I have described all the functions of the voice which are known to me; the nature of drift must, therefore, in my view, be resolvable into the enumerated elements of speech. These elements have been considered under the modes of their individual construction, their expressive meaning, and their application in the limited sphere of emphasis. Our present view of them regards their distinguishing effect when continued in a current melody.

The question,—How many different styles the drift may assume, is to be answered by ascertaining which of the elements can be heard in succession on any indefinite number of syllables, without offending the ear by monotony for there are some which can not be repeated without producing this disagreeable effect. As a general proposition, it may be asserted that most of the specific forms of time, stress and intonation, may, as occasion requires, be applied in continuation without violating propriety or taste. There are again, some elements which we dare employ only on a few or on solitary syllables, and which can not therefore make a drift in discourse.

On the subject of this successive use of the elements, it is necessary to remark, that though the peculiar character of the drift may be sustained throughout a whole sentence, yet the function which produces it, can in some cases, be executed only on certain syllables. Thus, in the expression of dignity by means of long quantities, the unaccented syllables can not bear a protracted time: still the character of dignity will prevail, even with this limited application.

Let us enumerate the various kinds of drift.

The Diatonic DRIFT. The diatonic melody was said to be that mode of utterance which is used for simple narrative or description; being destitute of the marked expression that respectively belongs to question, argument and passion. The style of this melody is produced by the concrete rise of a tone, and by a change of radical pitch through the same interval. The employment of any other element in discourse of this kind, would be disagreeable. Suppose, for instance, an advertisement in a gazette to be read with the solemn drift of a protracted quantity, or in the plaintive style of the semitone; no one would be in doubt concerning this improper application of time and intonation.

In the usual course of the diatonic melody, perhaps the upward concretes predominate: the downward vanish of the second, being occasionally introduced for variety; but when required by the gravity of the subject it may without monotony constitute a drift.

The DRIFT of the Semitone. I said enough formerly on the subject of the chromatic melody; it exemplifies the present head. This style is spread throughout discourse of a plaintive, tender, and supplicating character. It was proved in its proper place, that every interval is practicable on every kind of quantity. The semitone, therefore, in its drift is heard on every syllable however short: and even though unaccented.

The DRIFT of the Downward Vanish. It was said the falling second is sometimes used as a drift. The downward third and even the fifth are occasionally heard in continuation. Their currents express surprise and confidence, and when enforced by stress, a warmth of conviction and temper. The following indignant argument from the pleading of Volumnia in Coriolanus bears the downward third throughout.

Come let us go:

This fellow had a Volcian to his mother;

His wife is in Corioli, and this child

Like him by chance:

A continuation of the downward intervals, forms, as we have seen, the drift of exclamatory sentences.

The DRIFT of the Wave of the Second. This element is used in continuation on long quantities, for occasions of solemn, deliberate, and dignified speech. I do not say this wave may not be passed through on syllables of moderately protracted time, and even on those which we have called mutable but it is on long-drawn or indefinite quantities that the effects ascribed to it as a drift, become conspicuous.

The DRIFT of the Wave of the Semitone. This is the most common form of the semitonic style; since the sentiments associated with the chromatic melody generally call for slow time and long quantities. Upon the subject of this and of the preceding head, we must bear in mind that both the direct and inverted modes of these waves are used interchangeably in their respective melodies.

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 !

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 ascribed 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