from nature, by patient observation and experiment, conducted within the limits of that little space, between the Tongue and the Ear. Many parts of the detail will at once be recognized by the competent critic; others will be afterwards received into the growing familiarity of his inquiry; while some of the descriptions, even if admitted, will still be considered as refinements, beyond the reach of perception and of rule. As a physiologist, I have done no more than my duty in this abundant record, however apparently useless some of its minutiæ may be. Much of the accumulated wealth of science is not at interest; but the borrowers may one day come. It is readily granted, that some distinctions in this history, may be at present practically disregarded. Thus the several forms of stress are described as palpably differing functions; and they are so, in speech: yet I have not ventured to insist on the importance of the difference in all cases. So in describing the nature and uses of the intervals of the scale, it was not designed to exclude the fourth, sixth and seventh, or intervals even beyond the octave, from the speaking voice. Nor is it to be understood that some of the intervals of intonation, may not on occasions, be used as substitutes of each other, without affecting the force or precision of speech. I was also far from ascribing particular expressions to all the possible forms of the wave.

In thus opening the way for the change of elocution, from an imitative Mannerism, with its inherent defects, to a directive Science, or rather, an Art Founded on Nature, with all its constituent usefulness and beauty, it was necessary to set forth every function of the voice: that the materials might thereby be furnished towards the future establishment of a system of instruction, for those who have the rare aim in scholarship, of seeking its higher accomplishments, through the abundant encompassing of principles, and the condensing economy of systematic means. That the investigation of this subject has produced much that will be imperceptible to the first scrutinies of the general ear, must be inferred from the past history of human improvement. The mysterious subject of the Speaking Voice, has been at all times so despairingly abandoned, as beyond the

reach of analytic perception, that the supposed impossibility alone, will perhaps raise a stronger opposition to the claims of this Demonstrative Essay, than all the Author might despondingly have imagined against his prospects of success, in undertaking this forlorn hope' of philosophic inquiry.

Many who in fine organization of ear, and a capability of delicate analysis, possess the means for successful investigation, will, too probably, shrink from the labor of experiment; and seek to justify infirmity of resolution, by defensively assuming the hopelessness of trial.

SECTION XLVII.

Of the Drift of the Voice.

HE who has the rare gratification, to hear a good reader, may perceive that his voice is not only adapted to the varying sentiments of individual words, but that there is a character in its movement, continued through parts, or the whole of his discourse; accommodated to its reigning spirit; identical during the prevalence of that spirit, and changing with its variations.. Every one recognizes this difference in manner, between a facetious description, and a solemn invocation from the pulpit; between the vehement stress of anger, and the well known whining of complaint. It is to this continuation of the same style, whatever may be its sense or expression, that I apply the term Drift of the voice.

The characteristic of drift is derived from the various modes of Quality, Force, Time, Abruptness, and Pitch. My purpose here, is to enumerate its forms; and to show how far they may be continuously employed in speech.

This subject is not unnecessarily specified by a name; nor

uselessly offered to the studious attention of the reader: for if a particular drift is required on a portion of discourse, or on the whole of it, any interruption of its assumed and appropriate character, will do equal violence to sentiment, and taste. Thus the introduction of a tone or second, into the plaintive drift of the chromatic melody, would no less offend against propriety of speech, than the errors of time in music, would shock the sensibility of an accurate ear.

The importance of the subject of drift being admitted; let us consider, Upon what it is founded; and How many different forms it may employ.

Drift is founded on the various species of the five generic modes of speech. These species have been described, as regards their individual character; their expressive meaning; and their occasional purpose of emphasis. In the present section, we consider the manner of applying them; and their peculiar effect, when continued through a part or the whole of the current melody.

The question,-How many different styles the drift may assume, is to be answered, by ascertaining which of the syllabic uses of quality, force, time, and pitch, will bear continued repetition; for some cannot be so repeated, without producing a disagreeable monotony. In general, it may be said, that most of the forms of time, stress, and intonation, are as occasion requires, applicable in continuation, without violating propriety or taste. Again, some can be employed only on a few, or on solitary syllables, and therefore are not allowable as a drift in discourse.

Although the character of a drift may pervade the whole sentence, yet the peculiar form of voice which produces it, is in some cases applied only to certain syllables. Thus, unaccented syllables cannot bear the prolonged time, required for the drift of dignity; still the dignity is spread over the whole sentence, by its long quantities alone. We here enumerate the various styles of drift.

The Drift of the second, or the Diatonic Drift. The diatonic melody is used for simple narrative and description; and

having no remarkable expression, may be so continued as to form one of the most common styles of drift. The employment. of expressive intervals, when not required, in the plain diatonic melody, violates one of the leading laws of speech. Let a gazette advertisement be read with the solemn drift of a long quantity, or in the plaintive style of the semitone; and all, at least of our New school of Criticism, will acknowledge the 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, this downward second may without monotony, constitute a drift.

The Drift of the Semitone. Enough was said 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 is occasionally heard in continuation. Their currents express positiveness; and an earnestness of conviction, with resentment, when enforced by stress. The following indignant argument from the pleading of Volumnia, in Coriolanus, bears the downward fifth on all its emphatic syllables.

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 continued use of the downward intervals, is as we have seen, a style of drift in exclamatory sentences.

The Drift of the Wave of the Second. This is used in continuation on long quantities, for occasions of solemn, deliberate, and dignified speech. I do not say,- this wave may not be

applied to syllables of moderately protracted time, and even rapidly executed on those we 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 drift; since the sentiments associated with the chromatic melody, generally call for slow time and long quantities. Upon the subject of this, and the preceding head, we must bear in mind that both the direct and inverted form of these waves are used interchangeably, in their respective melodies. The rise and fall of the simple second, having no peculiar expression, the difference, if any, in the effect of the respective terminating interval of its direct and inverted wave, is to be disregarded. Whereas, the strong expression of the wider simple intervals, gives a remarkable difference to the respective termination of their direct and inverted waves.

The Drift of Quantity: Attractive styles of speech are formed on 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 a radical or vanishing stress. The drift of long quantity, on the wave, is employed in all solemn, plaintive, and dignified speech.

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

The Drift of Force. Loudness and Softness, or with preferable co-relative terms, the Forte and the Piano, when respectively heard in continuation, do so impress the ear with their distinct peculiarities, as to constitute styles of utterance; and the failure to fulfill the demands of sentiment on either of these points, must be included among the faults of speech. Who will deny, there are occasions, when the drift of comparative piano would be ridiculous: and others again, when that of forte would be disgusting bombast.

The Drift of the Loud Concrete. This is only reading or speaking with more than usual force. It may therefore constitute a drift and may be referred to the preceding head.