E. C. Haedixg. — 0;i Voicel Sounds. 423 



Break, break, break, 

 On thy cold grey stones, Sea! 



Note the long vowel tluice repeated in the first Ime, like the 

 opening chords of the "Dead March." The second line is 

 even more remarkable. With just one short vowel, like a 

 grace-note, cutting it off from the fia'st line, it contains the 

 extraordinary number of six consecutive long vowels. 



Thus I have shown that in the mere selection of long and 

 short vowels (apart from the other qualities of composition) 

 there is produced a definite mental effect. And we have no 

 more reason to deride the old lady who " found much comfort 

 in that beautiful word ' Mesopotamia' " — which is mysterious, 

 sonorous, and full of long vowels — than to ridicule the musical 

 enthusiast who is "elevated" or "consoled" by the subtle 

 and far-reaching power of a musical composition. We derive 

 much of our delight in fine poetry from a precisely similar 

 cause. 



It would be interesting to follow this inquiry as regards 

 the predominating vowel-sound in English. Those who use a 

 phonetic system of spelling could supply this information. 

 The preponderating use of the symbol e in our ordinary writ- 

 ing has no real significance ; for not only has it five different 

 powers, but it is extensively used as a modifying character in 

 diphthongs, besides, in its capacity of silent final, merely indi- 

 cating the lengthening of a vowel. 



Before proceeding to the second part of my task — an en- 

 deavour to define the characteristic efl'ect of certain vowels — I 

 would advance two more propositions, following as a natural 

 corollary to those already laid down. 



There is a distinct affinity between the long vowels and 

 words relating to the higher emotions and intellectual qualities. 



The short vowels, on the other hand, characterize words 

 referring to the lower propensities ; to such as embody trivial 

 and frivolous ideas ; and to the language of cant and slang, abuse 

 and vituperation. And, further, — 



That each vowel, long or short, has its own specific mental 

 effect. 



Beginning at one extreme of the vocal scale, I take first the 

 long a in far. This sound is the first in all alphabets, and is 

 the highest and finest in mental effect. It is pre-eminently 

 the vowel of dignity — of meditative, serious, and melancholy 

 composition. This quality has been freely (though doubtless 

 intuitively) made use of in poetic composition. The sound is 

 duplicated with fine effect in a well-known line by Words- 

 worth, — 



Thy soul was like a star, and dwelt apart. 



And in the Authorised Version of the Scriptures — the gi'andest 

 piece of musical prose composition in the English language — 



