accent, will be postponed to that second syllable; even though it be uttered with comparative feebleness, and with all possible omission of abruptness. Words which consist of syllables of equal time, such

as 'needful,' 'empire,' 'farewell' and 'amen,' easily undergo a change of accent, merely by a slight addition to the length of either syllable. When the word 'heaven' is pronounced correctly as if written 'hev-vn,' the longer quantity of the first syllable assumes the accent; but when divided into two equal syllables as in 'hev-ven,' the place of the accent is doubtful; or the word may be said to have two equal accents.

These are the three modes of accentual distinction: accent being the prominent and fixed feature which serves to identify a word, without enlivening its utterance by any peculiar sense or expression. Now as these means are sufficient to give an importance to syllables, without conveying at the same time an especial meaning, which is the design of emphasis, we may see the line of separation between these functions. It is true that emphasis, which employs all the elements of expression, can not exist without accent; for the emphatic is always the accented syllable: and the expressive power of pitch, time and stress must give to the emphatic syllable that attractive influence over the ear which constitutes the essential agency of accent.

I have pointed out only the radical stress and the loud concrete as the causes of accent derived from force; since the median, the vanishing, the compound, and the thorough, are more commonly used as the means of expressive stress and in the plain example of a single word, surely no one does employ these last named elements. It is proper to remark further, that although the modes of accent have been represented as independent of pitch, still they do not exclude the use of certain of its inexpressive forms. Thus the radical stress and the loud concrete do move rapidly through a tone; and the temporal accent when very remarkable, generally takes the form of the direct or inverted wave of the same interval. For this, as was shown in its proper place, gives dignity to utterance by means of its its deliberate movement: yet has no peculiar expression incompatible with the simple diatonic melody.

Since it appears that the use of the three modes of accent, is in a considerable degree governed by the time of syllables, it is desirable to know the circumstances which render these modes severally applicable; make them easily changeable; and fix the preponderance of their influence.

The temporal qualities of syllables were arranged under

three classes.-The Immutable, Mutable, and Indefinite. The radical stress is the means of distinguishing immutable syllables. The loud concrete may be given to the mutable: since they have sufficient length for the display of force without the necessity of an abrupt explosion. Indefinite syllables, by their capability of prolongation, admit of the attractive distinction of the temporal accent. But in speaking of the time of syllables, it was said that those of indefinite quantity are sometimes pronounced equally short with the immutable. Thus, 'lo,' in 'loquacity,' and 'lo' used as an emphatic interjection, exemplify the extremes of duration. Hence it follows that the radical stress may sometimes be used on an indefinite syllable, in its shortest time as it is in the accent of the word 'illative.'

In some words, consisting of a long and a short syllable, the accent of stress and of quantity readily give way to each other, at the option of utterance. Thus in the noun 'perfume,' the length of the last syllable yields to the stress on the first. But in the verb 'perfume,' the stress as easily gives way to the temporal accent on 'fume.'

Of all the modes by which one accented syllable of a word is embossed upon the ear, if I may so speak, in higher relief than others, the most common is that of the temporal impression. I mean, that in the English language the accented syllable in words is generally the longest: and the excess of length alone, without any apparent radical abruptness, or increase of force on the whole concrete, above the neighbouring syllables, is sufficient to answer all the purposes of accentual distinction. The majority of writers, without sufficient examination, have resolved all accents into excess of force.

In as much as the radical accent belongs to short syllables; and as the loud concrete may be arbitrarily applied on all but short syllables, it may be inquired-which of the modes has the most influence in pronunciation, or has a controlling or excluding power. In most words, this predominant influence is readily mutable, by an increased application of the means which distinguishes each mode: as in the words commemoration,' 'perlieu,' Cordova,' 'Ontario," the accent, of whatever kind, being in these instances as easily practicable on one syllable as on another. But in words having such a temporal arrangement as occurs in 'beguile,' 'indeed,' 'delay,' and 're

venge,' the temporal accent can not be deprived of its supremacy, by a radical stress on the first syllable, except through an irksome effort of the organs in exploding the first, and abbreviating the last. For it is sometimes necessary to reduce the quantity of one syllable, in order that the radical stress may take the lead on another. The accent of the word 'Emanuel,' lies in the quantity of the second syllable. Scarcely any force of abruptness can transfer the accent to 'e,' whilst 'man' retains its length. When this is shortened, the first syllable ‘e,' may, through a strong radical stress, be made the leading accent; but the word will scarcely be recognized in the change.

In regarding the circumstances of accent, it ought to be borne in mind that the difference in kind of the elementary sounds, may in some cases, be mistaken for a difference in force; since to many an ear, ee-l' and 'a-le' might seem to be surpassed by 'ou-r' and 'a-we.'

It is also to be remarked, that there are different degrees of susceptibility among the elements, in receiving the accent. The tonics most easily and conspicuously take on each of its three modes. The abrupt elements assist the explosive effort of the tonics; but are utterly incapable of the loud concrete, and the temporal accent. The subtonics have little or no power, under the radical stress; but accomplish all the purposes of quantity whilst the atonics are feeble instruments of the accentual distinction, whether its aim be at time or stress.

The impressive agency of accent on the ear, is fixed by the orthoëpy of the English language, on one or two of the syllables of all words which have more than one. It is a great source of variety in speech; is the principal instrument of our versification; and when skilfully disposed, by the adjustment of a delicate ear, produces, with the assistance of quantity, the rythmus of harmonious prose.

Some grammarians and rhetoricians, with whom the intelligent Mr. Sheridan is to be ranked, have set forth a rule, that when the accent falls on a consonant, the syllable is short: and long when on a vowel. Whilst I was at school, I could not understand this great prosodial principle: now, I perceive it has no meaning. For if accent be variously produced by radical stress, the loud concrete, and by quantity, a distinction of literal place can not give the variety which the rule supposes.