SHORT QUANTITY.

1. Quick! or he faints! stand with the cordial near!

2. Back to thy punishment, false fugitive!

3. Fret till your proud heart breaks! Must I observe you? Must I crouch beneath your testy humor?

4. Up drawbridge, grooms! what, warder, ho!

Let the portcullis fall!

5. Quick, man the lifeboat! see yon bark, That drives before the blast!

There's a rock ahead, the fog is dark,

And the storm comes thick and fast.

6. I am at liberty, like every other man, to use my own language; and though, perhaps, I may have some ambition to please this gentleman, I shall not lay myself under any restraint, nor very solicitously copy his diction, or his mien, however matured by age or modeled by experience.

MOVEMENT.

Movement is the rapidity with which the voice moves in reading and speaking. It varies with the nature of the thought or sentiment to be expressed, and should be increased or diminished as good taste may determine. With pupils generally, the tendency is to read too fast. The result is, reading or speaking in too high a key and an unnatural style of delivery-both of which faults are diffi cult to be corrected when once formed. The kinds of movement are Sour, Moderate, and Quick.

DIRECTIONS-Read a selection as slowly as preeze, without drawling. Read it again and again, increasing the rate of movement at each roding, und it can be

read no faster without the utterance becoming indistinct. Reverse this process, reading more and more slowly at each repetition, until the slowest movement is obtained.

SLOW MOVEMENT.

Life has passed

1. Oh that those lips had language!
With me but roughly, since I heard them last.
2. A tremulous sigh from the gentle night wind
Through the forest leaves slowly is creeping,
While stars up above, with their glittering eyes,
Keep guard; for the army is sleeping.

3. O Lord' have mercy upon us, miserable offenders'!
4. So live, that when thy summons comes to join
The innumerable caravan that moves

To the pale realms of shade, where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry slave at night,
Scourged to his dungeon, but, sustained and soothed
By an unfaltering trust, approach thy grave
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.

MODERATE MOVEMENT.

1. The good', the brave', the beautiful',
How dreamless' is their sleep,
Where rolls the dirge-like music'
Of the ever-tossing deep'!
Or where the surging night winds
Pale Winter's robes have spread
Above the narrow palaces,

In the cities of the dead'!

2. Lives of great men all remind us
We can make our lives sublime,
And, departing, leave behind us
Footprints on the sands of time.

3. Cast your eyes over this extensive country. Observe the salubrity of your climate, the variety and fertility of your soil; and see that soil intersected in every quarter by bold, navigable streams, flowing to the east and to the west, as if the finger of heaven were marking out the course of your settlements, inviting you to enterprise, and pointing the way to wealth.

QUICK MOVEMENT.

1. Awake! arise! or be forever fallen.

2. Merrily swinging on brier and weed, Near to the nest of his little dame, Over the mountain side or mead,

Robert of Lincoln is telling his name.

3. Not a word to each other; we kept the great pace-
Neck by neck, stride by stride, never changing our place;
I turned in my saddle and made its girths tight,
Then shortened each stirrup and set the pique right,
Rebuckled the check strap, chained slacker the bit,
Nor galloped less steadily Roland a whit.

4. Oh my dear uncle, you don't know the effect of a fine spring morning upon a fellow just arrived from Russia. The day looked bright, trees budding, birds singing, the park so gay, that I took a leap out of your balcony, made your deer fly before me like the wind, and chased them all around the park to get an appetite for breakfast, while you were snoring in bed, uncle.

Quality. We notice a difference between the soft, insinuating tones of persuasion; the full, strong voice of command and decision; the harsh, irregular, and sometimes grating explosion of the sounds of passion; the plaintive notes of sorrow and pity; and the equable and unimpassioned flow of words in argumentative style. This difference consists in a variation in the quality of the voice by which it is adapted to the character of the thought or sentiment read or spoken. In our attempts to imitate

nature, however, it is important that all affectation be avoided, for perfect monotony is preferable to this fault. The tones of the voice should be made to correspond with the nature of the subject, without apparent effort.

EXAMPLES.

Passion

and Grief.

Plaintive.

Calm.

"Come back! come back!" he cried, in grief,
"Across this stormy water;

And I'll forgive your Highland chief,
My daughter! O, my daughter!"

I have lived long enough: my way of life
Is fallen into the sear, the yellow leaf:
And that which should accompany old age,
As honor, love, obedience, troops of friends,
I must not look to have.

A very great portion of this globe is covered with water, which is called sea, and is very distinct from rivers and lakes.

Fierce

Anger.

Loud

and Explosive.

Burned Marmion's swarthy cheek like fire,
And shook his very frame for ire;
And-"This to me!" he said,-

"An 't were not for thy hoary beard,
Such hand as Marmion's had not spared

To cleave the Douglas' head!

"Even in thy pitch of pride,
Here, in thy hold, thy vassals near,
I tell thee, thou 'rt defied!

And if thou said'st I am not peer
To any lord in Scotland here,
Lowland or Highland, far or near,

Lord Angus, thou hast lied!"

VI. GESTURE.

Gesture is that part of the speaker's manner which pertains to his attitude, to the use and carriage of his person, and the movement of his limbs in delivery.

Every person, in beginning to speak, feels the natural embarrassment resulting from his new position. The novelty of the situation destroys his self-possession, and, with the loss of that, he becomes awkward, his arms and hands hang clumsily, and now, for the first time, seem to him worse than superfluous members. This embarrassment will be overcome gradually, as the speaker becomes familiar with his position; and it is sometimes overcome at once, by a powerful exercise of the attention upon the matter of the speech. When that fills and possesses the mind, the orator is likely to take the attitude which is becoming, and, at least, easy and natural, if not graceful.

1st. The first general direction that should be given to the speaker is, that he should stand erect and firm, and in that posture which gives an expanded chest and full play to the organs of respiration and utterance.

2d. Let the attitude be such that it can be shifted easily and gracefully. The student will find, by trial, that no attitude is so favorable to this end as that in which the weight of the body is thrown upon one leg, leaving the other free to be advanced or thrown back, as fatigue or the proper action of delivery may require.

The student who has any regard to grace or elegance, will of course avoid all the gross faults which are so common among public speakers, such as resting one foot upon a stool or bench, or throwing the body forward upon the support of the rostrum.

3d. Next to attitude, come the movements of the person and limbs. In these, two objects are to be observed, and, if possible, combined, viz., propriety and grace. There is