Let me never forget to my dying day
The tone or the burden of her lay-
"Passing away! passing away!"

4. LAUGHING UTTERANCE.

PIERPONT.

1. A fool, a fool, I met a fool in the forest;
A motley fool, a miserable varlet.

2. Oh! then I see Queen Mab hath been with you.

5. SOBBING.

So Mary said, and Dora hid her face

By Mary. There was silence in the room;

And all at once the old man burst in sobs:

"I have been to blame-to blame! I have killed my son! I have killed him-but I loved him-my dear son!

May God forgive me!-I have been to blame.

Kiss me, my children!"

6. GOODY BLAKE AND HARRY GILL.

TENNYSON's Dora.

She prayed, her withered hand uprearing,
While Harry held her by the arm-
"God! who art never out of hearing,
O may he never more be warm!"
The cold, cold moon above her head,
Thus on her knees did Goody pray:
Young Harry heard what she had said,
And icy cold he turned away.

No word to any man he utters,
Abed or up, to young or old;
But ever to himself he mutters,
"Poor Harry Gill is very cold."
Abed or up, by night or day,

His teeth may chatter, chatter still:
Now think, ye farmers all, I pray,

Of Goody Blake and Harry Gill.

WORDSWORTH.

The honest man could contain himself no longer. He caught his daughter and her child in his arms. "I am your father!" cried he, "young Rip Van Winkle onceold Rip Van Winkle now!-Does nobody know poor Rip Van Winkle?"

8. ENOCH ARDEN.

IRVING.

"Enoch, poor man, was cast away and lost."
He, shaking his gray head pathetically,
Repeated muttering, "Cast away and lost;"
Again in deeper inward whispers, "Lost!"

9. LITTLE GRETCHEN.

TENNYSON.

They lifted her up tearfully, they shuddered as they

said,

"It was a bitter, bitter night! the child is frozen dead." The angels sang their greeting for one more redeemed from sin.

Men said, "It was a bitter night; would no one let her in?"

RECAPITULATION OF STRESS.

1. The radical is the stress of animation, of earnestness, of assertion, of command, and of passion.

2. The median is the stress of sentiment, of pathos and tenderness, of awe, reverence, sublimity, and enthusiasm.

3. Vanishing stress is the stress of very strong emphasis, of contempt and disdain, of willfulness, petulance, and impatience.

4. Thorough stress is the stress of impassioned oratory, and intense dramatic expression.

5. The compound is the stress of the circumflex inflection, of irony, sarcasm, contempt, and astonishment.

6. The tremor is the stress of feebleness, of childishness,

and of grief.

STRESS DRILL.

1. Radical. Attention, all.

2. Median. All in one mighty sepulcher.

3. Vanishing. All, all is lost! All lost! 4. Thorough. Come one, come all!

5. Compound. What áll, are they all lost? 6. Intermittent. All my sons are dead, all, all dead!

EXAMPLES OF STRESS.

RADICAL.

Hear the loud alarum bells-brázen bells!

MEDIAN.

Hear the mellow wedding bells-golden bells!

VANISHING.

I'll have my bond, and therefore speak no more.

THOROUGH.

Awake! Arise! or be forever fallen.

COMPOUND.

Gone to be married! gone to swear a peace!

INTERMITTENT.

Pity the sorrows of a poor old man

Whose trembling limbs have borne him to your door.

CHAPTER III.

MOVEMENT.

INTRODUCTORY.

1. The three leading divisions of movement, rate, or time, in reading, are slow, moderate, and fast. These distinctions are, for convenience, subdivided as follows: 1. Moderate (corresponding, in music, to andante). 2. Fast (allegro). 3. Very fast (presto). 4. Slow (adagio). 5. Very slow (largo).

2. Different kinds of prose and verse require different rates of movement, but the general principle that governs all reading or speaking may be stated as follows: Read slowly enough for your hearers to comprehend, fully and easily, what is read.

3. Good extemporaneous speakers generally have a slow and deliberate utterance, because they take time to think what to say. They, also, give their hearers time to think of what is said by the speaker.

4. The habit of slow reading may be acquired, not by a drawling, hesitating utterance, but by observing rhetorical and grammatical pauses; by prolonging vocal and liquid sounds; and by taking time to think of the meaning of what is read.

5. The general principles governing movement are well expressed in the following extract from Russell's "American School Reader:" "Everything tender, or solemn, plaintive, or grave, should be read with great moderation. Everything humorous or sprightly, every

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, i, 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

inovement.

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.