[Footnote 2: Ibid. p. 18 Meib. [Greek: tou ge logôdous kechôristai tautê to mousikon melos; legetai gar dê kai logôdes ti melos, to synkeimenon ek tôn prosôdiôn tôn en tois onomasin; physikon gar to epiteinein kai anienai en tô dialegesthai.]] [Footnote 3: Nicomachus, _Enchiridion_, p. 4 [Greek: ei gar tis ê dialegomenos ê apologoumenos tini ê anaginôskôn ge ekdêla metaxy kath' hekaston phthongon poiei ta megethê, diistanôn kai metaballôn tên phônên ap' allou eis allon, ouketi legein ho toioutos oude anaginôskein alla meleazein legetai.]] According to the rhetorician Dionysius of Halicarnassus the interval used in the melody of spoken utterance is approximately a Fifth, or three tones and a half ([Greek: dialektou men oun melos heni metreitai diastêmati tô legomenô dia pente, hôs engista; kai oute epiteinetai pera tôn triôn tonôn kai hêmitoniou epi to oxy oute anietai tou chôriou toutou pleion epi to bary][1]). He gives an interesting example (quoted above on p. 91) from the _Orestes_ of Euripides, to show that when words are set to music no account is taken of the accents, or spoken melody. Not merely are the intervals varied (instead of being nearly uniform), but the rise and fall of the notes does not answer to the rise and fall of the syllables in ordinary speech. This statement is rendered the more interesting from the circumstance that the inscription discovered by Mr. Ramsay (_supra_, p. 89), which is about a century later, does exhibit precisely this correspondence. Apparently, then, the melody of the inscription represents a new idea in music,--an attempt to bring it into a more direct connexion with the tones of the speaking voice. The fact of such an attempt being made seems to indicate that the divergence between the two kinds of utterance was becoming more marked than had formerly been the case. It may be compared with the invention of recitative in the beginning of the seventeenth century. Aristides Quintilianus (p. 7 Meib.) recognises a third or intermediate movement of the voice, viz. that which is employed in the recitation of poetry. It is probable that Aristides is one of the latest writers on the subject, and we may conjecture that in his time the Greek [Footnote 1: _De Compositione Verborum_, c. 11, p. 58 Reisk.] language had in great measure lost the original tonic accents, and with them the quasi-melodious character which they gave to prose utterance. In the view which these notices suggest the difference between speaking and singing is reduced to one of degree. It is analysed in language such as we might use to express the difference between a monotonous and a varied manner of speaking, or between the sounds of an Aeolian harp and those of a musical instrument.