EXERCISES IN VERY SLOW MOVEMENT.

Very Low Pitch, Thorough Stress, Energetic Force. Pectoral and Orotund Qualities, Effusive Form.

1. 'Tis a time for memory and for tears.
2. Light-giving, life-sustaining Potentate!

3. Thy splendor fills all space with rays divine. 4. Thou art and wert and shalt be! Glorious! Great! 5. The Lord is in his holy temple, let all the earth keep silence before him.

VERY SLOW MOVEMENT-WHEN USED.

Very Slow Movement is appropriate for the expres sion of profound reverence, deep solemnity, adoration, amazement, awe, and horror.

EXAMPLE: DEEP SOLEMNITY AND AWE.

Very Slow Movement, Very Low Pitch, Thorough Stress, Moderate and Energetic Force, Orotund and Pectoral Qualities, Effusive and Expulsive Forms.

Cato's Soliloquy.

JOSEPH ADDISON.

It must be so-Plato, thou reason'st well! -
Else, whence this pleasing hope, this fond desire,
This longing after immortality?

Or whence this secret dread and inward horror

Of falling into naught? Why shrinks the soul
Back on herself, and startles at destruction?
'Tis the divinity that stirs within us;

'Tis heaven itself that points out an hereafter,
And intimates eternity to man.

Eternity!-thou pleasing, dreadful thought!
Through what variety of untried being,

Through what new scenes and changes must we pass!
The wide, th' unbounded prospect lies before me;
But shadows, clouds, and darkness rest upon it.
Here will I hold. If there's a power above us-

And that there is, all nature cries aloud

Through all her works-He must delight in virtue;
And that which he delights in must be happy.

But when? or where? This world-was made for Cæsar.
I'm weary of conjectures-this must end them.
Thus am I doubly armed. My death and life,
My bane and antidote, are both before me.
This, in a moment, brings me to an end;
But this informs me I shall never die!
The soul, secured in her existence, smiles
At the drawn dagger, and defies its point.
The stars shall fade away, the Sun himself
Grow dim with age, and Nature sink in years:
But thou shalt flourish in immortal youth,
Unhurt amid the war of elements,

The wreck of matter, and the crash of worlds!

QUESTIONS.

1. Define Very Slow Movement. Illustrate it.
2. Illustrate Moderate Movement, Slow, and Rapid.
3. When do we use Very Slow Movement?

4. With what pitch is it usually given?

5. Can it be given with High or Very High Pitch?

6. With what Qualities will the Very Slow Movement generally be given?

1. Whither, whither shall I fly?

2. Whisper softly in the assembly.

3. What white-winged sail is that?
4. Why will kings forget that they are men?
5. Whither when they came they fell at words.

Very Rapid Movement.

Very Rapid Movement may be defined as the rate that utters words with the utmost rapidity consistent with distinctness of articulation.

Repeat the following sentences with Very Rapid Movement, but perfectly distinct Articulation. If you cannot articulate the words distinctly, reduce the rate until distinctness is acquired, and then gradually increase the movement.

EXERCISES IN VERY RAPID MOVEMENT.

High Pitch, Radical Stress, Energetic Force, Pure Tone, Expulsive and Explosive Forms.

Here it comes sparkling,
And there it lies darkling;
Now smoking and frothing;
Its tumult and wrath in,
Till in this rapid race

On which it is bent,

It reaches the place

Of its steep descent.

VERY RAPID MOVEMENT-WHEN USED.

Very Rapid Movement is appropriate for the delivery of ecstatic joy, lyric description of brilliant and exciting scenes.

EXERCISES

Illustrating all the rates of Movement.

O the long and dreary winter!

Repeat the above sentence with

1. Expulsive Form, Pure Tone, Moderate Force, Radical Stress, Middle Pitch, and Moderate Movement.

2. Effusive Form, Orotund Quality, Moderate Force, Median Stress, Low Pitch, and Slow Movement.

3. Expulsive Form, Pure Tone, Energetic Force, Radical Stress, High Pitch, Rapid Movement.

4. Effusive Form, Pectoral Quality, Energetic Force, Thorough Stress, Very Low Pitch, and Very Slow Movement.

5. Explosive Form, Pure Tone, Impassioned Force, Radical Stress, Very High Pitch, and Very Rapid Movement.

EXAMPLES:

LYRIC

DESCRIPTION OF EXCITING

SCENES.

Very Rapid Movement, High Pitch, Radical Stress, Energetic and Impassioned Force, Pure Tone, Expulsive and Explosive Forms.

From Mazeppa.

BYRON.

Away, away, and on we dash!
Torrents less rapid and less rash.
Away, away, my steed and I,

Upon the pinions of the wind,
All human dwellings left behind:
We sped like meteors through the sky,
When with its crackling sound the night
Is checkered with the northern light:
From out the forest prance

A trampling troop-I see them come;
A thousand horse, and none to ride;
With flowing tail and flying mane,
Wide nostrils, never stretched by pain,
Mouths bloodless to the bit or rein,
And feet that iron never shod,
And flanks unscarred by spur or rod:
A thousand horse-the wild, the free,
Like waves that follow o'er the sea,

Came thickly thundering on.
They stop, they start, they snuff the air,
Gallop a moment here and there,
Approach, retire, wheel round and round,
Then plunging back with sudden bound,

They snort, they foam, neigh, swerve aside,
And backward to the forest fly,

By instinct, from a human eye.

EXAMPLE: RAPID DESCRIPTION.

Very Rapid Movement, Middle Pitch, Radical Stress, Energetic Force, Pure Tone, Expulsive Form.

The Two Boot-Blacks.

1. A day or two ago, during a lull in business, two little bootblacks, one white and one black, were standing on the street corner doing nothing, when the white boot-black agreed to black the black boot-black's boots. The black boot-black was, of course, willing to have his boots blacked by his fellow boot black, and the boot-black who had agreed to black the black boot-black's boots went to work.

2. When the boot-black had blacked one of the black bootblack's boots till it shone in a manner that would make any boot-black proud, this boot-black who had agreed to black the black boot-black's boots refused to black the other boot of the black boot-black until the black boot-black, who had consented to have the white boot-black black his boots, should add five cents to the amount the white boot-black had made blacking other men's boots. This the boot-black whose boot had been blacked refused to do, saying it was good enough for a black boot-black to have one boot blacked, and he didn't care whether the boot that the boot-black hadn't blacked was blacked or not.

3. This made the boot-black who had blacked the black bootblack's boot as angry as a boot-black often gets, and he vented his black wrath by spitting upon the blacked boot of the black boot-black. This roused the latent passions of the black boot-black, and he proceded to boot the white boot-black with the boot which the white boot-black had blacked. A fight ensued, in which the white boot-black who had refused to black the unblacked boot of the black bootblack, blacked the black boot-black's visionary organ, and in which the black boot-black wore all the blacking off his blacked boot in booting the white boot-black.