92 



THE POPULAR EDUCATOR. 



the ear with an instantaneous, clear, sharp, abrupt, and cutting 

 force, at the initial or " radical" part of each. 



2. " Expulsion " a conscious, intentional, and deliberate 

 force, coming upon the ear with great power ; as, for example, 

 in the language of authoritative command. 



Example of '' Expulsion." 

 Vanguard ! to right and left the front unfold ! " 



In this style, bold and forcible as it is, and even sudden as 

 is its commencement, the accented vowels do not startle the 

 ear with the abrupt shock of the tone of anger, exemplified 

 above. There is a partial, though very brief, swell, perceptible 

 in the "radical," or initial part of each sound. Both of the 

 preceding examples are classed under the head of " radical " 

 stress ; as their chief force lies in the " radical," or first part of 

 each sound. 



II. MEDIAL STRESS. This mode of force is exhibited in 



1. "Effusion" a moderate, gentle, and gradual swelling of 

 tone as, for example, in the calm and tranquil utterance of 

 reverential feeling, in which no disturbing impulse agitates or 

 forces out the breath, but the voice, somewhat as in music, 

 glides out, with a smooth effusive stream of sound, enlarging as 

 it flows, but never bursting out into irregular violence. 



Example of "Effusion." 

 But chiefly Thou, O Spirit ! that dost prefer, 

 Before all temples, the upright heart and pure, 

 Instruct me, for thou knowest. 



The " effusive " style avoids everything abrupt or sudden in 

 the formation of sound, and swells gradually to its "acme" 

 (chief point), at the middle of each sound in the manner of 

 music; and from tris point " diminishes," or decreases, to the 

 close. This species of "stress" is accordingly denominated 

 " medial," from the Latin word medius, the middle. 



2. " Suppression " a powerful force of " explosion" or " ex- 

 pulsion," kept down in the very act of giving forth the voice, 

 and oonverted into the "medial" form, as in the case of a 

 person communicating, in great earnestness of feeling, with 

 another, standing at a distance, and yet exceedingly anxious 

 not to be heard by a third person, still further off; or, as in 

 the tone of extreme earnestness, uttered by the watcher in the 

 chamber of a sick person. . 



Examples of " Suppression." 



Hark ! James, listen ! for I must not speak loud. I do not wish 

 John to hear what I am saying ! 



Step softly ! speak low ! make no noise ! 



This mode of voice may be termed a " half whisper ;" it is 

 the "aspirated" and "impure" tone, which lies half way be- 

 tween the ordinary tone of the voice and a whisper. It is 

 caused by allowing a vast quantity of breath, not " vocalised," 

 to rush out along with the sound of the voice. It is, in fact, 

 " explosion," or " expulsion," merged, as it were, or drowned in 

 a stream of "aspiration," and made to assume the style of 

 " medial stress." 



III. VANISHING STRESS. Besides the " radical," or initial, 

 and the "medial," or middle, "stress," there is also a "vanish- 

 ing," or final " stress," which begins softly, swells onward, and 

 bursts out suddenly, and leaves off abruptly, at the very close of 

 a sound, as in the jerking termination of the tone of impatient 

 feeling. 



Thus, in the language of maddened impatience, as uttered by 

 Queen Constance, in her frenzy of grief and disappointment, at 

 the overthrow of all her hopes for her son, in consequence of 

 the peace formed between France and England : 



Example of " Vanishing Stress." 

 War! war! no peace: peace is to me a war! 



In tones of this class the voice withholds its force, and delays 

 the explosion or expulsion till the la/?':, moment of the emphatic 

 sound, and then throws it out with an abrupt, wrenching force, 

 which resembles that of a stone suddenly jerked from the hand. 

 This species of stress, as it lies at the " vanish," or last point of 

 a sound, is termed the "vanishing stress." 



TV. COMPOUND STRESS. The designation of "compound 

 stress" is applied to that mode of forming tones which throws 

 out the force of the voice in such a manner as to mark, with 

 great precision, the " radical " and the " vanish," or the begin- 

 ning and the end, of each accented or emphatic sound. 



Thus, in the tone of surprise, which is marked by a bold, 

 " upward slide," beginning very low, and ending very high, the 

 voice strikes with peculiar force on the first and last points of 

 the slide, in order to stamp it more distinctly on the ear, as the 

 vehicle of intense emotion. A striking example again occurs in 

 the language of Queen Constance, in the r.Jtuation mentioned 

 before, when overwhelmed with astonishir jnt at the news si? 

 has just received. 



Example of " Compound Stress." 



Gone to be married ! gone to swear a peace I 



Gone to be friends ! 



V. THOROUGH STRESS. This designation is applied to that 

 species of force which marks all the forms of <: stress " " radical," 

 "medial," and "vanishing" with intense power, on the same 

 sound, so as to cause the character of all to be deeply felt, as 

 in a bold shout, or any other very impressive form of voicej 

 which indicates intense emotion. 



Example of " Thorough Stress." 

 Awake I arise ! or be for ever fallen ! 



In this shout of the arch-fiend to his fallen host, the tone, it 

 will be perceived, is not that of mere volume or quantity, of 

 mere loudness or physical force, as in the mechanical act of 

 calling, or the voice of a public crier. It has the wide " falling 

 inflection " of authority and command, and the forcible " radical " 

 stress and "expulsive" utterance of courage; and to preserve 

 the effect of all these, it must not only begin and close vividly, 

 but exhibit a "medial" "swell," and a distinct "vanish." It 

 must, in other words, give distinctive force and character to the 

 beginning, the middle, and the end of each accented sound. 



VI. INTERMITTENT STRESS, OR TREMOR. The " tremor," 

 (trembling) or "intermittent" stress, takes place in the utter- 

 ance of all those emotions which enfeeble the voice, by their 

 overpowering effect on feeling ; as, for example, in fear and 

 grief, and sometimes joy, when extreme. This mode of utterance 

 characterises also the feeble voice of age, or the tone of a 

 person shivering with cold. 



Examples of the former will be found in the section on 

 " Expressive Tones." Of the latter we have instances in the 

 language both of the old woman and the farmer in Wordsworth's 

 ballad, " Goody Blake and Harry Gill." 



She prayed, her withered hand uprearing, 

 While Harry held her by the arm 

 r _ , ( " God ! who art never out of hearing, 



" '' \_ Oh! may lie never more be warm!" 



No word to any man he utters, 

 Abed or up, to young or old ; 

 But ever to himself he mutters, 

 [Tr.~] " Poor Harry Gill is very cold!" 



LESSONS IN GEOMETKY XVI. 



PROBLEM XXXVIII. To describe a circle which shall touch 

 three given straight lines. 



Let x, T, z (Fig. 57) represent the three given straight lines ; 

 it is required to draw a circle 

 touching the three given 

 straight lines x, Y, z. If the 

 given straight lines do not 

 form a triangle, let them be 

 produced both ways, if ne- 

 cessary, until they form the 

 triangle A B c, as shown by 

 the dotted lines in the figure. 

 Bisect the angle A B c by the 

 straight line B D, and the 

 angle A c B by the straight 

 line c D, and let these lines 

 intersect in the point D. Then from the point D draw D E per- 

 pendicular to B c, and from D as a centre, with the radius D E, 

 describe the circle E F G. The circle E F G touches the given 

 straight lines x, T, z in the points E, F, G. The result would be 

 the same no matter what two angles of the triangle are bisected 

 in order to obtain the point D, or to what side of the triangle a 

 perpendicular is drawn from D in order to obtain the radius 

 of the required circle, as shown in the figure. 



By this problem we are taught how to inscribe a circle in any 

 given triangle, the construction adopted being precisely the 



Fig. 57. 



