_why_ do we read slowly? The paraphrase answers the question. It was midnight. There lay our beloved leader, who should have been borne in triumphal procession to his last resting place. Bells should have tolled, cannon thundered, and thousands should have followed his bier. But now, alas, by night, by stealth, without even a single drum tap, in fear and dread, we crept breathless to the rampart. This, or any one of a hundred other paraphrases, will suffice to render the vocal movement slow. And so it is with all slow time. Let it be remembered that a profound or sublime thought may be uttered in fast time; but that when we dwell upon that thought, when we hold it before the mind, the time must necessarily be slow. If a child read too rapidly, it is because his mind is not sufficiently occupied with the thought; if he read too slowly, it is because he does not get the words; or because he is temperamentally slow; or because, and this is the most likely explanation, he is making too much of a small idea. To tell him to read fast or slow is but to make him affected, and, incidentally, even if unconsciously, to impress upon him that reading is a matter of mechanics, and not of thought-getting and thought-giving." "II. PITCH. By Pitch is meant everything that has to do with the acuteness or gravity of the tone--in other words, with keys, melodies, inflections and modulations. When we say of one that he speaks in a high key, we should be understood as meaning that his pitch is prevailingly high; and that the reverse is true when we say of one that he speaks in a low key. While it is true that the key differs in individuals, yet experience shows that within a note or two, we all use the same keys in expressing the same states of minds. The question for us is, what determines the key? It can be set down as a fixed principle, that controlled mental states are expressed by low keys, while the high keys are the manifestation of the less controlled mental conditions. Drills in inflections as such are of very little value, and potentially very harmful. Most pupils have no difficulty in making proper inflections, so that for them class drills are time wasted; for those whose reading is monotonous, because of lack of melodic variety, the best drills are those which teach them to make a careful analysis of the sentences, and those which awaken them to the necessity of impressing the thought upon others. We have learned that when a pupil has the proper motive in mind and is desirous of conveying his intention to another, a certain melody will always manifest that intention. The melody, then, is the criterion of the pupil's purpose. The moment a pupil loses sight of a phrase and its relation to the other phrases, that moment his melody betrays him."