The DRIFT of Quantity. The most attractive styles of speech are formed of the accident of Time. In discourse containing the sentiments of gaiety, mirth, anger, and other similar emotions, the utterance is quick, and this is generally combined with the simple concrete of the second, together with the radical or vanishing stress. The drift of long quantity is set on solemn, plaintive, and dignified composition.

One might make a threefold division of the temporal Drift; into that of-quick,-median, and-slow time.

The DRIFT of Radical Stress. In the section on emphasis I pointed out the sentiments which require the application of this radical force to single words. But these sentiments sometimes prevail throughout discourse, and consequently the element of stress which they assume in continuation, imparts to melody the character of a drift.

The DRIFT of the Median Stress. This is necessarily connected with long quantity; and generally with the wave of the second and semitone. Its drift is not very distinguishable from that of the last named elements: for a protracted time on these intervals is always the sign of that dignity which generally admits the use of this median swell.

The DRIFT of the Vanishing Stress. This element was shown to be applicable to all the intervals of the scale. But as a drift it can be employed only on the rise and the wave of the second and semitone, and on the downward third and fifth. The vanishing stress whether in the diatonic or chromatic melody, marks a considerable degree of energy in sentiment; and communicates to the current of discourse a style of utterance which can not be mistaken.

The DRIFT of Force. Loudness and Softness when respectively heard in continuation, do so impress the ear with their distinct peculiarities, as to constitute styles of utterance; and the failure to fulfil the demands of sentiment on either of these points, must be included among the faults of speech.Who will deny that there are some occasions, on which the drift of comparative softness of voice would be entirely ridiculous and others again, on which that of loudness would be disgusting bombast !

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These ten modes of drift do, by the continued use of their respective elements, impress a peculiar characteristic on extended portions of discourse.

Of the other elements none are allowable in that continuation which, according to our previous account of drift, would constitute a current style. And yet the application of some of them to phrases, extends so much beyond the limits of emphasis, that they deserve a place next in order to the real drifts. If the reader is disposed to give them a name, founded on their nature, they might be called Partial drifts: thus we have,

The Partial DRIFT of the Tremor. I have hinted that the tremulous movement is proper only on short passages, passages of syllabic crying if I might so speak; but that it would be monotonous if kept up through a long line of discourse. And here let it be understood that though a drift is by its nature a monotony, or continuance of the same voice, still it is rather satisfactorily expressive, than disagreeable when made on certain elements. The tremor however is not one of them.

The Partial DRIFT of the Aspiration. The sentiments which give rise to this symbol are like those of the preceding head, generally limited to temporary portions of melody. When so applied, the character of utterance justly entitles it to the name of drift.

The Partial DRIFT of the Guttural Emphasis. The scornful feeling which calls for this element, is sometimes continued for more than the time and the solitary occasions of emphasis; and thus makes a partial drift.

The DRIFT of Interrogation. The reader may recollect that the third, fifth and octave are the intervals of intonation in a question. The partial form of their use in interrogation, so rarely exceeds the employment of them in emphasis, that they can scarcely in this case be entitled to the name of drift. But in those questions which are of declarative construction, or that otherwise demand the thorough intonation, the predominance of these wide and impressive intervals gives that peculiar character which the common ear at once perceives and comprehends. Still as questions are but portions of discourse, and as these high intervals are never used in continuation for any other purpose, this form of drift must be considered as partial.

The Partial DRIFT of the Phrases of Melody. The

Monotone and the phrase of Alternation are sometimes severally used in continuation on certain portions of discourse, of greater extent than those to which these phrases are appropriate, in the plain and more common construction of the current melody. In a former section peculiar expressions were aseribed to these two phrases when continuously employed: consequently when such a condition of the melody occurs, it gives, according to its nature, the partial drift of the monotone or alternation.

It may be made a question, how far Quality of voice, when given to a part or the whole of discourse, might constitute a drift. The fulness of the orotund may impart to utterance a character of dignity which is at once distinguishable from the meagre huskiness and forceless efforts of uncultivated speech.

The compound stress and the loud concrete differ so slightly from the radical and vanishing modes of force, and from each other, that it would be a mere refinement to found styles of drift upon them.

Such then are the elements which may appear throughout the whole of a discourse; or be set restrictively on one or a few sentences.

There are a few elements of which a drift can not be made. It was said that interrogative sentences of the Thorough kind might be regarded as carrying a partial drift of the third, fifth or octave. But with the exception of this case, these intervals are never in correct speech used in continuation. The minor third, though a plaintive interval, is too peculiar in its kind to be tolerated as a drift. Its effect will be shown when we treat of the faults of speakers.

As a current style of the simple movement through these wider ranges of the scale, is forbidden in melody, so the combination of them into the higher kinds of wave, can not be extended beyond the limited places of emphasis. There is however a drift of this kind observable as a fault in readers: nay, some, in their formal efforts, can command no other style of intonation. But the least cultivation of ear rejects the repetition of these florid elements.

I need scarcely say, the emphatic vocule can not be made the basis of drift.

There is a prominent feature in the art of reading, which

seems nearly related to the subject of this section. I mean the notable change of voice in the transition, by a good reader, from one paragraph or division of discourse to another. It may be supposed that this point is already included in the foregoing history of drift. When any strong or peculiar sentiment is contained in the new paragraph, it will indeed be marked by the required style. But without seeing the page, we can sometimes perceive that a reader is passing to a new subject, even where there is no striking alteration of expression and where the plain diatonic melody continues in use after the transition.

In such cases the peculiar effect is produced by several agencies. First By the period which precedes the change, being made with that most complete close which we called the prepared cadence. This indicates the termination of the subject in hand, and thereby implies the introduction of a new one. Secondly-By a pause longer than that between sentences which are nearly related to each other. Thirdly-By the succeeding sentence or paragraph beginning at a pitch above or below the line of the previous current. Fourthly-By a striking effect from the phrases of melody applied to the outset of a new topic.

These vocal indicials make the change of subject obvious, in those cases in which a peculiar construction of the commencing phrase defers the development of its sense, and renders it impossible to discover by the few first words, whether the proximate sentences are immediately or remotely related to each other.

From a review of this subject, it appears, that many of the elements of expression may be in continual use, without producing a monotonous effect: that some can carry their drift but to a certain extent, whilst others do not bear an application beyond the solitary place of emphasis. It appears, too, that those which are inadmissible as a general characteristic, are elements of very striking properties, reserved for the higher purposes of emphatic distinction. Thus the downward eighth has the most impressive intonation; and is never used in drift. The case is similar with the higher forms of the wave; and the rising third, fifth and octave, when not employed for interrogation.

After what has been said, a little attention will show that several styles may exist at once in the same melody. Thus the drifts of the second, of short time, of the radical or the vanishing stress, and of loudness may be united. In like manner we may have a combination of the drifts of the wave of the second, of long quantity, of the median stress, of loudness or of softness. In short, the reader can ascertain which of them may be associated, by knowing the compatible qualities of the several elements: for they are united in the practice of the voice, in every possible way.

I have not thought it necessary to give extracts from authors to illustrate the various kinds of drift. After all that has been said of the accidents of the voice and their species, in former sections, together with the foregoing history of their application in a continued style of speech, I need not waste time on those explanations which the intelligence of the reader will easily supply. For I am not less solicitous to restrict the number of the pages of this essay, than to extend the measure of its instruction.

SECTION XLVII.

Of the Vocal Signs of the Passions.

I HAVE already given a physiological description of the functions of the voice, and have pointed out their expressive powers as far as they denote simple thought, sentiment, feeling, emotion, or any other named condition of the mind. This should satisfy the reader; since it describes in its own general way, all that to me, at least, is audible and capable of measurement. But former systems of elocution having embraced an inquiry, however fruitless, on the delineation of the passions in speech; such a view, though superfluous after what has been said, may perhaps be demanded at my hand.