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To cultivate Short Quantity, practice the following, with a sudden abrupt utterance.

EXERCISES IN SHORT QUANTITY.

1. ě, as heard in let.
2. 1,

ill.
3. o,

sod. 4. ů,

up.
5. a,

add.
bat, pick, сир,
neck,
hack,

sod.
1. On, Stanley, on!
2. Quick! man the life-boat!
3. Back to thy punishment, false fugitive!

Short QUANTITY_WHEN USED. Short Quantity is employed in the expression of joy, gludness, excited command, unger, scorn, contempt, revenge, hate, and other malignant passions.

EXAMPLE: NARRATIVE, DESCRIPTIVE, ANGER, DE

FIANCE, SCORN. Short Quantity, Expulsive and Explosive Forms, Pure Tone, Aspirate

anil Pectoral Qualities, Moderate, Energetic, and Impassioned Force, Rudical, Final, and Thorough Stress, High, Middle, and Low Pitch, Moderate and Rapid Movement. [It may be well here to state that the above is not a single combination, but rather three or four different combinations, each of which will be required in the select.on.)

Marmion and Douglas.

SIR WALTER SCOTT.

1. The train from out the castle drew,
But Marmion stopped to bid adieu :

" Though something I might 'plain," he said,
• Of cold respect to stranger guest,
Sent hither by your king's behest;

While in Tantallon's towers I stayed;

Part we in friendship from your land,
And, noble earl, receive my hand."

2. But Douglas round him drew his cloak,
Folded his arms, and thus he spoke:

My manors, halls, and towers shall still
Be open, at my sovereign's will,
To cach one whom he lists, howe'er
Unmeet to be the owner's peer.
My castles are my king's alone
From turret to foundation-stone;
The hand of Douglas is his own,
And never shall in friendly grasp
The hand of such as Marmion clasp.”

And,

3. Burned Marmion's swarthy cheek like fire,
And shook his very frame for ire,

• This to me!” he said;
“ An t'were not for thy hoary beard,
Such hand as Marmion's liad not spared

To cleave the Douglas' head !
And, first, I tell thee, haughty peer,
He who does England's message here,
Although the meanest in her State,
May well, proud Angus, be thy te:
And, Douglas, more I tell thee here

Even in thy pitch of pride,
Here in thy hold, thy vassals near
(Nay, never look upon your lord,
And lay your hands upon your sword),

I tell thee, thou’rt defied !
And, if thou said'st I am not peer
To any lord in Scotland here,
Lowland or Highland, far or near,

Lord Angus, thou hast lied!”

4. On the Earl's cheek the flush of rage

O’ercame the ashen hue of age;
Fierce he broke forth, “And darest thou then
To beard the lion in his den,

The Douglas in his hall ?
And hopest thou hence urscathed to go ?
No, by Saint Bride of Bothwell, no!
Up draw-bridge, grooms—what, Warder, ho!

Let the portcullis fall.”

5. Lord Marmion turned-well was his need !

And dashed the rowels in his steed,
Like arrow through the archway sprung;
The ponderous gate behind him rung:
To pass there was such scanty room,
The bars, descending, razed his plume.

6. The steed along the draw-bridge flies,

Just as it trembled on the rise;
Not lighter does the swallow skim
Along the smooth lake's level brim;
And, when Lord Marmion reached his band,
He halts, and turns with clenched hand,
And shout of loud defiance pours,
And shook his gauntlet at the towers.

QUESTIONS. 1. Define Short Quantity. 2. What Essential Elements make up Short Quantity ? 3. When is it used ? 4. Why does the selection require Short Quantity? 5. What combination do the first two lines require ? 6. What the remainder of that stanza ? 7. What combination will be required in the third stanza ? Why? 8. What in the fourth stanza ? Why?

LESSON XLVIII,

INFLECTIONS. Inflections are changes in Pitch either upward or downward through the concrete movement.

They are special combinations of Pitch and Movement, and vary in degree according to the sentiment.

No element of utterance is more important in giving significance to speech than Inflections.

The Inflection alone often renders expression addressed to the understanding intelligible.

In the reading and recitation of verse it is the proper management of the Inflections that prevents monotony, on the one hand, and chanting on the other.

“So important is a just mixture of Inflections that the moment they are neglected our pronunciation becomes meaningless and monotonous. If the sense of a sentence require the voice to adopt the rising Inflection on any particular word, either in the middle or at the end of the phrase, variety and harmony demand the falling Inflection on one of the preceeding words; and, on the other hand, if emphasis, harmony, or a completion of sense require the falling Inflection on any word, the word immediately preceding almost always demands the rising Inflection, so that these Inflections of voice are in an order nearly alternate.”

Rising Inflection. A Rising Inflection is a rapid change in the pitch of the voice from a lower to a higher tone through the concrete movement.

The Inflection will vary in degree according to the sentiment.

RISING INFLECTION-WHEN USED.

A Rising Inflection of a second, that is, running through the interval of the second on the musical scale, will indicate a suspension of the sense or incompleteness in the utterance.

The rising Inflection of the Third and Fifth are used, to ask a definite ques.ion, or one that may be answered by yes or no; to express suspense, astonishment, wonder, amazement, etc.; to express lively, joyous thought; to petition, beg, fawn, and flatter.

The Rising Inflection of the octave expresses intense surprise, wonder, and astonishment. These are by no means all the cases in which the different Inflections will be required.

EXERCISES IN Rising INFLECTIONS.

INCOMPLETENESS OF THOUGHT.

Second. 1. There is no one quality, 2. There are men who get one idea3. In the ancient republics of Greece and Rome

SURPRISE AND ASTONISHMENT,

Third and Fifth.
1. Must I budge?
2. I an itching palm ?
3. Must I observe you ?
4. What, looked he frowningly?
5. Is this the part of wise men ?
6. Can you think me capable of so vile a deed ?

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