and quantity, and is subject to all possible varieties of quality of voice. All passionless subjects take on this drift, with occasional emphasis to mark the sense.

Drift of the wave of the second.

This drift is united necessarily, with slow time, can only be maintained on long quantities, and is limited to dignified, solemn, deliberate subjects.

Drift of the semitone.

This, when united with long quantity, makes a drift of the wave of the semitone. It is adapted to all highly penitential, tender, and plaintive subjects.

CONSPICUOUS EXAMPLE.

Yet, O! Lord God, most ho-ly, O! Lord, most mighty. O! ho-ly and most merciful Sav-ior, deliver us not into the bitter pains of e-ter-nal death.

The whole is semitonic; the words in italics take the

wave.

Drift of the downward third, and fifth.

This is often united with vanishing, with compound, with median, and sometimes with radical stress. This union of elements, will express positiveness, conviction, indignation, surprise, denunciation, reprehension, reproach, authority, command.

EXAMPLES.

Positiveness.

He is a prophet. John, ix. 5.

I believe that thou art the Christ, the Son of God, which should come into the world.

In these two examples, some of the emphatic words have an elevation of note, but the downward concrete is conspicuous, and is combined with stress.

Denunciation.

Woe unto thee, Cho-ra-zin; Woe unto thee Bethsai-da.

"For the nation and kingdom that will not serve thee, shall perish; yea, those nations shall be utterly wasted.

Authority-command.

He that be-liev-eth in me, though he were dead, yet shall he live, and whoso-ev-er liveth and believeth in me, shall nev-er die.

Uz-ziel, half these draw off, and coast the south

With strict-est watch; these oth-er wheel the north;
Our circuit meets full west.

There is a downward concrete heard in the above in

stances, and with marked stress.

So in the following.

Such where ye find, seize fast, and hither bring.

Surprise, with conviction.

And Thomas answered and said unto him, my Lord

and my God.

Reprehension.

Why hast thou, Satan, broke the bounds prescribed

To thy transgression, and dis-turbed the charge

Of oth-ers, who approve not to transgress
By thy ex-am-ple, but have power and right
To ques-tion thy bold entrance on this place;
Em-ployed, it seems, to violate sleep, and those
Whose dwelling God hath planted here in bliss.

The prevalent, and most impressive elements, in the above cited example, are the downward concrete, with vanishing stress.

The downward concrete, with frequent elevation of note, strong radical stress, and a quick movement, prevail in the following.

Then, when I am thy captive, talk of chains,
Proud limitary cherub! but ere then,

Far heavier load thyself expect to feel,

From my prevailing arm, though heaven's king
Ride on thy wings.

Drift of the upward third, fifth, and octave.

Am I a dog, that thou comest against me with staves? Must I budge? Must I crouch under your tes-ty

hum-or?

Am I my broth-er's keep-er?

Drift of quantity and median stress.

These go together, and are applicable to the dignified, and the solemn.

Hail, ho-ly light, offspring of heaven, first born;

Or of the e-ter-nal, co-eternal beam,

May I express thee unblamed? Since God is light,

And never, but in unapproached light,

Dwelt from eternity, dwelt then in thee,

Bright effluence of bright essence, in-create.

"We praise thee, O God. We acknowledge thee to be the Lord.

"To thee, all angels cry aloud; the Heavens, and all the powers therein.

"To thee cherubim and seraphim continually do cry, "Ho-ly, Ho-ly, Ho-ly Lord God of Sabaoth."

"O! Lord, save thy people and bless thine heritage."

The wave of the second, with a median stress and a fine terminating vanish with the drift of the monotone, will give to the above cited examples the utmost degree of solemnity and supplicating earnestness. These constituents are the true elements of the grand, the solemn the dignified and the reverential; which are not expressed by mouthing and inflating syllables, but by long quantity, median swell, and the fine vanishing movement. The words subject to our remarks are italicised.

Drift of the radical stress.

All lively subjects take this drift; the animating and the angry passions under their varied modifications are marked by it; a quick time goes with it.

EXAMPLE.

And he (amid his frolic play,)

As if he would the charming air repay,
Shook thous-and od-ors from his dewy wings.

The tremor may play upon most of the syllables of the last line.

The drift of the tremor, seldom lasts beyond a few words. Sometimes, however, united with the semitone, it extends through sentences.

The drift of the monotone, prevails in solemn and plaintive subjects.

The drift of the alternate phrase is appropriate to animated description and argument; but should not be applied to such objects as are enumerated under the heads of quantity and median stress.

RECITATION SIXTEENTH.

FAULTS OF DELIVERY.

Defects of the voice.

Few voices are fully competent to all that is required of a public speaker in addressing large audiences. When the space to be filled is extensive, where the difficulty is increased by the structure of buildings ill adapted to public speaking, powerful and well exercised voices will not be more than sufficient to render a speaker audible and impressive.

The modes of improving the voice have been fully detailed. It remains to specify the most common defects of quality. The voice is sometimes feeble, thin, harsh, nasal, mincing, too shrill, or from some unknown cause is ill adapted to a clear and distinct utterance of the elements. In all such cases, time and labor will be required for its improvement. A voice may be created. None of our powers are more improveable than those of the voice. To be agreeable it should be full, sonorous, smooth and strong.

This

Defects of the slide in the utterance of syllables. The defect is sometimes in the opening of syllables from the want of a well marked radical stress. may be always removed by exercising the voice perseveringly in exploding the elements, and in forcible abrupt declamation. Oftener, however, it consists in the