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EXAMPLES IN SLOW MOVEMENT.

1. In vain I seek from out the past
Some cherished wreck to save;
Affection, feeling, hope are dead—
My heart is its own grave.

2. Come to the bridal chamber, Death!
Come to the mother, when she feels,
For the first time, her first-born's breath;
Come, when the blessed seals

That close the pestilence are broke,
And crowded cities wail its stroke;
Come in consumption's ghastly form,
The earthquake's shock-the ocean storm;
Come when the heart beats high and warm
With banquet song and dance and wine:
And thou art terrible;-the tear,

The groan, the knell, the pall, the bier,
And all we know, or dream, or fear

Of agony, are thine.

3. Be ye patient! I have but a few more words to say. I am going to my cold and silent grave; my lamp of life is nearly extinguished; my race is run; the grave opens to receive me, and I sink into its bosom! I have but one request to make at my departure from this world, it is the charity of silence! Let no man write my epitaph: for, as no man who knows my motives dare now vindicate them, let not prejudice or ignorance asperse them. Let them and me repose in obscurity and peace, and my tomb remain uninscribed, until other times and other men can do justice to my character. When my country takes her place among the nations of the earth, then, and not till then, let my epitaph be written. I have done.

EXAMPLES IN QUICK MOVEMENT.

1. Where's Harry Blount? Fitz-Eustace, where?
Linger ye here, ye hearts of hare?
Redeem my pennon-charge again,
Cry Marmion to the rescue!'—Vain!
To Dacre bear my signet-ring:
Tell him his squadrons up to bring.

Let Stanley charge, with spur of fire,
With Chester charge and Lancashire,
Full upon Scotland's central host,
Or victory and England's lost!

Must I bid twice? hence, varlets, fly!
Slowly. Leave Marmion here alone-to die!

2. Ah! what is that flame, which now bursts on his eye?
Ah! what is that sound that now larums his ear?
'Tis the lightning's red glare, painting hell on the sky!
'Tis the crash of the thunder, the groans of the sphere!
He springs from his hammock-he flies to the deck;

Amazement confronts him with images dire-
Wild winds and mad waves drive the vessel a wreck-
The masts fly in splinters-the shrouds are on fire!
3. Now set the teeth, and stretch the nostril wide,
Hold hard the breath, and bend up every spirit
To his full height. Now on you noblest English,
Whose blood is fetched from fathers of war-proof;
Fathers, that like so many Alexanders,
Have in these parts from morn to even fought,
And sheathed their swords for lack of argument:
Be copy now to men of grosser blood,
And teach them how to war!

PARENTHESIS.

A Parenthesis is an explanatory clause unnecessary both to the construction and sense of the paragraph in which it is found. Generally the parenthetical clause should be spoken much more rapidly, and in a lighter tone, than the other parts of the sentence in which it occurs. When the parenthesis is in the middle of a sentence, it should always be preceded and followed by a pause. The facial expression and manner of the reader must change as he passes from the most important to the subordinate clauses, or from the subordinate to the important.

K. N. E.-7.

EXAMPLES.

1. Every condition of life-be it what it may-has both hardships and pains.

2. Whatever future advances of science may do for us in the matter and I hope they may do much I am afraid I must still say this relation is a mystery.

3. One truth is clear-enough for man to know

Virtue alone is happiness below.

4. In parts superior what advantage lies?

Tell-for you can-what is it to be wise?

5. Superintendent Brown has again been doing a very sensible thing (no uncommon thing for him) in the way of submitting a revised course of study for high schools.

6. God bless the man who first invented sleep!
(So Sancho Panza said, and so say I,)

And bless him, also, that he did not keep
The great discovery to himself, by making it
(As well the lucky fellow might)
A close monopoly of patent-right.

CADENCE.

Cadence signifies that easy, natural dropping of the voice at the end of a sentence or passage, which denotes completeness of sense, or that the speaker has ended what he has to say on that point. No rules can be given which will enable the speaker or reader to regulate the tone and movements of the voice so as to always have a good cadence.

The simplest form of the cadence can be best illustrated by counting one, two, three, four, five, in a deliberate manner, and paying particular attention to the tone of the voice; on five, it will be noticed, the voice falls a little, takes a fuller tone, and denotes that the enumeration is complete.

(1) 1, 2, 3. 1, 2, 3, 4, 5. 1, 2, 3, 4, 5, 6, 7. 1, 2, 3, 4, 5, 6, 7, 8.

Give several names in succession, as if calling the roll; as, (2) Roberts, Durham, Noble, Paxton, Henderson, Barclay, Ruble, Freeman, etc. Connect the last names or particulars by the conjunction and, letting the voice rise a little on the last particular but one, and fall, as in the previous example, on the last one, thus: (3) Baltimore, Springfield, Omaha, New Orleans, Cleveland, Chicago, and St. Paul.

(4) The Amazon, La Plata, Mississippi, Missouri, St. Lawrence, Orinoco, and Ohio are among the longest rivers of the New World.

EXPRESSION.

Expression, as applied to oral reading or to speaking, means the rendering of the sense and sentiment of what is read or spoken in the clearest, fullest, most pleasing, and most appropriate manner. Its general meaning is to make manifest thought and to portray feeling.

Expression in elocution, like expression in every other art, may be good, bad, or indifferent. Of the sculptor, painter, and musician, it is sometimes said "he lacks in expression," by which is meant he failed to bring out with distinctness, simplicity, and naturalness, that which he undertook to express.

Expression in speaking means not only the bringing out of the meaning of what is spoken, in the clearest and most appropriate manner, but also the correct and forcible expression of every shade of emotion or passion, and the accurate impersonation of character.

The thing most necessary to attend to in order to obtain correct expression, is to make sure that you have something to express, and that you have clear and original ideas of the meaning of what you are about to read or speak. Old Dr. Beecher, in his advice to the students of Lane

Seminary, said, "Fill yourself chock-full of the subject; then pull out the bung, and let nature caper."

He who has an easy utterance, a distinct articulation, and a clear, full voice, will not be likely to fail in his efforts to express what he knows, believes, or feels, in an appropriate and effective manner.

"To paint the passion's force, and paint it well,

The proper action nature's self will tell."

Do not try to imitate the style of reading or speaking of any one have your own style.

CHANGING THE EXPRESSION BY CHANGING THE EMPHASIS AND VARYING THE DELIVERY.

EXAMPLE.

James said the captain would return home next Saturday.

Place the emphasis, first, exclusively on James, and give all other words in the passage in a light, tripping tone, as if answering the question, Who said the captain would return home next Saturday? Then emphasize successively the words: Said, captain, would, return, home, next, and Saturday. Each time it is delivered, it should convey a different meaning. Give it with every variation of affirmation, interrogation, and negation that you can command, and always with simplicity and naturalness. By changing the passage, and commencing with the words, James did not say, instead of James said, it becomes negative, and should be rendered in a tone and manner expressing denial. Then give it as if carrying on a conversation with a person. on the opposite side of the street; then as if talking to some one still farther away from you; and so on to the utmost extent of your vocal capability.

Express it also both interrogatively and affirmatively in a

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