Hence the frequency of the use of the anapest (˘˘¯) and the dactylus (¯˘˘), and the relative rarity of the use of the bacchius (˘¯¯) and the antibacchius (¯¯˘); short always representing the falling voice, which embraces more than one word, while long represents the rising voice, which usually embraces but one single word; the definition requiring more words than the thing to be defined. Hence, for German diction, the "thought" of the word of the rising voice must precede the "utterance" of the words of the falling; while for English diction, the "thoughts" of the words of the falling voice must precede the "utterance" of the word of the rising.
A German may try and say the following:
"In einem Thal bei armen Hirten,
Erschien mit jedem jungen Jahr,"
in such a manner as not to think of the words which are italicized before uttering those which immediately precede them, and he will find that he will be unable to pronounce the latter.
An Anglo-Saxon may try and say the following:
"And the star-spangled banner in triumph doth wave
O'er the land of the free and the home of the brave,"
and he will find that in saying "in triumph doth wave," he must think of the words "doth wave" before he will be able to utter the word "triumph." Again, in saying "the home of the brave" he must think of the words "of the brave" before he will be able to utter the word "home."
A German, consequently, must think of the principal word before he can utter those which qualify it; an Anglo-Saxon must think of the latter before he can utter the former.
In place of using mechanical pressure, the same results can be obtained by making the respective parts rigid. Regarding this matter of making parts rigid, I want to make the following explanation, illustrating the physiological process going on in so doing.
While a part is rendered inactive, placed hors de combat, so to say, by the application of mechanical pressure, the same result can also be obtained by making such part rigid. To accomplish this, it is but necessary to positively think of such part, to associate your mind with it, which is equal to an act of expiration when it relates to the abdomen, and inspiration when it relates to the thorax. By positively thinking of the abdomen, which is equal to an expiration therefrom, you will be unable to utter the stress or rise of the voice, which is the product of an expiration from the stomach; by positively thinking of the thorax, which is equal to an inspiration into the same, you will be unable to utter the fall of the voice, which is the product of an inspiration into the chest. The reason is obvious: We cannot utter sound in the same direction in which we breathe; sound and respiration always following opposite directions.