She lolls, reels, staggers, till some foreign aid PorE. RATE OR MOVEMENT OF THE VOICE. The term rate or movement of the voice has reference to the rapidity or slowness of utterance. In good reading, the voice must be adapted to the varying indication of the sentiments in the individual words, and the rate must accommodate itself to the prevailing sentiment which runs through the whole paragraph. Every one must perceive that the rate of the voice, in the utterance of humorous sentiments and in facetious description, is vastly different from that which is appropriate on occasions of solemn invocation. The rates of movement which are clearly distinguishable in varied sentiment, may be denoted by the terms slow, moderate, lively, brisk, and rapid. SLOW MOVEMENT. Slow movement is exemplified in the expression of the deep est emotions; such as awe, profound reverence, melancholy, grandeur, vastness, and all similar sentiments. In exercising the voice on the rates of movement, the examples illustrating the extremes should be read consecutively, for reasons which must be obvious to the teacher. As several constituents of expression are frequently blended, especially in the utterance of dignified and impressive sentiments, it may not be amiss to take the same example, to illustrate the separate functions of the voice. Thus the passage from the book of Job, which we have already used to exemplify the principles in pitch and monotone, may serve to illustrate the lowest and deepest notes, long quantity and slow movement, because all these are blended in giving force and true expression to the sentiment. Reverence. "Thy awe-imposing voice is heard—we hear it ! The Almighty's fearful voice! Attend ! It breaks the silence and in solemn warning speaks." Melancholy. "With eyes upraised, as one inspired, Pale Melancholy sat retired, In notes by distance made more sweet, Pour'd through the mellow hour her pensive soul." "The hills, Rock-ribb'd and ancient as the sun,-the vales, That make the meadows green,-and, pour'd round all, Are but the solemn decorations all Of the great tomb of man.' Profound Solemnity. "Leaves have their time to fall, And flowers to wither at the north wind's breath, Thou hast all seasons for thine own, O Death! Grandeur-Vastness. "Roll on, ... "Thou glorious mirror, where the Almighty's form Calm or convulsed-in breeze, or gale, or storm,- Dark heaving,-boundless, endless, as sublime, – Of the Invisible,-even from out thy slime The monsters of the deep are made. Each zone MODERATE MOVEMENT. Moderate movement is the usual rate of utterance in ordinary, unimpassioned narration, as in the following extract 66 Stranger, if thou hast learn'd a truth which needs Is full of guilt and misery,—and hast known Enough of all its crimes and cares To tire thee of it,-enter this wild wood, And view the haunts of Nature." LIVELY MOVEMENT. This rate of the voice is exemplified in giving utterance t a moderate degree of joyful and vivid emotions, as in the fol lowing extracts: "Now, my co-mates and brothers in exile, Hath not old custom made this life more sweet Than that of painted pomp? Are not these woods More free from peril than the envious court? Which, like the toad, ugly and venomous, Wears yet a precious jewel in his head; And this our life, exempt from public haunt, Finds tongues in trees, books in the running brooks, I would not change it. BRISK MOVEMENT. This rate of the voice is employed in giving utterance to gay, sprightly, humorous, and exhilarating emotions; as in the following examples: "But, oh! how alter'd was its sprightlier tone, Her buskins gemm'd with morning dew, Blew an inspiring air, that dale and thicket rung The hunter's call, to Faun and Dryad known !" "Last came Joy's estatic trial, He, with viny crown advancing First to the lively pipe his hand address'd; |