Medium Quantity. 1. O, a wonderful stream is the river of Time', Give me your love'. 3. It is a pleasing sight', of a Sunday môrning, when the bell iş sending its sõber mělōdy across the quiet fields', to behōld the country fōlk', in their best fînĕry', ănd with ruddy faces and modest cheerfulness', thronging trănquilly ǎlong the grēen lānes tọ chŭrch'; but it iş still mōre pleasing tọ sẽe them in the evenings', gathering about thêir cottage doors', ănd ǎppearing tọ ĕxůlt în the humble comförts and embellishments which thêir own hands have spread around them'. Short Quantity. 1. Call the watch'! Call the watch'! 2. Quick! or he faints! stand with the côrdial near! Now, bend him to the rack! 3. Quick'! man the life-bōat! sẽe yõn bärk', There's a rock ahead, the fog is därk', Avěrt the doom that's ō'er' her? Hēr māinmåst's gône', but shē still drives on The life-boat! Man the life-bōat! 4. Macbeth. Didst thou not hear a noise'? Lady Macbeth. I heard the owl scream', and the crickěts cry. Did not you speak'? Macbeth. Whĕn'? Lady Macbeth. Now'. Macbeth. As I descended'? Lady Macbeth. Ay`. Macbeth. Who lies i' the second chamber`? MOVEMENT. MOVEMENT is the rapidity with which the voice moves in speech. It includes quantity and stops, or pauses, and varies with the nature of the thought or sentiment expressed in the passage to be read. Usually, a passage in short quantity requires rapid movement, and a passage in long quantity, slow movement. The kinds of movement may be denominated Slow, Moderate, and Quick. EXERCISES IN MOVEMENT. Slow Movement. 1. And now farewell! 'Tis härd to give thee up', If, from this wõe, its bitterness had won' thēe. 2. Not a sound'! not a breath'! All is still aş death'! 3. O Lord! have mercy upon us', miserable offenders'! Spāre thou thōse', O God! who confess their faults according to thỹ promises', dēclâred unto mankind in Christ Jesus our Lôrd'; and grånt', oh, mōst mērciful Fäther', fôr his sāke, that wē māy hereafter live a godly', righteous', and sõber life', to the glōry of thỹ hōly nāme'. Moderate Movement. 1. I've wandered to the village', Tom', Upon the village play-ground', But none were left to greet' mē, Tòm', And few were left to know', Who played with us upon the grēen', Just forty years agō'. 2. Let the one hundred millions which', at no very distant day', will swarm our cities and fill up our great intērior', rēmāin în ignorance', and nothing short of an iron despotism' will suffice to govern the nation', tọ reconcile its våst and conflicting interests', contrōl its elements of agitation', and hold back its fiery and headlong energies from dismemberment and rūin'. 1. Awāke'! awake! şon! treason'! Quick Movement. Ring the alärm` bell! Mûrder! trēa 2. Give it to them'; drive them from thêir yärds', boys'; scatter them with your grāpe'; unrēeve thêir rigging\! 3. One touch to her hand', and one word in her ear', When they reached the hall door', and the chärger stood near; So light to the croup the fâir lady he swung, So light to the saddle before her he sprung'! "She is won! wē are gone', ōver bank', bush', and scaur`; They'll have fleet steeds that follow!" quoth young Loch invar. 4. Bēgone! you vile', insolent dog', or I'll come down and give you a warming that shall serve you right`. READING VERSE. Poetic Pauses. The final pause is a slight pause at the end of each line, even when the sense does not require it. The casura is a pause at or near the middle of every line. It is marked thus (|| ) in the examples given. There are sometimes two additional pauses in each line, called demi-cæsuras. They are marked thus (1) in the examples given. The cæsura and demi-cæsura should never be so placed as to injure the sense of the passage. There should be a marked accent upon the long syllable next preceding the cæsura, and a slighter one upon the next before each of the demi-cæsuras. These pauses should not be made too prominent, as they tend to lead to a sing-song style of reading. EXAMPLES. 1. There is a land || of every land the pride, Beloved by Heaven || o'er all the world beside. 2. Was it the chime || of a tiny bell, That came so sweet || to my dreaming ear? 3. Ring out the old, || ring in the new, Ring, happy bells, || across the snow; Ring out the false, || ring in the true. 4. You speak very fine, || and you look | very grave, But apples we want, || and apples | we'll have; If not, you shall have || neither apple | nor pear. INFLECTIONS. In reading verse, the inflections should be used as if the thought or sentiment were expressed in prose. The rhyme must be indicated by a very light emphasis placed upon the rhyming words, and the rhythm by a measured, melodious flow of sound. EXAMPLES. 1. Merrily swinging on briar and weed,' Near to the nest of his little dame', Over the mountain-side or mead', Robert of Lincoln is telling his name'. 2. Home from his journey', Farmer John Arrived this morning', safe and sound'; His black coat off', and his old clothes on', 'Now I'm myself," said Farmer John'. 3. "Bring me this man," the caliph cried': the man Was brought', was gazed' upon. The mutes began To bind his arms'. 'Welcome', brave cords!" cried he, From wants, from shames', from loveless household fears; Restored me, loved' me, put me on a par With his great self'. 4. Learn to speak slow`; all other graces And while thus slowly onward you proceed', ACCENT AND EMPHASIS. In reading verse, every syllable must have the same accent, and every word the same emphasis as in prose. Whenever rhythm and melody lead to an incorrect accent or emphasis, they must be disregarded. The defects of the poet must not be remedied by the reader, at the expense of sense and the established usages of accent and quantity. In the following examples, the words and syllables which are defective in rhyme or rhythm are in italics. EXAMPLES. 1. False eloquence, like the prismatic glass, Though months and years have passed. |