n the reader. Like all other unusual modes, its
employment lends color and contrast to utterance; that is, it makes it
more effective for the purposes of emphasis or distinction. The wave, as
has been described, is a concrete with an upward and a downward movement
united; but its last constituent is that which most affects the ear and
leaves upon it the stronger impression, and hence, especially if it be
given with a wide interval, _its dominant characteristic will be that of
the second movement_; for example, if the second movement be upward, the
wave may express interrogation mingled with surprise or scorn; if the
second movement be downward, the wave may express astonishment mingled
with indignation. The intervals which are given to the wave depend upon
the diction to which it is applied. To express great surprise or
vehement indignation it may sweep through a fifth or a whole octave. In
these extreme modes _the wave frequently is given a wider interval in
the second movement than in the first_, and its effect intensified by
the appropriate use of stress, and (for the expression of such emotions
as scorn, contempt, irony, ridicule, and so on) of the impure qualities
of voice. When used with intervals of the second, the characteristics of
direct and inverted forms lose some of their distinctness; but in this
degree the wave is effectively used to put into relief occasional words,
or, with median stress and long quantities, to give to the otherwise
short and tripping character of the second a dignified and impressive
effect suited to the rendering of all serious and important diction that
is not impassioned.

=The Wave of the Semitone= is generally employed when time, or syllabic
quantity, is needed as an element in the expression of the language of
complaint or pathos. The effect is much the same whether it be direct or
indirect.

=The Tremor= may be used to express grief, supplication, tenderness, in
which the interval through which it ranges may be wide, or, for a more
plaintive effect, be limited to the semitone. With constituent intervals
other than the semitone (that is, of a tone or otherwise), and ranging
through an aggregate interval of less or greater width, it may be used
to express laughter; as, for example, in the utterance of the syllables
"_ha_, _ha_, _ha_, _ha_, _ha_," which, when rapidly effected, resembles
one syllable uttered with discrete intervals. Combined with stress,
aspiration, and guttural vi