thing witty or amusing, should be read in a brisk and lively manner.

6. "Narration should be generally equable and flowing; vehemence, firm and accelerated; anger and joy, rapid, whereas dignity, authority, sublimity, reverence, and awe should, along with deeper tone, assume a slower movement.

7. "The movement should, in every instance, be adapted to the sense, and free from all hurry on the one hand, or drawling on the other.

8. "The pausing, too, should be carefully proportioned to the movement or rate of the voice; and no change of movement from slow to fast, or the reverse, should take place in any clause, unless a change of emotion is implied in the language of the piece.”

MOVEMENT DRILL

1. Repeat, three times, the long vocals, ā, ē, ī, ō, ū : (1) With low pitch and very slow movement. (2) With middle pitch and slow movement. (3) With moderate movement. (4) With fast movement. (5) With very

fast movement.

2. Count from one to twenty: (1) With slow movement. (2) With moderate movement. (3) With fast

movement.

3. Repeat, with moderate movement

The day is done, and the darkness
Falls from the wings of night

As a feather is wafted downwards
From an eagle in his flight.

I. MODERATE MOVEMENT.

Moderate movement is the characteristic rate in the reading of didactic, descriptive, or narrative composition, and of the poetry of sentiment.

EXAMPLES.

1. ENGLISH SCENERY.

The great charm, however, of English scenery, is the moral feeling that seems to pervade it. It is associated in the mind with ideas of order, of quiet, of sober, wellestablished principles, of hoary úsage, and reverend custom. Everything seems to be the growth of ages of regular and peaceful existence. The neighboring village, with its venerable cóttages, its public gréen, sheltered by trées, under which the forefathers of the present race have spórted; the antique family mánsion, standing apart in some little rural domáin, but looking down with a protecting air on the surrounding scéne; all these common features of English landscape evince a calm and settled security, a hereditary transmission of home-bred virtues and local attachments, that speak deeply and touchingly for the moral character of the nation.

2. THE SEASONS IN SWEDEN.

IRVING.

I must not forget the suddenly changing seasons of the northern clime. There is no long and lingering spring unfolding leaf and blossom one by one; no long and lingering aútumn, pompous with many-colored leaves and the glow of Indian súmmers. But winter and súmmer are wonderful, and pass into each other. The quail has hardly ceased piping in the corn, when wìnter, from the folds of trailing clouds, sows broadcast over the land, snów, icicles, and rattling hàil.

The days wane apace. Ere long the sun hardly rises above the horizon, or does not rise at all. The moon and the stars shine through the dày; only, at noon, they are pale and wàn, and in the southern sky a red, fiery glow, as of sunset, burns along the horizon, and then goes out. And pleasantly, under the silver moon, and under the silent, solemn stárs, ring the steel shoes of the skaters on the frozen sèa, and voices, and the sound of bells.

LONGFELLOW.

II. FAST MOVEMENT.

Fast, or quick, movement, is the characteristic rate in the expression of mirth, fun, humor, gladness, joy, and haste.

EXAMPLES.

1. PAUL REVERE'S RIDE.

A hurry of hoofs in a village street,

A shape in the moonlight, a bulk in the dárk,
And beneath, from the pebbles, in passing, a spárk
Struck out by a stéed that flies fearless and fléet:
That was all! And yet, through the gloom and the light,
The fate of a nation was riding that night;
And the spárk struck out by that steed, in his flight,
Kindled the land into flame with its hèat.

2. L'ALLEGRO.

LONGFELLOW.

Haste thee, nymph, and bring with thee

Jest and youthful Jollity,

Quips, and cranks, and wanton wiles,

Nods, and bècks, and wreathéd smiles
Such as hang on Hèbe's cheek,
And love to live in dimple sleek;
Spòrt that wrinkled Care derides,
And Laughter holding both his sides.
Come, and trip it as ye go

On the light fantastic tòe;

And in thy right hand lead with thee
The mountain nỳmph, sweet Lìberty.

3. ONCE MORE.

MILTON.

"Will I come?" That is pleasant! I beg to inquire If the gun that I carry has ever missed fire?

And which was the muster-roll-mention but one-
That missed your old comrade who carries the gun!

You see me as always, my hand on the lock,
The cap on the nipple, the hammer full cock.

It is rusty, some tell me; I heed not the scôff;
It is battered and bruised, but it always goes ôff!
"Is it loaded?" I'll bet you! What doesn't it hold?
Rammed full to the muzzle with mèmories untòld;
Why, it scares me to fire, lest the pieces should fly
Like the cannons that burst on the Fourth of July!

4. RHYME OF THE RAIL.

Singing through the forests,
Rattling over ridges,
Shooting under árches,

Rumbling over bridges;

Whizzing through the mountains,

Buzzing o'er the vále,

Blèss me this is pleasant,

Ríding on the rail!

5. THE MAY QUEEN.

HOLMES.

SAXE.

You must wake and call me early, call me early, mother

dear;

To-morrow 'll be the happiest time of all the glad New

Year;

Of all the glad New Year, mother, the maddest, merriest

day;

For I'm to be Queen o' the May, mother, I'm to be Queen o' the May.

6. THE MESSAGE.

TENNYSON.

The muster-place is Lanrick mead;
Speed forth the signal! Norman, speed!
The summons dread brooks no delay.
Stretch to the race-away! away!

7. THE SUMMONS.

SCOTT.

Come as the winds come, when forests are rended; Come as the waves come, when navies are stranded. Faster come, faster come, faster and faster :

Chief, vassal, page, and groom, tenant and master.

Fast they come, fast they come; see how they gather! Wide waves the eagle plume, blended with heather. Cast your plaids, draw your blades, forward each man set; Pibroch of Donuil Dhu, knell for the onset !

8. THE SMILING LISTENER.

SCOTT.

Precisely. I see it.

You all want to say

That a tear is too sad and a smile is too gay;

You could stand a faint smile, you could manage a sigh, But you value your ribs, and you do n't want to cry.

It's awful to think of--how year after year

With his piece in his pocket he waits for you here; No matter who's missing, there always is one

To lug out his manuscript, sure as a gun.

III. VERY FAST MOVEMENT.

Very fast movement is expressive of hurry, alarm, confusion, flight, ecstatic joy, and ungovernable rage and fury.

EXAMPLES.

1. MAZEPPA.

Away!-away!-and on we dash!—
Torrents less rapid and less ràsh.
Away, away, my steed and I,
Upon the pinions of the wind,
All húman dwellings left behind;

We sped like méteors through the sky,
When with its crackling sound the night
Is chequered with the northern light.

2. HURRY.

Sisters! hènce, with spurs of speed!
Each her thundering falchion wield;
Each bestride her sable steed;

Hurry! hurry to the field.

BYRON.