to what Extent, and how most readily attainable?” 85 
slide which attaches to our letter 7, and which in a few in- 
stances occurred with other vowels, is disregarded* in this 
setting’ 3—nor has'it been thought adviseable to remark in’ any 
way, the occasional imperfection of certain intervals. 
As to emphatic syllables, any attempt to describe them must be- 
wilder the readert: Let the experimenter beware, as usual, 
of omitting the REQUISITE for the execution of this Exordium. | 
The accents, as will appear, were rather seldom executed by 
the Speaker. 
it i 
Myvi ae 82 Sea Wyani a bew Axysajos Ov rope vv 4 mupt 
xOverow Or w voi te macs (Ab og Ceredeiero 
lent to a contradiction, and discontinues all further influence of a preceding 
sharp or flat. ence, the Jast note within this example 
a 
isa natural; so is the third: but the first and second are flats. 
*Must not every minute slide, such as that of a semiquarter tone, be rated 
even in song as a Monotone? Not one ear in a hundred can appreciate the 
difference. I have met some professional musicians, and not indifferent 
ones either—who, in speech, have mistaken a full semitonical slide fora 
fixed tone; particularly when the ascent of such slide was rapidly executed, 
and its remaining part, or rather the terminating part of the existing sound 
was steadily sustained, as thus 
+ Force is so peculiarly and so delicately distributed in this language, 
when read inquantity, that, like our select pieces of music,it may almost be 
said to possess all the optional advantages of forte and piano. The fre- 
i but ly no means the perpetual tendency of forte is nevertheless in 
avour of the longer syllables: and yet, if the quantity be preserved, an 
optional change of emphasis does not seemingly render any individual word 
ambiguous. Hence the extraordinary expression of this wonderful language, 
which in all probability no present or future language shall attain, 
F3 Bou- 
