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MOVEMENT, OR RATE OF UTTERANCE.
trip of the joyous child are indicative of the states of mind which prompt them, so the movement which is proper in reading depends upon the emotion to be expressed. If the reader should ask himself what would be his manner of walking while under the influence of any particular emotion, it would be a safe guide to his rate of utterance. Animated and playful moods would inanifest themselves in a light and buoyant step, sometimes tripping and bounding along. Hurry and precipitancy are indicated by corresponding haste and impetuosity of movement.
On the contrary, deep emotions of solemnity and awe can exist only with very slow movements. Dignity requires in its expression not only slowness but regularity. Violent passion gives rise to irregular and impulsive speech.
I. Rapid Movement.
So light to the saddle befòre her he sprung.
2. Under his spurning feet, the road,
Like an arrowy Alpine river, flowed,
3. Great rats, small rats, lean rats, brawny rats,
Brown rats, black rats, grey rats, tawny rats,
Fathers, mothers, uncles, cousins,
Families by tens and dozens,
4. And there was mounting in hot häste,
The steed, the must'ring squadron, and the clatt'ring car Went pouring forward with impetuous speed,
And swiftly forming in the ranks of war.
5. Pull, pull in your làssoes, and bridle to steed,
And speed, if ever for life you would speed;
II. Moderate. 1. Eloquence consists simply in feeling a truth yourself, and in making those who hear you feel it.
12. Flower in the crannied wall,
I pluck you out of the crannies ;-
Little flower—but if I could understand
I should know what God and màn is.
3. A vain man's motto is, “Win gold and wear it;" a generous man's, “Win gold and shàre it;" a miser's, “Win gold and spàre it;" a profligate's, “Win gold and spend it;" a broker's, “Win gold and lènd it;" a gambler's or a fool's, “Win gold and lose it;" but a wise man's, “Win gold and use it."
4. The brave man is not he who feels no fear,
For that were stupid and irrational;
5. To gild refined gold, to paint the líly,
To throw perfume on the violet,
III. Slow. 1. Lord, thou hast been our dwelling-place in all generàtions. Before the mountains were brought forth, or ever thou hadst formed the earth and the world, even from everlasting to everlàsting, thou art Gòd.
2. O ye loud waves! and 0 ye forests high!
And 0 ye clouds that far above me soared !
Yea, everything that is and will be free!
3. I would invoke those who fill the seats of jústice, and all who minister at her àltar, that they execute the wholesome and necessary severity of the làw. I invoke the ministers of our religion, that they proclaim its denunciation of these crimes, and add its solemn sanctions to the authority of hùman laws. If the pulpit be sílent, whenever or wherever there may be a sinner, bloody with this guilt, within the hearing of its voice, the pulpit is false to its trust.
4. Slow, slow! toll it low,
As the sea-waves break and flow;
IV. Very Slow.
All space doth óccupy, all motion guide;
Thou ònly God! There is no God beside.
2. Wide as the world is His command,
Vast as eternity His lòve;
When rolling years shall cease to mòve.
3. Here, then, is a support which will never fàil; here is a foundation which can never be mòved,—the everlasting Creator of countless worlds, “the high and lofty One that inhabiteth etèr nity.” What a sublime conception! He inhabits eternity, óccupies this inconceivable duration, pervades and fills throughòut this boundless dwelling.
THE degree of force or loudness required in reading depends
upon the space to be filled by the reader's voice or the distance it must reach; upon the number of persons presumed to be addressed, and upon the emotion expressed.
What is wanted in every-day use of the voice, in the schoolroom or elsewhere, is a clear tone and easy, natural utterance. The practice of loud and sustained tones is an excellent means of improving the voice, but is to be the exception, not the rule, in ordinary reading. Yet the softest tone must be elastic and full of life. To be natural it is not necessary to be dull.
Falls from the wings of Night,
From an eagle in his flight.
2. "How sweetly," said the trembling maid,
Of her own gentle voice afraid-
3. I delighted to loll over the quarter-railing, or climb to the main-top, of a calm day, and muse for hours together on the tranquil bosom of a summer's sea; or to gaze upon the piles of golden clòuds just peering above the horizon, fancy them some fairy realms, and people them with a creation of my own; or to watch the gentle undulating billows rolling their silver volumes, as if to die away on those happy shòres.
4. How still the morning of the hallowed dày!
Mute is the voice of rural labor, hushed
5. See how beneath the moonbeam's smile
Yon little billow heaves its breast,
And murmuring then subsides to rèst.
Thus màn, the sport of bliss and care,
Rises on time's eventful sea,
Thus melts into eternity.
II. Moderate Force. 1. If we look to what the waters produce, shoals of the fry of fish frequent the margins of rívers, of lákes, and of the sea itself. These are so happy that they know not what to dò with themselves. Their attitudes, their vivacity, their leaps out of the water, their frolics in it, all conduce to show their excess of spìrits, and are simply the effècts of that excess.
2. People talk of liberty as if it meant the liberty of doing what a man likes. The only liberty that a man worthy the name of a man ought to ask for, is to have all restrictions, inward and outward, removed, to prevent his doing what he ought.