ime or duration, we h iso the mind of our hea pass, with ourselves, wi of the sense and its prog at the end of the senten Now, is that desirab not almost the first grea gent reading aloud? T most readers aloud fail, themselves and their he

Take such a sentence read it aloud without res printed according to the pausing, or printers' pun READ aloud:

Nothing can be more preju of a nation than an unsettle cannot be calculated on from

Now, if you have suc probable) in reading thi is printed, without any will have done two bad have hurried yourself, and If they have underst an effort, and a painful follow such a rush of illThis shows the nece Gram

such a sentence.

printers' punctuation, req

it is intended to indicate the action of the speaking voice. The knobs denote the heavy sound or weight of voice at the root; what we will call its radical pitch. The thin line that springs from that knob or root in the above annotation designates the vanish or gradual diminution of the radical sound as it ascends or descends, and the length of that thin line denotes the di-tonic interval-that is, the interval between two tones, viz. one tone. That is, the radical and vanish make two tones.

And the above is the simplest cadence known in speech, viz. the ditonic cadence, or fall of a tone, used in the most casual remark without point or purpose.

If the speaker be an animated speaker, or if he speak with any force at all, the cadence or fall on the same words would be of a thirdthat is, the interval would be of two tones, thus musically noted:

He went home.

Elocutionally noted thus:

He went home.

which is the full cadence of the third.

You perceive the voice ascends di-tonically, and then descends at the close by a third. The melody—that is, the progress of the ascent-is ditonic, the close or cadence is by a third.

To make this clear to your ear, say the word 'No' as a question, without point or force, quite casually, and you will find that from its radical sound rises one tone thus:

No?

that it is a di-tone made by a slide, and not a skip, of the voice.

Then answer to the question without force or point, and you will make the simple cadence of the di-tone, thus:

No.

But if the same question and answer be given with some degree of point or force, the thin line, or vanishing sound of the voice, will pass over an interval of two tones, and reach a third higher and lower respectively, thus:

This is the cadence of the third.

Asked with more eager interest the same question will ascend a fifth, or over four in

tervals (making five, inclusive of the highest and the lowest), thus:

No?

Answered with decision, as if one said 'no ; by no means,' it will take the same interval of the fifth, thus:

And, as the interest, or intensity, shown in the inquiry grows greater in expression, and the answer in return becomes more decisive or emphatic, the ascending slide and the cadence will reach the octave up or down respectively, covering an interval of seven tones.

This is the ascent and cadence of the octave reserved for the strongest expression.

When I read such a sentence as

He died, and was buried,

with any degree of force, I make a cadence of a third-that is, an interval of two tones.

The whole melody of the two phrases con