246 Whether Music is necessary to the Orator,— 
ticularly reply (if reply I may call it), by asking them a few 
questions in my turn. 
Ist. Have you ever known an individual who gave himself the 
trouble of reading either language by the outline of quantity? 
If not—how can you decide on the utility or inutility of those 
bulwarks against innovation which Grecian taste and judgement 
so industriously erected ? 
2d. Are you aware that /ong quantity does not consist in the 
enunciation of what is called a long vowel, but in the appropriate 
extension of syllables, which by the agency of vowels and pro- 
longable consonants we are enabled to accomplish ? 
3d. Are you aware that syllables called by our countrymen 
long,—as the last syllable in remove,—can with a little practice 
be uttered as quickly as the last syllable in remit ? 
4th. Can you readily pronounce with considerable extension, 
the second syllable of sébaoth* (emphasis or accent on the 
first)—or the last syllable of your own word dedicate, without 
destroying the chaste English character of these words? If not— 
learn, for I have heard it frequently done. 
5th. Do you perceive, by the tendency of my two last ques- 
tions, that ancient Iambics like décés may and can be read in 
quantity, preserving the emphasis or accent on the first syl- 
lable + ? 
6th. When you reflect on Quintilian’s observation,—that in cer- 
tain cases it required some delicacy of ear to distinguish whether 
* Mr. Walker in his Classical Pronouncing Dictionary has this extraor- 
dinary note on the word sabaoth. ‘ This word should not be confounded - 
in its pronunciation with sabbath. Sabaoth ought to be heard in three syl- 
lables, by keeping the a and 9 separate and distinct, which it must be con- 
fessed is not casy to do.” Not easy ! wretched must be the habits of that 
speaker who finds it difficult. 
+ The character of this lambus, when commanded, is wonderfully mar- 
tial. I have heard the English word cohorts so uttered—first syllable short; 
second very long—without any deviation from the usual vowel sounds: but 
T considered it very extraordinary that when the speaker thought proper, 
he could render the second syllable incomparably louder than the first, 
without altering what an English ear would denominate the stress or accent. 
This phenomenon being closely investigated, the deception was discovered : 
the second syllable was actually weaker than the first at its commencement ; 
but having terminated in a crescendo, thus: 
Co a De 
oie O...rts 
every ear was satisfied with the imaginary execution of the accent. 
By reversing the character, it became incredibly sof¢—as thus : 
Co... ho,.. rts It was more than Italian. 
a long 
