1. On! Stanley on!

2. Forward the Light Brigade!
3. Stand to your guns, men!

EXERCISES.

Contrasting Effusive, Expulsive, and Explosive Forms.

Repeat the elements, words, and sentences in the Effusive, Expulsive, and Explosive Forms.

EXPLOSIVE FORM-WHEN Used.

The Explosive Form is appropriately employed in the expression of ecstatic joy, the sudden cry of terror and alarm, the quick, sharp command.

This principle is illustrated in the merry ringing laugh of childhood, the gladsome bark of the dog, the joyous song of birds, the angry yell of the Indian warrior, the sharp, rapid stroke of the fire bell, the sudden report of the rifle, the startling peal of thunder.

EXAMPLE: JOYOUS THOUGHT.

Explosive Form.

Voice of Spring.

MRS. HEMANS.

1 I come, I come! ye have called me long,
I come o'er the mountains with light and song;
Ye may trace my step o'er the wakening earth,
By the winds which tell of the violet's birth,
By the primrose stars in the shadowy grass,
By the green leaves opening as I pass.

2 I have breathed on the south, and the chestnut-flowers
By thousands have burst from the forest-bowers:
And the ancient graves, and the fallen fanes,

Are veiled with wreaths on Italian plains.
But it is not for me, in my hour of bloom,

To speak of the ruin or the tomb!

3 I have passed o'er the hills of the stormy north,
And the larch has hung all his tassels forth,
The fisher is out on the sunny sea,

And the reindeer bounds through the pasture free;
And the pine has a fringe of softer green,

And the moss looks bright where my step has been.

4 I have sent through the wood-paths a gentle sigh,
And called out each voice of the deep-blue sky,
From the night-bird's lay through the starry time,
In the groves of the soft Hesperian clime,
To the swan's wild note by the Iceland lakes,
Where the dark fir-bough into verdure breaks.

5 From the streams and founts I have loosed the chain; They are sweeping on to the silvery main,

They are flashing down from the mountain brows,
They are flinging spray on the forest boughs,

They are bursting fresh from their sparry caves,
And the earth resounds with the joy of waves.

6 Come forth, O ye children of gladness, come!
Where the violets lie may now be your home.
Ye of the rose-cheek and dew-bright eye,
And the bounding footstep, to meet me fly;
With the lyre, and the wreath, and the joyous lay,
Come forth to the sunshine, I may not stay.

7 Away from the dwellings of careworn men,
The waters are sparkling in wood and glen;
Away from the chamber and dusky hearth,
The young leaves are dancing in breezy mirth;
Their light stems thrill to the wild-wood strains,
And youth is abroad in my green domains.

8 The summer is hastening, on soft winds borne;
Ye may press the grape, ye may bind the corn;
For me, I depart to a brighter shore-

Ye are marked by care, ye are mine no more.

I go where the loved who have left you dwell,

And the flowers are not Death's-fare ye well, farewell!

QUESTIONS.

1. What is the element in this lesson?

2. Describe the Explosive Form.

3. How is it produced?

4. What are the advantages of the Explosive Form? 5. When should the Explosive Form be used?

6. Where in nature is this principle illustrated?

7. Why does the selection require the Explosive Form?

1. Change from first to third position by stepping forward about six or eight inches with the right foot, and resting the weight of the body upon the right.

2. Change from the third to first position by bring ing up the left foot to within about three inches of the right, and resting the weight of the body upon the left.

3. Change from the first to the fourth position by stepping forward with the left foot about six or eight

inches, and balancing the body with the toe or ball of the right foot.

4. Change from fourth to first position by bringing up the right foot.

EXERCISES IN BREATHING AND GESTURE.

Inflate the lungs, and at the same time raise the tips of the fingers to the shoulders, strike downward forcibly, and at the same time expel the breath from the lungs.

Repeat the exercise several times.

1. Dare to do right.

2. The air is very cool.

3. Swear by my sword.

4. Come, boy, prepare yourself.

5. Air, earth, and sea, resound his praise. Review carefully the FORMS OF VOICE.

QUALITIES OF VOICE.

Quality is the kind of tone, the purity or impurity of the voice. Every vocal utterance must have some quality. This may be Pure Tone, Orotund, Oral, Aspirate, Pectoral, Guttural, Falsetto, or Nasal, or a combination of two or more of these.

Qualities of voice may be divided according to their use and importance into three classes. To the first

2

class belong the Pure Tone, Orotund, and Oral. These qualities are employed in the expression of the higher and nobler styles of thought and feeling. Nature teaches this principle in the pure clear notes of the birds, the grand roar of Niagara, the sad tones of the animals in their expressions of sympathy and suffering. To the second class belong the Aspirate, Pectoral, and Guttural, qualities employed chiefly in the expression of the harsh, repulsive, malignant thoughts and feelings. This we learn from the hiss of the snake, aspirate in quality; the growl of the lion, tiger, hyena, and all blood-thirsty animals, always more or less guttural or pectoral in character. 3 To the third class belong the Falsetto and Nasal, qualities having but little in common, and the classification not founded in nature. They are simply thrown together here to present the subject in a more systematic order. They are chiefly used in the expression of burlesque and mimicry, though the falsetto is often employed in the expression of the elevating and ennobling. Many teachers and writers upon this subject have divided the qualities of voice into two classes, "Pure" and "Impure," placing under the first class only Pure Tone and Orotund, and under the second class all the others. They have taught that only the qualities termed "Pure" should be cultivated, that they are the only qualities required, that all others are defective, improper, and should be avoided. Now, while the Pure Tone and Orotund are the qualities most frequently employed, they are not the only qualities required; Aspirate, Pectoral, Guttural, Oral, Falsetto, and even Nasal being indispensable to the expression of certain styles of thought and feeling. To express fear or awe with Pure Tone is as inappropriate as to express joy