On the second 'no more', first line, the melodic phrase of the cadence preparation is suggested, purely for its musical and lazily triumphant-effect. So shaken as we are, so wan with care, Find we a time for frighted Peace to pant, And breathe short-winded accents of (1) new (2) broils, -Shakespeare—1st King Henry IV. THE POLYSYLLABIC CADENCE.-When a declarative sentence ends with a word of many syllables, having its accent or principal accent before the penultima, and not directly followed by another accent,-as, contradictoriness, pèremptorily, immediately, lògically, inexplicable, etc., the ca that particular order of sounds produced that particular effect. Did Mr. Davenport purposely read the words in that way? Did he always read those words so? Could he do so, if he wished? Was there a name for the effect? What were its essential vocal elements? Was there a law, a rule, a principle, by which he was guided? Did anybody else use the same means, for the same purpose? These were questions for which I could find no answer; except that, my ears being happily opened, I recognized the melody thereafter from the mouths of many preachers, actors, and readers. One day during my pupilage with Mr. Murdoch, in 1871, I was reading in Rush's 'Philosophy', and on turning the leaf, I found at the top of Page 306 a notation of Milton's line, Through Eden took their solitary way, that at once arrested my attention. With a thrill of surprise and delight I recognized 'the mysterious stranger' whose dulcet trail I had been following so long and whose mission I had been endeavoring to guess. I found the name and office orderly set forth. Doctor Rush designates the interval of the third as the pitch change on the phrase of preparation; but extended observation has convinced me that prevailing usage makes the fall, discrete or concrete, usually discrete.-take place on the interval of the fourth as often as on the third. dence begins with a falling concrete on the accent, and the remaining syllables form a downward succession of falling It is an exconcretes, in the manner of the Falling Triad. ception to the law of diatonic melody, in that the phrase proceeds in one direction beyond the limit of the tritone; but the cadencial necessity overbears the general melodic Example:principle. The case is a rare one. And bring in cloudy night im- me- di- ate- ly. ILLUSTRATIONS OF EMPHATIC CADENCE. In strongly emphatic and in impassioned speech, especially in culminations and climaxes, the cadence is widened in interval and otherwise strengthened, according to the case in hand. Emphasis is more important than cadence, if a choice must be made; but they can usually be so adjusted as to re-enforce each other. Very often, the cadence is made on the last two or three words, or even phrases, of a sentence, instead of on the last two or three syllables. Take as an example, the familiar line, Arm! arm! it is! it is! the cannon's opening roar! Note that the pitch progression of the radicals of 'can-' and 'o-' and the wave-crest of 'roar' is identical with the radical progression of the unemphatic triads; at the same time each of the three accents has its concrete fall of the fifth (or of the fourth), and in each case the unaccented syllables of 'cannon's' and 'opening' continue the downward The three words are thus sepintonation of the accent. arately and intensely emphatic, and yet, in their aggregate effect, form a strong and satisfactory cadence. A similar cadence, but differing in degree, is appropriate in another culminating line of the same poem: Rider and horse, friend, foe, in one red bu-ri- al blent! The concrete 'Ri-' and the falling skip, 'and horse,' read as minor thirds, will make a mournful effect. 'Friend,' 'one,' and 'red', need full, but not boisterous, thorough stress and long quantity. The emphatic cadence is made on the phrase 'red burial blent',-each word a strong falling intonation, in such relative adjustment that the wave-crest of 'red', the radical of 'bu-', and the wave-crest of 'blent' observe the falling progression of the diatonic cadence. In the last line of 'Lochinvar', read as a triumphant, selfanswering question, Have ye e'er heard of gallant like young Lochin- var?from the crest of the wave on 'heard' to the end of the line is, in effect, the cadence, not alone of the stanza, but of and for the poem as a whole. The symmetrical pitch progression of the wave-crests of 'heard,' 'young,' and '-var,' serves to unify the melody into a bold and unmistakable cadencial value, in spite of the interpersed diatonic phrases. 'Heard of gallant,' as notated, communicates the consummating touch of the prepared cadence. In the last line of the following more extended example of Emphatic Melody and Emphatic Cadence, the cadence of the passage as a whole begins on the accent of 'Massacre', and sweeps thence through the entire remainder of the line. Note the pitch progression of the accents of this line; the wave-crests corresponding, in their melodic value, to the radicals of emphatic falling slides. Here I de-vote your senate! I've had wrongs to stir a fe- ver in the blood of age, Or make the infant's sinews strong as steel. This day's the birth of sorrows; this hour's work will breed pro-scriptions! Look to your hearths, my lords! for there, henceforth shall sit for household gods, shapes hot from Tar-ta-rus!-all shames and crimes: Wan Treachery, with his thirsty dagger drawn; Sus pi-cion, poi-soning his brother's cup; na-ked Re-bellion, with the torch and ax, Making his wild sport of your blazing thrones; Till Anarchy comes down on you like Night, And Mas-sa-cre seals Rome's e- ternal grave! There are many instances of emphatic cadence and of wide falling sweeps and inflections in the passage:-'devote,' 'senate,' 'age,' 'infant's,' 'strong,' 'steel,' 'sorrows,' 'proscriptions,' 'hearths,' 'Tartarus,' 'shames,' 'crimes,' 'Treachery,' 'drawn,' 'Suspicion,' 'cup,' 'Rebellion,' 'blazing thrones,' 'Anarchy,' 'Night,' 'Massacre,' 'seals,' 'Rome's,' 'eternal.' Notice, very carefully, that, however complete the momentary closing effect may be, on an emphatic word or at the end of a group, what follows will be construed with it, as part of the one grand aggregate, if the melody of the succeeding portion is resumed at, or within a second-a tone-of, the concluding level of the strong falling movement. (See 'Continuative Melodic Sequence, following an Emphatic Falling Intonation in the Current,' page 331. Also, 'The Aspect of Egypt,' page 352.) If, after the effect of closure, there is a pitch transition of a third or greater, it properly signifies the disconnection of the following matter from the preceding. LOOK TO THE END.-In passages of climax, or of climax series, such as occur in the last example, the end should be constantly in mind from the beginning. You should thoroughly learn your vocal limitations, in pitch, force, and volume, and in their largest employment should never exhaust your resources. Never be taken unaware; give always the impression of an abundant reserve power. So, in studying and practicing this passage for artistic growth, first fix definitely the pitch, force, and volume of the closing lines the last two; and then so graduate the preceding lines, beginning at 'Wan Treachery', that all shall be symmetrical and consistent. Do not invoke throat irritation and hoarseness by false effort and sheer boisterousness. The enumeration of the 'shames and crimes' constitutes a series, each member of which is strongly emphatic and. followed by a descriptive clause. Every particular must, |