I will in these instances mark the closing of the sense by cadence, in Italics.

22. And when Felix heard these things, having more perfect knowledge of that way, he deferred-them, and said, When Lycias the chief captain shall come down, I will know the uttermost of your matter.

23. And he commanded a centurion to keep Paul and to let him have liberty, and that he should forbid none of his acquaintance to minister or to come in unto him.

24. And after certain days when Felix came with his wife Drusilla, which was a Jewess, he sent for Paul, and heard him concerning the faith in Christ.

25. And as he reasoned of righteousness, temperance, and judgment to come, Felix trembled, and answered, Go thy way for this time; when I have a convenient season I will call-for-thee.

26. He hoped also that money might be given him of Paul, that he might loose-him; wherefore he sent for him the oftener, and communed with him.

All the above Italics mark a cadence of repose; but there are only quarter or half-rests after the intermediate cadences.

FALSE CADENCE.

There is a false cadence, very prevalent in the English pulpit, which consists in carrying the voice up, at the end of a sentence, a whole tone, and, in some instances, even a third; instead of making the cadence of repose by the fall of a third. This is a fault not uncommon

with Parliamentary speakers, and speakers at the Bar: it is aggravated when, as is not unfrequent, this false cadence is made by a sudden jerk of the voice upwards. If you are conscious of being guilty of this false cadence, correct it at once; it is a fearful vice against the logic and melody of utterance.

To detect the false and to attain the just cadence, you must continually practise the rise and fall of the voice, or the interval of the third, on the single words, as in the preceding table. This practice aloud will improve both your ear and your voice at the same time, especially if you take an inspiration so as to fill the lungs.

The next point is the CARRIAGE or sustainment of THE VOICE in the intermediate phrases of a sentence, between the commencement and the rest or middle pause.

It does not run on one note or tone, for I have told you there is no monotone in speech.

The same movement or carriage of the voice, I have also said, is di-tonic, or on two tones.

It may, perhaps, be new to you that in uttering even the first letter in the Alphabet A, you make a change of pitch. You do not utter it on one tone, but on two tones (a di-tone).

Try it, prolonging the sound, and you will find it has two tones; the radical or root, and the vanish; and that the vanish, or the tone in which it vanishes from the ear, is a tone higher; thus

the heavy knob denotes the root or radical pitch or tone; the tail upwards denotes the range of the ascent. Now say it aloud several times in succession, prolonging its sound, and you will find that a is not a single tone, but makes

وه وه به مه

a di-tonic sound with a radical and a vanish, having the difference of a tone between them.

And that is, as I have said, the course of all speech; it runs on di-tones; and a dull, inanimate reader or speaker never rises beyond the di-tone he is called monotonous.

A sprightly and animated speaker rises to thirds at culminating points of suspense in the body of the sentence, and makes cadences of thirds at the close.

We now come, naturally, to a most important branch of our subject.

EQUABLE-CONCRETE, RADICAL STRESS,

RADICAL-DISCRETE.

EQUABLE-Concrete is the term to express an even flow of voice, without jerking, skipping, or angular effect; that is, without strong radical stress.

By radical stress I mean weight of voice on the radical of a sound. We have before explained the difference between the radical and vanish of a sound (p. 61). This radical and this vanish really take place on every sound we utter; for we cannot repeat even the letters of the Alphabet on one tone; their utterance lies on di-tones, a radical and vanish:

A B C D &c.

and finally we make a cadence on the last three letters thus:

X Y Z

This is the distinction between music and speech. In the music on the piano for example, the transition from note to note is necessarily dis-crete or separate; on the voice in

singing, or on the violin, this transition may either be by a skip (dis-crete), as thus:

or by a slur (con-crete) thus:

But in speech the transitions in pitch are always concrete. In rapid or excited speech, indeed, the slur, or concreteness of the transition, is scarcely perceptible.

This effect is produced by the radical stress, or weight, of the voice on the radical or opening pitch of the sound, which, in excited speech, entirely overbears the vanish, and in fact diminishes its prolongation at least by half.

I will endeavour to make this clear. If you say, in an angry manner,

excluding all further question and debate, or representation or expostulation, you will be sure to speak it with radical stress on what we call the accented syllables; giving them an extraordinary weight of voice which would be marked in music with the sign of the staccato '', which is the sign I shall adopt for this radical stress. The vanish of the radical will not be