ment demands. Solemn discourse requires a slow movement; simple narrative, a medium rate of utterance; animated description, as well as all language expressive of any sudden passion, as joy, anger, &c., a movement more or less rapid, according to the intensity of emotion. In the science of music, various terms have been employed to denote the rate of movement, the principal of which are the following: ADAGIO,.... Largo, ...... very slow; the slowest time. slow time. Larghetto,... slow, but not so slow as largo. Andantino,. .. a little quicker than andante. Allegretto,... rather quick, but not so quick as allegro. Presto,.... .... very quick. Prestissimo.. as quick as possible. Adagio, andante and allegro, are the three chief divisions of time; the other terms mark the intermediate degrees. In addition to the foregoing terms, which mark the movement, there are others, which indicate the style of performance. Some of these are as follows: Affetuoso,.. affectionate a soft and delicate style of performance. Spiritóso,.. spirited - a spirited style. Sometimes these terms are used in connexion with those which express the rate of movement, thus: Allegro con spiríto, quick with spirit — in a quick and spirited manner. The rate of movement is not definitely marked by the terms Adagio, Largo, Larghetto, &c. ; it may, however, be designated with precision by means of the METRONOME OF MAELZEL. This instrument has a graduated pendulum, to which is attached a sliding weight. The higher this weight All is moved upon the pendulum, the Diag. 17. A The engraving in the margin represents the instrument in action. In reading, as a general rule, the time should be marked on the metronome by whole measures in other words, each measure should correspond to one tick of the instrument. In music, it is most convenient to mark the time on the metronome in adagios, by quavers; in andantes, by crotchets; in allegros, by minims; and in prestos, by whole measures. EXAMPLES OF THE SEVERAL MOVEMENTS. In the following Examples, the words which indicate the movement and the corresponding numbers on the metronome, are both employed. 3 4. Adagio. Metronome 60-two beats in a measure. O when shall day dawn on the night of the Largo. Metronome 56- -one beat in a measure. grave! Larghetto. Metronome 66— one beat in a measure. J TIJ F FI *NOTE.The figure 3 over the three quavers which compose the first measure, signifies that they are to be pronounced in the time of two. 3 ♪ ♪ ♪ ♪ ♪ ♪ ♪♪♪♪ ♪ 8 And Allegro con spirito. Metronome 104 - -one beat in a measure. now flying a · darkness and doubt are Animato. Metronome 100 one beat in a measure. way. ។ PART II. GESTURE. ESTURE is the various postures and motions employed in vocal delivery: as the postures and motions of the head, face, shoulders, trunk, arms, hands, fingers, lower limbs, and the feet. Graceful and appropriate gesture renders vocal delivery far more pleasing and effective. Hence its cultivation is of primary importance to those who are ambitious of accomplishment in Elocution. CHAPTER I. POSTURES OF THE BODY. THE postures of the body, with respect to vocal delivery, may be divided into favourable and unfavourable; and, the better to suit my purpose in giving their illustration, I shall first treat of the unfavourable. The most unfavourable posture is the horizontal. If a reader or a speaker should lie prone, or supine, he would not be likely to deliver a discourse with energy and effect. I have never known an orator to deliver a discourse in the horizontal posture; but I have known individuals to speak in public in postures almost as inappropriate. As impressions communicated through the medium of the eye, are the most lasting, two series of figures are |