Page:The New International Encyclopædia 1st ed. v. 14.djvu/76

MOTILON. 60 MOTLEY. epidemic. On a itcurreuce of the epidemic some years later the Indians again tied to the moun- tains, where they have since remained. For nearly two centuries they have been distinguished for their aggressive and untamable hostility to the whites, so that very little is definitely known of them. See Yameo. MOTION. See Mechanics. MOTION (Lat. motio, from moiere, to move, Skt. wir, to push). In law, an application to a court to obtain a direction, or order, as it is termed, in relation to some question or matter incidental or collateral to the main issues of the ■action. Generally, motions rai.se questions of both law and fact, and it often becomes a serious question as to whether a matter can be decided by the court on motion or whether there is such a controversy as will entitle the party against whom the relief is sought to a trial. A motion difi'ers from a trial, which is the method of determining the substantive rights of the parties to an action on the main issues raised by the pleadings, wliereas a motion is usu- ally made to expedite the progress of the cause, or for summary relief preliminary to the trial of an action, and cannot bring up the entire merits of the action, and is based upon affidavits and other documents. Where tlicre is a question to be deci<led by the court on which the parties may reasonably diller, the motion can only be made after due notice to the opposite party. Generally any |)erson interested in the subject-matter of an action is entitled to make a motion to protect his inter- ests therein, whether he is a party to it or not. See articles Affidavit; Decree; Judgment; Trial. MOTION (in Music). The progression of the variiius v(]iees or parts in a composition. Two voices proceed in contrary motion when one as- cends, the other descends: in parallel mulion when both ascend or descend; in ohlirjiie motion when one remains on the same tone while the other proceeds either ascending or descending. In compositions for tliree or more voices all three kinds of motion may appear simultaneous- ly. Progression of voices in fiurallel motion re- quires the greatest care because it is here that faulty progressions ( fifths, octaves) appear. For this reason the beginner would do well to lead the soprano and bass in contrarti motion whenever possible. For examples of the ditTercnt kinds of motion, .see Ex. l.'{. under Harmony. In respect to the tones of a single part a dis- tinction is made between conjunct and disjunct motion. In the former case the notes proceed either by steps or semisteps: in the" latter by intervals greater than a whole step. The fol- lowing two examples from Beethoven illustrate this: MOTIONS. A name given to a kind of pu[i|iet shows, especially ilhistrating Scriptural stories. Motion.s throve in Kngland in the fif- teenth century. MOTIVE (ML. molicus, moving, from mo- n ii to move) . In psychology, a general term for the conscious conditions of action (q.v.). As these conditions include always processes of two kinds, sensory and atl'ective, the motive falls into two parts: the indueemeiil. the sensory or 'intel- lectual' process, the "reason" for action ; and the incentive, the ailective process which prompts to it. Thus a thief is induced to steal by tiie sight of the unguarded loaf: the incentive to his theft is the unplea.sant feeling of hunger. The typical motive to action is the impulse (q.v.). See .cTiox. MOTIVE. In music, the original germ from Avhich all musical form is evolved. A motive generally fills one measure, and two motives con- stitute the section. (See Form.) The simplest form of motive is the rhiithmic motive considered apart from the melodic and harmonic progres- sions, in conjunction with which it generally oc- curs. Thus the rhythmic motives underlying the principal subject of Beethoven's Symphony in A major is : and the romplctr (rhj'thmic, melodic, harmonic combined) motive is: However, there are also purely rhythmical motives which are set against other complete motives. A famous exami)le is furnished in Bee- thoven's C minor Symphony, where the rhythmic motive of the principal subject is sounded on the basses against the secondary subject of the violins. In a wider sense the term motire is used almo.st .synonymously with theme. In the use of this term musical terminology' is very care- less, for motive more frequently is applied when theme or subject should be used. Hence, in theoretical works the word tncasure-molirc is adopted to denote the simplest form as explained above. The leading motires in Wagner's works should properly be called leading themes. See I.EIT.MOTIV. M0T1,EY, .TonN Lothrop (1814-77). An eminent American historian, horn in Dorchester, Mass.. April 1.'). ISl t. He entered Harvard Col- lege at the age of thirteen, and was graduated in the class of I8;H. The two years following he spent in Germany at the universities of OJittingen and Berlin, and here he formed an intimate per- sonal friendship with Bismarck, which continued till his death. On his return he studied law. He was married, in lS37.toMiss Mary Benjamin, of Boston, ^(otlcy's first venture in literature was a story entitled Morton's Hope (1S30). a very unsuccessful historical-romantic novel. In 1841 he was made secrclary of the American I.eg.ntion at Saint Petersburg, but. owing to the severity of the climate and his regret at being separated from his family, he .soon resigned. His first work revealing his real power was a review of a memoir of Peter the Great, which he wrote for the orth Amrriean llerieir in 184.5. Two years later he published in the sami- periodical a scholarly article on Balzac, and in 1849. for the same organ, a review of Talvi's Clesehiehir der