,,transcriber',s ,,note      ,italic    
text is denoted by underscores4         
,footnote anchors are denoted by number1
 and the footnotes have    been placed  
at the end of each of the three ,parts4 
,a paragraph of the original text on    
page #bfb gave some consonants    an    
acute or grave accent for emphasis2 t   
and w with acute accent    will be      
displayed as t 1 2 h t and w with grave 
accent will be    displayed as h 1 t    
and  7,unicode combining diacriticals74 
,there    is one breve1  on page #fh4   
,some handheld devices may display some 
of these characters incorrectly4        
,some minor changes to the text are     
noted at the end of the book4           
,,how ,,to ,,teach      ,,reading ,,in  
,,the ,,public ,,schools      ,,by      
,s4 ,h4 ,,clark1 ,ph4,b4      ,,of ,,the
 ,,university ,,of ,,chicago            
,author of 8,how to ,read ,aloud0 and   
,associate ,author of 8,principles    of
 ,vocal ,expression1 ,mental ,technique 
and ,literary ,interpretation0          

,,chicago    ,,scott1 ,,foresman ,,and  
,,company    #ahih            ,copyright
 #ahih1    ,by ,,scott1 ,,foresman ,,and
 ,,company        ,,press ,,of    ,,the 
,,henry ,o4 ,,shepard ,,co41            
,,chicago4            ,,contents        
,,page    ,,preface                     
#g      ,,introduction                  
#i      ,chapter ,i4  ,the ,criterion of
 ,time                  #ai             
,,ii4  ,the ,criterion of ,pitch        
#db            ,,iii4  ,the ,criterion  
of ,quality               #hj           
,,iv4  ,the ,criterion of ,force        
#aja              ,v4  ,the ,mental     
,attitude of the ,reader     #aag       
,,vi4  ,grouping                        
#abh            ,,vii4  ,succession of  
,ideas                   #acb           
,,viii4  ,central ,idea                 
#ach             ,,ix4  ,subordination  
#adi              ,x4  ,values          
#aeg             ,,xi4  ,emotion        
#agb            ,,xii4  ,atmosphere     
#ahd           ,,xiii4  ,contrasts      

#bje            ,,xiv4  ,climaxes       
#bab             ,,xv4  ,concluding     
,remarks on ,method          #bbd       
,,xvi4  ,literary ,interpretation       
#bca      ,,index                       
#bia          ,,preface      ,this book 
is intended as a manual for teachers of 
reading in the  public schools4 ,in its 
preparation the theory was1 first1 that 
the teacher should have a thorough      
knowledge of how thought and  feeling   
are expressed--in other words he must   
have the criteria  of expression2 and1  
second1 that he should have a definite  
graded  method of instruction1 in which 
the simple shall precede the  complex1  
and in which one element1 and one only1 
shall be presented  at a time4    ,the  
book is1 therefore1 an endeavor to      
assist the teacher of  reading1 first1  
by explaining the psychology of the     
criteria  of expression2 second1 by     
presenting a practical method of        
instruction2 and1 third1 by discussing  
certain definite principles  of literary

 interpretation4    ,parts of this book 
have been given to the public by the    
author1  in ,principles of ,vocal       
,expression and ,how to ,read ,aloud1   
the  latter of which is now out of      
print4 ,the interest in these two  books
 is a cause for gratitude and it is     
hoped the present manual  may serve its 
purpose equally well4      ,s4 ,h4      
,,clark4          ,,introduction        
,it is universally conceded that the    
public schools fail to give  children   
much power as readers4 ,one authority   
asserts that1  after the child's twelfth
 year1 his ability as a reader steadily 
declines4 7,up to that time he is       
gradually acquiring greater  mastery    
over words1 and so1 in a sense1 may be  
said to be  improving47 ,testimony can  
be added that1 by the time he reaches   
the  university1 the average student    
cannot read at all4    ,many remedies   
have been suggested1 from which two may 
be selected  as typical4 ,one is to call
 the attention of the child to the      

mechanics of vocal expression--to       
inflection1 force1 movement1 and  so    
forth4 ,the other 7that commonly        
employed71 to tell the child to  get the
 thought4 ,it cannot be denied that both
 methods have1 in  isolated cases1 been 
productive of some good1 yet1 on the    
whole1  they have been well-nigh barren 
of results4 ,let us inquire briefly     
into the causes4    ,the mechanical     
method fails1 especially with younger   
people1  because it is dry1 technical1  
unstimulating1 and1 in the main1        
uninteresting4 ,it deals with rules for 
the use of the different  elements of   
vocal expression1 telling the child he  
must use a  rising inflection here1 a   
falling inflection there2 that he must  
read parenthetical phrases and clauses  
in lower pitch and faster  time2 that   
this emotion should be manifested in    
normal quality1  that emotion in orotund
 quality2 and so on through weary1      
dreary  rules and principles1 the study 
of which has seldom done any  good and  

oftentimes much harm4 ,the              
8get-the-thought0 method is a  revolt   
against the other plan4 ,recognizing the
 fact that drills  in the elements have 
done nothing toward elevating the       
standard  of reading1 the conscientious 
principal or superintendent tells  his  
teachers that they must see to it that  
the scholars get the  thought4 ,this is 
a step in the right direction1 but it   
must be  acknowledged that it does not  
produce results4 ,and the chief  reasons
 for this are two4 ,first1 for one cause
 or another the  finer shades of meaning
 escape too many teachers4 ,second1 very
  few teachers have received the        
necessary training to enable them  to   
discern quickly with what mental        
conditions various forms of  vocal      
expression are associated4 ,in other    
words1 they have not  the criteria of   
vocal expression2 and1 in consequence1  
helpful  criticism is impossible4       
,why have previous methods of teaching  
reading practically failed8  ,there are 

three reasons3 first1 the lack of       
appreciation of the  best literature on 
the part of the teacher2 second1 the    
complexity  of vocal expression2 and    
third1 the intangibility of vocal       
expression4    ,appreciation of the     
meaning and beauty of literature is the 
first  requisite of a successful teacher
 of reading2 and yet there is  little   
opportunity afforded the teacher to get 
this appreciation4  ,is it not true that
 too many teachers have no love for real
  literature8 ,the fault is not theirs1 
but that of the method of  teaching     
literature that substitutes grammar1    
philology1 history1  and lectures about 
literature for the study of the meaning 
and  beauty of the literature itself4   
,one may safely assert that  thousands  
of children would be better readers1    
even with the  present faulty methods1  
if their teachers had a genuine interest
  in the best literature4 ,of what avail
 is it to put good literature  into the 
schoolbooks if its merit does not appeal

 as well to the  instructor as to the   
pupil8 ,the stream can rise no higher   
than its  source4 ,there is1 however1 a 
rapidly growing sentiment against the   
substitution of parsing1 history1       
philology1 or ethics for genuine        
literary training4 ,we are coming to    
recognize that literature is  art1      
beauty1 spirit2 and1 when this          
recognition becomes general1 we  shall  
have better teachers and better readers4
 ,for there is nothing  that so         
stimulates our vocal expression as the  
desire to impress  upon others the      
beauty and feeling of what has impressed
 ourselves4    ,complexity may be       
defined by illustration4 ,a phrase may  
be read  fast or slowly2 in high or low 
key2 with one melody or another2  with  
loud or subdued force2 with this quality
 of voice or with  that4 ,now all these 
elements are present at one time2 so    
that1  without proper training1 the     
teacher is unable to discriminate       
between them and hence unable to give   

the needful correction1  without which  
there can be no progress4               
,intangibility may be explained by      
showing what is meant by a  tangible    
subject4 ,the spelling lesson is        
tangible2 the arithmetic  lesson is     
tangible4 ,a mistake is easily          
recognized and corrected4  ,three months
 after a paper on these subjects has    
been handed in1  the teacher can go back
 to it and examine it4 ,but vocal       
expression  is evanescent1 and1 by the  
untrained1 can be recalled imperfectly1 
if at all1 and then only a short time   
after it has been heard4 ,in  the       
presence of the combined difficulties   
due to complexity and  intangibility1   
the teacher is appalled2 and1           
conscientious though  he be1 he gives up
 in despair4 ,the teaching becomes      
perfunctory2  the children lose         
interest2 and there is the end of       
reading4  ,reading1 which should be the 
brightest and most inspiring of         
lessons1 degenerates into a humdrum1    

dry-as-dust time-killer4 ,good  reading 
is as rare as the classical bird4 ,no   
idea of a pupil's  reading ability can  
be gained from a knowledge of the class 
he is  in4 ,he is no better reader in   
the highest public-school grade than  he
 is in the grade two or three below the 
highest4 ,the teacher has  come to      
recognize the futility of his efforts2  
and so1 in many  class rooms1 the time  
set apart for reading is given up to    
language  lessons1 composition1 and     
other studies1 valuable in themselves1  
but only incidentally helpful in        
increasing the pupil's reading  power4  
,it may be asked1 what objects are to be
 attained as a result of  reading       
lessons8 ,there are two4 ,first1 to give
 us the power to  extract thought from  
the printed page4 ,after we leave       
school1 our  information is gained from 
books2 and what we get from these is    
largely determined by our school        
training4 ,our system of education  has 
a great deal to answer for when it fails

 to provide this  training4 ,the value  
of vocal expression is not to be        
depreciated1  but of the utmost         
importance is the ability to get the    
author's  meaning4 ,our teaching1 from  
the primary grade to the university1 is 
lamentably weak in this direction4 ,a   
well-known college professor1  in       
response to a school superintendent's   
question as to what would  better the   
preparation of secondary-school students
 for college1  replied3 8,for ,heaven's 
sake1 teach them how to read40 ,another 
college instructor--a learned authority 
on geology--states that  he finds       
occasion to remark to his classes about 
once a month1  8,it's a great thing to  
be able to read a page of ,english40 ,no
 one  who examines the reading in our   
schools can fail to be struck1  not so  
much with the absence of expressive     
power1 as with the  absence of mental   
grasp4 ,we are so anxious to get on that
 we are  content with skimming the      
surface1 and do not take the time to get

  beneath it4 ,the reading lesson should
 be1 primarily1 a thinking  lesson1 and 
every shade of thought should be        
carefully determined1  no matter how    
long a time may be consumed4 ,the habit 
of hurrying  over the page1 which is so 
prevalent1 is clearly an outgrowth of   
schoolroom methods4 ,careless of all the
 future1 we are too prone  to push the  
pupil along1 ignoring the simplest and  
most evident of  psychological laws1    
that thought comes by thinking1 and     
thinking  takes time4    ,one tires of  
the universal excuse for the laxity of  
our methods3  we have not the time4 ,the
 reply to teacher1 superintendent1 and  
school board is1 we have no time to     
teach a subject poorly4 ,if             
thought-getting--genuine                
thought-getting--were insisted on from  
the outset1 without doubt the work which
 now requires six or  seven years to    
accomplish could be done in five4 ,how  
much thought  power has the             
public-school graduate8 ,very little4   

,and yet1 if  all lessons--history1     
geography1 arithmetic1 and the          
rest--were  made thought lessons1 a     
child of fourteen would be on the road  
to  educating himself when he left      
school4 ,is it not pitiful to see  a    
bright boy or girl spending three or    
four hours a day in the  preparation of 
his lessons1 and then coming to class   
only to find  that he has wasted and    
worse than wasted his time8 ,in taking  
leave  of this theme1 the teacher is    
urged to ponder these noble words of  a 
noble man1 8,when thou readest1 look    
steadfastly with the mind at  the things
 the words symbolize4 ,if there be      
question of mountains1  let them loom   
before thee2 if of the ocean1 let its   
billows roll  before thy eyes4 ,this    
habit will give to thy voice even       
pliancy  and meaning4 ,the more sources 
of interest we have1 the richer is  our 
life4 ,to hold any portion of truth in a
 vital way is better  than to have its  
whole baggage stored merely in one's    

memory40 ,and1  again1 8,he who thinks  
for himself is rarely persuaded by      
another4  ,information and inspiration  
he gladly receives1 but he forms his    
own judgment4 ,arguments and reasons    
which1 to the thoughtful1 sound  like   
mockery1 satisfy the superficial and    
ignorant40 ,and there is  no better way 
to develop such a thinking person than  
by careful  training in reading4        
,most readers1 like good-natured cows1  
,keep browsing and forever browse2      
,if a fair flower come in their way     
,they take it too1 nor ask1 8,what1     
pray60        ,like other fodder it is  
food1        ,and for the stomach quite 
as good4    ,training in thought-getting
 is1 then1 the first result to be       
expected from the reading lesson4 ,the  
second is the power of  adequate vocal  
expression4 ,the temptation to enlarge  
upon the  many benefits to body1 voice1 
mind1 and soul1 to say nothing of  the  
practical worldly benefits of vocal     
expression1 is resisted4  ,it is taken  

for granted that they are recognized2 so
 that we pass  on to the discussion of a
 plan that may help us to get these     
benefits2 prefacing the discussion with 
the statement that the evil  results of 
our present laxity are not to be laid at
 the door of  the individual teacher1   
but at that of the educational system in
  general4    ,this work makes no       
pretensions to treat in any detail      
reading as an  art4 ,its sole object is 
to present the ideal of the reading     
lesson  and suggest ways and means by   
which that ideal may be brought         
somewhat nearer to our grasp than it is 
at present4 ,nevertheless1  to those who
 may desire to study reading as an art1 
it can be  safely said1 that we must    
first be good readers before we can  be 
artists2 and since this is so1 there    
should be much gain to  them from a     
careful1 definite study of the          
fundamental principles  herein set      
forth4 ,for special teachers of         
elocution1 also1 it is  hoped that the  

book may prove of some value1 as dealing
 with those  elements without the       
understanding of which successful       
teaching of  advanced work is           
impossible4    ,vocal culture1 in the   
ordinary sense of the word1 finds no    
place  in this discussion4 ,the reason  
for this omission will appear in  the   
following pages4 ,this much1 however1   
may be stated here2  except under       
particularly favorable circumstances1   
very little can  be done in voice       
training in our public schools2 but by  
the plan  herein presented1 the voices  
of our children may be made truly       
expressive1 and that1 after all1 is of  
more value to them than mere  technical 
facility4    ,while the subject of      
primary school reading is not discussed 
directly1 the primary teacher should    
derive considerable assistance  from the
 book1 inasmuch as it aims to present   
the standard of  criticism and the      
psychology of reading4 ,with him rests  
to a great  extent the success of any   

method of oral expression4 ,that he     
should  have a clear conception of the  
goal of the reading lessons and the     
manner of reaching it is therefore      
beyond dispute4    ,the book has a      
double purpose4 ,first1 to assist the   
teacher to  teach reading2 second1 to   
help the teacher to improve his own     
reading4 ,the latter purpose explains   
the amount of illustrative  matter1 and 
also the fact that some of this is      
beyond the grasp of  young and immature 
minds4          ,,part ,,one      ,,the 
,,criteria ,,of ,,vocal ,,expression    
,,chapter ,i    ,,the ,,criterion ,,of  
,,time      ,it must be clear that no   
progress can be made in the teaching of 
any subject unless the teacher possess a
 definite standard of  criticism2 and1  
furthermore1 it must be granted that the
 teacher  of reading does not possess   
this standard4 ,we have a standard in   
spelling1 in arithmetic1 in geography1  
but none in reading--at  least none     
clearly apprehended and scientifically  

applied4 ,it is1  therefore1 the purpose
 of the first part of this book to      
present  those elements of vocal        
expression--the four criteria--a        
knowledge  of which is indispensable to 
any progress in the teaching of         
reading4 ,these are1 ,time1 ,pitch1     
,quality1 and ,force1 the first of      
which we now proceed to study in detail4
    ,in ,professor ,raymond's admirable 
work1 ,the ,orator's ,manual1 there     
appear these significant words3 8,the   
relative time apportioned to  a word    
indicates the mind's measurement of     
it1--represents the  speaker's judgment 
as to the amount of meaning or          
importance that  it conveys40 ,a        
moment's thought must convince us of the
 truth of  this statement4 ,making due  
allowance for certain speakers1 who1 for
  one cause or another1 have an         
unusually slow or fast utterance1  the  
principle laid down by ,professor       
,raymond is1 without doubt1             
psychologically sound4 ,in fact1 it is a

 platitude2 but like many  another      
platitude1 its truth is so close to us  
that we fail to  perceive its meaning   
and application4 ,an additional proof of
 the  soundness of this principle is    
found in music4 ,a solemn dirge1 a      
funeral march1 an anthem of praise is   
rendered in slow time2 while  moderate  
and fast time seem the fitting          
expression of the lighter  moods4       
,time1 then1 refers to the rate of vocal
 movement4 ,it may be fast1  or         
moderate1 or slow1 according to the     
amount of what may be called  the       
collateral thinking accompanying the    
reading of any given  passage4 ,to put  
it another way3 a phrase is read slowly 
because  it means much2 because the     
thought is large1 sublime1 deep4 ,the   
collateral thinking may be revealed by  
an expansive paraphrase4  ,for instance1
 in the lines          ,not a drum was  
heard1 not a funeral note1        ,as   
his corse to the ramparts we hurried1   
why do we read slowly8 ,the paraphrase  

answers the question4 ,it  was midnight4
 ,there lay our beloved leader1 who     
should have been  borne in triumphal    
procession to his last resting place4   
,bells  should have tolled1 cannon      
thundered1 and thousands should have    
followed his bier4 ,but now1 alas6 by   
night1 by stealth1 without  even a      
single drum tap1 in fear and dread1 we  
crept breathless to  the ramparts4      
,this1 or any one of a hundred other    
paraphrases1 will  suffice to render the
 vocal movement slow4 ,and so it is with
 all  slow time4 ,let it be remembered  
that a profound or sublime thought  may 
be uttered in fast time2 but that when  
we dwell upon that  thought1 when we    
hold it before the mind1 the time must  
necessarily  be slow4    ,the succeeding
 passages will have a prevailingly slow 
movement4  ,measure the thought         
carefully1 and think the expansive      
paraphrase4  ,these drills are not to   
train us to read slowly 7for any one can
 do  that71 but to think largely4 ,the  

movement will take care of itself4  ,it 
is further urged that the student give  
considerable attention to  this part of 
the subject2 for the time so spent will 
be valuable  not only as it results in  
expressive movement1 but because it is  
only through meditation that the fullest
 insight into the meaning  of a passage 
can be acquired4 ,hence1 dwelling for a 
long period  upon a phrase or sentence  
gives opportunity for the enkindling of 
the imagination and emotion4 ,it has    
been frequently found that  where a     
student's movement was out of harmony   
with the sentiment  of the passage1 his 
emotional interpretation was equally    
poor4  ,a farther careful study of the  
text to improve the movement has        
generally resulted in the improvement of
 the emotional expression4      ,mr4    
,speaker3 ,the mingled tones of sorrow1 
like the    voice of many waters1 have  
come unto us from a sister              
,state--,massachusetts--weeping for her 
honored son4 ,the ,state ,i    have the 

honor in part to represent once endured1
 with yours1 a    common suffering1     
battled for a common cause1 and rejoiced
 in a    common triumph4 ,surely1 then1 
it is meet that in this the day of      
your affliction we should mingle our    
griefs4      ,search creation round1    
where can you find a country that       
presents    so sublime a view1 so       
interesting an anticipation8 ,who shall 
say    for what purpose mysterious      
,providence may not have designed her6  
,who shall say that when in its follies 
or its crimes1 the ,old    ,world may   
have buried all the pride of its power1 
and all the    pomp of its civilization1
 human nature may not find its destined 
renovation in the ,new6 ,when its       
temples and its trophies shall    have  
mouldered into dust1--when the glories  
of its name shall be    but the legend  
of tradition1 and the light of its      
achievements    live only in song1      
philosophy will revive again in the sky 
of her    ,franklin1 and glory rekindle 

at the urn of her ,washington4          
,often have ,i swept backward1 in       
imagination1 six thousand years1    and 
stood beside our great ancestor1 as he  
gazed for the first    time upon the    
going down of the sun4 ,what strange    
sensations must    have swept through   
his bewildered mind1 as he watched the  
last    departing ray of the sinking    
orb1 unconscious whether he should      
ever behold its return4      ,wrapped in
 a maze of thought1 strange and         
startling1 he suffers    his eye to     
linger long about the point at which the
 sun has    slowly faded from view4 ,a  
mysterious darkness creeps over the     
face of ,nature2 the beautiful scenes of
 earth are slowly fading1    one by one1
 from his dimmed vision4      ,you think
 me a fanatic to-night1 for you read    
history1 not with    your eyes1 but with
 your prejudices4 ,but fifty years      
hence1 when    ,truth gets a hearing1   
the ,muse of ,history will put ,phocion 
for    the ,greek1 and ,brutus for the  

,roman1 ,hampden for ,england1 ,la      
,fayette for ,france1 choose ,washington
 as the bright1 consummate    flower of 
our earlier civilization1 and ,john     
,brown as the ripe    fruit of our      
noonday1 then1 dipping her pen in the   
sunlight1 will    write in the clear    
blue1 above them all1 the name of the   
soldier1    the statesman1 the martyr1  
,toussaint ,l',ouverture4      ,figure  
to yourself a cataract like that of     
,niagara1 poured in    foaming grandeur1
 not merely over one great precipice of 
two    hundred feet1 but over the       
successive ridgy precipices of two or   
three thousand1 in the face of a        
mountain eleven thousand feet    high1  
and tumbling1 crashing1 thundering down 
with a continuous    din of far greater 
sublimity than the sound of the grandest
    cataract4 ,the roar of the falling  
mass begins to be heard the    moment it
 is loosened from the mountain2 it pours
 on with the    sound of a vast body of 
rushing water2 then comes the first     

great    concussion1 a booming crash of 
thunders1 breaking on the still    air  
in mid-heaven2 your breath is suspended1
 and you listen and    look2 the mighty 
glittering mass shoots headlong over the
 main    precipice1 and the fall is so  
great that it produces to the    eye    
that impression of dread majestic       
slowness of which ,i have    spoken1    
though it is doubtless more rapid than  
,niagara4 ,but if    you should see the 
cataract of ,niagara itself coming down 
five    thousand feet above you in the  
air1 there would be the same            
impression4 ,the image remains in the   
mind1 and can never fade    from it2 it 
is as if you had seen an alabaster      
cataract from    heaven4 ,the sound is  
far more sublime than that of ,niagara1 
because of the preceding stillness in   
those ,alpine solitudes4 ,in    the     
midst of such silence and solemnity1    
from out the bosom of    those glorious1
 glittering forms of nature1 comes that 
rushing1    crashing thunder-burst of   

sound6 ,if it were not that your soul1  
through the eye1 is as filled and fixed 
with the sublimity of    the vision as1 
through the sense of hearing1 with that 
of the    audible report1 methinks you  
would wish to bury your face in your    
hands1 and fall prostrate1 as at the    
voice of the ,eternal4          ,how    
lovely are thy dwellings fair6          
,o ,lord of ,hosts1 how dear        ,the
 pleasant tabernacles are               
,where thou dost dwell so near6         
,my soul doth long and almost die       
,thy courts1 ,o ,lord1 to see1          
,my heart and flesh aloud do cry1       
,o living ,god1 for thee4               
,there even the sparrow1 freed from     
wrong1          ,hath found a house of  
rest2        ,the swallow there1 to lay 
her young1          ,hath built her     
brooding nest2          ,even by thy    
altars1 ,lord of ,hosts1          ,they 
find their safe abode2        ,and home 
they fly from round the coasts          
,towards thee1 my ,king1 my ,god4       

,the following will illustrate fast     
movement4 ,let there be no  attempt to  
accelerate the speed1 but let the       
thought and emotion  themselves govern  
that4 ,no examples are given to         
illustrate  moderate time1 since the    
student gets sufficient practice of this
  kind in almost everything he reads4   
,gloriously1 ,max6 gloriously6 ,there   
were sixty horses in the    field1 all  
mettle to the bone2 the start was a     
picture--away we    went in a           
cloud--pell-mell--helter-skelter--the   
fools first1    as usual1 using         
themselves up4 ,we soon pass them--first
 your    ,kitty1 then my ,blueskin1 and 
,craven's colt last4 ,then came the     
tug--,kitty skimmed the walls--,blueskin
 flew over the fences--the    colt      
neck-and-neck1 and half a mile to       
run--at last the    colt balked a leap  
and went wild4 ,kitty and ,i had it all 
to    ourselves--she was three lengths  
ahead as we breasted the last    wall1  
six feet1 if an inch1 and a ditch on the

 other side4 ,now1    for the first     
time1 ,i gave ,blueskin his head--,ha1  
ha6 ,away he    flew like a             
thunderbolt--over went the filly--,i    
over the same    spot1 leaving ,kitty in
 the ditch--walked the steeple1 eight   
miles    in thirty minutes1 and scarcely
 turned a hair4      ,nice clothes ,i   
get1 too1 traipsing through weather like
 this6    ,my gown and bonnet will be   
spoiled4 ,needn't ,i wear 'em1 then8    
,indeed1 ,mr4 ,caudle1 ,i shall wear    
'em4 ,no1 sir6 ,i'm not going    out a  
dowdy to please you or anybody else4    
,gracious knows6 it    isn't often that 
,i step over the threshold4             
,before a quarter pole was pass'd1      
,old ,hiram said1 8,he's going fast40   
,long ere the quarter was a half1       
,the chuckling crowd had ceased to      
laugh2        ,tighter his frightened   
jockey clung        ,as in a mighty     
stride he swung1        ,the gravel     
flying in his track1        ,his neck   
stretched out1 his ears laid back1      

,his tail extended all the while        
,behind him like a rat-tail file6       
,off went a shoe1--away it spun1        
,shot like a bullet from a gun2         
,the quaking jockey shapes a prayer     
,from scraps of oaths he used to swear2 
,he drops his whip1 he drops his rein1  
,he clutches fiercely for the mane2     
,he'll lose his hold1--he sways and     
reels1--        ,he'll slide beneath    
those trampling heels6        ,the knees
 of many a horseman quake1        ,the  
flowers on many a bonnet shake1         
,and shouts arise from left and right1  
8,stick on6 stick on60 8,hould tight6   
hould tight6        ,cling round his    
neck2 and don't let go1--        ,that  
pace can't hold1--there6 steady6 whoa60 
,then methought ,i heard a mellow sound1
        ,gathering up from all the lower
 ground2        ,narrowing in to where  
they sat assembled1        ,low         
voluptuous music winding trembled1      
,wov'n in circles4 ,they that heard it  
sigh'd1        ,panted hand-in-hand with

 faces pale1        ,swung themselves1  
and in low tones replied2        ,till  
the fountain spouted1 showering wide    
,sleet of diamond-drift and pearly hail4
        ,then the music touch'd the     
gates and died2        ,rose again from 
where it seem'd to fail1        ,storm'd
 in orbs of song1 a growing gale2       
,till thronging in and in1 to where they
 waited1        ,as 'twere a            
hundred-throated nightingale1           
,the strong tempestuous treble throbb'd 
and palpitated2        ,ran into its    
giddiest whirl of sound1        ,caught 
the sparkles1 and in circles1           
,purple gauzes1 golden hazes1 liquid    
mazes1        ,flung the torrent rainbow
 round4        ,then they started from  
their places1        ,moved with        
violence1 changed in hue1        ,caught
 each other with wild grimaces1         
,half-invisible to the view1            
,wheeling with precipitate paces        
,to the melody1 till they flew1         
,hair1 and eyes1 and limbs1 and faces1  

,twisted hard in fierce embraces1       
,like to ,furies1 like to ,graces1      
,dash'd together in blinding dew2       
,till1 kill'd with some luxurious agony1
        ,the nerve-dissolving melody    
,flutter'd headlong from the sky4       
,let it not be supposed that any one of 
the foregoing extracts is  to be read in
 uniformly slow or uniformly fast time2 
that will  change with each variation in
 the importance of the thought4         
,without attempting to force any        
interpretation upon the student1  an    
illustration is appended in which he may
 note how the relative  importance of   
the ideas affects the rate of movement  
in the various  phrases4      ,med4     
,wherefore rejoice8 ,what conquest      
brings he home8    ,med4           ,what
 tributaries follow him to ,rome1       
,fast4          ,to grace in captive    
bonds his chariot wheels8    ,slow4     
,you blocks1 you stones1 you worse than 
senseless                               
things6    ,very slow4     ,o you hard  

hearts1 you cruel men of ,rome1    ,med4
 and fast4 ,knew you not ,pompey8 ,many 
a time and oft    ,fast4          ,have 
you climb'd up to walls and battlements1
    ,fast4          ,to towers and      
windows1 yea1 to chimney-tops1    ,med4 
,your infants in your arms1 and there   
have sat    ,med4           ,the        
livelong day1 with patient expectation1 
,med4           ,to see great ,pompey   
pass the streets of ,rome3    ,med4     
,and when you saw his chariot but       
appear1    ,fast4          ,have you not
 made an universal shout1    ,fast4     
,that ,tiber trembled underneath her    
banks1    ,fast4          ,to hear the  
replication of your sounds    ,fast4    
,made in her concave shores8    ,slow4  
,and do you now put on your best attire8
    ,med4           ,and do you now cull
 out a holiday8    ,med4           ,and 
do you now strew flowers in his way1    
,fast4          ,that comes in triumph  
over ,pompey's blood8 ,begone6    ,med4 
,run to your houses1 fall upon your     

knees1    ,slow4          ,pray to the  
gods to intermit the plague    ,slow4   
,that needs must light on this          
ingratitude4    ,it must be evident that
 it is very difficult to suggest by a   
word  the rate of speed at which one    
should render a given line4 ,fast  and  
slow are relative terms4 ,certain       
speakers would consider slow  reading   
what another would consider moderate4   
,yet there is on the  whole a pretty    
general agreement as to the use of these
 terms4 ,with  this statement1 we may   
proceed to an analysis of the selection 
to  justify the marking4    ,the        
citizens of ,rome have just declared to 
the tribunes1 enemies  of ,caesar1 why  
the people are making holiday3 8,we make
 holiday to  see ,caesar1 and to rejoice
 in his triumph40 ,whereupon ,marullus1 
one of the tribunes1 begins his speech1 
endeavoring to convince  the mob that   
there is absolutely nothing ,caesar has 
done to  merit this ovation4 ,after the 
word 8tributaries10 the time is         

accelerated for the reason that all that
 follows1 to the end of  the query1 is  
virtually repetitious1 being included in
 the idea of  tributaries4 ,the         
indicated marking of lines four and five
 needs  no justification4 8,knew you not
 ,pompey80 is a question containing     
reproach4 ,the latter element will tend 
to retard the movement4  8,many a time  
and oft0 is repetitious2 he is simply   
reminding  them of well-known facts4    
,when the speaker reaches 8yea1 to      
chimney-tops10 the importance of the    
idea is at once manifest in  the slower 
time1 which continues to 8arms10 when it
 again changes  to medium and fast4 ,the
 student may find it a good drill to    
examine  the remaining lines1 to see    
whether he agrees with or differs from  
the time-markings4    ,thus far we have 
been considering the element of time    
without  regard to details4 ,it is now  
necessary to note that time may be      
affected in two ways3 by quantity and by
 pause4 ,by dwelling upon  the words the

 time may be retarded1 and the same     
effect may be  produced by frequent or  
long pauses4 ,in the former instance1   
the  mind is dwelling upon the thought  
while the voice is giving it            
expression2 and in the latter1 the mind 
is dwelling upon the idea  or the       
collateral thought between the words or 
groups4 ,the two  methods may be        
illustrated in the following extract3   
8,our ,father1  which art in ,heaven1   
hallowed be ,thy name40 ,one may read   
this with  but one pause1 after         
8,heaven02 or he may appropriately pause
 after  8,father10 8,heaven10 and       
8hallowed40      ,,grouping    ,study   
carefully the following extract1 and    
then read it aloud3          ,but when  
the gray dawn stole into his tent1      
,he rose1 and clad himself1 and girt his
 sword1        ,and took his horseman's 
cloak1 and left his tent1        ,and   
went abroad into the cold wet fog1      
,through the dim camp to ,peran-,wisa's 
tent4    ,we notice a tendency to break 

up the sentence into groups of  varying 
length4 ,this tendency is more or less  
instinctive2 and  while there may be    
some difference of opinion as to the    
number of  groups1 yet it must be       
conceded that there is a definite       
underlying  principle1 which admits of  
no exception4 ,for instance1 one might  
read the fourth line as if it were but  
one group2 another1 with  virtually the 
same idea in mind1 might divide it into 
two groups  at the word 8abroad40 ,on   
the other hand1 no one would read in    
this  way3 8,and went abroad into       
the0--8cold wet fog through0--8the dim  
camp to ,peran-,wisa's tent40    ,read  
the following sentences aloud carefully1
 and it will be  noticed that the same  
principle of grouping obtains3      ,the
 star of ,napoleon was just rising to   
its zenith as that of    ,washington was
 passing away4      ,the name and memory
 of ,washington will travel with the    
,silver    ,queen of ,heaven through    
sixty degrees of longitude1 nor part    

company with her till she walks in her  
brightness through the    ,golden ,gate 
of ,california1 and passes serenely on  
to hold    midnight court with her      
,australian ,stars4    ,the reading of  
these illustrations shows that grouping 
is entirely  independent of punctuation4
 ,it is true that the spoken group  may 
coincide with the grammatical group1 but
 that is merely an  accident4 ,we group 
as we do1 not because of punctuation    
marks1 but  for more fundamental and    
less conventional reasons4 ,the function
  of the punctuation mark is to assist  
the reader in getting the  author's     
thought4 ,the following example will    
illustrate this3      ,the slaves who   
were in the hold of the vessel had been 
captured    in ,africa4    ,it is plain 
that the clause introduced by 8who0 is a
 restrictive  one1 and implies that     
there were other slaves on the vessel   
besides  those mentioned4 ,if we now    
insert commas after 8slaves0 and        
8vessel10 the sentence becomes          

equivalent to1 ,the slaves1 and they    
were all in the hold of the vessel1 had 
been captured in ,africa4    ,note1     
again1 how the sense would be obscured  
if the author had  omitted the comma    
after 8all0 in this extract3            
,for we are all1 like swimmers in the   
sea1        ,poised on the top of a huge
 wave of fate4    ,we are not like      
swimmers in the sea1 but poised on the  
top of a  huge wave of fate1 as swimmers
 in the sea are poised on waves of      
water4    ,to prove that grouping is    
independent of punctuation1 let the     
student read aloud the following        
illustrations3                          
,but1 look you1 ,cassius1        ,the   
angry spot doth glow on ,caesar's brow4 
,i saw ,mark ,antony offer him a crown2 
and1 as ,i told you1 he put    it by    
once2 but1 for all that1 to my thinking 
he would have had    it 444 and1 for    
mine own part1 ,i dare not laugh4    ,in
 the two preceding extracts1 the reader 
would hardly pause after  8,but10 8you10

 and the 8and's40    ,while we are on   
the subject of punctuation1 it may be   
advisable  to look at a few examples in 
which the understanding of the force  of
 punctuation vitally affects the        
reading4 ,in these lines from           
,tennyson's ,ode on the ,death of the   
,duke of ,wellington1 students          
carelessly connect the phrase 8sad and  
slow0 with 8,lead out the  pageant40 ,as
 a matter of fact1 a moment's thought   
must show us  that the opening sentence 
is complete in itself1 and that 8sad and
  slow0 modifies 8go40 ,a careful       
reading of the text would reveal  this1 
but a mind that had been trained to     
observe these matters of  punctuation   
would have observed at once that the    
colon separated  the two ideas1 and1    
further1 that the word modified by 8sad 
and  slow0 was to be sought further on4 
,here is the passage3          ,lead out
 the pageant3 sad and slow1        ,as  
fits a universal woe1        ,let the   
long long procession go1        ,and let

 the sorrowing crowd about it grow1     
,and let the mournful martial music     
flow1        ,the last great ,englishman
 is low4    ,another passage1 from ,the 
,merchant of ,venice1 is equally        
interesting and instructive4 ,shylock   
says3      ,yet his means are in        
supposition2 he hath an argosy bound to 
,tripolis1 another to the ,indies2 ,i   
understand moreover upon the    ,rialto1
 he hath a third to ,mexico1 a fourth   
for ,england2 and    other ventures he  
hath1 squandered abroad4    ,seven      
students out of ten read the last       
sentence as if 8hath  squandered0 were  
the verb4 ,the comma after 8hath0 shows 
this to be  a mistake1 and1 moreover1   
denotes a shade of meaning that is very 
significant of ,shylock's character4    
,the object in giving these             
illustrations has been to free the      
student from a very common misconception
 that the group is  determined by the   
punctuation mark1 and1 further1 to draw 
his  attention to the necessity of      

scanning the punctuation with the       
utmost care4 ,as a rule1 the words are  
in themselves sufficient  index of the  
author's meaning2 but1 as in the cases  
cited1 there  are times when            
carelessness regarding punctuation leads
 to serious  and ridiculous             
misunderstanding4 ,the punctuation will 
make the  sense clear wherever such help
 is necessary2 but after that1  as far  
as grouping is concerned1 the student   
need give it no  further attention4 ,in 
order to impress the fact that grouping 
and  punctuation are independent of each
 other1 the following examples  should  
be thoughtfully considered and then read
 aloud3          ,so every bondman in   
his own hand bears        ,the power to 
cancel his captivity4            ,and as
 the greatest only are1        ,in his  
simplicity sublime4    ,note that 8only0
 modifies 8greatest10 and hence should  
be separated  from 8are40 ,if the       
sentence were prose1 it would read1     
8,and as only  the greatest are10 in    

which case there would be no difficulty 
in  the reading4 ,as it is1 we must     
bring out the relation by careful       
grouping4      ,the first object of a   
free people is the preservation of their
    liberty2 and liberty is only to be  
preserved by maintaining                
constitutional restraints and just      
divisions of political power4      ,soon
 after ,william ,h4 ,harrison's         
nomination1 a writer in one of    the   
leading administration papers spoke of  
his 8log cabin0 and    his use of 8hard 
cider10 by way of sneer and reproach4444
      ,it did not happen to me to be    
born in a log cabin1 but my elder       
brothers and sisters were born in a log 
cabin1 raised amid the    snowdrifts of 
,new ,hampshire1 at a period so early   
that1 when    the smoke rose from its   
rude chimney and curled over the frozen 
hills1 there was no similar evidence of 
a white man's habitation    between it  
and the settlements on the rivers of    
,canada4    ,the following example is an

 excellent one to illustrate the        
necessity of paying careful attention to
 grouping3          ,of ,man's first    
disobedience1 and the fruit        ,of  
that forbidden tree1 whose mortal taste 
,brought death into the world1 and all  
our woe1        ,with loss of ,eden1    
till one greater ,man        ,restore   
us1 and regain the blissful seat1       
,sing1 ,heavenly ,muse1 that on the     
secret top        ,of ,oreb1 or of      
,sinai1 didst inspire        ,that      
shepherd1 who first taught the chosen   
seed1        ,in the beginning how the  
,heav'ns and ,earth        ,rose out of 
,chaos4    ,it is to be remarked that   
the spirit did not teach the shepherd   
8in the beginning10 but 8how the        
,heav'ns and ,earth rose0 in  the       
beginning1 8out of ,chaos40 ,if we turn 
this last sentence  into prose1 it will 
assist us in getting the poet's meaning 
and  consequently in giving the correct 
rendition4      ,,the ,,pause ,,as ,,an 
,,expressive ,,element    ,in the study 

of grouping1 the student noticed that   
the groups  were separated by pauses of 
varying duration4 ,it may be said that  
the pauses were the results of the      
grouping rather than that the  grouping 
was the result of the pauses4 ,in other 
words1 the pause  could hardly be called
 expressive4    ,we are now to study the
 pause as an expressive element4 ,no    
definite  rule can be laid down for     
pausing2 that is determined1 to a large 
extent1 by the temperament1 the nature  
of the thought1 and the  occasion4 ,it  
must be borne in mind1 however1 that the
 pause is not  mere silence4 ,a very    
little observation will show us that    
while  the voice ceases1 the thought    
continues to manifest itself in         
pantomimic expression4 ,what is it1     
then1 that determines the pause8  ,the  
answer has a twofold aspect4 ,first1    
pausing is an instinctive  process1 and 
comes as the result of certain          
psychological  processes4 ,we think in  
ideas1 not in individual words1 and     

these  ideas are separated in our minds 
by pauses of varying length4  ,we do not
 stop to consider whether or no we shall
 pause between  the phrases of a        
sentence2 the pause1 as has been stated1
 comes  instinctively1 and is a         
manifestation of psycho-psychological   
action4 ,in the second place1 the pause 
is made as the result1 to  a greater or 
less degree1 of collateral thinking4 ,in
 other words1  any given idea may call  
up another train of thought1 with which 
the mind may engage itself1 and such    
engagement would find actual  expression
 in the pause4 ,it must be remembered   
that the collateral  thinking may take  
the mind backward or forward4 ,according
 to the  amount of this collateral      
thinking will be the duration of the    
pause4    ,an extract from the play of  
,julius ,caesar will illustrate this    
point4 ,in the fifth act1 ,brutus and   
,cassius have taken their  8everlasting 
farewell10 and ,brutus ends the         
interview with these  words3            

,why then1 lead on4--,o1 that a man     
might know        ,the end of this day's
 business1 ere it come6        ,but it  
sufficeth1 that the day will end1       
,and then the end is known4    ,the     
first four words of this speech are     
addressed to the onlookers4  ,the word  
8on0 takes the mind of the thoughtful   
and considerate  leader to the          
battlefield where the fate of ,rome is  
to be decided4  ,he perceives that the  
future of his beloved city hangs        
trembling in  the balance4 ,the         
appearance on the preceding night of the
 ghost of  ,caesar1 warning him that it 
will see him at ,philippi1 fills ,brutus
  with apprehension4 ,and then1 how many
 of his followers1 now so  ready to do  
battle under his standard1 will1 ere    
night1 lie cold in  death upon the      
bloody field6 ,all this and more passes 
through his  mind1 and his solicitude   
and apprehension manifest themselves in 
his features and in his body4 ,then even
 the stoical ,brutus cannot  repress his

 anxiety1 which we note in the words1   
8,o1 that a man  might know40 ,this     
extract1 therefore1 well illustrates    
what was  said above1--that the pause1  
as we here consider it1 is not mere     
silence1 but cessation of voice while   
the expression continues in  the body4  
,in the second place1 it is plain that  
the collateral  thinking determines the 
length of the pause4    ,another element
 that determines the duration of the    
pause is the  distance apart of the     
thoughts separated by the pause4 ,let us
  illustrate this3      ,if this law    
were put upon our statute books there   
would not be1    five years from to-day1
 a dissenting voice raised against it   
from    the ,atlantic to the ,pacific4  
,let it not be understood that there are
 no occasions when the  phrase 8from the
 ,atlantic to the ,pacific0 would not be
 uttered with  scarcely any pause after 
,atlantic4 ,this phrase1 and others like
  it1 may have become a mere commonplace
 to describe extent2 but in  such a     

passage as the above1 where the speaker 
is hyperbolically  expressive1 he no    
doubt intends to convey the idea that   
not one  objection would be heard even  
in all the three thousand miles  between
 the oceans4 ,if the student will stop  
for a moment to  analyze his own        
consciousness while uttering this       
sentence1 he will  scarcely fail to see 
the vast extent of territory separating 
the  two oceans4    ,many writers on the
 subject have given emotion as a reason 
for  the pause4 ,strictly speaking1     
however1 emotion1 as distinct from      
thinking1 seldom or never is the cause  
of the pause1 unless it  completely     
choke the utterance4 ,in the example    
quoted above from  ,julius ,caesar there
 is no doubt considerable emotion during
 the  pause2 but it is the thought1 and 
not the emotion arising out of  it1 that
 leads to the silence4    ,the following
 excerpt is from the speech of ,satan in
 ,paradise  ,lost4 ,satan has been      
cursing his lot and the author of his   

punishment4 ,finally1 his judgment tells
 him that he himself1 and  not ,god1 is 
responsible for the downfall4 ,the      
pauses1 indicated  by the vertical      
lines1 are suggestive of the proper     
rendition4 ,of  course1 the pauses vary 
in duration from the briefest cessation 
of  voice to pauses of considerable     
length3          ,nay1  curs'd be thou2 
since against his  thy will             
,chose freely  what it now  so justly   
rues4        ,me  miserable6 which way  
shall ,i fly        ,infinite wrath1    
and infinite despair8         ,which way
 ,i fly  is ,hell2  myself  am ,hell2   
,and in the lowest deep  a lower deep   
,still threat'ning to devour me  opens  
wide         ,to which the ,hell ,i     
suffer  seems a ,heav'n4        ,but say
 ,i could repent  and could obtain      
,by act of grace  my former state1  how 
soon        ,would height  recall high  
thoughts1  how soon unsay         ,what 
feign'd submission  swore4        ,this 
knows my punisher2 therefore  as far    

,from granting  he1 as ,i  from begging 
peace4    ,the student should practice  
the following examples until he         
perceives clearly the force of the      
preceding principles4 ,the group  is the
 thought unit1 and the proper rendition 
of the sentence  depends upon our grasp 
of the units that compose it4 ,hence1 a 
conscientious study of the phrasing will
 lead not only to careful  grouping1 but
 to a grasp of the thought in its       
entirety that cannot  fail to affect for
 good the reading of the whole          
selection3          444 and there were  
drawn        ,upon a heap a hundred     
ghastly women        ,transformed with  
their fear1 who swore they saw          
,men all in fire walk up and down the   
streets4          ,he were no lion1 were
 not ,romans hinds4          ,those that
 with haste will make a mighty fire     
,begin it with weak straws4          ,a 
piece of work that will make sick men   
whole4                    ,danger knows 
full well        ,that ,caesar is more  

dangerous than he4        ,we are two   
lions litter'd in one day1        ,and  
,i the elder and more terrible4         
,no more in soldier fashion will he     
greet        ,with lifted hand the gazer
 in the street4          ,before the    
starry threshold of ,jove's court       
,my mansion is1 where those immortal    
shapes        ,of bright aerial spirits 
lived inspher'd        ,in regions mild 
of calm and serene air4                 
,whether 'tis nobler in the mind to     
suffer        ,the slings and arrows of 
outrageous fortune1        ,or to take  
arms against a sea of troubles1         
,and by opposing end them8          ,and
 the sunset paled and warmed once more  
,with a softer1 tenderer afterglow2     
,in the east was moonrise with boats    
off-shore2          ,and sails in the   
distance drifting slow4          ,o may 
,i join the choir invisible        ,of  
those immortal dead who live again      
,in the minds made better by their      
presence3          ,moses1 who spake    

with ,god as with his friend1           
,and ruled his people with the twofold  
power        ,of wisdom that can dare   
and still be meek1        ,was writing  
his last word1 the sacred name          
,unutterable of that ,eternal ,will     
,which was and is and evermore shall be4
          ,we stood far off and saw the 
angels lift        ,his corpse aloft    
until they seemed a star        ,that   
burnt itself away within the sky4       
,messer ,bernado del ,nero was as       
inexorable as ,romola had expected    in
 his advice that the marriage should be 
deferred till ,easter1    and in this   
matter ,bardo was entirely under the    
ascendency of his    sagacious and      
practical friend4 ,nevertheless1        
,bernado himself1    though he was as   
far as ever from any susceptibility to  
the    personal fascination in ,tito    
which was felt by others1 could    not  
altogether resist that argument of      
success which is always    powerful with
 men of the world4      ,some of the    

softening effects of advancing age have 
struck me    very much in what ,i have  
heard or seen here and elsewhere4 ,i    
just    now spoke of the sweetening     
process that authors undergo4 ,do you   
know that in the gradual passage from   
maturity to helplessness    the harshest
 characters sometimes have a period in  
which they are    gentle and placid as  
young children8 ,i have heard it said1  
but    ,i cannot be sponsor for its     
truth1 that the famous chieftain1       
,lochiel1 was rocked in a cradle like a 
baby1 in his old age4    ,an old man1   
whose studies had been of the severest  
scholastic    kind1 used to love to hear
 little nursery stories read over and   
over to him4 ,one who saw the ,duke of  
,wellington in his last    years        
describes him as very gentle in his     
aspect and demeanor4    ,i remember a   
person of singularly stern and lofty    
bearing who    became remarkably        
gracious and easy in all his ways in the
 later    period of his life4           

,whatever ,lionel had said to his wife  
that evening she had found    something 
to say to him3 that ,laura could see    
though not so much    from any change in
 the simple expression of his little red
 face    and in the vain bustle of his  
existence as from the grand manner    in
 which ,selina now carried herself4 ,she
 was 8smarter0 than ever    and her     
waist was smaller and her back          
straighter and the fall    of her       
shoulders finer2 her long eyes were more
 oddly charming    and the extreme      
detachment of her elbows from her sides 
conduced    still more to the exhibition
 of her beautiful arms4      ,at the    
moment when death so suddenly stayed his
 course the    greatness of ,henry the  
,fifth had reached its highest point4   
,he    had won the ,church by his       
orthodoxy1 the nobles by his warlike    
prowess1 the whole people by his revival
 of the glories of ,crecy    and        
,poitiers4 ,in ,france his cool policy  
had transformed him from    a foreign   

conqueror into a legal heir to the      
crown2 his title    of ,regent and of   
successor to the throne rested on the   
formal    recognition of the estates of 
the realm2 and his progress to the      
very moment of his death promised a     
speedy mastery of the whole    country4 
,but the glory of ,agincourt and the    
genius of ,henry the    ,fifth hardly   
veiled at the close of his reign the    
weakness and    humiliation of the      
,crown when the succession passed to his
 infant    son4      ,,pedagogical      
,,aspects    ,from what has been stated1
 it must be clear that drills in fast   
time or slow time are useless and       
fraught with much danger of             
affectation4 ,any of us can read slowly 
or rapidly2 that is merely a  matter of 
mechanics4 ,the object to be attained is
 the development  of such power of      
discrimination in the child that the    
value of  each phrase and sentence shall
 be carefully determined2 and then  the 
degree of extent1 depth1 sublimity or   

grandeur of the thought  will determine 
the rate of movement4 ,training in ,time
 for its own  sake is valueless4 ,from  
the very beginning1 the teacher must use
  ,time as a test1 as a standard of     
criticism2 and all corrections  must be 
made with a clear perception on the part
 of the teacher of  the psychology of   
,time4 ,if a child read too rapidly1 it 
is because  his mind is not sufficiently
 occupied with the thought2 if he read  
too slowly1 it is because he does not   
get the words2 or because he  is        
temperamentally slow2 or because1 and   
this is the most likely  explanation1 he
 is making too much of a small idea4    
,the only excuse for drills in ,time is 
when a pupil reads everything  at about 
the same rate4 ,in such a case1 in the  
upper grades1 the  teacher may choose   
certain selections for the proper       
expression  of which approximately fast 
or slow movement1 as the case may be1   
would be required4 ,then let the        
teacher1 through careful analysis  and  

question1 lead the child to understand  
the passages as the  teacher understands
 them1 and the proper rate of utterance 
will  follow4 ,this process may seem    
slow2 but let us bear in mind that  we  
are dealing with fundamental principles 
of thinking1 and too  much time cannot  
be spent in building our foundations    
strong  and solid4 ,furthermore1 if the 
rate of utterance is not the            
instinctive manifestation of the child's
 thought measurement1 it  is nothing at 
all4 ,to tell him to read fast or slowly
 is but to  make him affected1 and      
incidentally1 even if unconsciously1 to 
impress upon him that reading is a      
matter of mechanics and not of          
thought-getting and thought-giving4     
,in order to teach grouping1 various    
rules have been laid down4  ,pupils have
 committed a long list of these without 
much practical  benefit4 ,a few of these
 rules are given to show the mechanical 
nature of such a method of teaching4    
8,in every direct period1  the principal

 pause comes at that part where the     
sense begins to  form1 or the           
expectation excited by the first member 
begins to be  answered40 ,or1 8,a loose 
sentence requires a longer pause between
  its first member 7usually a period    
direct or inverted71 and the  additional
 member which does not modify it40 ,and1
 again1 8,where  the adjective follows  
the substantive or noun it modifies1 and
 has  modifiers of its own1 constituting
 a descriptive phrase1 it should  be    
separated from its noun by a short      
pause40 ,now1 it may be quite  true that
 these rules are valid1 but is it not   
clear that the  pedagogy which makes use
 of them in the earlier stages          
approaches  the subject from the wrong  
side8 ,it lays stress upon the objective
  rather than upon the subjective       
aspect4    ,the pause should never be   
taught merely as pause4 ,if the         
principles  herein discussed have any   
meaning1 they must surely teach us that 
the pause must come spontaneously4 ,the 

pedagogic point to be  remembered is    
that the pupil must be trained to       
extract the thought  piece by piece1 and
 to express it4 ,the pause will then    
appear  without consciousness4 ,the     
attempt to teach pauses as such must    
result in mechanical silences1 during   
which the face of the pupil  is a       
perfect blank1 the indubitable sign of  
mental blankness4    ,it should         
certainly now be clear that it is wrong 
to draw the  attention of the pupil to  
the pause as such1 and that it is       
useless and often misleading to give him
 at the beginning rules  of pausing4 ,we
 must approach the printed page in the  
spirit with  which we approach one who  
is speaking to us1 and1 having grasped  
the meaning1 repeat the ideas4 ,then the
 pauses will come as the  unconscious   
expression of certain definite mental   
action4    ,perhaps there is no better  
way of bringing home to the reader the  
psychological action lying behind       
grouping and pausing than by  calling   

his attention to a chapter from a brief 
but most attractive  work by ,ernest    
,legouv1 of the ,conservatoire          
,franaise3      ,to conclude what we    
have to say on the first portion of our 
subject1 the material part of reading1  
we must now occupy    ourselves a little
 with what may be called punctuation4   
,the tongue punctuates as well as the   
pen4      ,one day1 ,samson1 sitting at 
his desk1 sees himself approached by    
a young man apparently pretty well      
satisfied with himself4      8,you wish 
to take reading lessons1 sir80          
8,yes1 ,monsieur ,samson40      8,have  
you had some practice in reading aloud80
      8,o yes1 ,monsieur ,samson1 ,i    
have often recited whole passages from  
,corneille and ,molire40      8,in      
public80      8,yes1 ,monsieur ,samson40
      8,with success80      8,well1 yes1
 ,monsieur1 ,i think ,i may flatter     
myself that far40      8,take up that   
book1 please4 ,it is ,fontaine's        
,fables4 ,open it at    the ,oak and the

 ,reed4 ,let me hear you read a line or 
two40      ,the pupil begins3      8,the
 ,oak one day1 said to the ,reed----0   
8,that's enough1 sir6 ,you don't know   
anything about reading60      8,it is   
because ,i don't know much1 ,monsieur   
,samson10 replies the    pupil1 a little
 nettled1 8it is precisely because ,i   
don't know    much that ,i've come to   
you for lessons4 ,but ,i don't exactly  
comprehend how from my manner of reading
 a single verse----0      8,read the    
line again1 sir40      ,he reads it     
again3      8,the ,oak one day1 said to 
the ,reed----0      8,there6 ,you can't 
read6 ,i told you so60      8,but----0  
8,but10 interrupts ,samson1 cold and    
dry1 8but why do you join the    adverb 
to the noun rather than to the verb8    
,what kind of an ,oak    is an ,oak one 
day8 ,no kind at all6 ,there is no such 
tree6 ,why1    then1 do you say3 the    
,oak one day1 said to the ,reed8 ,this  
is    the way it should go3 the ,oak    
7comma7 one day said to the ,reed4      

,you understand1 of course80            
8,certainly ,i do10 replies the other1 a
 new light breaking on him4    8,it     
seems as if there should be an invisible
 comma after ,oak60      8,you are      
right1 sir10 continues the master4      
8,every passage    has a double set of  
punctuation marks1 one visible1 the     
other    invisible2 one is the printer's
 work1 the other the reader's40         
8,the reader's8 ,does the reader also   
punctuate80      8,certainly he does1   
quite independently too of the printer's
    points1 though it must be           
acknowledged that sometimes both        
coincide4 ,by a certain cadenced silence
 the reader marks his    period2 by a   
half silence1 his comma2 by a certain   
accent1 an    interrogation2 by a       
certain tone1 an exclamation4 ,and ,i   
must    assure you that it is           
exclusively on the skillful distribution
 of    these insensible points that not 
only the interest of the story1    but  
actually its clearness1 its             

comprehensibility1 altogether           
depends40          ,,chapter ,,ii       
,,the ,,criterion ,,of ,,pitch      ,the
 second criterion is that of ,pitch4 ,by
 ,pitch is meant everything  that has to
 do with the acuteness or gravity of the
 tone1--in  other words1 with keys1     
melodies1 inflections and modulations4  
,again we are indebted to ,professor    
,raymond for a clear statement          
regarding this most subtle of all the   
elements of expression4 ,his  words are 
as follows3 8,the melody of the movement
 taken by the  voice represents1        
therefore1 like the melody in music1 the
 mind's  motive1--indicates its purpose 
in using the particular phraseology  to 
which the melody is applied2 and because
 pitch1 through the  kinds of           
inflections and melody chosen1 reveals  
the motives1 we  shall find that the use
 of this element in ordinary            
conversation  is constantly causing     
precisely the same phraseology to       
express  entirely opposite meanings40   

,before proceeding further1 it may be   
well to illustrate this principle1 in   
order that the reader may  follow more  
clearly the subsequent discussion4      
,let us suppose some one to ask the     
question1 8,do you think ,mr4  ,jones is
 a good teacher80 and that the reply is 
given1 8,oh1 yes10  with a melody that  
virtually says1 8,oh1 ,i suppose so2 he 
is not  a very great teacher2 in fact1  
there are many things about his         
teaching that might be a great deal     
better1 but he manages to get  along40  
,now1 all of this paraphrase1 which     
reveals the motive1 is  manifested in   
the significant melody upon the two     
words1 8,oh1 yes40  ,let us suppose     
further that a few days later ,mr4      
,jones comes to us  and calls us to     
account for speaking disparagingly of   
his teaching4  8,what10 we reply1 8we   
say anything against your teaching6     
,why1  when ,smith asked us whether we  
considered you a good teacher1 we  said 
in the most unequivocal manner1 #8,oh1  

yes'60 ,and this time we  utter the     
words with strong1 positive             
assertiveness4 ,the words  in both cases
 are the same1 but the different        
melodies indicate  entirely opposite    
motives behind the words4    ,read aloud
 such a sentence as1 8,john rode to the 
park last  ,christmas10 changing the    
meaning by transferring the significant 
inflection successively to all the      
important words1 thus3    ,john rode to 
the park last ,christmas4    ,john rode 
to the park last ,christmas4    ,john   
rode to the park last ,christmas1 etc4  
,does it not appear that1 with each     
change in the motive1 the melody        
changes8    ,we often hear it said that 
in such cases as the last we have been  
changing the emphasis4 ,this is true4   
,but emphasis is a broad term1  and one 
often confused with force4 ,as a matter 
of fact1 the changes  in the successive 
readings were changes of melody due in  
every case  to changes of motive4       
,again1 8,when we are in our graves our 

children will honor it4  ,they will     
celebrate it with thanksgiving1 with    
festivities1 with  bonfires1 with joy40 
,the inflections on the last four nouns 
would  probably be falling4 ,why8       
,because each would be held to be of    
sufficient importance to be emphasized  
by itself1 and cut off  from the others4
 ,to read them with rising inflections  
would be  to manifest the fact that the 
mind was thinking of them in the        
aggregate4 ,once again1 the melody shows
 the motive4    ,the melody is an       
indubitable sign of the discriminative  
ability of  the reader4 ,it is the      
severest test of his power to perceive  
sense1  or logical1 relations4 ,so      
important a feature of the work is this 
that it appears necessary to emphasize  
it and to illustrate it in  many ways4  
,bassanio desires to show his love for  
,antonio4 ,he says3          ,antonio1  
,i am married to a wife1        ,which  
is as dear to me as life itself2        
,but life itself1 my wife1 and all the  

world1        ,are not with me esteem'd 
above thy life3        ,i would lose    
all1 ay1 sacrifice them all        ,here
 to this devil1 to deliver you4    ,it  
is evident that he does not wish to     
assert that he is married1  nor that he 
is married to a wife2 but that he is    
married to a wife  as dear as life      
itself4 ,and yet many a pupil reads the 
passage as  if ,bassanio were desirous  
of insisting upon the fact that he is   
married to a wife4 ,not a very          
remarkable condition of affairs1  truly4
 ,it is no argument to say that the     
comma after 8wife0  indicates the       
necessity of a rising inflection on that
 word4 ,as  has been already intimated1 
and as will be later developed1 the     
punctuation has nothing to do with the  
inflection4          ,meanwhile ,king   
,robert yielded to his fate1            
,sullen and silent and disconsolate4    
,dressed in the motley garb that        
,jesters wear1        ,with look        
bewildered1 and a vacant stare1         

,close shaven above the ears1 as monks  
are shorn1        ,by courtiers mocked1 
by pages laughed to scorn1        ,his  
only friend the ape1 his only food      
,what others left1--he still was        
unsubdued4    ,in the preceding passage1
 note that from the third line to the   
clause at the end of the sentence the   
mind is glancing forward1  and this fact
 will be evident in the rising          
inflection at the end  of every         
important statement4 ,notice1 further1  
that all of these  statements will be   
uttered in what is virtually the same   
melody4  ,the reason for this is that   
they are co-ordinate1 and having the    
same motive behind them will be read    
with the same melody4    ,observe the   
different melodies in the following     
sentences1 and how  the difference      
manifests the varying motive3           
,illustration3      ,i said one1 two1   
three1 four1 five4      ,i said one1    
two1 three1 four1 five4      ,i said    
one1 two1 three1 four1 five4      ,i    

said one1 two1 three1 four1 five4       
,i said one1 two1 three1 four1 five4    
,when ,mark ,antony uses the phrase1    
8honorable men10 in the beginning  of   
his oration1 there can be no doubt that 
he avoids even the  slightest indication
 of sarcasm in his voice4 ,whatever his 
ultimate  purpose may be1 his immediate 
intention is to conciliate the mob4     
,this purpose1 his motive1 is shown by  
the unequivocal melody with  which he   
says3          ,here1 under leave of    
,brutus and the rest1--        ,for     
,brutus is an honorable man1        ,so 
are they all1 all honorable men1--      
,come ,i to speak on ,caesar's funeral4 
,it is hardly necessary to consider this
 aspect farther4 ,let us1  however1     
examine the subject in detail4 ,the     
first consideration  is that of ,key4   
,key has been defined as 8the           
fundamental tone  of a movement to which
 its modulations are referred1 and with 
which it generally begins and ends2     
keynote40 7,webster47 ,perhaps  the     

meaning of the current phrases 8high    
key0 and 8low key0 will  make the       
definition clear4 ,when we say of one   
that he speaks in  a high key1 we should
 be understood as meaning that his pitch
 is  prevailingly high2 and that the    
reverse is true when we say of one  that
 he speaks in a low key4 ,while it is   
true that the key differs  in           
individuals1 yet experience shows that  
within a note or two we  all use the    
same keys in expressing the same states 
of minds4 ,the  question for us is1     
,what determines the key8 ,it can be set
 down  as a fixed principle that        
controlled mental states are expressed  
in the low keys1 while the high keys are
 the manifestation of  the less         
controlled mental conditions4#a ,this   
principle will  be more readily         
understood when we consider the states  
finding  expression in low or high key  
in music4 ,we should hardly awaken  much
 enthusiasm by playing ,yankee ,doodle  
in a key an octave below  that in which 

it is written2 nor should we catch the  
subtle meaning  of ,chopin's ,funeral   
,march if it were played in a key an    
octave  higher than the original key4   
,let the reader study the spirit of  the
 following extracts1 and read them      
aloud4 ,he will find in such  practice  
the best proof of the truth of the      
principle we are here  discussing3      
,over his keys the musing organist1     
,beginning doubtfully and far away1     
,first lets his fingers wander as they  
list1          ,and builds a bridge from
 ,dreamland for his lay3        ,then1  
as the touch of his loved instrument    
,gives hope and fervor1 nearer draws his
 theme1        ,first guessed by faint  
auroral flushes sent          ,along the
 wavering vista of his dream4           
--,the ,vision of ,sir ,launfal4        
,,lowell4          ,it is but a legend1 
,i know1--        ,a fable1 a phantom1 a
 show1          ,of the ancient         
,rabbinical lore2        ,yet the old   
medival tradition1        ,the          

beautiful1 strange superstition1        
,but haunts me and holds me the more4   
,when ,i look from my window at night1  
,and the welkin above is all white1     
,all throbbing and panting with stars1  
,among them majestic is standing        
,sandalphon the angel1 expanding        
,his pinions in nebulous bars4          
,and the legend1 ,i feel1 is a part     
,of the hunger and thirst of the heart1 
,the frenzy and fire of the brain1      
,that grasps at the fruitage forbidden1 
,the golden pomegranates of ,eden1      
,to quiet its fever and pain4           
--,sandalphon4 ,,longfellow4          ,i
 had a dream1 which was not all a dream4
        ,the bright sun was             
extinguished2 and the stars        ,did 
wander darkling in the eternal space1   
,rayless1 and pathless2 and the icy     
earth        ,swung blind and blackening
 in the moonless air2        ,morn came1
 and went1--and came1 and brought no    
day4                                    
,the world was void2        ,the        

populous and the powerful was a lump1-- 
,seasonless1 herbless1 treeless1        
manless1 lifeless1--        ,a lump of  
death--a chaos of hard clay4        ,the
 rivers1 lakes1 and ocean1 all stood    
still2        ,and nothing stirred      
within their silent depths3             
,ships1 sailorless1 lay rotting on the  
sea2        ,and their masts fell down  
piecemeal3 as they dropped1        ,they
 slept on the abyss without a surge2--  
,the waves were dead2 the tides were in 
their grave2        ,the moon1 their    
mistress1 had expired before2           
,the winds were withered in the stagnant
 air2        ,and the clouds perished3  
,darkness had no need        ,of aid    
from them1 ,she--was the universe4      
--,darkness4 ,,byron4          ,a fool1 
a fool6--,i met a fool i' th' forest1   
,a motley fool2--a miserable world6--   
,as ,i do live by food1 ,i met a fool2  
,who laid him down1 and bask'd him in   
the sun1        ,and rail'd on lady     
,fortune in good terms1        ,in good 

set terms1--and yet a motley fool4      
8,good morrow1 fool10 quoth ,i2 8,no1   
sir10 quoth he1        8,call me not    
fool1 till heav'n hath sent me fortune20
        ,and then he drew a dial from   
his poke3        ,and looking on it with
 lack-lustre eye1        ,says1 very    
wisely1 8,it is ten o'clock2            
,thus may we see10 quoth he1 8how the   
world wags2        ',tis but an hour    
ago1 since it was nine2        ,and     
after one hour more 'twill be eleven2   
,and so1 from hour to hour1 we ripe and 
ripe1        ,and then1 from hour to    
hour1 we rot and rot1        ,and       
thereby hangs a tale40 ,when ,i did hear
        ,the motley fool thus moral on  
the time1        ,my lungs began to crow
 like chanticleer1        ,that fools   
should be so deep contemplative4        
,and ,i did laugh1 sans intermission    
,an hour by his dial4 ,o noble fool6    
,a worthy fool6 ,motley's the only wear4
                    --,as ,you ,like    
,it1 ,act ii41 ,sc4 #g4          ,haste 

thee1 nymph1 and bring with thee        
,jest1 and youthful jollity1            
,quips1 and cranks1 and wanton wiles1   
,nods1 and becks1 and wreathed smiles1  
,such as hang on ,hebe's cheek1         
,and love to dwell in dimple sleek2     
,come1 and trip it as ye go1        ,on 
the light fantastic toe4                
--,l',allegro4 ,,milton4          ,where
 sweeps round the mountains             
,the cloud on the gale1        ,and     
streams from their fountains            
,leap into the vale1--        ,like     
frighted deer leap when          ,the   
storm with his pack        ,rides over  
the steep in          ,the wild         
torrent's track1--          ,even there 
my free home is2            ,there watch
 ,i the flocks          ,wander white as
 the foam is            ,in stairways of
 rocks4          ,secure in the gorge   
there            ,in freedom we sing1   
,and laugh at ,king ,george1 where      
,the eagle is king4                     
--,song4 ,t4 ,b4 ,,read4    ,the reason 

for low pitch or high pitch is          
psycho-physiological4  ,nerve tension   
means muscular tension1 and1 since the  
muscles  controlling the vocal chords   
are subject to the same laws as the     
other muscles1 the greater the tension  
the higher the pitch4 ,hence1  since    
what we have called the controlled      
states are accompanied by  relatively   
low muscular tension1 it necessarily    
follows that they  will be expressed in 
relatively low keys4    ,the desire to  
communicate thought to another has a    
tendency to  raise the key4 ,to         
illustrate3 if we are addressing an     
audience  in a small room1 we shall     
speak in a moderately low key4 ,if the  
auditorium is large1 the key will be    
higher4 ,if we are speaking in  the open
 air1 the chances are that we shall use 
a key considerably  above that of       
ordinary conversation4 ,on the other    
hand1 when one  is communing with       
himself1 the absence of desire to reach 
others  removes the tension1 and in     

consequence the pitch is low4 ,it is    
well to bear in mind that all           
soliloquies are not read in low key4    
,soliloquies are often full of          
uncontrolled passion1 in which case  the
 principle first laid down would apply1 
and the pitch would  be high1 according 
to the degree of tension4 ,what has been
 said  in this paragraph we may sum up  
in a few words3 those states in  which  
there is strong desire to communicate   
7objective states7 are  manifested in   
high key2 while the introspective       
7subjective7 states  find expression in 
the lower keys4 ,henry ,v41 inciting his
 soldiers  to attack the enemy's        
fortifications1 says3          ,once    
more unto the breach1 dear friends1 once
 more2        ,or close the wall up with
 our ,english dead6        ,in peace1   
there's nothing so becomes a man1       
,as modest stillness1 and humility3     
,but when the blast of war blows in our 
ears1        ,then imitate the action of
 the tiger2        ,stiffen the sinews1 

summon up the blood1        ,disguise   
fair nature with hard-favor'd rage3     
,then lend the eye a terrible aspect2   
,let it pry through the portage of the  
head1        ,like the brass cannon2 let
 the brow o'erwhelm it1        ,as      
fearfully as doth a galld rock          
,o'erhang and jutty his confounded base1
        ,swill'd with the wild and      
wasteful ocean4        ,now set the     
teeth1 and stretch the nostril wide2    
,hold hard the breath1 and bend up every
 spirit        ,to his full             
height6--,on1 on1 you noblest ,english1 
,whose blood is fet from fathers of     
war-proof6--                 99       99
       99       99       99             
,the game's afoot2        ,follow your  
spirit3 and1 upon this charge1          
,cry--,god for ,harry6 ,england6 and    
,saint ,george6                         
--,henry ,v41 ,act iii41 ,sc4 #a4       
,the tension of the speaker is evidently
 high1 owing to the  exhilaration of the
 moment1 and to the desire to project   

his voice  7of which he may be          
unconscious71 and consequently the key  
will be  high4 ,it is the joy of the    
,english people that ,tennyson voices in
  his ,welcome to ,alexandra4 ,again the
 key is relatively high4                
,sea-kings' daughter from over the sea1 
,alexandra6        ,saxon and ,norman   
and ,dane are we1        ,but all of us 
,danes in our welcome of thee1          
,alexandra6        ,welcome her1        
thunders of fort and of fleet6          
,welcome her1 thundering cheer of the   
street6        ,welcome her1 all things 
youthful and sweet1        ,scatter the 
blossoms under her feet6        ,break1 
happy land1 into earlier flowers6       
,make music1 ,o bird1 in the new-budded 
bowers6        ,blazon your mottoes of  
blessing and prayer6        ,welcome    
her1 welcome her1 all that is ours6     
,warble1 ,o bugle1 and trumpet1 blare6  
,flags1 flutter out upon turrets and    
towers6        ,flames1 on the windy    
headland flare6        ,utter your      

jubilee1 steeple and spire6             
,clash1 ye bells1 in the merry ,march   
air6        ,flash1 ye cities1 in rivers
 of fire6        ,rush to the roof1     
sudden rocket1 and higher        ,melt  
into stars for the land's desire6       
,roll and rejoice1 jubilant voice1      
,roll as a ground-swell dashed on the   
strand1        ,roar as the sea when it 
welcomes the land1        ,and welcome  
her1 welcome the land's desire1         
,the sea-kings' daughter as happy as    
fair1        ,blissful bride of a       
blissful heir1        ,bride of the heir
 of the kings of the sea4        ,o joy 
to the people and joy to the throne1    
,come to us1 love us1 and make us your  
own2        ,for ,saxon or ,dane or     
,norman we1        ,teuton or ,celt1 or 
whatever we be1        ,we are each all 
,dane in our welcome of thee1           
,alexandra6                             
--,welcome to ,alexandra4 ,,tennyson4   
,hamlet's soliloquy will find expression
 in moderately low key when  one grasps 

the idea that ,hamlet is meditating     
upon3          ,to be1 or not to        
be1--that is the question2              
,whether 'tis nobler in the mind to     
suffer        ,the slings and arrows of 
outrageous fortune1        ,or to take  
arms against a sea of troubles1         
,and by opposing end them8 ,to die1--to 
sleep1--        ,no more2 and by a sleep
 to say we end        ,the heart-ache1  
and the thousand natural shocks         
,that flesh is heir to1--'tis a         
consummation        ,devoutly to be     
wish'd4 ,to die1--to sleep2--        ,to
 sleep6 perchance to dream6--ay1 there's
 the rub2        ,for in that sleep of  
death what dreams may come        ,when 
we have shuffled off this mortal coil1  
,must give us pause3 there's the respect
        ,that makes calamity of so long 
life2        ,for who would bear the    
whips and scorns of time1        ,th'   
oppressor's wrong1 the proud man's      
contumely1        ,the pangs of         
disprized love1 the law's delay1        

,the insolence of office1 and the spurns
        ,that patient merit of th'      
unworthy takes1        ,when he himself 
might his quietus made        ,with a   
bare bodkin8 who would fardels bear1    
,to grunt and sweat under a weary life1 
,but that the dread of something after  
death1--        ,the undiscover'd       
country from whose bourn        ,no     
traveler returns1--puzzles the will1    
,and makes us rather bear those ills we 
have        ,than fly to others that we 
know not of8        ,thus conscience    
does make cowards of us all2        ,and
 thus the native hue of resolution      
,is sicklied o'er with the pale cast of 
thought2        ,and enterprises of     
great pith and moment        ,with this 
regard their currents turn awry1        
,and lose the name of action4           
--,hamlet1 ,act iii41 ,sc4 #a4    ,the  
following lines are delivered by ,hamlet
 when he appreciates  the fact that     
while his father's blood cries out for  
vengeance he  stands idle1 beset by     

doubts and fears4 ,the speech is a      
soliloquy1  but it would be rendered in 
a moderately high pitch owing to the    
mental tension of the speaker3          
,o1 what a rogue and peasant slave am   
,i6        ,is it not monstrous1 that   
this player here1        ,but in a      
fiction1 in a dream of passion1         
,could force his soul so to his own     
conceit1        ,that from her working  
all his visage wann'd2        ,tears in 
his eyes1 distraction in 's aspect1     
,a broken voice1 and his whole function 
suiting        ,with forms to his       
conceit8 and all for nothing6           
,for ,hecuba6        ,what's ,hecuba to 
him1 or he to ,hecuba1        ,that he  
should weep for her8 ,what would he do1 
,had he the motive and the cue for      
passion        ,that ,i have8 ,he would 
drown the stage with tears1        ,and 
cleave the general ear with horrid      
speech2        ,make mad the guilty1 and
 appal the free1        ,confound the   
ignorant1 and amaze indeed        ,the  

very faculties of eyes and ears4 ,yet   
,i1        ,a dull and muddy-mettled    
rascal1 peak1        ,like              
,john-a-dreams1 unpregnant of my cause1 
,and can say nothing2 no1 not for a king
        ,upon whose property and most   
dear life        ,a damn'd defeat was   
made4 ,am ,i a coward8        ,who calls
 me villain8 breaks my pate across8     
,plucks off my beard1 and blows it in my
 face8        ,tweaks me by th' nose8   
gives me the lie i' the throat1         
,as deep as to the lungs8 who does me   
this8        ,ha6        ',swounds1 ,i  
should take it2 for it cannot be        
,but ,i am pigeon-liver'd1 and lack gall
        ,to make oppression bitter2 or1 
ere this1        ,i should have fatted  
all the region kites        ,with this  
slave's offal4 ,bloody1 bawdy villain6  
,remorseless1 treacherous1 lecherous1   
kindless villain6        ,o vengeance6  
--,hamlet1 ,act ii41 ,sc4 #b4    ,the   
principle just discussed1--that key     
depends on the degree of  tension1 first

 mental1 then physical1--is of very wide
 application4  ,as a matter of fact1 it 
explains the whole subject of melody4   
,in  passing from a controlled to a less
 controlled state1 the voice  rises1 and
 vice versa4 ,to illustrate3 ,brutus    
says to ,cassius1 8,you  yourself are   
much condemned to have an itching palm02
 and ,cassius  replies1 8,i an itching  
palm60 ,on the word 8,i0 the voice of   
,cassius  strikes upward through1       
perhaps1 an octave of the scale1 and    
this  inflection manifests the          
increasing tension of ,cassius' mind as 
he  utters the exclamation4 ,it is      
almost impossible to restrain the       
tension of throat and hand while reading
 the passage4 ,note how  the muscular   
tension increases while one is speaking 
the words of  ,cassius4 ,bearing in mind
 what has been said of the relation of  
bodily tension to pitch1 the explanation
 of ,cassius' inflection  will not be   
far to seek4 ,again1 ,brutus says1 8,the
 name of ,cassius  honors this          

corruption1 and chastisement doth       
therefore hide his  head40 ,cassius     
replies in one word1 8,chastisement40   
,there are two  interpretations of this 
word3 one1 that ,cassius replies1 as if 
questioning1 8,do you dare say this to  
me80 and the other1 that1  astounded at 
the bluntness of ,brutus's speech1      
,cassius replies1  speaking to himself1 
8,he dared speak of chastisement to me60
 ,in the  first case the inflection     
would be rising1 denoting the increase  
of tension2 in the second case1 the     
inflection would be falling1  marking a 
gradual decrease of tension4 ,let the   
reader experiment on  this example1 and 
observe how the mental tension          
corresponds with  the physical tension4 
,the melody in which any phrase or      
sentence is given consists of a  series 
of waves1 the crests of which mark the  
maximum of tension4  ,it is a difficult 
matter to indicate speech melody1 but it
 is  hoped the following illustrations  
will be at least sufficiently           

suggestive to make clear the psychology 
of melody4 ,in the  following sentence  
there is a gradual ascent of the voice1 
since  the intensity increases from the 
first word to the end4    ,illustration3
                                  to    
kiss8                            hand   
father's                      my        
pledge              thy            upon 
forth    ,came ,i not      ,again1 we   
have a very similar melody in this3     
,would you wrest the wreath of fame     
,from the hand of fate8    ,the         
descending melody1 denoting that the    
maximum of tension is at  the beginning 
of the sentence1 is found in the        
following3    ,illustration3      ,all  
g         l          o           o      
m1               all                   s
                    i                   
l                      e                
n                        c              
e1                            all       
d                                 e     
s                                   p   

a                                     i 
r6      8,dead0 marks the crest of the  
wave of tension in the following4       
,observe how the melody rises to that   
word and descends after it3             
,illustration3                          
dead1            ,so                    
pleasure        sadness                 
strike            breathes              
cold                     from           
out              dungeons               
the            from                     
mould          breathed                 
where        vapors                     
,burns                                  
is     ,as                              
laid4      ,for those who have no       
musical ear1 it may be somewhat         
difficult to  catch these speech        
melodies4 ,but1 fortunately1 in most    
cases1 an  acute musical ear is not     
necessary4 ,melody takes care of itself4
  ,when we have determined the principal
 word in each phrase1 the  melody will  
rise or fall from that without any      

effort on our part4  ,and furthermore1  
even those without an ear for tune      
recognize  instinctively the            
appropriateness of a given melody which 
they  may be unable to analyze in       
detail4 ,nevertheless1 the ability to   
analyze speech tunes is a great aid to  
the teacher2 and it is to be  hoped that
 the foregoing explanation will         
materially assist him in  his work of   
developing the logical acumen of his    
class4    ,melody is made up of skips   
and inflections4 ,the inflection needs  
no definition2 the skip is simply a     
discreet passage from one note  to      
another4 ,as the violinist draws his bow
 over the string and  simultaneously    
runs his finger up or down the string1  
we have the  analogy of the inflection4 
,the pianist cannot do more than skip   
from one note to another1 although there
 is an approximation to the  glide1 or  
inflection1 in legato playing4 ,the skip
 is found in  such a sentence as this3  
,illustration3                tus       

ue                   tors8    ,give     
a            with          ,bru         
his     ces                      stat   
an      ,the psychology of the skip is  
precisely that of the inflection1  i4   
e41 transition from less to more        
tension1 or the reverse4 ,in  such an   
exclamation as1 8,thou tattered         
upstart60 it is next to  impossible to  
use the wide rising inflection that     
would be natural  on the first syllable 
of 8upstart10 owing to the nature of the
  syllable4 ,hence1 there would be a    
skip between 8up0 and 8start40  ,but let
 it be carefully observed that1         
including the skip1 the  voice traverses
 exactly the interval it would have     
passed through  had it been possible to 
use one inflection1 as1 for instance1 on
  8boy0 in 8,thou tattered boy60 ,our   
attention may now be turned to          
inflections4    ,inflections are not a  
matter of accident1 nor are they a      
conventional device4 ,their meaning is  
definite and fixed1 and  their force    

instinctively recognized by all4        
,although we do not  stop to analyze    
them1 they convey to all alike a        
distinct shade  of thought4 ,and        
further1 the same shade of thought will 
always  find expression through the same
 inflections4 ,we must bear in mind     
that it is not claimed that all will be 
moved in the same way by  the same      
stimulus1 nor that all will take the    
same meaning from a  given passage4     
,what is claimed is1 that the same      
purpose will find  expression1 with all1
 in fundamentally the same melody 7of   
which  inflections form the larger      
part74 ,if this were not so1 how should 
we understand one another8 ,we discern a
 speaker's purpose quite as  much in his
 melody as in his words4 ,for example1  
if one were to  ask1 8,are you going    
out80 with the object of acquiring      
information1  he would use instinctively
 a rising inflection on 8out40 ,if he   
were surprised at our intention to go   
out1 he would use a wider  rising       

inflection4 ,and if he had asked the    
question several times  without         
receiving a reply1 and were now         
insisting on an answer 7his  motive now 
being to assert his right to an answer7 
he would use  a wide downward inflection
 on 8out40 ,and so should we all under  
like conditions1 and the meaning of all 
would be alike understood  by all4 ,we  
need enlarge no further on this4 ,let it
 suffice that  if given inflections had 
not always the same meaning and were not
  always instinctively used to express  
the same purpose1 conversation  would be
 impossible4    ,the rising inflection  
is the sign of incomplete sense4        
,whenever  the mind points forward the  
significant inflection is upward4 ,test 
this in the following illustrations4    
,the rising inflection will  be         
particularly noticed on the italicized  
words1 which are not  necessarily to be 
strongly emphasized3      ,in #ahae ,m4 
,charles ,myriel was the bishop of      
,d----4 ,he was    a man of about       

seventy-five years of age1 and had held 
the    see of ,d---- since #ahjf4       
,although the following details in no   
way affect our narrative1 it may not be 
useless to quote the    rumors that were
 current about him at the moment when he
 came    to the diocese2 for what is    
said of men1 whether it be true    or   
false1 often occupies as much space in  
their life1 and    especially in their  
destiny1#b as what they do4      ,the   
beams of the rising sun had gilded the  
lofty domes of    ,carthage1 and given1 
with its rich and mellow light1 a       
tinge of beauty even to the frowning    
ramparts of the outer    harbor4        
,when1 for any reason1 we do not desire 
to assert strongly2 when  what we have  
to say is trite1 trivial1 repetitious2  
when we are  uncertain or doubtful2 when
 we entreat2 when we ask a question to  
which the answer yes or no is expected1 
we also use the rising  inflection4     
,i do not claim this is the only method4
      ,i cannot promise definitely1 but 

,i think you may rely upon    getting   
it4      ,i shall wait for you in the   
lobby1 if you don't tarry too long4     
,it doesn't look like rain1 does it8    
,there are some arguments in its favor1 
but they are not weighty4      ,no1     
nobody claims that4      ,i grant ,i may
 have taken the honorable gentleman by  
surprise4          ,i cannot tell what  
you and other men        ,think of this 
life1 but1 for my single self1        ,i
 had as lief not be as live to be       
,in awe of such a thing as ,i myself4   
,i do not charge the gentleman with     
wilful misstatement1 but ,i    would    
rather say he is a great economizer of  
the truth4      ,i do not like to think 
that the opposition is purposely        
delaying    the vote on this question4  
,never fear that3 if he be so resolved1 
,i can o'ersway him4      ,you won't    
leave me1 father4      ,good friends1   
sweet friends1 let me not stir you up to
 such a    sudden flood of mutiny6      
,o1 ,hamlet1 speak no more4      ,pity  

the sorrows of a poor old man4      ,it 
would be idle to base an opinion on any 
argument of ,mr4    ,webster4      ,o1  
that is of no consequence2 you don't    
believe that4      ,it is hardly        
necessary for me to go over the charges 
of the    attorney for the plaintiff2   
they are trivial and unimportant4       
,it goes without saying that you know   
the early history of these    people4   
,there are very few who haven't a bowing
 acquaintance with this    subject4     
,you know me well1 and herein spend but 
time        ,to wind about my love with 
circumstance4      ,not that ,i loved   
,caesar less1 but that ,i loved ,rome   
more4      ,it is not that ,i doubt the 
gentleman's honesty1 but that ,i        
question his authority4      ,it was at 
the end of the war that this incident   
occurred2 not at    the beginning4      
,uncertainty1 confusion1 hesitation1 and
 other forms of doubt1 are  really      
questions1--the mind seeking solution of
 difficult and  perplexing problems4    

,i wish ,i could find some way out of   
this1 but--      ,there ought to be some
 other method of solving this           
difficulty3    let me see1 let me see4  
,i would ,i had been there4      ,are   
you the owner of this house8      ,can  
you tell me what time it is8    ,care   
must be taken not to confuse this form  
of interrogation with  ,figurative      
,interrogation4 ,the latter is often    
strongly assertive4  ,for instance3     
,god of battles1 was ever a battle like 
this in the world before8    ,this is   
equivalent to asking a question and     
answering it at the  same time4 ,it asks
 in words1 8was ever80 ,it answers in   
inflection1  8there never was40         
,grammatically1 then1 it is a question2 
rhetorically1 it is an exclamation4     
,here is another form of  ,figurative   
,interrogation3      ,are you going out8
 7,no answer47 ,are you going out8 7,i  
demand an    answer47    ,in this case1 
the second question becomes a demand4   
,the speaker  cares for an answer not so

 much because of any interest in it as  
such1 but because he desires his        
authority respected4    ,the following  
examples of ,figurative ,interrogation  
should be  carefully studied3      ,is  
there a single atrocity of the ,french  
more unprincipled and    inhuman than   
that of ,russia1 ,austria1 and ,prussia1
 in ,poland8      ,did he not know that 
he was making history that hour8 ,did he
 not    know this1 ,i say8      ,if ,i  
were to propose three cheers for        
,washington1 is there a    single man1  
woman1 or child in this vast audience   
who would    refuse to lift his voice8  
,have you1 gentlemen of the jury1       
considered the price the state    asks  
the prisoner to pay for what is only an 
indiscretion at    most8 ,i repeat1 have
 you considered the price8      ,has the
 gentleman done8 ,has he completely     
done8    ,a very interesting            
psychological question arises in        
connection with  ,figurative            
,interrogation4 ,it has been shown how  

the grammatical  question becomes an    
oratorical assertion2 but there is a    
point in  assertion beyond which it may 
pass and become an intense emotional    
question4 ,in this sentence1 8,shall not
 the ,judge of all the earth  do right80
 we have an illustration4 ,there are    
three possibilities  here4 ,first3 a    
simple question looking for information4
 ,second3  an exclamation equivalent to1
 ,who does not know that the ,judge of  
all the earth shall do right8 ,third3 a 
skeptical question 7with  considerable  
emotion7 is it possible that any one    
would deny that  the ,judge of all the  
earth shall do right8    ,it would be   
easy to multiply examples and make many 
refinements  of this principle          
underlying the use of the rising        
inflection4 ,a  careful study1 however1 
of those given should suffice to impress
  upon the reader that the rising       
inflection will be given whenever  for  
any reason whatsoever there is no desire
 to assert4    ,incompleteness 7implied 

or otherwise7 is marked by the rising   
inflection2 completeness by the falling4
 ,we are all aware that the  falling    
inflection marks completed sense1 so    
that this principle  will require       
neither elaboration nor illustration4   
,attention must  be called1 however1 to 
the fact that we often assert strongly  
in  the middle of a sentence4 ,this     
phase of the subject has been so  well  
described by another#c that we quote as 
follows3    8,momentary                 
,completeness4--,this applies to any    
clause1 phrase1 or  even word1 which    
has1 for any reason1 enough separate    
force to  constitute1 at the moment1 an 
entire thought1 and to call for a       
separate affirmation of the mind4 ,this 
momentary completeness may  arise3      
8#a4 ,from the logical importance of the
 clause1 phrase1 or word  requiring a   
strong affirmative emphasis4    8#b4    
,from an elliptical construction--one in
 which each part could  be reasonably   
expanded into a complete proposition4   

8,example of #a would be this sentence  
from ,webster3      ,it comes1 if it    
come at all1 like the outbreaking of a  
fountain    from the earth1 or the      
bursting forth of volcanic fires1 with  
spontaneous1 original1 native force4    
8,here the ideas of spontaneity1        
originality1 nativeness1 are each  so   
important to the thought that the mind  
is called upon to make a  separate      
affirmation upon each one4    8,examples
 of #b are found in some of the         
connected clauses in this  passage from 
,byron's ,dream of ,darkness3           
,i had a dream1 which was not all a     
dream4        ,the bright sun was       
extinguished1 and the stars        ,did 
wander1 darkling1 in the eternal space1 
,rayless and pathless1 and the icy earth
        ,swung blind and blackening in  
the moonless air4        ,morn came and 
went--and came1 and brought no day1     
,and men forgot their passions in the   
dread        ,of this their desolation2 
and all hearts        ,were chilled into

 a selfish prayer for light4    8,the   
#8loose' sentence presents a typical    
case of momentary  completeness1 each   
added clause or element giving a        
separate1  subjoined thought4    8,in   
the following cases the period mark     
inclosed in brackets1  41 indicates the 
place at which the sentence might close2
 and  the words in parentheses are those
 which might be supplied in             
constructing separate complete          
propositions4 ,the reconstruction       
suggests the probable process of        
thought4      ,the next day he voted for
 that repeal 41 and he would have       
spoken for it too 41 if an illness had  
not prevented it4      ,the ,englishman 
in ,america will feel that this is      
slavery--that    it is legal slavery1   
will be no compensation1 either to his  
feelings or his understanding4    8,the 
,englishman in ,america will feel that  
this is slavery 44 7,the  mere fact7    
that it is legal slavery will 7in his   
estimation7  be no compensation 7at     

all74 7,it will not be 7in any degree7  
satisfactory7 either to his feelings or 
his understanding4    8,completeness is 
marked in the voice by a falling slide2 
that  indicating finality usually       
descends at least a fifth 7from sol     
down to do71 and is preceded by a more  
or less distinct rising  melody4 ,this  
cadential melody may carry the voice so 
high in  pitch that the falling slide   
will be as great as an octave4 ,the     
indication of momentary completeness is 
also a falling slide1  varying in extent
 from a third to a fifth1 but not so    
marked as  that of finality1 and usually
 not preceded by any special rising     
melody4    8,in the following example   
note momentary completeness on #8man1'  
#8woman1' #8child1' and finality on the 
climacteric word #8beast4'  ,thus3      
,illustration3      ,they saw not one   
mn1 not one wman1 not one chld1         
b                      footed        e  
four                   a           one  
s      not                              

t4      8,it is especially important to 
study the relation of momentary         
completeness in connection with         
dependent clauses4 ,as a rule1 a        
definitive clause does not stand in the 
relation of momentary  completeness1 but
 in that of subordination or            
anticipation4 ,a  supplemental clause1  
on the other hand1 is distinctively     
complete4  ,this relation is not always 
shown1 either by the punctuation1 or by 
exact use of relative pronouns4 ,in     
strictness1 #8who' and #8which'1  as    
already said1 should always mark        
supplemental relations2 #8that1'        
definitive4 ,considerations of euphony1 
however1 often overrule  grammatical and
 rhetorical principles4 ,the problem in 
regard to  dependent clauses is2 to     
decide whether the subordinate clause   
contains additional thought1 or only    
modifying thought4 ,the best  practical 
test will be found in paraphrasing4 ,if 
a dependent clause  is truly definitive1
 it may be reduced to a brief           

element1--often  to a single word1 which
 may be incorporated in the first       
clause4      ,example4--,lafayette was  
intrusted by ,washington with all kinds 
of services 444 the laborious and       
complicated1 which required    skill and
 patience2 the perilous1 that demanded  
nerve4--,,everett4    8,in this example1
 it is obvious that the clause          
introduced by  #8which' and the one     
beginning with #8that' stand in         
precisely the  same relation1 the change
 being made for euphony4 ,it is obvious 
also that both dependent clauses are    
supplemental rather than  definitive4   
,in both of these clauses1 therefore1   
there is an added  thought1 and this    
gives the relation of momentary         
completeness at  the words              
#8complicated' and #8perilous4'    8,the
 ear1 under the guidance of the logical 
and rhetorical insight1  gives a much   
more sensitive and more accurate        
punctuation than  can be indicated by   
printer's marks or grammarian's rules4  

,not  the words1 nor the grammatical    
elements1 nor the customary and         
traditional rendering1 determine        
grouping or inflection1 but rather  the 
speaker's immediate purpose at the      
moment of the utterance4    8,the       
principle of momentary completeness is  
strikingly exemplified  in the case of a
 #8division of the question' in         
parliamentary  proceedings4 ,division is
 called for because each item is        
considered  as separately important     
enough to demand the entire attention4  
,the  same is often true in the         
announcement of a proposition containing
  several different elements1 or of a   
text of ,scripture suggesting  many     
separate thoughts40    ,it need hardly  
be said that the rule so often given1   
that 8the  voice should rise at a       
comma10 is ridiculous4 ,it often does1  
it is  true1--not because of the comma1 
but because of the motive4    ,the      
purpose of the following drills is not  
to train the student  in the manner of  

making inflections1 but rather to       
impress upon  his mind the fact that    
rhetorically a sentence may be complete 
even though the point of completion be  
not marked by a full stop4  ,in other   
words1 the drill is one in mental1      
rather than vocal1  technique4    ,the  
student must determine the purpose in   
every case1 and then  trust his voice to
 manifest that purpose4      ,hence6    
home1#d you idle creatures1 get you     
home4      ,speak1 what trade art thou8 
,where is thy leather apron1 and thy    
rule8      ,you blocks1 you stones1 you 
worse than senseless things4            
,many a time and oft        ,have you   
climb'd up to walls and battlements1    
,to towers and windows1 yea1 to         
chimney-tops4        ,your infants in   
your arms1 and there have sat           
99       99       99       99       99  
,to see great ,pompey pass the streets  
of ,rome4                               
,be gone6        ,run to your houses1   
fall upon your knees1        ,pray to   

the gods to intermit the plague         
,that needs must light on this          
ingratitude4          ,then1 ,brutus1 ,i
 have much mistook your passion2        
,by means whereof this breast of mine   
hath buried        ,thoughts of great   
value1 worthy cogitations4          ,i  
was born free as ,caesar1 so were you2  
,we both have fed as well1 and we can   
both        ,endure the winter's cold as
 well as he4          ,his coward lips  
did from their color fly1        ,and   
that same eye whose bend doth awe the   
world        ,did lose his lustre4      
,ye gods1 it doth amaze me1        ,a   
man of such a feeble temper should      
99       99       99       99       99  
444 bear the palm alone4          ,why1 
man1 he doth bestride the narrow world  
,like a ,colossus1 and we petty men     
,walk under his huge legs and peep about
        ,to find ourselves dishonorable 
graves4          ,let me have men about 
me that are fat1        ,sleek-headed   
men1 and such as sleep o' nights4       

,seldom he smiles1 and smiles in such a 
sort1        ,as if he mocked himself4  
,such men as he be never at heart's ease
        ,whiles they behold a greater   
than themselves1        ,and therefore  
are they very dangerous4          ,come 
on my right hand1 for this ear is deaf1 
,and tell me truly what thou think'st of
 him4      ,why1 there was a crown      
offered him2 and1 being offered him1 he 
put it by with the back of his hand1    
thus4      ,i can as well be hanged as  
tell the manner of it2 it was mere      
foolery1 ,i did not mark it4            
,you look pale1 and gaze1        ,and   
put on fear1 and case yourself in       
wonder1        ,to see the strange      
impatience of the heavens4              
,stand close awhile1 for here comes one 
in haste4          ,how that might      
change his nature1 there's the question4
          ,but when he once attains the 
upmost round        ,he then unto the   
ladder turns his back1        ,looks in 
the clouds1 scorning the base degrees   

,by which he did ascend4          444   
let us not break with him1        ,for  
he will never follow anything           
,that other men begin4    ,it is often a
 matter of judgment whether we shall    
interpret a  phrase as momentarily      
complete or as pointing forward1        
incomplete4  ,sometimes either          
interpretation would be acceptable1 but1
 as a  rule1 one conveys the author's   
intention better than the other4 ,for   
instance1 in the following extract from 
,the ,american ,indian1 the  author     
says3      ,as a race they have withered
 from the land4 ,their arrows are       
broken1 their springs have dried up1    
their cabins are in the    dust4 ,their 
council-fire has long since gone out on 
the shore1    and their war-cry is fast 
fading to the untrodden ,west4    ,it   
seems clear that in the second sentence 
the author is not  enumerating minor    
details which form one larger whole1 but
 that  each statement is a sentence     
complete in itself1 and so important    

that spontaneously we separate it from  
the others not merely by a  pause but by
 a downward inflection4    ,if we were  
saying to another1 8,i bought my        
children firecrackers1  torpedoes1      
skyrockets1 and pinwheels10 we should   
use rising  inflections until we closed 
our sentence on 8pinwheels40 ,but  it   
would be quite natural for the child1   
greatly excited  by his presents1 to use
 the downward inflection on those       
words1 and these inflections would mark 
the importance1  to him1 of each        
separate gift4 ,he would say1 8,i have  
firecrackers1--torpedoes1--skyrockets1--
and pinwheels40    ,circumflex          
inflections are the expression of       
complex mental states4  ,note this in   
the following examples3      ,not       
inferior to this was the wisdom of him  
who resolved to shear    the wolf4      
,what1 shear a wolf6 ,have you          
considered the danger    of the attempt8
 ,no1 says the madman1 ,i have          
considered nothing    but the right4    

,oh1 no6 ,he wouldn't accept a bribe2 of
 course not4      ,you meant no harm2   
oh1 no3 your thoughts are innocent4     
,it isn't the secret ,i care about2 it's
 the slight1 ,mr4 ,caudle4    ,difficult
 as is the subject of circumflex        
inflections1 the  difficulty is very    
much reduced when we bear in mind that  
the  elements which compose them are the
 same as those with which we  have been 
dealing4 ,in ,longfellow's ,king ,robert
 of ,sicily1 the  ,angel asks the king1 
8,who art thou80 ,to which ,robert      
answers1  sneeringly1 8,i am the ,king40
 ,now1 on the word 8,i0 we may expect   
to hear the rising circumflex 7composed 
of a falling followed by  a rising      
inflection7 which the following         
paraphrase will justify3  ,he dares ask 
me who ,i am6 ,what audacity6 ,do you   
dare ask such a  question of me8 ,would 
you know who ,i am8 ,perhaps a diagram  
will  make this clearer3                
,illustration3      ,he                 
_/ etc4    dares             _/ am4     

ask           _/ ,i         me    4   _/
 know         who       _/ not          
,i     _/ you           am4   _/ ,do    
_/      ,professor ,chamberlain has made
 this question so clear that we quote   
from him again3    8,paraphrase for     
,complex ,relations3 ,these1 as already 
seen1 are  cases of combined ideas1     
expressed by composite motions of the   
voice1 called circumflexes4 ,in order to
 justify such double motion  of the     
voice1 the mind of the reader needs to  
recognize the  combination implied in   
the words4 ,he will make himself surer  
of  this by analyzing1 or separating    
into its component parts1 each          
composite idea4      ,be not too tme    
neither4    8,here is a plain           
implication of one member of the        
antithesis2 and  it might be expanded   
thus1 ,as you are not to be too         
extrvagant in  your expression1 so you  
are not to be too quet4    8,this       
combination of separable elements might 
be illustrated by  diagram1 thus3       

,illustration3                          
extravagant1 so you                  _/ 
be _/            are                _/  
to _/                not                
_/4              4          not _/  4   
4    to            _/    4          4   
are _/      4        4        be        
_/        4      4              you _/  
4    4            too        _/         
4  4                 ,as _/             
44                quiet4      _/        
_/                     _/     ,be not   
too tme neither4            8,here the  
negative1 or anticipatory1 clause is1 in
 the condensed  form1 suggested by the  
negative1 or rising1 part of the        
circumflex2  the positive clause1 by the
 falling part of the tone4    8,in a    
similar way two separate elements1 both 
of which are verbally  expressed1 may be
 combined in one elliptical or complex  
clause2 e4  g43      ,i come to bry     
,caesar1 not to prise him4              
8,inverting clauses3    ,illustration3  
,caesar4  but  ,i                _/     

praise _/             come              
_/                        to _/4        
4 to            _/  4            4      
not _/    4          4     bury         
_/      4        4          come _/     
4      4         him4        _/         
4    4              ,i  _/            4 
4                  _/              44   
_/               _/                   _/
      ,i come to bry ,caesar4           
8,the same method of illustration may be
 extended ad libitum40    ,there is one 
feature of circumflex inflection        
somewhat common but  seldom treated1 the
 understanding of which is very helpful 
to the  teacher4 ,this feature is       
observed when there are assertion and   
incompleteness in the same word4 ,for   
instance1 8,john ,brown10 being  the    
important idea in the following         
sentence1 would be uttered with  a      
falling inflection2 but since the mind  
is glancing forward from  8,brown0 the  
rising inflection would mark that fact4 
,hence1 the two  states of mind would be

 manifested in a combined inflection the
  psychology of which should now be     
clear4      ,john ,brown was one of the 
most striking figures of the            
anti-slavery agitation4    ,we have the 
same phenomenon on the word 8,sicily0 in
 the following  extract1 except that the
 falling inflection is on the first two 
syllables and the rising on the third3  
,robert of ,sicily1 brother of ,pope    
,urbane        ,and ,valmond1 ,emperor  
of ,allemaine                 99        
99       99       99       99           
444 heard the priests chant the         
,magnificat4    ,the extent1 or width1  
of the inflection depends upon the      
amount  of collateral thinking4 ,thus a 
simple question as1 8,is your name      
,brown80 will take an inflection of     
about a third of the musical  scale1    
while the inflection of ,cassius on     
8,chastisement10 in the  example        
previously given1 will be probably a    
full octave4 ,the  length of the        
inflection is explained by the          

philosophy of 8,time03  it is a matter  
of the importance or non-importance of  
the idea4  ,the direction of the        
inflection is explained by the          
philosophy of  8,pitch03 it is          
determined by the purpose1 or motive4   
,varied melody is found in the speech of
 every-day life4 ,note  how the voice   
continually runs up and down in a       
conversation  on commonplace topics4    
,the moment the subject grows serious   
and  dignified1 the discriminative      
elements largely disappear and with     
them the varied melody2 until in solemn 
prayer1 invocation1 and  certain forms  
of meditation in the absence of desire  
to insist on  the importance of any one 
word1 or the absence of the purpose to  
discriminate between one phase and      
another1 we approach very close  to the 
monotone4 ,let us remember1 however1    
that it is not the  emotion as such that
 affects the melody1 but the mental     
content of  the emotion4    ,in order   
that the reader may see the application 

of the foregoing  principles1 an        
analysis of a complete poem is appended4
 ,there may  be a difference of opinion 
concerning details1 but it must be      
remembered that the value of this       
analysis for the student lies  in the   
fact that it should teach him that some 
interpretation is  to be definitely     
decided on4 ,the average reading is     
haphazard2 so  that one must gain a     
great deal through the mental drill     
necessary  to decide the various        
questions that come up in the course of 
such  an analysis as that here          
undertaken4 ,it is a common experience  
to  hear a pupil read a passage one way 
at one time and a different  way at     
another4 ,it would therefore seem to be 
better to read a  passage incorrectly   
with some reason behind the error1 than 
to read  it correctly as a matter of    
accident1 with the chance that the  next
 time it is read the expression will be 
quite different4 ,the  greatest value of
 such analyses is found in the          

improvement in the  student's power of  
discrimination4 ,the melody1 which      
manifests the  purpose1 the motive1 is  
the very life of good reading4          
,up from the meadows rich with corn1    
,clear in the cool ,september morn1     
,the clustered spires of ,frederick     
stand        ,green-walled by the hills 
of ,maryland4          ,round about them
 orchards sweep1                        
#e        ,apple and peach tree fruited 
deep1          ,fair as the garden of   
the ,lord        ,to the eyes of the    
famished rebel horde1          ,on that 
pleasant morn of the early fall         
,when ,lee marched over the mountain    
wall2                    #aj            
,over the mountains winding down1       
,horse and foot1 into ,frederick town4  
,forty flags with their silver stars1   
,forty flags with their crimson bars1   
,flapped in the morning wind3 the sun   
#ae        ,of noon looked down1 and saw
 not one4          ,up rose old ,barbara
 ,frietchie then1        ,bowed with her

 fourscore years and ten2               
,bravest of all in ,frederick town1     
,she took up the flag the men hauled    
down2                   #bj          ,in
 her attic window the staff she set1    
,to show that one heart was loyal yet4  
,up the street came the rebel tread1    
,stonewall ,jackson riding ahead4       
,under his slouched hat left and right  
#be        ,he glanced2 the old flag met
 his sight4          8,halt60--the      
dust-brown ranks stood fast4            
8,fire60--out blazed the rifle-blast4   
,it shivered the window1 pane and sash2 
,it rent the banner with seam and gash4 
#cj          ,quick1 as it fell1 from   
the broken staff        ,dame ,barbara  
snatched the silken scarf2          ,she
 leaned far out on the window-sill1     
,and shook it forth with a royal will4  
8,shoot1 if you must1 this old gray     
head1                    #ce        ,but
 spare your country's flag10 she said4  
,a shade of sadness1 a blush of shame1  
,over the face of the leader came2      

,the nobler nature within him stirred   
,to life at that woman's deed and word2 
#dj          8,who touches a hair of yon
 gray head        ,dies like a dog6     
,march on60 he said4          ,all day  
long through ,frederick street          
,sounded the tread of marching feet3    
,all day long that free flag tost       
#de        ,over the heads of the rebel 
host4          ,ever its torn folds rose
 and fell        ,on the loyal winds    
that loved it well2          ,and       
through the hill-gaps sunset light      
,shone over it with a warm good-night4  
#ej          ,barbara ,frietchie's work 
is o'er1        ,and the ,rebel rides on
 his raids no more4          ,honor to  
her6 and let a tear        ,fall1 for   
her sake1 on ,stonewall's bier4         
,over ,barbara ,frietchie's grave1      
#ee        ,flag of ,freedom and ,union1
 wave6          ,peace and order and    
beauty draw        ,round thy symbol of 
light and law2          ,and ever the   
stars above look down        ,on thy    

stars below in ,frederick town6         
#fj                    --,barbara       
,frietchie4 ,,whittier4    l4 #c4--,note
 momentary completeness on 8,frederick40
    l4 #a-c4--,these lines are          
anticipative4    l4 #e1 #f4--;,each line
 a complete affirmative statement1      
although  separated from the rest of the
 poem only by commas4    l4             
#g4--8,lord10 momentary completeness4   
l4 #h4--,rising inflection on 8horde10  
since the sense is incomplete  until we 
come to 8wall40 ,a good example1 since  
lines #i and #aj would  make very good  
sense without the succeeding two4    l4 
#ab4--,momentary completeness on 8foot40
    l4 #ac-ad4--,the motive being the   
same in both lines1 note that the       
melody is the same4    l4 #af4--8,noon0 
is contrasted with 8morning02 hence the 
rising  circumflex on the former word4  
l4 #ag4--,transition here4 ,observe the 
higher key commencing on 8up40    l4    
#ai4--,this line is anticipative4       
,supply 8being0 before 8bravest10  and  

note how the temptation to use the      
falling inflection on 8town0            
disappears4    l4 #ba4--,optional rising
 or falling inflection on 8set40    l4  
#bc4--,transition in key4 ,why8    l4   
#bd4--,what difference in motive would  
be conveyed by rising and  falling      
inflections on 8,jackson08    l4        
#be-bh4--,transitions on 8under10       
8halt10 8the10 8fire10 8out40  ,explain4
    l4 #bi4--,note the comma after      
8window40 ,what is its function8    l4  
#ca4--,observe that 8as it fell0 is     
subordinate4 ,many read this  couplet   
incorrectly4 ,the idea is not 8as it    
fell from the broken  staff10 but that  
she snatched it 8from the broken staff40
    l4 #cc4--;,anticipative4    l4      
#ce4--,transition4    l4 #cg4--7a7      
,observe how the key lowers4 ,why8 7#b7 
,what shades of  meaning are conveyed by
 the following readings3 a1 momentary   
completeness on 8sadness10 and 8shame02 
b1 anticipation on  8sadness10 momentary
 completeness on 8shame40 ,which do you 

prefer8  ,why8    l4 #da4--,transition4 
,is the key higher or lower8    l4      
#dc-dd1 #de-df1 #dg-dh4--,why is the    
melody about the same in these          
couplets8    l4 #di-ej4--,many          
opportunities for choice of inflection  
on  8hill-gaps10 8light10 8over40    l4 
#ea4--,rising or falling inflection on  
8o'er08 ,why8    l4 #ef4--,no momentary 
completeness on 8,union40 ,why8    l4   
#ei1 #fj4--;,contrast between 8above0   
and 8below40    ,no attempt has been    
made in this analysis to do more than   
direct  attention to the portions of the
 poem in which inflection and  melody   
are affected by the interpretation4     
,,pedagogical ,,aspects4    ,much of    
what has been said concerning the       
pedagogical aspects  of the discussion  
of 8,time0 may be repeated here4 ,drills
 in  inflections as such are of very    
little value and potentially very       
harmful4 ,occasionally we hear the      
argument that a pupil has no  ear for   
inflections1 and that the drill is to   

train his ear4 ,most  pupils have no    
difficulty in making proper inflections1
 so that  for them class drills are time
 wasted2 for those whose reading is     
monotonous1 because of lack of melodic  
variety1 the best drills are  those     
which teach them to make a careful      
analysis of the sentences1  and those   
which awaken them to the necessity of   
impressing the  thought upon others4 ,we
 deceive ourselves when we proceed to   
correct the error of monotony in any    
mechanical1 artificial way4    ,we have 
learned that1 when a pupil has the      
proper motive in mind  and is desirous  
of conveying his intention to another1 a
 certain  melody will always manifest   
that intention4 ,the melody1 then1 is   
the criterion of the pupil's purpose4   
,we expect a certain melody  with       
certain phrases4 ,when that melody is   
heard1 we are scarcely  conscious of its
 presence2 when another is heard1 we are
 struck as  by a discord of music when  
we expect concord4 ,the moment a pupil  

loses sight of the exact meaning of a   
phrase and its relation  to the other   
phrases1 that moment his melody betrays 
him4 ,now  the teacher must be able to  
translate the false melody4 ,he must    
determine the pupil's purpose 7or       
absence of any purpose7 behind  the     
incorrect melody1 remove the wrong      
purpose1 put in its stead  the true     
purpose1 and rely upon natural instincts
 to do the rest4  ,herein lies the great
 value to the teacher of a knowledge of 
the  psychology of the criterion of     
pitch4    ,suppose a pupil reads1 8,up  
from the meadows green with corn10 using
  a rising circumflex on 8meadows40     
,this would show at once that  8meadows0
 was contrasted in his mind with        
something else4 ,remove  the contrast1  
direct his mind forward from that word  
to the next  phrase1 and the proper     
melody will come4 ,some teachers1       
especially  those engaged in the        
teaching of young children1 have a      
somewhat  patronizing melody in all they

 say and read4 ,this melody is          
overflowing with circumflexes1 which are
 soon copied by the class4  ,let the    
teacher free himself from this          
patronizing mental condition  and talk  
to the children as if they were men and 
women1 and the  peculiar melody will    
disappear from the voices of both       
teacher and  pupil4 ,it is rather       
difficult to present this melody in     
graphic  form1 but the following diagram
 may prove suggestive3    ,illustration3
      ,now            let us        take
 our             _/                _/   
_/          _/              _/          
_/         children          all        
books4      ,it is hardly to be believed
 that there is so much ignorance as to  
the meaning of inflection4 ,during the  
past two years1 in schools of  our      
largest cities1 the author has heard    
teachers reprimand their  pupils for    
allowing their voices 8to fall at a     
comma40 ,as if commas  were intended to 
indicate vocal expression6 ,once when a 

bright lad  used a falling inflection on
 8want10 in such a sentence as 8,what do
  you want80 a class nearly shook their 
hands off in their endeavors  to attract
 the teacher's attention1 in order that1
 when he said1  8,what's wrong80 they   
might shout at the top of their voices1 
8,he  let his voice down at a question  
mark40    ,one of the commonest of      
misunderstandings that prevail among us1
  is that the rising inflection is      
always to be given upon words  preceding
 commas1 and also that it must never be 
given at the end  of a sentence4 ,it is 
hoped that these fallacies have been    
entirely  exploded1 and that the teacher
 has learned that motive1 and motive    
only1 governs the inflection4 ,we used  
to be told to count one at a  comma1 two
 at a semi-colon1 and four at a period4 
,such admonitions  are exactly on a par 
with those just referred to4            
,teachers should bear in mind that      
pupils do not need to have a  musical   
ear in order to read with correct       

melody4 ,as we have stated  again and   
again1 melody is the result of varying  
tension1 and  that has nothing to do    
with the ability to recognize tones4    
,with  singing this is different4 ,there
 we must strike certain notes1 and  ear 
training is necessary2 but speech melody
 is instinctive1 and  all that is       
necessary for its development is mental 
training and  practice in reading--not  
voice drills as such4    ,the melody of 
long sentences presents a case of       
peculiar  difficulty4 ,where the        
sentence is long1 especially where it is
 long  and involved1 the pupil's melody 
is often faulty because he cannot  hold 
the thought in mind from beginning to   
end4 ,pupils should be  trained on      
sentences specially chosen to develop   
their powers of  continuous thinking4   
,these sentences should be carefully    
analyzed  and thoroughly discussed      
before reading4 ,the following examples1
  while too difficult for younger       
pupils1 will afford good practice  for  

the teacher3      ,while the ,union     
lasts1 we have high1 exciting1          
gratifying    prospects spread out      
before us1 for us and our children4     
,beyond    that ,i seek not to penetrate
 the veil4 ,god grant that in my day1   
at least1 that curtain may not rise4    
,god grant that on my vision    never   
may be opened what lies behind4 ,when my
 eyes shall be    turned to behold for  
the last time the sun in heaven1 may ,i 
not    see him shining on the broken and
 dishonored fragments of a once         
glorious ,union2 on ,states dissevered1 
discordant1 belligerent2    on a land   
rent with civil feuds1 or drenched1 it  
may be1 in    fraternal blood6 ,let     
their last feeble and lingering glance1 
rather1 behold the gorgeous ensign of   
the republic1 now known and    honored  
throughout the earth1 still full high   
advanced1 its arms    and trophies      
streaming in their original luster1 not 
a stripe    erased or polluted1 not a   
single star obscured--bearing for its   

motto no such miserable interrogatory   
as1 8,what is all this    worth80 nor   
those other words of delusion and folly1
 8,liberty    first1 and ,union         
afterward20 but everywhere1 spread all  
over in    characters of living light1  
blazing on all its ample folds as       
they float over the sea and over the    
land1 and in every wind    under the    
whole heavens1 that other sentiment1    
dear to every true    ,american         
heart--8,liberty and ,union1 now and    
forever1 one and                        
inseparable40--,reply to ,hayne4        
,,webster4    ,note that the force of   
8may ,i not see him0 continues to       
8fraternal  blood10 and consequently    
that there should be rising inflections 
on 8,union10 8dissevered10 8discordant10
 8belligerent10 8feuds10  and 8blood40  
,and note further that 8,what is all    
this worth80 and  8,liberty first1 and  
,union afterward10 are anticipative and 
hence  will take a rising inflection on 
8worth0 and 8afterward40          ,at   

,atri in ,abruzzo1 a small town         
,of ancient ,roman date but scant       
renown1        ,one of those little     
places that have run        ,half up the
 hill1 beneath a blazing sun1           
,and then sat down to rest1 as if to    
say1        8,i climb no further upward1
 come what may10        ,the ,re        
,giovanni1 now unknown to fame1         
,so many monarchs since have borne the  
name1        ,had a great bell hung in  
the market place4                       
--,the ,bell of ,atri4 ,,longfellow4    
,the town would have used a falling     
inflection on 8may0 because for  it the 
sense would have been completed with    
that word2 but with us  this phrase is  
subordinate1 and hence the inflection on
 8may0 will  be rising4          ,and as
 a hungry lion who has made        ,a   
prey of some large beast--a hornd stag  
,or mountain goat--rejoices1 and with   
speed        ,devours it1 though swift  
hounds and sturdy youths        ,press  
on his flank1 so ,menelaus felt         

,great joy when ,paris1 of the godlike  
form1        ,appeared in sight1 for now
 he thought to wreak        ,his        
vengeance on the guilty one1 and        
straight        ,sprang from his car to 
earth with all his arms4                
--,the ,iliad1 ,book ,,ii4 ,,homer      
7,,bryant74      ,but when public taste 
seems plunging deeper and deeper into   
degradation day by day1 and when the    
press universally exerts    such power  
as it possesses to direct the feeling of
 the nation    more completely to all   
that is theatrical1 affected1 and false 
in    art2 while it vents its ribald    
buffooneries on the most exalted        
truth1 and the highest ideal of         
landscape1 that this or any other    age
 has ever witnessed1 it becomes the     
imperative duty of all who    have any  
perception or knowledge of what is      
really great in art1    and any desire  
for its advancement in ,england1 to come
 fearlessly    forward1 regardless of   
such individual interests as are likely 

to be injured by the knowledge of what  
is good and right1 to    declare and    
demonstrate1 wherever they exist1 the   
essence and    the authority of the     
beautiful and the true4--,modern        
,painters4    ,,ruskin4                 
,,chapter ,,iii    ,,the ,,criterion    
,,of ,,quality      ,thus far we have   
been considering the criteria of states 
essentially intellectual4 8,time0 has to
 do with the extent of the  thought2    
8,pitch0 with the purpose4 ,quality     
manifests emotional  states4 ,by        
,quality we mean that subtle element in 
the voice by  which is expressed at one 
time tenderness1 at another harshness1  
at  another awe1 and so on through the  
whole gamut of feeling4    ,in order to 
prove that the quality 7timbre1 the     
,french call it7  of the voice is the   
result of emotional conditions1 we must 
first  understand what we may term the  
physics of quality4 ,the number of  air 
waves striking the ear in a given time  
determines the pitch2  the width of the 

waves determines the volume of sound2   
the shape  of the waves determines the  
quality4 ,but how is the shape of air   
waves affected8 ,it would take us too   
far from our subject to  discuss this   
question in detail4#e ,let it suffice   
that the shape  of the air wave1 and    
hence the quality1 is dependent upon the
  texture of the vibrating body4 ,we    
recognize at once the different         
qualities respectively of the flute1    
piano1 violin1 harp or cornet2  it is   
the difference in the texture of the    
vibrating substances  that enables us to
 do this4 ,why will the artist pay      
thousands of  dollars for a             
,stradivarius or ,cremona violin8 ,not  
because of its  age1 but because of the 
quality of the tone he can bring out on 
that instrument1 which is impossible on 
other makes of violins4 ,the  fashioners
 of these old instruments possessed a   
secret of treating  or seasoning the    
wood that gave to their products a tone 
quality  the violin-makers of to-day    

endeavor in vain to reproduce4 ,this    
treatment affected the texture of the   
wood1 and hence the quality4    ,to him 
who plays upon the human instrument of  
the voice1 is given  a great advantage  
over other artists4 ,he can change the  
quality  of his tone almost at will1    
while they can only approximate these   
changes4 ,the tone as it comes from the 
vocal bands is comparatively  colorless1
 but the size and shape of the          
reinforcing cavities  7the larynx1      
pharynx1 mouth1 and nares71 and the     
texture of their  membranes1 determine  
the quality of the tone that reaches the
  ear4 ,now1 the size and shape of some 
of these can be changed at  will1 and   
are often modified unconsciously by     
emotion4 ,the same  may be said of the  
texture of the surface against which the
 tone  impinges as it comes from the    
larynx4 ,the shape of the nares and  the
 texture of its membrane are virtually  
fixed1 as is the texture  of the roof of
 the mouth and the pharynx4 ,herein is  

the explanation  of the individuality of
 voices4 ,but the shape of the mouth and
  of the pharynx may be considerably    
modified by the action of the  tongue1  
the raising1 lowering1 or contracting of
 the larynx1 and  the movements of the  
soft palate4 ,it is1 therefore1 clear   
that the  quality of the voice is partly
 fixed and partly changeable4    ,before
 we proceed to discuss the effect of    
emotion upon the  quality1 we must first
 recognize that voice defects are of    
three  kinds3 7#a7 ,those arising from  
disease or accident1 such as catarrh1   
obstructions in the nose1 enlarged      
tonsils1 broken nose1 and many  others4 
,these require medical or surgical      
treatment4 7#b7 ,those  arising from    
congenital defects1 which can be only   
partially  removed1 such as cleft       
palate1 abnormally narrow nares1 and the
  like4 7#c7 ,those arising out of the  
temperament of the man and the  improper
 use of his voice4    ,it should now be 
plain that when we say that emotion     

affects the  quality of the tone1 we    
mean the peculiar quality of a          
particular  man4 ,if a speaker's voice  
is nasal1 we do not claim that that     
quality is expressive of any emotion4   
,on the contrary1 nasal  quality is the 
distinguishing characteristic of his    
voice1 but that  quality can be modified
 by emotion4 ,in other words1 there can 
be a  nasal-tender quality1 or a        
nasal-harsh quality1 the tender or harsh
  feeling accounting for the difference4
    ,paul ,heyse has said1 8,the voice  
is the man40 ,what did he mean  by that8
 ,he did not mean that a throaty voice  
indicated one  temperament1 and a nasal 
voice another1 but that the emotional   
man1  the spiritual man1 has a certain  
texture of muscle4 ,this texture        
affects the quality of his natural      
voice1 whatever that voice may  be1 and 
consequently the quality of the voice   
manifests the man4  ,if we will         
interpret this dictum broadly1 no fault 
will be found  with it4 ,who does not   

recognize the blustering man by his     
bellowing  tone8 the fawning hypocrite  
by his oily quality8 the aggressive1    
assertive individual by his harsh       
guttural8 ,in all probability1  ,heyse  
meant more than quality1 in the sense in
 which we use it  here2 but granting    
this1 his saying is of very wide        
application  even in this restricted    
realm4    ,how does emotion affect the  
quality of the voice8 ,emotion is       
essentially a muscular condition4 ,this 
condition is determined by  the amount  
of nervous energy sent to the muscles1  
and this energy  determines the muscular
 texture4 ,tender emotions mean tender  
texture1 a relaxed condition of the     
muscles2 while harsh quality is  the    
result not only of throat contraction   
7change in the shape of  the reinforcing
 cavity7 but of constricted muscle1     
harsh texture4  ,this is all there is to
 the philosophy of 8,quality40    ,dr4  
,rush1 in his ,philosophy of the ,human 
,voice1 has named many  of these        

qualities4 ,he calls them ,normal1      
,orotund1 ,guttural1  ,pectoral1        
,falsetto1 and so on2 and mentions the  
emotional  conditions that manifest     
themselves through these various forms4 
,on the whole1 his classification is    
sound2 but there is one  gross error1   
due either to himself or his followers1 
that must  be considered here4 ,the     
,orotund 7the enlarged natural7 quality 
is more than a loud voice4 ,it is a full
 voice with a quality  that cannot      
better be described than by the term    
richness4 ,many  students have          
endeavored to obtain this quality by    
shouting1  or by holding the mouth as if
 gaping1 and have developed only        
loudness without a trace of soulfulness1
 or merely a round1 hollow              
hot-potato-in-the-throat kind of voice4 
,there is no objection to  the use of   
the term ,orotund to characterize that  
rich1 full tone  suggestive of deep1    
full1 enlarged feeling2 but we must bear
 in  mind that loudness is not only not 

necessary for the ,orotund1  but is     
often no part of it at all4 ,the        
,orotund1 as we have said1  is that     
quality of which the main               
characteristics are roundness  and      
richness4 ,one who is restricted is not 
likely to use this  quality4 ,it can    
come only when there is the utmost      
freedom of the  entire vocal region4    
,when we have removed the tension which 
may  be 8the man10 or the result of bad 
vocal training1 we shall get  that      
enlarged quality1 which should not1 as  
is so often the case1  manifest merely  
the larger emotional states1 but should 
be the  natural voice of the speaker4   
,the ,orotund manifests dignity above   
all else2 it manifests the large1 grand 
spirit4 ,of course1 we do  not mean an  
affected ,orotund1 but an easy1 large1  
unrestricted  quality showing the       
largeness of the soul behind it4 ,to    
develop  this quality1 let the student  
use his imagination4 ,let him dwell  for
 a long time upon the sublimity and     

grandeur of such passages  as follow4   
,then let him abandon himself to the    
emotion aroused  through his            
contemplation1 and in time the genuine  
,orotund will  come4 ,and so only can it
 come4 ,so important is this phase of   
the  subject that we repeat3 ,the tone  
expressive of elevated feeling  8cannot 
be mechanically produced1 or            
manufactured independently of  the      
general mental and physical conditions40
 ,the imagination must  lead1 otherwise 
we shall have big voices without big    
quality4 ,that  peculiar quality        
expressive of enlarged feeling is not   
necessarily  loud4 ,in fact1 the voice  
may not be strong1 but1 at the same     
time1 it may suggest grandeur and       
sublimity far better than a  voice that 
has sheer loudness4 ,but1 if the student
 will practice  faithfully1 he may be   
assured that his voice will receive more
  genuine training through these        
exercises than through a whole  volume  
of merely technical drills4 ,develop the

 imagination1  the soul1 and the voice  
will grow through the effort of the soul
  to go out in expression4 ,but let him 
avoid mere shouting and  vociferating1  
even if he never gets a voice4    ,if   
the student has not the imagination1 he 
must develop it4 ,there  are many loud  
voices1 but few with soulful quality4   
,but what avails  this loudness8        
,certainly it enables one to be heard   
above the din  of voices and the roar of
 the waves1 but it never stirs the      
nobler  emotions of an audience2 and    
unless one can do that he is anything   
but an orator4 ,mere loudness is        
rant--nothing less4    ,many students1  
for one reason or another1 either have  
no ability  to express elevated feeling 
in public1 or repress it through        
diffidence or shyness4 ,let such        
remember that we are constantly         
experiencing and expressing this feeling
 in our everyday life2 that  it is      
simply an enlargement of a more or less 
commonplace feeling2  and let him begin 

with the simple examples that are set   
down first4  ,any one can say1 ,what a  
lovely day this is6 ,well1 that is a    
mild  form of elevated feeling4 ,let him
 imagine it is graduation day1  and that
 rain had been threatening to fall all  
the previous night4  ,it is daylight    
now2 and as he opens his eyes and looks 
up at the  cloudless sky1 will he not   
exclaim with elevated feeling1 ,what a  
glorious day we're going to have6    ,by
 8elevated feelings0 one must not       
understand those only that are  serious 
and solemn4 ,whenever the imagination is
 enkindled by the  contemplation of what
 is large1 dignified1 grand1 sublime1   
the  emotions are stirred1 and find     
expression in enlarged1 soulful         
quality4      ,ay1 every inch a king4   
,think of it6 a building that could hold
 a hundred thousand people6      ,here  
will be their greatest triumph4         
,who shall put asunder the best         
affections of the heart8      ,we loved 
the land of our adoption6      ,a good  

name is better than precious ointment4  
,gird up thy loins now1 like a man4     
,comfort ye my people4      ,o ,zion1   
that bringest good tidings1 get thee up 
into the high    mountain6      ,he is  
as honest a man as ever breathed4       
,search creation round1 where will you  
find a country that    presents so      
sublime a spectacle1 so interesting an  
anticipation8      ,most of all1        
fellow-citizens1 if your sons ask whose 
example they    shall imitate1 what will
 you say8 ,for you know well it is not  
music1 nor the gymnasiums1 nor the      
schools1 that mold young men2    it is  
much more the public proclamations1 the 
public example4 ,if    you take one     
whose life has no high purpose1 one who 
mocks at    morals1 and crown him in the
 theater1 every boy who sees it is      
corrupted4 ,when a bad man suffers his  
deserts1 the people learn2    on the    
contrary1 when a man ,,votes ,,against  
,,what ,,is ,,noble ,,and ,,just1    and
 then comes home to teach his son1 the  

boy will very promptly    say1 8,your   
lesson is impertinent and a bore40      
,beware1 therefore1    ,athenians1      
remembering posterity will rejudge your 
judgment1 and    that the character of a
 city is determined by the character of 
the men it crowns4      ,right forever  
on the scaffold1 ,wrong forever on the  
throne2    ,but that scaffold sways the 
future1 and behind the dim unknown      
,standeth ,god within the shadow1       
keeping watch above his own4            
,thou1 too1 sail on1 ,o ,ship of ,state6
        ,sail on1 ,o ,,union1 strong and
 great6        ,humanity1 with all its  
fears1        ,with all the hopes of    
future years        ,is hanging         
breathless on thy fate6        ,we know 
what ,master laid thy keel1        ,what
 workmen wrought thy ribs of steel1     
,who made each mast1 and sail1 and rope1
        ,what anvils rang1 what hammers 
beat1        ,in what a forge1 and what 
a heat1        ,were shaped the anchors 
of thy hope6          ,fear not each    

sudden sound and shock2        ',tis of 
the wave1 and not the rock2        ',tis
 but the flapping of the sail1          
,and not a rent made by the gale6       
,in spite of rock and tempest's roar1   
,in spite of false lights on the shore1 
,sail on1 nor fear to breast the sea6   
,our hearts1 our hopes1 are all with    
thee3        ,our hearts1 our hopes1 our
 prayers1 our tears1        ,our faith  
triumphant o'er our fears1        ,are  
all with thee1--are all with thee6      
--,the ,ship of ,state4 ,,longfellow4   
,see what a grace was seated on this    
brow2        ,hyperion's curls2 the     
front of ,jove himself2        ,an eye  
like ,mars1 to threaten and command2    
,a station like the herald ,mercury     
,new-lighted on a heaven-kissing hill2  
,a combination and a form indeed1       
,where every god did seem to set his    
seal1        ,to give the world         
assurance of a man4                     
--,hamlet1 ,act iii41 ,sc4 #d4          
,awake1 my soul6 ,not only passive      

praise        ,thou owest2 not alone    
these swelling tears1        ,mute      
thanks1 and secret ecstasy4 ,awake1     
,voice of sweet song6 ,awake my heart1  
,awake6        ,green vales and icy     
cliffs1 all join my hymn6               
--,,coleridge4          ,and the evening
 star was shining          ,on          
,schehallion's distant head1            
,when we wiped our bloody broadswords1  
,and returned to count the dead4        
,there we found him1 gashed and gory1   
,stretched upon the cumbered plain1     
,as he told us where to seek him1       
,in the thickest of the slain4          
,and a smile was on his visage1         
,for within his dying ear        ,pealed
 the joyful note of triumph1            
,and the clansman's clamorous cheer3    
,so1 amidst the battle's thunder1       
,shot1 and steel1 and scorching flame1  
,in the glory of his manhood            
,passed the spirit of the ,grme6        
,open wide the vaults of ,atholl1       
,where the bones of heroes rest1--      

,open wide the hallowed portals         
,to receive another guest6        ,last 
of ,scots and last of freemen1--        
,last of all that dauntless race1       
,who would rather die unsullied         
,than outlive the land's disgrace6      
--,,aytoun4          ,bury the great    
,duke        ,with an empire's          
lamentation1        ,let us bury the    
,great ,duke        ,to the noise of the
 mourning of a mighty nation1           
,mourning when their leaders fall1      
,warriors carry the warrior's pall1     
,and sorrow darkens hamlet and hall4    
,where shall we lay the man whom we     
deplore8        ,here1 in streaming     
,london's central roar1        ,let the 
sound of those he wrought for1          
,and the feet of those he fought for1   
,echo round his bones forevermore4      
,lead out the pageant3 sad and slow1    
,as fits a universal woe1        ,let   
the long1 long procession go1           
,and let the sorrowing crowd about it   
grow1        ,and let the mournful      

martial music blow2        ,the last    
great ,englishman is low4          ,all 
is over and done3        ,render thanks 
to the ,giver1        ,england1 for thy 
son4        ,let the bell be toll'd4    
,render thanks to the ,giver1           
,and render him to the mold4            
,under the cross of gold        ,that   
shines over city and river1             
,there he shall rest forever            
,among the wise and the bold4           
,let the bell be toll'd3        ,and a  
reverent people behold        ,the      
towering car1 the sable steeds3         
,bright let it be with his blazon'd     
deeds        ,dark in its funeral fold1 
,let the bell be toll'd3        ,and a  
deeper knell in the heart be knoll'd2   
,and the sound of the sorrowing anthem  
roll'd        ,thro' the dome of the    
golden cross2        ,and the volleying 
cannon thunder his loss2        ,he knew
 their voices of old4        ,for many a
 time in many a clime        ,his       
captain's ear has heard them boom1      

,bellowing victory1 bellowing doom3     
,when he with those deep voices wrought1
        ,guarding realms and kings from 
shame2        ,with those deep voices   
our dead captain taught        ,the     
tyrant1 and asserts his claim        ,in
 that dread sound to the great name     
,which he has worn so pure of blame1    
,in praise and in dispraise the same1   
,a man of well-attemper'd frame4        
,o civic ,muse1 to such a name1         
,to such a name for ages long1          
,to such a name1        ,preserve a     
broad approach of fame1        ,and     
ever-echoing avenues of song4           
--,ode on the ,death of the ,duke of    
,wellington4 ,,tennyson4      ,venerable
 men6 you have come down to us from a   
former generation4    ,heaven has       
bounteously lengthened out your lives1  
that you might    behold this joyous    
day4 ,you are now where you stood fifty 
years    ago1 this very hour1 with your 
brothers and your neighbors1    shoulder
 to shoulder1 in the strife for your    

country4 ,behold1 how    altered6 ,the  
same heavens are indeed above your      
heads2 the same    ocean rolls at your  
feet2 but all else how changed6         
,you hear now no roar of hostile cannon1
 you see no mixed volume    of smoke and
 flame rising from burning ,charlestown4
 ,the ground    strewed with the dead   
and dying2 the impetuous charge2 the    
steady    and successful repulse2 the   
loud call to repeated assault2 the      
summoning of all that is manly to       
repeated resistance2 a thousand         
bosoms freely and fearlessly bared in an
 instant to whatever    of terror there 
may be in war and death2 all these you  
have    witnessed1 but you witness them 
no more4      ,all is peace4 ,the       
heights of yonder metropolis1 its towers
 and    roofs1 which you then saw filled
 with wives and children and            
countrymen in distress and terror1 and  
looking with unutterable    emotions for
 the issue of the combat1 have presented
 you to-day    with the sight of its    

whole happy population come out to      
welcome    and greet you with a         
universal jubilee4 ,yonder proud ships1 
by    a felicity of position            
appropriately lying at the foot of this 
mount1 and seeming fondly to cling      
around it1 are not means of    annoyance
 to you1 but your country's own means of
 destruction and    defense4--,,webster4
      ,what lesson shall those lips     
teach us8 ,before that still1 calm      
brow let us take a new baptism4 ,how can
 we stand here without    a fresh and   
utter consecration8 ,these tears6 how   
shall we dare    even to offer          
consolation8 ,only lips fresh from such 
a vow have    the right to mingle their 
words with your tears4 ,we envy you your
    nearer place to these martyred      
children of ,god4 ,i do not believe     
slavery will go down in blood4 ,ours is 
an age of thought4 ,hearts    are       
stronger than swords4 ,that last        
fortnight6 ,how sublime its    lesson6  
the ,christian one of conscience1--of   

truth4 ,virginia    is weak1 because    
each man's heart said amen to ,john     
,brown4 ,his    words1--they are        
stronger even than his rifles4 ,these   
crushed    a ,state4 ,those have changed
 the thoughts of millions1 and will     
yet crush slavery4 ,men said1 8,would he
 had died in arms60 ,god    ordered     
better1 and granted to him and the slave
 those noble    prison hours1--that     
single hour of death2 granted him a     
higher    than the soldier's            
place1--that of teacher2 the echoes of  
his    rifles have died away in the     
hills1--a million hearts guard his      
words4 ,god bless this roof1--make it   
bless us4 ,we dare not say    bless you1
 children of this home6 you stand nearer
 to one whose    lips ,god touched1 and 
we rather bend for your blessings4 ,god 
make    us all worthier of him whose    
dust we lay among these hills he        
loved4 ,here he girded himself and went 
forth to battle4 ,fuller    success than
 his heart ever dreamed ,god granted    

him4 ,he sleeps in    the blessings of  
the crushed and the poor1 and men       
believe more    firmly in virtue1 now   
that such a man has lived4 ,standing    
here1    let us thank ,god for a firmer 
faith and fuller hope4--,,wendell       
,,phillips4    ,a great deal of space   
has been given to the preceding         
illustrations  because the quality      
necessary to express the emotions in    
those  selections is very rare4 ,rare   
for two reasons3 first1 because we      
dwell so much of the time in the realm  
of the so-called practical  that we lose
 interest in the sublimer aspects       
presented in poetry2  and1 secondly1 we 
do not express these larger emotions    
freely and  often4 ,expression1 like all
 other powers1 comes through practice4  
,the second distinct quality is what has
 been called the ,normal4  ,this is the 
voice of everyday life1 the voice in    
which we carry on  the conversation of  
the home1 the schoolroom1 and the       
business of  life generally4 ,we need no

 special practice in this quality1 but  
it is well to recognize it in order that
 we may compare with it the  other      
qualities4 ,the following extract would 
be expressed in ,normal  quality4       
,speak the speech1 ,i pray you1 as ,i   
pronounced it to you1    trippingly on  
the tongue2 but if you mouth it1 as many
 of    your players do1 ,i had as lief  
the town crier spoke my lines4    ,and  
do not saw the air too much with your   
hand1 thus2 but use    all gently3 for  
in the very torrent1 tempest1 and 7as ,i
 may    say7 whirlwind of your passion1 
you must acquire and beget a            
temperance that may give it smoothness4 
,oh1 it offends me to the    soul to    
hear a robustious1 periwig-pated fellow 
tear a passion    to tatters1 to very   
rags1 to split the ears of the          
groundlings1    who1 for the most part1 
are capable of nothing but inexplicable 
dumb-shows and noise4 ,i would have such
 a fellow whipped for    o'erdoing      
,termagant2 it out-herods ,herod3 pray  

you avoid it4      ,be not too tame     
either1 but let your own discretion be  
your    tutor3 suit the action to the   
word1 the word to the action1 with      
this special observance1 that you       
o'erstep not the modesty of    ,nature2 
for anything so overdone is from the    
purpose of playing1    whose end1 both  
at the first1 and now1 was1 and is1 to  
hold1 as    'twere1 the mirror up to    
,nature1 to show ,virtue her own        
feature1    ,scorn her own image1 and   
the very age and body of the time his   
form and pressure4 ,now1 this overdone1 
or come tardy off1 though    it make the
 unskillful laugh1 cannot but make the  
judicious    grieve2 the censure of the 
which one must1 in your allowance1      
o'erweigh a whole theater of others4    
,oh1 there be players that    ,i have   
seen play--and heard others praise1 and 
that highly--not    to speak it         
profanely1 that1 neither having the     
accent of    ,christians1 nor the gait  
of ,christian1 pagan1 or man1 have so   

strutted and bellowed that ,i have      
thought some of ,nature's    journeymen 
had made men1 and not made them well1   
they imitated    humanity so            
abominably4--,hamlet1 ,act iii41 ,sc4   
#b4    ,in a work which makes no        
pretension to cover the whole realm of  
elocution1 it would be out of place to  
discuss the more extravagant  forms of  
emotion1 such as terror1 rage1 hate1 and
 the like4 ,in  order1 however1 to give 
this phase of the subject a certain     
approximation to complete treatment1 it 
may be well to touch upon  these        
abnormal emotional states and the       
respective qualities in  which they find
 expression4    ,there is a wide range  
of feeling that so affects the action of
  the vocal apparatus as to produce a   
breathy tone4 ,it would be  idle and    
misleading to enumerate all the         
occasions upon which we  might expect to
 hear this aspirated voice4 ,suffice it 
that a sense  of oppression resulting   
from any one of many causes3 the desire 

not to be overheard2 the weakness of old
 age and disease--any of  these         
conditions may produce the aspirated    
tone4 ,aspiration does  not manifest any
 one emotion1 but may accompany many4   
,there may  be considerable aspiration  
mixed with the expression of joy1 as    
well as with the expression of hate or  
despair4 ,it is well to bear  this in   
mind1 for many text books give the      
8,aspirated ,quality0  as a specific    
kind of voice manifesting specific      
emotions and  those only4 ,when we      
observe that this quality is found in   
awe1  terror1 hate1 and like emotions2  
in debility2 and when we wish to        
whisper2 the unscientific nature of such
 a classification becomes  sufficiently 
clear4 ,a few examples are appended3    
,st6 ,don't make any noise3 he's asleep4
      ,walk softly3 ,i think they're    
listening4      ,go away6 ,i hate you4  
,oh6 ,i'm so tired2 help me along4      
,how can ,i tell him the truth6         
,there is no hope4          8,charge1   

,chester1 charge6 ,on1 ,stanley1 on60   
,were the last words of ,marmion4       
,o horror6 horror6 horror6              
,tongue1 nor heart1 cannot conceive1 nor
 name thee6          ,measureless liar6 
,spare me1 great ,god6 ,lift up my      
drooping brow2        ,i am content to  
die2 but1 oh1 not now4          ,i pray 
you1 give me leave to go hence2         
,i am not well4      ,dear master1 ,i   
can go no further3 ,o1 ,i die for food6 
,here lie ,i    down1 and measure out my
 grave4 ,farewell1 kind master4         
,how ill this taper burns6 ,ha6 who     
comes here8        ,i think it is the   
weakness of my eyes        ,that shapes 
this monstrous apparition4        ,it   
comes upon me4 ,art thou any thing8     
,art thou some god1 some angel1 or some 
devil1        ,that mak'st my blood     
cold1 and my hair to stare8--           
,speak to me what thou art4             
--,julius ,caesar1 ,act iv41 ,sc4 #c4   
,,lady ,,macbeth4 ,alack6 ,i am afraid  
they have awak'd1        ,and 'tis not  

done4 ,the attempt1 and not the deed1   
,confounds us4 ,hark6--,i laid their    
daggers ready1        ,he could not miss
 them4--,had he not resembled        ,my
 father as he slept1 ,i had done 't4 ,my
 husband6          ,,macbeth4 ,i have   
done the deed4 ,didst thou not hear a   
noise8          ,,lady ,,macbeth4 ,i    
heard the owl scream1 and the crickets  
cry4        ,did you not speak8         
,,macbeth4        ,when8          ,,lady
 ,,macbeth4              ,now4          
,,macbeth4                          ,as 
,i descended8          ,,lady ,,macbeth4
 ,ay4          ,,macbeth4 ,hark6        
,who lies i' th' second chamber8        
,,lady ,,macbeth4                       
,donalbain4          ,,macbeth4 ,this is
 a sorry sight4      ,looking at his    
hands4          ,,lady ,,macbeth4 ,a    
foolish thought1 to say a sorry sight4  
,,macbeth4 ,there's one did laugh in 's 
sleep1        ,and one cried1 8,murder60
 that they did wake each other2         
,i stood and heard them3 but they did   

say their prayers1        ,and address'd
 them again to sleep4                   
--,macbeth1 ,act ii41 ,sc4 #b4          
,stern1 severe1 harsh feelings have a   
tendency to contract the  throat2 hence1
 we get a quality that is called the    
,guttural4 ,it is  heard only where the 
passion grips the throat4               
,mend1 and change home1        ,or by   
the fires of heaven1 ,i'll leave the    
foe1        ,and make me wars on you3   
look to 't3 ,come on6          8,curse  
on him60 quoth false ,sextus3           
8,will not the villain drown8           
,but for this stay1 ere close of day    
,we should have sacked the town60       
,never1 ,iago4 ,like to the ,pontic     
,sea1        ,whose icy current and     
compulsive course        ,ne'er feels   
retiring ebb1 but keeps due on          
,to the ,propontic and the ,hellespont1 
,even so my bloody thoughts1 with       
violent pace1        ,shall ne'er look  
back1 ne'er ebb to humble love1         
,till that a capable and wide revenge   

,swallow them up4 ,now1 by yond' marble 
heaven1        ,in the due reverence of 
a sacred vow        ,i here engage my   
words4                    --,othello1   
,act iii41 ,sc4 #c4          ,blow      
winds1 and crack your cheeks6 rage6     
blow6        ,you cataracts and         
hurricanes1 spout        ,till you have 
drench'd our steeples1 drown'd the      
cocks6        ,you sulphurous and       
thought-executing fires1        ,vaunt  
couriers to oak-cleaving thunderbolts1  
,singe my white head6 ,and thou1        
all-shaking thunder1        ,strike flat
 the thick rotundity o' the world6      
,crack ,nature's molds1 all germens     
spill at once1        ,that make        
ungrateful man6                         
--,king ,lear1 ,act iii41 ,sc4 #b4      
,there are two opposite qualities of    
voice well known to singers3  the       
bright1 ringing tone1 and the dark1     
sombre1 covered tone4 ,this  distinction
 is1 for the purposes of the            
public-school teacher1  far more        

valuable than most others4 ,joy1        
happiness1 buoyancy1  exuberance1 are   
likely1 when there are no marked        
physical defects1  to find expression in
 the bright tone2 while sorrow and the  
moods  of introspection may often modify
 the texture of the vibrating           
substances so as to produce the darker  
quality4      ,,extracts ,,to           
,,illustrate 8,,dark0 ,,quality4        
,,king4 ,o1 my offense is rank1 it      
smells to ,heaven2        ,it hath the  
primal eldest curse upon't1        ,a   
brother's murder6 ,pray can ,i not3     
,though inclination be as sharp as will1
        ,my stronger guilt defeats my   
strong intent2        ,and1 like a man  
to double business bound1        ,i     
stand in pause where ,i shall first     
begin1        ,and both neglect4 ,what  
if this cursd hand        ,were thicker 
than itself with brother's blood1       
,is there not rain enough in the sweet  
,heavens        ,to wash it white as    
snow8 ,whereto serves mercy        ,but 

to confront the visage of offense8      
,and what's in prayer but this twofold  
force1--        ,to be forestalld ere we
 come to fall1        ,or pardon'd being
 down8 ,then ,i'll look up2        ,my  
fault is past4 ,but1 ,o1 what form of   
prayer        ,can serve my turn8       
,forgive me my foul murder8        ,that
 cannot be2 since ,i am still possess'd 
,of these effects for which ,i did the  
murder1        ,my crown1 mine own      
ambition1 and my ,queen4        ,may one
 be pardoned and retain th' offense8444 
--,hamlet1 ,act iii41 ,sc4 #c4          
,alas6 my noble boy6 that thou shouldst 
die6          ,thou who wert made so    
beautifully fair6        ,that death    
should settle in thy glorious eye1      
,and leave his stillness in this        
clustering hair6        ,how could he   
mark thee for the silent tomb1          
,my proud boy1 ,absalom6          ,cold 
is thy brow1 my son6 and ,i am chill    
,as to my bosom ,i have tried to press  
thee6        ,how was ,i wont to feel my

 pulses thrill          ,like a rich    
harp-string yearning to caress thee1    
,and hear thy sweet 8my father60 from   
those dumb              ,and cold lips1 
,absalom6          ,but death is on     
thee6 ,i shall hear the gush            
,of music1 and the voices of the young2 
,and life will pass me in the mantling  
blush1          ,and the dark tresses to
 the soft winds flung2--        ,but    
thou no more1 with thy sweet voice1     
shalt come              ,to meet me1    
,absalom6          ,and oh6 when ,i am  
stricken1 and my heart1          ,like a
 bruised reed1 is waiting to be broken1 
,how will its love for thee1 as ,i      
depart1          ,yearn for thine ear to
 drink its last deep token6        ,it  
were so sweet1 amid death's gathering   
gloom1              ,to see thee1       
,absalom6                    --,david's 
,lament over ,absalom4 ,n4 ,p4 ,,willis4
            ,,lear4 ,you ,heavens1 give 
me patience1--patience ,i need6         
,you see me here1 you gods1 a poor old  

man1        ,as full of grief as age2   
wretched in both6        ,if it be you  
that stir these daughters' hearts       
,against their father1 fool me not so   
much        ,to bear it tamely2 touch me
 with noble anger2        ,and let not  
women's weapons1 water-drops1           
,stain my man's cheeks6--,no1 you       
unnatural hags1        ,i will have such
 revenges on you both1        ,that all 
the world shall--,i will do such        
things1--        ,what they are1 yet ,i 
know not2 but they shall be        ,the 
terrors of the earth4 ,you think ,i'll  
weep2        ,no1 ,i'll not weep3       
,i have full cause of weeping2 but this 
heart        ,shall break into a hundred
 thousand flaws1        ,or e'er ,i'll  
weep4--,o ,fool1 ,i shall go mad6       
--,king ,lear1 ,act ii41 ,sc4 #d4       
,,examples ,,to ,,illustrate 8,,bright0 
,,quality4            ,,gratiano4 ,let  
me play the fool3        ,with mirth and
 laughter let old wrinkles come1        
,and let my liver rather heat with wine 

,than my heart cool with mortifying     
groans4        ,why should a man1 whose 
blood is warm within1        ,sit like  
his grandsire cut in alabaster8         
,sleep when he wakes and creep into the 
jaundice        ,by being peevish8 ,i   
tell thee what1 ,antonio--        ,i    
love thee1 and it is my love that       
speaks--        ,there are a sort of men
 whose visages        ,do cream and     
mantle like a standing pond1        ,and
 do a willful stillness entertain1      
,with purpose to be dress'd in an       
opinion        ,of wisdom1 gravity1     
profound conceit1        ,as who should 
say1 8,i am ,sir ,oracle1        ,and   
when ,i ope my lips let no dog bark60   
,o my ,antonio1 ,i do know of these     
,that therefore only are reputed wise   
,for saying nothing1 who1 ,i am very    
sure1        ,if they should speak1     
would almost damn those ears            
,which1 hearing them1 would call their  
brothers1 fools4        ,i'll tell thee 
more of this another time3        ,but  

fish not1 with this melancholy bait1    
,for this fool gudgeon1 this opinion4   
,come1 good ,lorenzo4 ,fare ye well     
awhile3        ,i'll end my exhortation 
after dinner4                    --,the 
,merchant of ,venice1 ,act i41 ,sc4 #a4 
,she mounts her chariot with a trice1   
,nor would she stay for no advice1      
,until her maids1 that were so nice1    
,to wait on her were fitted4        ,but
 ran herself away alone2        ,which  
when they heard1 there was not one      
,but hasted after to be gone1           
,as she had been diswitted4             
,hop1 and ,mop1 and ,drap so clear1     
,pip1 and ,trip1 and ,ship1 that were   
,to ,mab their sovereign dear1          
,her special maids of honor2            
,fib1 and ,tib1 and ,pinck1 and ,pin1   
,tick1 and ,quick1 and ,jill1 and ,jin1 
,tit1 and ,nit1 and ,wap1 and ,win1     
,the train that wait upon her4          
,upon a grasshopper they got1           
,and what with amble and with trot1     
,for hedge nor ditch they spared not1   

,but after her they hie them4        ,a 
cobweb over them they throw1        ,to 
shield the wind if it should blow1      
,themselves they wisely could bestow1   
,lest any should espy them4             
--,queen ,mab4 ,,drayton4               
,cheer answer cheer1 and bear the cheer 
about4        ,hurrah1 hurrah1 for the  
fiery fort is ours6                     
8,victory1 victory1 victory60           
,hear the sledges with the              
bells1--silver bells2        ,what a    
world of merriment their melody         
foretells6        ,how they tinkle1     
tinkle1 tinkle1        ,in the icy air  
of night6        ,while the stars that  
oversprinkle        ,all the heavens1   
seem to twinkle        ,with a          
crystalline delight2        ,keeping    
time1 time1 time1        ,in a sort of  
,runic rhyme1        ,to the            
tintinnabulation that so musically wells
        ,from the bells1 bells1 bells1  
bells1 bells1--        ,from the        
jingling and the tinkling of the bells4 

--,the ,bells4 ,,poe4      ,,pedagogical
 ,,aspects4    ,for the third time1 it  
is well to be reminded that drills in   
the  elements of expression as such have
 no place in public-school  training4   
,perhaps in no part of the work is more 
care necessary  than in the development 
of the pupil's power to express feeling4
  ,if we were discussing methods of     
teaching elocution outside of  the      
public school1 the author would be      
compelled to protest  strongly against a
 prevalent practice of endeavoring to   
develop  the different vocal qualities  
apart from the emotion that produces    
these qualities4 ,but the difficulty in 
public-school methods  is that they pay 
comparatively little attention to       
emotional  expression4 ,as a general    
thing1 so educators say1 there is either
  no feeling 78no expression10 some put 
it71 or1 what is worse1 there  is a     
palpable affectation of feeling4        
,somehow1 it has come to be  considered 
8girlish0 for a boy to put feeling into 

his reading1  especially tender feeling2
 and for the girl to do so is considered
  a sure indication of weakness4 ,the   
atmosphere of the school-room  is not   
conducive to the development of         
emotional power1 and if1  by any chance1
 a shoot should peep out of the soil1 it
 dies for  want of light and warmth4    
,emotion in itself is a good thing1 when
  properly guided2 but we need emotion  
in reading because it is a  sign that   
the pupil can be moved by the           
contemplation of the noble1  the tender1
 the true4 ,it is a sign that the       
children have that  precious gift of    
imagination4 ,where there is no         
opportunity for the  expression of      
feeling1 there must result a great loss 
in expressive  power and eventually in  
power of imagination4 ,such a loss is   
irremediable1 for there follows in its  
wake inability to appreciate  the finer 
breath and spirit of literature4    ,our
 public schools1 except in particularly 
favored districts1 can  do very little  

towards training the voices of the      
pupils4 ,even  when there are special   
teachers the best results are found not 
so  much in the voices as in the ability
 to read music4 ,to train the  human    
voice requires genius and much          
particular training1 and we  cannot     
expect that school communities will     
appoint such teachers  for many1 many   
generations4 ,but development of the    
child's powers  of expression through   
the stimulation of his imagination and  
emotions will do wonders for his voice4 
,so that here we have a  third reason   
for pleading so earnestly for more      
careful attention  to this aspect of    
vocal expression4 ,one hears so often   
the excuse1  8,oh1 he hasn't any voice2 
that's why he can't read40 ,the author  
believes with that great specialist in  
the child voice1 ,william ,l4  ,tomlins1
 that1 except when there are serious    
structural defects1  the imagination and
 soul will make a voice4 ,let it be     
remarked1  that the claim is not made   

that vocal training is unnecessary4 ,but
  when we look at the conditions that   
make impossible the appointment  of     
skilled specialists in voice1 we give up
 in despair of effecting  for some time 
to come any radical change4 ,further1 a 
good voice  does not imply a good       
reader4 ,since1 then1 we can not get the
  voice teacher2 and since1 when we can1
 we are not assured he will  develop    
good expressionists1 it should be a     
great stimulus to the  conscientious    
teacher to learn that the very highest  
quality of the  voice1 soulfulness1 may 
be developed through stimulation of the 
imagination4 ,and1 further1 let us note 
that expression that comes  in this way 
can never be affected4    ,the teacher  
now knows that emotion affects the      
quality of tone4 ,let  him then use this
 knowledge as he has learned to use his 
knowledge  of the other criteria4 ,we   
recognize instinctively the quality that
  expresses sorrow1 tenderness1 joy and 
the other states of feeling4  ,when the 

proper quality does not appear it is    
because the child has  no feeling or the
 wrong feeling--generally the former4   
,there is  but one way to correct the   
expression1 i4 e41 by stimulating the   
imagination4    ,this is a most         
difficult task1 but that fact does not  
excuse us  from attempting it4 ,in ,part
 ,,ii this feature will be treated at   
length4          ,,chapter ,,iv    ,,the
 ,,criterion ,,of ,,force      ,force   
manifests the degree of mental energy4  
,when we speak in a  loud voice there is
 much energy2 when softly1 there is     
little4  ,this criterion is the easiest 
of the four to understand1 because1     
perhaps1 it is the most tangible4 ,we   
need not stay1 therefore1 to            
illustrate1 but may pass on to consider 
a subdivision of ,force1 the            
understanding of which is very necessary
 to good teaching4    ,in reading the   
following lines note how explosive is   
the utterance  on the emphatic words3   
,down6 down6 your lances1 down6         

,bear back both friend and foe6    ,now 
observe how differently we apply the    
force on the emphatic  words of this    
extract3          ,ye gods6 ye gods6    
,must ,i endure all this8    ,in the    
first example1 upon the emphatic words1 
there was heard  a loud explosion of the
 voice1 followed by a gradual diminution
  in force2 in the second1 the voice    
perceptibly swelled on the  significant 
words4 ,this swell or diminish has been 
called 8,stress40  ,perhaps it is not   
the best word1 but since its meaning in 
the sense  in which we are using it here
 is generally understood1 it may be     
well to retain it4 8,stress0 refers to  
the manner of applying the  force to the
 emphatic syllable4 ,in the first of the
 preceding  illustrations1 the greatest 
force was at the beginning of the       
emphatic syllable4 ,this form is called 
8,radical0 stress4 ,in the  second1 the 
force was applied in the opposite       
manner4 ,this form is  denominated      
8,final0 stress4    ,radical stress     

marks all forms of animated utterance4  
,it is the  result of the normal action 
of the vocal chords1 which1 coming      
together before syllabic impulses1      
suddenly part1 causing a slight  degree 
of explosion4 ,absence of this form of  
stress gives the  delivery a kind of    
drawling effect4 ,it is further to be   
noted that  even in those utterances    
characterized by other forms of stress  
this form yet manifests itself on most  
of the syllables4 ,after the  student   
has practiced the other forms of stress1
 he will better  understand this remark4
 ,he will have noticed that the other   
forms  are significant just in so far as
 they differ from this one1 which  is   
the normal2 and1 further1 that because  
the radical stress is  normal1 the use  
of other forms of stress on a           
comparatively few  7emphatic7 syllables 
will give a very significant coloring to
 a  whole paragraph4    ,we must guard  
against over-developing this abruptness4
 ,if we do  not1 our delivery will be   

very likely to become explosive1 and    
then  we shall create the impression of 
being too dogmatic4 ,on the other  hand1
 slovenliness and drawling may be       
overcome by drilling on this  element of
 expression1 and much vitality will     
thereby be imparted  to the speaking4   
,all speech1 then1 has this abrupt      
character4 ,it has become so  familiar  
to us that we do not notice it except1  
as it were1 in its  absence1 when the   
delivery becomes drawling or slovenly4  
,hence1 we  can say that radical stress 
in its milder forms is not essentially  
expressive2 it is an inherent part of   
our vocal production4 ,it  becomes      
expressive only in its stronger forms4  
,the student whose  delivery is         
sufficiently vital need not practice on 
the milder  form4 ,it need hardly be    
said that the form and the thought      
should  not be separated in this        
practice4    ,it should also be borne in
 mind that there are different degrees  
of stress as well as kinds4 ,professor  

,raymond truly says1 8,never  confuse   
the kind of stress with the degree40 ,to
 illustrate3 the  decided stroke of the 
voice is heard in1          ,come1 and  
trip it as ye go        ,on the light   
fantastic toe2    but a strong attack   
would spoil the daintiness4 ,let us     
remember  that a grain of gunpowder     
explodes as well as a ton4 ,this        
admonition applies as well to other     
forms of stress4    ,it has been urged1 
that if the claim is true that the      
complete  assimilation of the thought   
and feeling will1 through practice1     
lead to adequate expression1 why bother 
the student with such  drills as these8 
,the answer is plain4 ,one's temperament
 may be of  such a nature that he cannot
 express a single sentence without1     
say1 the greatest insistency4 ,the      
insistency is temperamental1  and it    
shows in everything the speaker does4   
,by a careful study  of 8,stress10 he is
 introduced to his own consciousness1   
soon  recognizes his weakness1 and his  

delivery is improved through  improving 
his mental action4 ,if this is true for 
the creative  speaker1 the orator1 how  
much more is it true of him who reads or
  recites the words of another4    ,a   
few years ago1 a well-known minister    
spoke these words3 8,you  may read the  
tragedies of ,sophocles1 and the        
philosophy of ,plato  and ,aristotle2   
you may be familiar with the lore of the
 ,hindus  and the ,brahmins2 you may    
know your ,shakespeare1 your ,milton1   
and  your ,dante1 your ,wordsworth1 your
 ,browning1 and your ,tennyson1  but    
raising aloft a limp-covered ,bible it's
 all here60 ,and he  brought the book   
down on the palm of his hand with a     
thwack that  was heard throughout the   
building4 ,he fairly exploded on 8all   
here10 and the congregation laughed4    
,paraphrased1 his stress said1  ,i--,i1 
who know what ,i am talking about1 tell 
you people--deny it  if you can--it's   
all here4 ,there was no appeal1 no      
tenderness1 no  gentle persuasiveness4  

,his purpose ought to have been 7to     
avoid  argument1 let it be said that the
 context justifies this remark--he  was 
appealing for a more careful and        
reverential study of the  ,bible7 to    
express1 ,oh1 my friends1 this holy     
work1 this revelation  of ,god's        
goodness1 contains all you need4 ,why   
not take it up1 and  study it8 ,you read
 all literatures2 will you not read this
 too8 ,the  trouble was that the        
preacher1 being naturally of an         
aggressive  nature1 lost sight of his   
final purpose1 and spoiled what might   
have been a very effective appeal1 by   
obtruding himself between his           
illustration and his audience4 ,it may  
be of interest to state that  the       
speaker's attention was called to this2 
and he admitted the  justice of the     
criticism1 while disclaiming all        
knowledge of what  he had done1 and how 
he had done it4    ,this illustrates the
 contention4 ,he had had no idea that he
 had  become so assertive that he       

virtually said1 ,i tell you so1 on      
every emphatic word4 ,a study of        
8,stress0 and its psychology would      
certainly have helped him4    ,in ,the  
,orator's ,manual the author sums up    
this matter of  radical stress thus3    
8,the radical stress is exerted on      
account of  a subjective 444 motive2 in 
other words1 because a man desires      
chiefly to express an idea on his own   
account4444 ,in this case  the sound    
bursts forth abruptly1 as if the man    
were conscious  of nothing but his own  
organs to prevent the accomplishment of 
his object4444 ,it is used whenever     
one's main wish is to express  himself  
so as to be distinctly understood4 ,in  
its mildest form1 it  serves to render  
articulation clear and utterance        
precise2 when  stronger1 it indicates   
bold and earnest assurance1             
positiveness1  and dictation4444        
,without this stress1 gentleness becomes
 an  inarticulate and timid drawl1 and  
vehemence mere brawling bombast4  ,with 

too frequent use of it1 one's delivery  
becomes characterized  by an appearance 
of self-assertion1 assurance1 or        
preciseness40 ,in  other words1 it is   
the 8,i0 stress4    ,of final stress1   
,professor ,raymond says3 8,it is       
exerted on account  of an objective     
idea4 ,the sound is pushed forth        
gradually1 as  if the man were conscious
 of outside opposition1 and of the      
necessity of pressing his point4 ,it is 
used whenever one's main  wish is to    
impress his thoughts on others4 ,it     
gives utterance1 in  its weakest form1  
to the whine or complaint of mere       
peevishness  demanding consideration2   
when stronger to a pushing earnestness  
or determination2 in its strongest form1
 to a desire to cause  others to feel   
one's own astonishment1 scorn1 or       
horror4444  ,without final stress there 
can be no representation of childish    
weakness or obstinacy1 or of 444        
resolution2 used too exclusively1  or   
excessively1 it causes delivery to be   

characterized by an  appearance of      
wilfulness1 depriving it of the         
qualities of  persuasion that appeal to 
the sympathies40    ,a very little of   
final stress will give a decided        
coloring to the  delivery4 ,the student 
should be careful1 therefore1 not to    
overdo  it4 ,to illustrate3 a speaker is
 urging the colonists to abandon the    
idea of war1 claiming that they are     
weak1 and so on4 ,patrick ,henry  rises 
and says1 8,sir1 we are not weak if we  
make a proper use  of those means which 
the ,god of nature hath placed in our   
power4  ,three millions of people armed 
in the holy cause of liberty1 and  in   
such a country as that which we possess1
 are invincible  by any force which our 
enemy can send against us40 ,on the word
  8not10 the speaker is plainly pushing 
aside the argument of his  opponent4    
,when he utters 8liberty10 we note again
 the insistent  idea4 ,he tells us by   
his stress1 ,other revolutions may have 
failed  through lack of numbers1 but the

 gentleman forgets that ours will  be a 
struggle for liberty4 ,again1 in 8we10  
8invincible10 and  8any10 we plainly    
discern the idea of overcoming          
opposition4 ,now1  it must be clear that
 while it is only on the five words     
italicized  we note the insistence1 yet 
the whole statement is strongly tinged  
by it4    ,there is a third form of     
stress commonly called 8,median40 ,this 
is a combination of the final and       
radical1 and manifests a  combination of
 the objective and subjective states4   
,there are other  combinations and forms
 of stress1 but they are rarely heard   
and  need not be dwelt upon here4       
,attention needs to be directed to the  
fact that stress sometimes  extends     
through several words and gives a       
characteristic color to  an entire      
phrase or sentence4 ,for instance1 we   
note that the swell  continues from the 
opening word to 8despised10 in the      
following  speech of ,cassio1 who is    
opposing ,iago's plan4 ,note further the

  same effect on phrases italicized3    
,i will rather sue to be despised1 than 
to deceive so good a    commander1 with 
so slight1 so drunken1 and so indiscreet
 an    officer4 ,drunk6 and speak       
parrot8 and squabble8 swagger8 swear8   
and discourse fustian with one's own    
shadow8 ,o thou invisible    spirit of  
wine1 if thou hast no name to be known  
by1 let us call                         
thee--devil6--,othello1 ,act ii41 ,sc4  
#c4    ,observe how the force increases 
up to 8,lord0 and dies away to the  end 
in the following3          ,o1 sing unto
 the ,lord a new song4    ,it may be    
well to remark here that there are      
certain writers who  hold that the study
 of stress is misleading1 or at best    
useless4  ,to these answer is made that 
music uses these stresses very much  in 
the sense in which they are used here4  
,the attack necessary  for pure singing 
or instrumental tone is our radical     
7normal7  stress4 ,the 8staccato0 and   
8sforzando0 are more intense forms  of  

this stress4 ,the 8crescendo10          
8diminuendo10 and 8swell0 are           
respectively equivalent to 8final10     
prolonged 8radical10 and  8median0      
stresses4    ,it may be well to call    
attention to a very general confusion of
  ideas in the use of the word 8low40   
,it is applied to force and  pitch      
indiscriminately1 to the loss of an     
important distinction4  ,low pitch is   
the result of low tension1 while soft   
force is  diminished mental energy4     
,high pitch may accompany soft force1   
and  loud force may be simultaneous with
 low pitch4 ,it is because low  pitch   
has generally accompanied soft force    
that the confusion has  arisen4         
,,examples ,,illustrating ,,the ,,use   
,,of ,,radical ,,stress4      ,are you  
ready8 ,go6      ,carry--,arms4         
,present--,arms4    ,right about--face4 
,halt4      ,stop1 don't take another   
step4      ,give me that pencil2 it's   
mine4      ,leave the room1 sir4        
,one1 two1 three1 fire4                 

,back6 beardless boy6        ,back6     
minion6 ,holdst thou thus at naught     
,the lesson ,i so lately taught8        
,man1 who art thou who dost deny my     
words8          ,but in the gloom they  
fought1 with bloodshot eyes        ,and 
laboring breath2 first ,rustum struck   
the shield        ,which ,sohrab held   
stiff out2 the steel-spiked spear       
,rent the tough plates1 but fail'd to   
reach the skin1        ,and ,rustum     
pluck'd it back with angry groan4       
,then ,sohrab with his sword smote      
,rustum's helm1        ,nor clove its   
steel quite through2 but all the crest  
,he shore away1 and that proud horsehair
 plume1        ,never till now defiled1 
sank to the dust4                       
--,sohrab and ,rustum4 ,m4 ,,arnold4    
,he spoke1 and ,rustum answer'd not1 but
 hurl'd        ,his spear2 down from the
 shoulder1 down it came1        ,as on  
some partridge in the corn a hawk1      
,that long has tower'd in the airy      
clouds1        ,drops like a plummet2   

,sohrab saw it come1        ,and sprang 
aside1 quick as a flash2 the spear      
,hiss'd1 and went quivering down into   
the sand1        ,which it sent flying  
wide2--then ,sohrab threw        ,in    
turn1 and full struck ,rustum's shield2 
sharp rang1        ,the iron plates rang
 sharp1 but turn'd the spear4           
,and ,rustum seized his club1 which none
 but he        ,could wield4            
--,sohrab and ,rustum4 ,m4 ,,arnold4    
,girl6 nimble with thy feet1 not with   
thy hands6        ,curl'd minion1       
dancer1 coiner of sweet words6          
,fight1 let me hear thy hateful voice no
 more4                    --,ibid4      
,thou art not in ,afrasiab's garden now 
,with ,tartar girls1 with whom thou art 
wont to dance2        ,but on the ,oxus 
sands1 and in the dance        ,of      
battle1 and with me1 who make no play   
,of war2 ,i fight it out1 and hand to   
hand4        ,speak not to me of truce1 
and pledge1 and wine6        ,remember  
all thy valor2 try thy feints           

,and cunning6 all the pity ,i had is    
gone2        ,because thou hast shamed  
me before both the hosts        ,with   
thy light skipping tricks1 and thy      
girl's wiles4                           
--,ibid4          ,the armaments which  
thunderstrike the walls of rock-built   
cities1        ,bidding nations quake1  
and monarchs tremble in their capitals2 
,the oak leviathans1 whose huge ribs    
make their clay creator        ,the vain
 title take of lord of thee1 and arbiter
 of war1--        ,these are thy toys2  
and as the snowy flake they melt into   
thy              yeast of waves1        
,which mar alike the ,armada's pride1 or
 spoils of ,trafalgar4                  
--,,byron4      ,,examples              
,,illustrating ,,the ,,use ,,of ,,final 
,,stress4#f      ,i won't6      ,no1    
sir2 ,i am not guilty4      ,away1      
slight man6      ,must ,i budge8 ,must  
,i observe you8      ,i am astonished1  
shocked1 to hear such principles avowed 
in    this house4        ,,cassius4 ,ye 

gods6 ye gods6 ,must ,i endure all this8
      ,,brutus4 ,all this8 ,ay1 more4   
,,shylock4 ,may ,i speak with ,antonio8 
,,bassanio4 ,if it please you to dine   
with us4      ,,shylock4 ,yes1 to smell 
pork2 to eat of the habitation which    
your prophet the ,nazarite conjured the 
,devil into4 ,i will buy    with you1   
sell with you1 talk with you1 walk with 
you1 and    so following2 but ,i will   
not eat with you1 drink with you1    nor
 pray with you4--,the ,merchant of      
,venice1 ,act i41 ,sc4 #c4              
,,salarino4 ,why1 ,i am sure1 if he     
forfeit1 thou wilt not take his         
flesh3 ,what's that good for8           
,,shylock4 ,to bait fish withal3 if it  
will feed nothing else1 it    will feed 
my revenge4 ,he hath disgraced me1 and  
hinder'd me half    a million3 laugh'd  
at my losses1 mock'd at my gains1       
scorned my    nation1 thwarted my       
bargains1 cooled my friends1 heated mine
    enemies2 and what's his reason8 ,i  
am a ,jew4 ,hath not a ,jew eyes8       

hath not a ,jew hands1 organs1          
dimensions1 senses1 affections1         
passions8 fed with the same food1 hurt  
with the same weapons1    subject to the
 same diseases1 healed by the same      
means1 warmed    and cooled by the same 
winter and summer1 as a ,christian is8  
,if    you prick us1 do we not bleed8 if
 you tickle us1 do we not laugh8    if  
you poison us1 do we not die8 and if you
 wrong us1 shall we    not              
revenge8--,the ,merchant of ,venice1    
,act iii41 ,sc4 #a4                     
,,worcester4        ,those same noble   
,scots1        ,that are your           
prisoners1--          ,,hotspur4        
,i'll keep them all2        ,by heaven1 
he shall not have a ,scot of them4      
,no1 if a ,scot would save his soul1 he 
shall not4        ,i'll keep them1 by   
this hand4          ,,worcester4        
,you start away1        ,and lend no ear
 unto my purposes4--        ,those      
prisoners you shall keep4               
,,hotspur4          ,nay1 ,i will2      

that's flat4--        ,he said1 he would
 not ransom ,mortimer2        ,forbade  
my tongue to speak of ,mortimer2        
,but ,i will find him when he lies      
asleep1        ,and in his ear ,i'll    
holla--,mortimer6        ,nay1          
,i'll have a starling shall be taught to
 speak        ,nothing but ,mortimer1   
and give it him1        ,to keep his    
anger still in motion4                  
--,king ,henry ,,iv41 ,part ,i41 ,act   
i41 ,sc4 #c4      ,and now1 go bring    
your sharpest torments4 ,the woes ,i see
    impending over this guilty realm    
shall be enough to sweeten    death1    
though every nerve and artery were a    
shooting pang4 ,i die6    but my death  
shall prove a proud triumph2 and1 for   
every drop of    blood ye from my veins 
do draw1 your own shall flow in rivers4 
,woe to thee1 ,carthage6 ,woe to the    
proud city of the waters6 ,i see    thy 
nobles wailing at the feet of ,roman    
senators6 thy citizens    in terror6 thy
 ships in flames6 ,i hear the victorious

 shouts of    ,rome6 ,i see her eagles  
glittering on thy ramparts4 ,proud city1
    thou art doomed6 ,the curse of ,god 
is on thee--a clinging1 wasting         
curse4 ,it shall not leave thy gates    
till hungry flames shall lick    the    
fretted gold from off thy proud palaces1
 and every brook runs    crimson to the 
sea4--,regulus to the ,carthaginians4   
,,kellogg4      ,,examples              
,,illustrating ,,the ,,use ,,of ,,median
 ,,stress4      ,arise1 shine2 for thy  
light is come1 and the glory of the     
,lord is    risen upon thee4      ,for1 
behold1 darkness shall cover the earth1 
and gross darkness    the people3 but   
the ,lord shall arise upon thee1 and his
 glory    shall be seen upon thee4      
,and nations shall come to thy light1   
and kings to the brightness    of thy   
rising4      ,lift up thine eyes round  
about1 and see3 they all gather         
themselves together1 they come to thee2 
thy sons shall come from    far1 and thy
 daughters shall be nursed at thy side4 

,then thou shalt see1 and be lightened1 
and thine heart shall    tremble and be 
enlarged2 because the abundance of the  
sea    shall be unto thee1 the wealth of
 the nations shall come unto            
thee4--,isa4 lx4 #a-e4          ,thou   
kingly ,spirit throned among the hills1 
,thou dread ambassador from earth to    
heaven1        ,great hierarch6 tell    
thou the silent sky1        ,and tell   
the stars1 and tell yon rising sun1     
,earth1 with her thousand voices1       
praises ,god4                           
--,,coleridge4          ,the ,lord      
reigneth2 he is appareled with majesty2 
,the ,lord is appareled1 he hath girded 
himself with strength3        ,the world
 also is stablished that it cannot be   
moved4        ,thy throne is established
 of old3        ,thou art from          
everlasting4        ,the floods have    
lifted up1 ,o ,lord4        ,the floods 
have lifted up their voice2        ,the 
floods lift up their waves4             
,above the voices of many waters1       

,the mighty breakers of the sea1        
,the ,lord on high is mighty4           
,thy testimonies are very sure3         
,holiness becometh thine house1         
,o ,lord1 for evermore4--,ps4 xciii4    
#a-e4          ,he was a man1 take him  
for all in all1        ,i shall not look
 upon his like again4                   
--,hamlet1 ,act i41 ,sc4 #b4            
,this was the noblest ,roman of them    
all4                 99       99        
99       99       99          ,his life 
was gentle2 and the elements        ,so 
mix'd in him1 that ,nature might stand  
up        ,and say to all the world1    
,this was a man6                        
--,julius ,caesar1 ,act v41 ,sc4 #e4    
,for even then1 ,sir1 even before this  
splendid orb was entirely    set1 and   
while the western horizon was in a blaze
 with his    descending glory1 on the   
opposite quarter of the heavens    arose
 another luminary1 and1 for his hour1   
became lord of the    ascendant4444 ,and
 ,i did see in that noble person such   

sound    principles1 such an enlargement
 of mind1 such clear and sagacious      
sense1 and such unshaken fortitude1 as  
have bound me1 as well as    others much
 better than me1 by an inviolable       
attachment to him    from that time     
forward4444 ,i stood near him2 and his  
face1 to use    the expression of the   
,scripture of the first martyr--his face
 was    as if it had been the face of an
 angel4 ,i do not know how others       
feel2 but if ,i had stood in that       
situation1 ,i never would have          
exchanged it for all that kings in their
 profusion could bestow4    ,i did hope 
that that day's danger and honor would  
have been a    bond to hold us all      
together forever4--,,burke4          ,o1
 sing unto the ,lord a new song3        
,sing unto the ,lord1 all the earth4    
,sing unto the ,lord1 bless his name2   
,show forth his salvation from day to   
day4        ,declare his glory among the
 nations1        ,his marvelous works   
among all peoples4        ,for great is 

the ,lord1 and highly to be praised3    
,he is to be feared above all gods4     
,for all the gods of the people are     
idols3        ,but the ,lord made the   
heavens4        ,honor and majesty are  
before him3        ,strength and beauty 
are in his sanctuary4                   
--,ps4 xcvi41 #a-f4          ,ho6       
gallant nobles of the ,league1 look that
 your arms be bright6        ,ho6       
burghers of ,st4 ,genevieve1 keep watch 
and ward to-night6        ,for our ,god 
hath crushed the tyrant1 our ,god hath  
raised the              slave1          
,and mocked the counsel of the wise1 and
 the valor of the brave4        ,then   
glory to his holy name1 from whom all   
glories are2        ,and glory to our   
sovereign lord1 ,king ,henry of         
,navarre4                    --,the     
,battle of ,ivry4 ,,macaulay4           
,,pedagogical ,,aspects4    ,these      
aspects1 having been dwelt upon at some 
length in the  preceding discussion1 may
 be dismissed with a few words4 ,the    

knowledge of the psychology of ,force   
and ,stress is to serve as a  standard  
of criticism1 not as a foundation for   
mechanical drills4  ,there is a school  
of reading pedagogy1 with lamentably    
extended  sway1 that argues1 since there
 are found various kinds of stress in   
our speech1 therefore we must drill our 
pupils on these4 ,nothing  could be     
farther from the truth4 ,stress denotes 
a state of mind4  ,if our philosophy of 
stress is sound1 it should teach us that
 the  mental state finds instinctive    
expression in one form of stress  or    
another1 and consequently we must get   
the state before we can  get the stress4
 ,we might add that this is true of     
,time1 ,pitch1 and  ,quality1 as well as
 of ,stress4    ,do not tell a child to 
read louder4 ,if you do1 you will get   
loudness--that awful1 grating schoolboy 
loudness--without a  particle of        
expression in it4 ,many a child reads   
well1 but is  bashful4 ,when we tell him
 to read louder1 he braces himself for  

the  effort and kills the quality1 which
 is the finer breath and spirit  of oral
 expression1 and gives us a purely      
physical thing--force4  ,put your       
weak-voiced readers on the platform2 let
 them face the  class and talk to you1  
seated in the middle of the room1 and   
you  will get all the force you need4   
,on the whole1 we have too much  force  
rather than too little4 ,let the teacher
 learn that we want  quality1 not       
quantity1 and our statement of the      
mental action  behind force will be of  
much benefit in creating the proper     
conditions4      ,,footnotes3    #a ,in 
describing what is small1 delicate1     
nice1 we often note the  tendency to use
 a rather high key4 ,this is no doubt   
due to the  tension that results from   
unconscious imitation4 ,the voice is to 
a certain extent squeezed in endeavoring
 to express the smallness  of the idea1 
with the result that the key is raised4 
,note how the  child's key rises when he
 asks for a 8leetle1 teeny bit40    #b  

,the rising inflection will be heard    
only on the last syllable  of this word4
 ,note the discreet skip of the voice   
between the first  and second syllables4
    #c ,prof4 ,w4 ,b4 ,chamberlain in   
his 8,rhetoric of ,vocal ,expression40  
,this work is now out of print1 but a   
revision and enlargement of it  is      
published by ,scott1 ,foresman  ,co41 of
 ,chicago1 under the title  8,principles
 of ,vocal ,expression and ,literary    
,interpretation40    #d ,the falling    
inflection may properly be given on the 
italicised  words2 but the latter are   
not therefore necessarily to be         
emphasized4    #e ,see ,tyndall on      
8,sound20 or ,prof4 ,halm on the same   
subject4    #f ,a few words are         
italicized in order to draw attention to
 the  places where we should be likely  
to use this stress4 ,observe1 too1  how 
the stress impresses us with the desire 
of the speaker to push  away opposition4
          ,,part ,,two    ,,method ,,of 
,,instruction          ,,chapter ,v     

,,the ,,mental ,,attitude ,,of ,,the    
,,reader      ,in our knowledge of the  
psychology of the elements of           
expression1  we have the solution of the
 difficulties resulting from the        
complexity and intangibility of vocal   
expression4 ,the teacher  now knows what
 to look for1 and hence is enabled to   
diagnose the  case4 ,there is now the   
second step to be taken in the          
development  of the teacher3 he must    
have method4 ,it can hardly be claimed  
that there is any definite progression  
in our instruction4 ,in the  primary    
grades1 the pupils learn the letters1   
their sounds1 and a  meagre amount of   
expression4 ,after that the teaching is 
haphazard4  ,this is not the case with  
arithmetic or history1 or geography2    
why should it be so in reading8 ,the    
answer is clear4 ,for many  reasons1 not
 difficult to ascertain1 the child has a
 vague idea  that reading is simply     
vocal utterance2 that his work as a     
reader  is done when he has pronounced  

the words4 ,this state of mind may  be  
attributed1 first1 to his primary       
training1 and1 second1 to  the          
perfunctoriness of the reading lesson in
 the grammar grades4  ,we seem to be    
satisfied1 in the beginning1 if a pupil 
learns to  recognize and pronounce      
words4 ,this is a serious error4 ,we    
should  never for a moment forget that  
our purpose in giving pupils the        
ability to recognize words is to enable 
them to extract the  thought from the   
printed page4 ,hence1 from the outset1  
as was  enjoined in the ,introduction1  
we should lay the least possible  stress
 upon word-getting1 and1 contrariwise1  
all possible stress  on thought-getting4
 ,if the primary teachers should succeed
 in  developing the state of mind that  
would cause the pupils to go to  the    
printed page as they go to the feet of  
one who has a story to  tell1 we should 
be willing to ask for nothing else of   
them as a  result of all their teaching4
    ,but let us accept reading as we    

find it to-day1 and let us suppose  the 
pupil is about ten or eleven years of   
age4 ,what is the first  step8 ,to      
impress upon him that the printed page  
is a picture2 that  it contains ideas1  
sights1 sounds2 that it takes the place 
of  the author1 and that he must listen 
to it as to the voice of the  author4   
,this is the all-important factor4 ,many
 of us think we are  following this     
plan1 when1 in reality1 we defeat our   
ends by the  way we use the means4 ,we  
allow slovenly reading and pass over the
  grossest carelessness2 so that1       
unconsciously1 the pupil forms the      
loosest habits of expression4 ,then the 
pupil must be stimulated to  hold the   
thought2 to let it hold him1 if you     
will4 ,this1 too1 is  a very necessary  
part of the training4 ,the defective    
reading of  preachers and authors is not
 due to the fact that they cannot get   
the thought1 but that they are not      
dwelling upon it in detail while        
reading4 ,the third stage in the first  

step is to train the pupil  so that he  
will never get up to read without the   
consciousness  that he has something to 
give4 ,let the pupils1 and1 first of    
all1  the teacher1 close their books1   
and so give the poor reader some        
encouragement4 ,do not have him read to 
the backs of the class4 ,how  should we 
like to address an audience of          
inexpressive backs8 ,the  following of  
this last suggestion will produce       
wonderful results1  and quickly too4    
,but it has another value3 it compels   
the class  to think1 to follow the      
reader1 to get thought through the ear  
7a  talent becoming rarer every day71   
and1 above all1 it stimulates the       
imagination4 ,summarized1 the first step
 means1 ,get the thought1  hold the     
thought1 give the thought4 ,keep at this
 for a month1 if  necessary4    ,the one
 object of this lesson is to impress    
upon the mind of the  pupil that words  
have no meaning unless they stimulate   
thought4  ,it is1 perhaps1 needless to  

add that the teacher should be on his   
guard against teaching inflections and  
pauses and the like1 as  such4 ,no other
 aim should be held in mind than that of
 getting the  pupil to see clearly and  
to express forcibly4    ,the teacher    
should use constantly such criticism as1
 8,is that the  thought80 or1 8,won't   
you tell that to me80 ,this method will 
soon  set the pupil to thinking4 ,it    
will gradually impress upon him the     
true function of the reading lesson4    
,there will soon disappear that         
dreadful perfunctoriness so             
characteristic of class-room reading4   
,how much preparation does the pupil now
 give to his reading8  ,practically     
none4 ,he prepares those lessons in     
which he gradually  learns he can be    
definitely tested3 his arithmetic1      
spelling1  composition1 geography4      
,then1 if he has any time1 he may look  
over  his reading lesson to discover if 
there are any 8hard0 words1 and  when he
 has mastered these he thinks his work  

is done4 ,but let us  remember that such
 preparation is by no means adequate4   
,there are  passages in every lesson    
which require patient study1 even though
  each word may be simple4 ,words in    
themselves mean little2 it is  words in 
relation that we must study4    ,this   
first step includes all the others4 ,it 
may be asked then1 8,why  are there     
others80 ,the subsequent chapters will  
deal with this  question1 but it may be 
explained here that the purpose of this 
first step is to create and make        
permanent the proper atmosphere of  the 
reading hour4 ,the criticisms should be 
general1 not particular1  and the       
teacher should be careful to offer no   
discouraging  criticism4 ,every effort  
should be made to stimulate the pupil4  
,he  should be urged to get the thought1
 and especially impressed with  the idea
 that the class depends upon him for    
their understanding of  the text4       
,choose selections from all             
sources--from the history lesson1  and  

from the geography lesson4 ,let these   
selections be fairly  simple1 and above 
all1 vital and interesting4 ,barbara    
,frietchie1  ,longfellow's ,peace-,pipe 
from ,hiawatha1 and ,browning's ,ride   
from ,ghent to ,aix1 or ,the ,pied      
,piper1 and even shorter extracts  of   
prose or poetry1 are excellent material4
 ,give out a dozen of  these1 let each  
pupil learn one by heart1 and tell      
it1--not declaim  it1--to his           
classmates4    ,let the teacher not     
worry because this process is slow and  
threatens to leave the work outlined for
 a given term incomplete4  ,it is not   
the quantity but the quality we are     
after4 ,but by this  method we shall in 
time cover more ground than we now do in
 a given  period4 ,if we continually    
offer such criticism as will impress    
the pupil that thought-getting is       
everything1 that reading is but  the    
expression of that thought1 he will go  
to his history1 and  geography1 and     
arithmetic lesson for thought2 so that  

the time  spent in the reading hour is  
virtually just the training for every   
other lesson4 ,finally1 this is the true
 preparation for the making  of         
sight-readers4 ,it is true1 one should  
be able to read better  after some      
preparation than he does at sight2 but  
everyone should  be able1 by the time he
 leaves the public school1 to read any  
ordinary passage at sight without       
blundering4 ,the mental attitude  formed
 by the method urged will cause the     
student to approach the  printed page   
warily1 prepared to deal with its       
difficulties1 and  will thus produce    
better reading4    ,a word to those who 
ride the sight-reading hobby too hard4  
,it is  only the experienced reader who 
can read well at sight4 ,to ask an      
immature pupil to read at sight is to do
 one of two things3 if  he is timid1 it 
frightens him2 if he is a poor reader it
 simply  fastens the careless habits    
upon him1 by leading him to believe1  by
 implication1 that reading is merely    

pronunciation4 ,in the upper  grades1   
there should be sight-reading1 but only 
where the previous  training has been   
methodical4 ,it is well to give the     
class a chance  to read over the        
selection for a few minutes before the  
test is  made4    ,each teacher must    
decide for himself how he will develop  
the  foregoing principles4 ,the         
following plan1 however1 representing   
the  actual work of a teacher before his
 class1 will be suggestive3      ,we are
 going to study how to read2 and the    
first thing we must    know is1 ,what is
 reading8      ,now1 before we answer   
this question1 let us try to get an     
answer    to another3 ,what is speaking8
 ,speaking is telling someone what ,i   
am thinking or feeling4 ,so1 if you were
 in the author's school1    he could    
tell you the thoughts he has4 ,but you  
are not1 and so he    must write them4  
,now we are ready to answer the         
question1 ,what is    reading8 ,reading 
is getting thought from the printed or  

written    page4      ,let us go a      
little further4 ,suppose a writer wants 
to say    something to you through the  
printed page1 what does he do8 ,he      
first thinks over very carefully what he
 has to say1 and then    chooses and    
writes the words that will give you his 
meaning4    ,but remember1 you must     
study his words and think about them as 
carefully as he did when he wrote them4 
,have you been attentive so far8 ,let us
 see4 ,can you tell me what    speaking 
is8 what reading is8 ,if you can not1 do
 you not see you    have not been paying
 attention8      ,getting thought from  
the printed page should be just like    
listening carefully to speaking4 ,yes1  
you must be more careful    in reading1 
because the author is not here to       
explain things to    you1 or to repeat  
his words4 ,you have only the printed   
words1 and    if you do not listen very 
carefully to what they say1 you will    
not understand him4 ,now let us see     
whether this is clear4 ,here    is a    

sentence2 can you see what ,i see8 8,the
 next day1 which was    ,saturday1 the  
king called his generals and some of his
 friends to    the royal tent1 and told 
them1 in a quiet voice1 that at daybreak
    on ,tuesday he was going to return  
to ,london and give up the war40        
,now take your eyes off the blackboard  
and tell us all you saw1    and tell it 
in just the order the pictures occur on 
the board4 ,if    you miss any steps1   
you must read again and again until you 
see    the whole thought so clearly that
 it seems real2 then ,i am sure    you  
will be able to tell it correctly4 ,you 
need not use my words2    just use your 
own language4      ,now you are ready to
 take the next step4 ,read the sentence 
to the    class so that you make them   
see just what you see4 ,be sure you     
never forget this4      ,you must       
remember that unless you try to make    
them see the    pictures you have in    
mind1 they will be very likely not to   
understand you4      ,now1 what have we 

been doing8 ,first1 we studied the      
meaning of    the words2 second1 we got 
several pictures2 and third1 we tried   
to give those pictures to others4 ,so we
 see there are two kinds    of reading3 
the first for ourselves1 the second for 
others4 ,the    first kind must always  
go before the second3 for if we have    
nothing in our mind to tell1 how can we 
give it to others8      ,let us remember
 then1 that reading for others is just  
like    talking to them1 and unless we  
get from the page just the thought      
the writer had in mind we cannot give   
that thought to another4    ,sometimes  
it is not easy to get this thought2 but 
if you will    study carefully1 it will 
become clearer and clearer1 until at    
last it is just as easy to understand as
 if it had been your own4    ,i want to 
give you a short drill1 and then our    
first lesson will    be over4 8,in the  
summer the grass is green1 but it turns 
brown in    the fall40 ,can you imagine 
how green grass looks8 how brown grass  

looks8 ,do you notice that fall is the  
time when grass is brown8    ,again1    
8,he was a very tall man1 with light1   
curly hair1 tanned    skin and blue     
eyes4 ,his shoulders were stooped like  
those of a    farmer or of one who has  
been digging in the mines40 ,close your 
eyes and then call up the picture of    
this man4 ,do you see him as    a real  
man8 ,now read this sentence aloud so   
that your classmates    may get the same
 picture that you have4      ,these are 
the three things we have learned in our 
first lesson1    and they are very1 very
 important3 ,we must get the thought2 we
    must hold the thought2 and we must  
give the thought4 ,this is    reading   
aloud4      ,remember1 ,i want you to be
 getting these pictures from everything 
you read2 from your geography lesson1   
your history lesson1 and    even your   
arithmetic lesson4 ,i am sure you will  
get these lessons    better than you    
ever did before4      ,here are some    
interesting stories and parts of stories

 which you    must tell to the class4   
,be sure you understand them1 and then  
tell them so that your classmates will  
understand them too4          #g,keep   
busy6 'tis better than standing aside   
,and dreaming1 and sighing1 and waiting 
the tide4        ,in life's earnest     
battle1 they only prevail        ,who   
daily march onward1 and never say fail4 
,there's a rogue at play in my sunlit   
room1          ,and scarcely he rests   
from fun2        ,floor1 window1 shelf1 
or closet's gloom          ,all are to  
him as one4          ,he opens the books
 and peeps within1          ,the paper  
turns inside out1        ,snatches my   
thread1 and thinks no sin          ,to  
throw my work about4          ,he       
clutches the curtains and whisks them   
down1          ,then pulls at the       
picture cords1        ,tosses my hair in
 the way of his own1          ,nor heeds
 my coaxing words4          ,i wonder if
 one so glad and young          ,will   
ever be prim and old8        ,he answers

 not1 for he has no tongue--            
,yet tells sweet tales as are told4     
,he climbs the walls1 yet has no feet2  
,no wings1 but flies the same2          
,no hands1 no head1 but breath so       
sweet--          ,for ,west ,wind is his
 name4    ,in closing this chapter1 it  
should be remarked that the time to be  
spent on this and subsequent steps      
depends upon the circumstances4  ,in the
 lower grades more time will be         
necessary than in the upper4  ,if the   
teacher of the eighth grade 7the        
highest7 wishes to devote  some time to 
teaching reading1 he should make a      
careful study of  the needs of the      
class1 and then use such of the steps1  
and in such  order1 as are most likely  
to meet those needs4 ,in the lower      
classes  it is suggested that the       
teacher follow in a general way the plan
  set forth in this book4 ,about one    
step a month is all that a pupil  can   
grasp4 ,after he has the principle1 let 
the teacher take up the  regular reading

 lesson1 laying special stress upon the 
principles  already covered4      #h;,it
 is believed that the reading lessons   
contained in this    series are the     
first attempt to present in an orderly  
and    philosophic manner the           
difficulties the pupils have in         
learning to read4      ,there is very   
little doubt that the reading lesson    
hardly    pays for the time spent upon  
it4 ,all authorities are    agreed that1
 except in rare cases1 pupils do not    
read    any better at the end of the    
school year than they do    at the      
beginning1 except that they may         
pronounce with a    little more facility
 or are possessed of a somewhat wider   
vocabulary4 ,in many class rooms1       
reading becomes a lesson    in          
composition1 spelling1 definition1 and  
the like4      ,the method in vogue in  
certain districts of telling pupils     
about ,inflections1 and ,time1 and      
,kinds of ,emphasis1 is    certainly    
faulty4 ,on the other hand1 very little 

more    progress has been made by those 
who1 in a very general    and vague     
manner1 tell the pupil to get the       
thought4 ,as a    result of the methods 
heretofore in use1 it has been found    
impossible for the teacher in any given 
grade to determine    how much real     
knowledge of reading a pupil has who has
 just    been promoted from a lower     
grade4      ,in the lessons here        
presented1 it is impressed upon the     
pupil not only that he must get the     
thought1 but he is    shown how to get  
it4 ,the various difficulties of reading
    are presented one at a time1 and    
further1 are so graded    that the least
 difficult shall precede the more       
complex4 ,it    is well known that the  
reading lesson1 as a reading lesson1    
gets little or no preparation by the    
pupils4 ,by the method    here laid down
 careful preparation is a necessity2 and
 the    lesson which1 as a rule1 is very
 ill prepared1 may now be    studied at 
home with a very definite object in     

view1 and    more important still1 the  
pupil can be held responsible for       
definite results4      ,it must be      
remembered that the young pupil knows   
nothing    of inflections1 emphasis1    
etc41 and cares still less about        
them4 ,while the teacher may be         
thoroughly conversant    with the whole 
range of vocal technique in reading1 he 
should try to avoid the use of technical
 terms with the    pupils1 especially   
with the younger ones4 ,this is the     
very essence of the present method1     
which is based upon    a                
well-established psychological law3 ,if 
the thought is    right1 the expression 
will be right4 ,talking to pupils       
about technique1 only confuses them and 
in many cases    results in gross       
affectations4 ,the mind is taken from   
the    thought to the form of its       
expression4 ,we must remember    that   
shyness1 and other forms of             
self-consciousness 7which    so often   
mar the reading7 are really but signs   

that the    pupil's mental action is    
awry4 ,the reading may be more          
quickly and more permanently improved by
 eradicating the    self-consciousness  
than by resorting to technical drills4  
,make the pupil want to read1 and the   
chances are strongly    in favor of his 
losing self-consciousness4      ,while  
it is not possible in the space allotted
 the author    of these articles to give
 the fullest possible instruction1      
yet these lessons will serve a definite 
purpose by    presenting to the pupils1 
in a rational order1 the various        
difficulties everyone has to overcome in
 learning to read4    ,there may be     
certain phases of technique that a      
teacher may    miss in this series of   
lessons1 but it is certain1 that if     
they are carefully taught1 the pupils   
will improve not only    along the      
particular line laid down in each       
lesson1 but    along the whole line of  
reading in general4      ,this method is
 introduced in the hope that the measure

    of a pupil's progress will not be   
gauged by the number    of selections he
 reads in a given period4 ,it is better 
to prepare carefully and philosophically
 six or eight    lessons in one-half of 
the school year1 than to endeavor    to 
cover three times as many in the usual  
hurried fashion4    ,the teacher may be 
sure that when the first six or    eight
 lessons are thus carefully prepared1   
the progress    thereafter will be more 
rapid4 ,there is no doubt that the      
pupil who will spend two years in this  
graded work will be    able to read any 
ordinary selection with ease1 and with  
pleasure to the listener4      ,it is   
urged 7#a7 that the teacher use         
additional examples    under each new   
principle1 in order that the pupil may  
have    the principle impressed upon him
 by selecting new examples    for       
himself and by reading them aloud in    
class2 7#b7 that    the same lesson be  
repeated as many times1 with the same   
or new illustrations1 as may be         

necessary to assure the    teacher that 
the class has thoroughly grasped the    
spirit    of the lesson2 and 7#c7 that  
the teacher insist upon most    careful 
and adequate preparation4 ,so1 and so   
only1 can we    hope to teach reading4  
,the main objects of the first lessons  
are two4 ,first2 to    develop what may 
be termed the logical side of reading2  
in    other words1 the intellectual     
side4 ,the greatest stress    should be 
laid on getting the sense1 which is1 of 
course1    the basis of all reading4    
,the emotional side need not be         
altogether neglected1 but should be     
always subsidiary to    the             
intellectual4 ,if the teacher succeed in
 getting the    expression vital1       
nothing more should be expected4 ,to    
get the sense and to express it with    
earnestness is the    first step4       
,second2 the teacher is urged not to    
follow    mechanically the order of the 
general reading lessons4 ,if    ,lesson 
,,xx offer a better opportunity than1   

let us say1    ,lesson ,x for           
illustrating the principle laid down in 
any    of the special lessons1 the      
former should be used1 no    matter what
 the preceding general lesson may have  
been4    ,the teacher should be         
acquainted with the pedagogical         
possibilities of all the general        
lessons1 and should use    such1        
irrespective of their place in the book1
 as are best    adapted at the moment to
 assist the pupils in mastering the     
principle in any given special reading  
lesson4 ,i have found    much good in   
keeping a little note book on the       
following    plan3 ,i give a page to    
each of the steps1 and every example    
,i come across1 no matter in what       
book--history1 geography1    reader--is 
noted4 ,thus3      ,,examples ,,of      
,,contrast4      ,book4                 
,page4    ,paragraph4      ----'s       
,history1         #bej         #c       
----'s    8             #aji         #a 
,reader 7#c7               #hg          

#h      ,in this way1 the teacher has   
always plenty of illustrative    matter 
on hand4      ,while not in entire      
sympathy with the method that compels   
teachers to cover a certain number of   
reading lessons in    a given time1 yet 
,i am sensible that it would be useless 
to attempt to change all this at once4  
,recognizing the    futility of such an 
effort1 ,i advise the teacher to conform
    to this arbitrary and unscientific  
method until the    community is        
educated to the newer method4 ,the best 
results    may be obtained1 under the   
circumstances1 by following some    such
 plan as this3 ,begin with the first    
special lesson as    soon as possible4  
,then1 having dwelt on that as long as  
necessary1 pass to the regular reading  
lessons1 bearing in    mind that until  
the second special lesson1 the principle
 of    the first should be constantly   
reiterated4 ,for the entire    time 7say
 a month7 between the first and second  
special    lessons let the teacher      

revert to the former again and    again4
 ,let the corrections be made over and  
over by asking    such questions as1    
8,is that the way you would say it if   
you    were talking80 or1 8,you are not 
trying to make us see the    picture10  
and so on4 ,after the second special    
lesson has    been taken up in class1   
and before the third1 the endeavor    of
 a teacher should be to enforce the     
principles of the    first two lessons4 
,this plan should be kept up until the  
last lesson has been taught4            
,,chapter ,,vi    ,,grouping      ,if   
the work of the first step has been     
carefully done1 the  transition to the  
second step will present few            
difficulties4 ,as  a matter of fact1 the
 pupil has been grouping unconsciously1 
but  in a way more or less uncertain4   
,the purpose of the next step is  to fix
 firmly the habit of grouping4 ,as a    
general rule1 the pupil  pronounces as  
many words in one group as his eye can  
take in and  his voice utter2           

consequently1 his reading is choppy and 
often  meaningless4    ,at the outset   
care should be exercised in the choice  
of extracts4  ,any extract will not do4 
,simple passages1 with simple ideas1 are
  needed4 ,avoid complex1 involved1     
inverted rhetoric4 ,later on1 when      
proper habits have been formed1 the     
difficulties may be increased2  but we  
shall meet only with discouragement if  
we introduce them  too soon4 ,the       
following is just difficult enough to   
bring out the  efforts of an ordinary   
child of ten or eleven3      ,once upon 
a time there lived a very rich man1 and 
a king besides1    whose name was       
,midas2 and he had a little daughter1   
whom nobody    but myself ever heard of1
 and whose name ,i either never knew1   
or have entirely forgotten4 ,so1 because
 ,i love odd names for    little girls1 
,i choose to call her ,marygold4--,the  
,golden ,touch4    ,,hawthorne4    ,the 
teacher should use a great many isolated
 extracts4 ,these may  not be so        

interesting as entire selections1 but if
 chosen carefully  and read with a      
definite object1 it is surprising how   
they hold  the attention of the class4  
,it may also be possible to find short  
stories to supplement the extracts4     
,many good extracts may be found  in the
 reader or even in some of the other    
books the children are  using4    ,the  
reason for urging this plan is that few 
reading books present  the difficulties 
of reading1 in a rational1 graded       
manner4 ,any  selection may contain the 
simplest problem and the most difficult 
in one paragraph4 ,the pupil must be    
trained to get his ideas from  the      
printed page in groups1 and such        
training can surely be gained  better by
 using carefully selected passages than 
by the present  aimless wandering among 
a labyrinth of words4 ,it is admitted   
that  a good teacher of reading may be  
able to get along without calling  the  
attention of the class to grouping as a 
definite step2 but he  must certainly   

have that step in mind as part of the   
development of  a reader4    ,in this   
lesson we begin exercises in what might 
be called 8mental  technique40 ,it must 
be borne in mind that these lessons are 
planned with the object of presenting   
one element at a time1 and  the pupil   
must not be expected to read well where 
he has had no  previous drill4 ,in this 
lesson1 therefore1 the pupil should be  
held  responsible for what he has       
learned in the first and second lessons 
only4 ,it must further be remembered    
that all corrections should be  made by 
putting such questions as1 8,is that the
 whole picture80  or1 8,have you not    
given us more than one picture80 ,never 
tell a  pupil to make a pause here or a 
pause there1 or to read faster or  more 
slowly4 ,such corrections are useless4  
,we must learn to rely  upon the        
thinking to govern the rate of speed1 or
 the length and  frequency of the       
pauses4    ,it might be well to bear in 
mind that in colloquial speech pauses   

are less frequent4 ,in other words1 the 
groups are longer4    ,as a result of   
such training as the pupil gets in this 
lesson we  shall note that he will learn
 to look ahead1 and so rid himself of   
the too general tendency to utter words 
as soon as he sees them1  regardless of 
the sense4 ,the process of recognizing  
words and  pronouncing them             
simultaneously is attended with no small
 amount of  danger4 ,it begets a fatal  
facility in reading that is a positive  
detriment to the pupil4 ,there are      
thousands who read glibly and  yet are  
utterly ignorant of the meaning of what 
they read4 ,to  prevent the formation of
 such a habit or to break it up where it
  already exists1 there is no better    
plan than that herein advocated  for the
 study of grouping4 ,it need hardly be  
said that the method  of telling a pupil
 8to pause before a relative pronoun1   
inverted  adjectives1 prepositional     
phrases10 and the like1 is virtually    
useless4 ,the thought1 and not the      

grammatical construction1  determines   
the pause4    ,another suggestive lesson
 for the teaching of grouping is        
offered3      ,you remember that in our 
last lesson we learned that we must     
first get the thought before we could   
read4 ,now we are to study    how to get
 the thought4      ,did you ever notice 
how you think8 ,if you hear the word    
8,car10    what do you think of8 ,some1 
of a horse car1 some1 of an electric    
car1 and some1 of a steam car4 ,so you  
see the word 8,car0 by    itself does   
not give us a very clear picture4 ,the  
words1 8,i saw10    do not mean very    
much either4 ,for unless we know what   
you saw    we get nothing to think      
about4 ,the two words 8in a0 do not mean
    much1 and by this time you know why4
      ,let us put all these words       
together and add a word or two3 8,i saw 
a man in a steam car40 ,now we have a   
clear picture4 ,what do we    learn from
 this8 ,we learn that a single word does
 not give us a    clear picture1 and    

that it takes three1 and four1 and      
sometimes    many words1 to give us a   
picture4 ,we can think 8,i saw a man0 or
    8in a steam car10 but we get a      
complete thought only when we put       
these two groups of words together4 ,we 
notice also that while it    takes just 
a moment to see a picture1 it often     
takes many words    to describe it4     
,what we have done is called grouping2  
that is1 reading several    words       
together just as we read the syllables  
of a word4 ,let    us try some examples4
 8,charles gave a sled to his brother40 
,here there are two groups3 ,one ending 
at 8sled10 the other1 at    8brother40  
8,i went to ,king ,street with my sister
 to buy a new    hat40 ,here we have    
three groups4 ,can you pick them out8   
,the last thing we are to learn in this 
lesson is that every group    of words  
has a picture in it1 and that we must   
not read aloud any    word until we have
 got the thought or the picture in the  
group4      ,pick out the groups in the 

following sentence1 and then read       
aloud1 but be sure you pay attention to 
the picture in each    group3           
8,when-our-school-closes                
for-the-summer-vacation1                
some-of-us-go-to-the-country1           
others-go-to-the-lakes1                 
some-go-to-the-mountains1 and-many      
stay-in-the-city40      ,for to-morrow's
 lesson#i ,i want you to bring in the   
groups in    the following examples1    
putting hyphens between the words of    
each    group1 just as we did in the    
sentence about the summer vacation4     
,,chapter ,,vii    ,,succession ,,of    
,,ideas      ,the next step is but a    
very short one in advance of the second1
  and yet one of exceeding importance4  
,it deals with the succession  of ideas4
 ,every long sentence is made up of     
small phrases more or  less intimately  
connected4 ,the inflection denotes this 
connection4  ,if several phrases point  
forward to a thought further on1 the end
  of each of these will be marked by a  

rising inflection2 if any one  of the   
phrases be of sufficient importance to  
demand particular  emphasis1 its end    
will be marked by the falling           
inflection4    ,as was said in ,chapter 
,,ii1 the reading of a long sentence    
presents  great difficulties for the    
child4 ,he loses himself in the maze of 
words1 and his mental condition is      
clearly shown in his melody1  which     
drifts about here and there1 like a     
rudderless ship4 ,it is  the purpose of 
this step to train him in the           
development of his  powers of continuous
 thinking2 to enable him to keep in mind
 the  main idea1 no matter how numerous 
the details4 ,this step and that        
dealing with subordinate ideas have much
 the same object in view4    ,the       
following excerpt from the ,introduction
 to ,the ,song of  ,hiawatha is a good  
illustration of a sentence in which the 
sense  is suspended through many lines3 
,ye1 who sometimes1 in your rambles     
,through the green lanes of the country1

        ,where the tangled              
barberry-bushes        ,hang their tufts
 of crimson berries        ,over stone  
walls gray with mosses1        ,pause by
 some neglected graveyard1        ,for a
 while to muse1 and ponder        ,on a 
half-effaced inscription1               
,written with little skill of           
song-craft1        ,homely phrases1 but 
each letter        ,full of hope and yet
 of heart-break1        ,full of all the
 tender pathos        ,of the ,here and 
the ,hereafter2--        ,stay and read 
this rude inscription1        ,read this
 ,song of ,hiawatha6    ,it is in       
sentences like the following that the   
pupil is likely to  fail4 ,speaking of  
rain1 the poet says3          ,how it   
clatters along the roofs1        ,like  
the tramp of hoofs6        ,how it      
gushes and struggles out        ,from   
the throat of the overflowing spout6    
,there may be some justification for the
 falling inflection on  8roofs02 there  
can be no doubt that the same inflection

 would be  incorrect on 8out40 ,and yet1
 the very structure of the verse would  
be likely to cause the careless reader  
to read it with that very  inflection4  
,this is a typical case1 and1 if this   
point has been  made clear1 one that    
should be very helpful to the teacher4  
,the  following passage1 from the same  
poem1 affords another exercise in       
succession of ideas3          ,in the   
country1 on every side1        ,where   
far and wide1        ,like a leopard's  
tawny and spotted hide1                 
,stretches the plain1        ,to the dry
 grass and the drier grain        ,how  
welcome is the rain6    ,let us observe 
that the plain does not stretch to the  
dry grass4  ,there will be a falling    
inflection on 8plain10 and a rising on  
8grain40    ,the pause has nothing to do
 with succession of ideas4 ,it would    
make little difference how long the     
pause after 8plain0 if it were  read    
with a rising inflection4 ,this         
principle must never be lost  sight of4 

,pupils who should know better          
frequently make mistakes of the kind  we
 have been discussing1 in reading the   
following passage3          ,in the     
furrowed land        ,the toilsome and  
patient oxen stand2        ,lifting the 
yoke-encumbered head1        ,with their
 dilated nostrils spread1        ,they  
silently inhale        ,the             
clover-scented gale1        ,and the    
vapors that arise        ,from the      
well-watered and smoking soil4          
,for this rest in the furrow after toil 
,their large and lustrous eyes          
,seem to thank the ,lord1        ,more  
than man's spoken word4                 
99       99       99       99       99  
,near at hand1        ,from under the   
sheltering trees1        ,the farmer    
sees        ,his pastures1 and his      
fields of grain4        ,as they bend   
their tops        ,to the numberless    
beating drops        ,of the incessant  
rain4    ,the following extracts from   
,gulliver's ,travels are within the     

comprehension of fairly young children1 
and will afford good  practice3      #a4
 ,the empire of ,blefuscu is an island  
situated to the northeast    of         
,lilliput1 from which it is parted only 
by a channel eight    hundred yards     
wide4      #b4 ,i had not yet seen it1  
and1 upon this notice of a intended     
invasion1 ,i avoided appearing on that  
side of the coast1 for    fear of being 
discovered by some of the enemy's ships1
 who had    received no intelligence of 
me2 all intercourse between the two     
empires having been strictly forbidden  
during the war1 upon pain    of death1  
and an embargo laid by our emperor upon 
all vessels    whatsoever4      #c4 ,i  
walked toward the northeast coast1 over 
against ,blefuscu1    where1 lying down 
behind a hillock1 ,i took out my small  
perspective glass and viewed the enemy's
 fleet at anchor1    consisting of about
 fifty men-of-war and a great number of 
transports4 ,i then came back to my     
house1 and gave orders    7for which ,i 

had a warrant7 for a great quantity of  
the    strongest cable and bars of iron4
 ,the cable was about as thick    as    
pack-thread1 and the bars of the length 
and size of a    knitting-needle4       
#d4 ,i trebled the cable to make it     
stronger1 and for the same    reason ,i 
twisted three of the iron bars together1
 bending the    extremities into a hook4
 ,having thus fixed fifty hooks to as   
many    cables1 ,i went back to the     
northeast coast1 and putting off my     
coat1 shoes and stockings1 walked into  
the sea in my leathern    jerkin1 about 
half an hour before high water4 ,i waded
 with what    haste ,i could1 and swam  
in the middle about thirty yards1 till  
,i    felt ground4      #e4 ,when ,i had
 got out of danger1 ,i stopped awhile to
 pick out the    arrows that stuck in my
 hands and face1 and rubbed on some of  
the    same ointment that was given me  
at my first arrival1 as ,i have         
formerly mentioned4 ,i then took off my 
spectacles1 and1 waiting    about an    

hour1 till the tide was a little fallen1
 ,i waded through    the middle with my 
cargo1 and arrived safe at the royal    
port of    ,lilliput4      #f4 ,the     
emperor and his whole court stood on the
 shore1 expecting    the issue of this  
great adventure4 ,they saw the ships    
move    forward in a large half-moon1   
but could not discern me1 who was    up 
to my breast in water4 ,when ,i advanced
 to the middle of the    channel1 they  
were yet more in pain1 because ,i was   
under water    to my neck4 ,the emperor 
concluded me to be drowned1 and that the
    enemy's fleet was approaching in a  
hostile manner4      #g4 ,but he was    
soon eased of his fears2 for1 the       
channel growing    shallower every step 
,i made1 ,i came in a short time within 
hearing1 and1 holding up the end of the 
cable by which the fleet    was         
fastened1 ,i cried in a loud voice1     
8,long live the most    puissant ,king  
of ,lilliput60 ,this great prince       
received me at my    landing with all   

possible encomiums1 and created me a    
nardac    upon the spot1 which is the   
highest title of honor among them4      
,it need hardly be noted that there are 
many examples of momentary  completeness
 in the preceding passages2 as1 for     
instance3    8,lilliput10 in paragraph  
one4    8,ships10 in paragraph two4     
8,anchor10 in paragraph three4          
8,arrival10 in paragraph five4    8,me10
 8pain10 in paragraph six4    8,spot10  
in paragraph seven4    ,it will be seen 
that the purpose of this step is to draw
 the  pupil's attention to two          
possibilities in every sentence3 ,does  
the phrase point forward1 or is it      
momentarily complete8 ,great  care must 
be observed not to confuse him with     
statements regarding  inflections4      
,momentary completeness has been so     
fully discussed in a preceding  chapter 
that it need not be dwelt upon further4 
,the following lesson-talk may be       
helpful for the teacher3      ,read to  
yourself this little sentence3 8,robert 

has a slate40    ,is that a complete    
picture8 ,you see that it is4 ,now read 
this    sentence3 8,robert has a slate  
and a pencil40 ,here you note that      
,robert has two things1 so the sentence 
is not complete when we    come to the  
word 8slate40 ,although we have a clear 
picture1 yet    we have not the whole   
picture4 ,how do we know this8 ,in the  
first    sentence there was a period    
after 8slate10 but in the second        
sentence there was none1 and because    
there wasn't1 we kept on    reading and 
found there was another group of words  
giving us the    picture of something   
else ,robert had4 ,now this teaches us  
that if    we want to read just as we   
speak1 we must be careful to get not    
only one picture or two1 but all the    
pictures in the sentence4      ,let me  
show you how we often make mistakes in  
our reading because    we don't pay     
attention to what ,i have just shown    
you4 ,suppose we    have this sentence3 
8,i saw a cat1 and a mouse1 and a rat40 

,now1    some pupils are careless and   
they read1 8,i saw a cat10 just as if   
that were the whole sentence4 ,then they
 look a little further and    see the   
next group1 8and a mouse10 and they read
 that4 ,then they    see the rest of the
 sentence1 8and a rat10 and they read   
that4    ,but we know that is not the   
way to read4 ,we must first read the    
whole sentence silently until we get the
 picture in each group1    and then we  
shall be sure to read the sentence just 
as one of us    would speak it if he    
really saw the cat1 the rat1 and the    
mouse1    at the same time4      ,here  
is a very good example for you to study4
 ,read it through    slowly and         
carefully1 and do not try to read it    
aloud until you    see clearly the      
picture in each group4 ,if you do as ,i 
ask1 you    will get a complete picture 
of the way in which the young soldier   
prepares to go out to battle3           
,but when the gray dawn stole into his  
tent1        ,he rose1 and clad himself1

 and girt his sword1        ,and took   
his horseman's cloak1 and left his tent4
      ,can you not see the young warrior
 rising from his couch1 dressing        
himself1 girding on his sword1 and so   
forth8 ,if you can1 then    ,i am sure  
you will be able to make others see it  
as a complete    picture1 without       
breaking it up into many little pieces1 
just as    we used to do in the first   
book4 ,you see1 he did not rise and     
stop2 and then dress himself and stop2  
and gird his sword and    stop2 but one 
action followed the other1 just as each 
car in a    long1 moving train1 follows 
another4 ,each car is like a group of   
words1 and the whole train is like the  
complete sentence4          ,,chapter   
,,viii    ,,the ,,central ,,idea      ,a
 little reflection must make it manifest
 that every sentence1 or  even phrase1  
has a central idea4 ,when this idea is  
brought out in  vocal expression it is  
by means of some form of emphasis1 such 
as  inflection or force or time1 and so 

forth4 ,the exact form of the           
manifestation need not concern us here4 
,now that the pupils have been trained  
to look for the thought1 the  average   
sentence will take care of itself as far
 as the leading  idea is concerned2 but 
it must be admitted that in the sentence
 of  more than average difficulty we    
find much obscure and more faulty       
reading1 due1 no doubt1 to ignorance of 
the central idea4 ,it is  perhaps not   
wise in all cases to teach this step1 as
 a step1 to  pupils under eleven years2 
but when it is taught1 great care must  
be exercised to keep the class from     
forming the habit of pounding  out every
 important word4 ,be this as it may1 the
 attention of  teachers should be       
directed to the great importance of such
 studies  as are included in the present
 chapter4 ,furthermore1 there can be  no
 doubt that the step may be undertaken  
in the higher grades and  in high       
schools to great advantage4    ,perhaps 
there is no more severe test of the     

student's apprehension  of the meaning  
than his emphasis--using that term in   
its broadest  sense4 ,determining the   
central idea is essentially a logical   
process2 the student weighs and         
determines the value of every  word1 and
 by a process of elimination finally    
fixes upon the exact  thought to be     
conveyed4    ,rules for emphasis so     
commonly given are1 comparatively1 of   
little  value4 ,if the student has the  
thought1 his emphasis may be trusted  to
 take care of itself2 where he has not1 
the rules are confusing  and misleading4
 ,mr4 ,alfred ,ayres says facetiously1  
but truly1  8,there is only one rule for
 emphasis--,gumption40    ,it is        
understood that emphasis has a much     
wider meaning than that  of merely      
making a word stand out distinctly by   
means of force2  it includes any manner 
of making a thought prominent4 ,what we 
are  here studying is simply that form  
of emphasis which is manifested  by     
inflection or force1 or both4 ,the      

central idea in colloquial  utterance is
 generally made significant through     
force2 but by far  the most suggestive  
method1 when occasion requires1 is      
through  inflection4 ,of course1 these  
two are very often combined in various  
proportions4    ,in the following       
illustrations1 two classes of examples  
will  be noticed4 ,in the first1 the    
central ideas are indicated by  means of
 italics and capitals4 ,it is not       
claimed that some other  interpretation 
might not be possible2 but that         
suggested is at  least justifiable4 ,the
 teacher will study these examples      
carefully  with the object of           
determining the reason for the marking4 
,in the  second list of illustrations1  
the teacher himself will determine  the 
central idea1 and manifest it through   
his rendition4    ,by following this    
plan1 the teacher's own reading will    
show much  improvement1 and he will     
probably learn better how to work out   
the  problem with his classes4    ,it is

 to be regretted that we have no        
recognized symbols for  showing shades  
and degrees of emphasis4 ,the teacher   
will1 no doubt1  be able to determine   
for himself whether the element of force
 or  that of inflection predominates4   
#aj,there on the dais sat another king  
,wearing ,,his ,,robes1 his ,,crown1 his
 ,,signet-,,ring4                       
--,king ,robert of ,sicily4             
,,longfellow4    ,note that 8his0 and   
8robes0 are of about equal importance1  
the  former perhaps weighing a little   
heavier than the latter4 ,in the  next  
phrase the inflection on 8his0 is much  
narrower than on the  first 8his10 while
 the 8crown0 becomes more important4    
,finally1 the  last 8his0 has no        
emphasis1 while the climax of thought   
and emotion  is reached on              
8signet-ring40          ,and do you     
,,now put on your best attire6          
,and do you ,,now cull out a ,,holiday8 
,and do you now ,,strew ,,flowers in    
,,his way        ,that comes in triumph 

over ,pompey's blood8                   
--,julius ,caesar1 ,act i41 ,sc4 #a4    
,note the climax3 8best attire0 is      
weaker than 8holiday10 and it  than the 
strewing of flowers4 ,conversely1 the   
emphasis on 8now0  diminishes at each   
repetition4 ,the context should be      
carefully  digested4          ,i rather 
tell thee what is to be fear'd          
,than what ,i fear4                     
--,julius ,caesar1 ,act i41 ,sc4 #b4    
,an actor 787 was once heard to read the
 above passage1 putting his  emphasis on
 8thee0 and the second 8,i40 ,how       
illuminating6          ,if 'twere done  
when 'tis done1 then 'twere well        
,it were done quickly4                  
--,macbeth1 ,act i41 ,sc4 #g4    ,the   
above is a fine illustration of the     
claim that the study of the  8,central  
,idea0 is essentially a logical process4
 ,any other emphasis  is puerile1 and   
yet every other emphasis is heard except
 this4  ,let us look a little closer4   
,the passage beginning with this line   

resolves itself into this3 ,i am        
hampered with doubts and fears2 ,i  can 
find no rest by day or night until ,i   
kill the king or resolve  to abandon the
 attempt4 ,but if ,i can be assured that
 there shall  be no after consequences  
here1 ,i'll risk the life to come4      
,hence1  the following paraphrase is the
 equivalent of the first line3 ,if it   
the murder were out of people's minds1  
if it were blotted out of  recollection1
 consigned to oblivion1 when it is      
committed when ,i  do the murder1 then  
the sooner it is done the better for my 
peace  of mind4 ,in a word1 if it is all
 over when it is committed1  8then      
'twere well it were done quickly40 ,many
 purposely avoid  repeating the emphasis
 on 8done0 because they believe the two 
8done's0 are identical in meaning4      
,nothing could be farther from  the     
truth1 as shown above4 ,the truth is1   
this line is one of those  grim plays   
upon words in which ,shakespeare is so  
prolific4 ,it need  hardly be added that

 when properly read the sense will be   
made  clear by keeping in mind the      
paraphrase just given4 ,the result will 
be that the first 8done0 will be read   
with a very decided falling  inflection1
 and the second with a rising circumflex
 inflection 7the  mind looking forward  
at the end to the conclusion of the     
sentence74  ,perhaps to the sensitive   
student of literature there is another  
argument4 ,shakespeare's vocabulary     
would indeed have been very  limited had
 he found it necessary to use three     
8done's0 in the  opening line of a most 
important soliloquy4 ,to one who is     
alive  to sthetic effects1 the very fact
 that ,shakespeare does use them        
suggests a more careful analysis1 and   
one soon discovers the cause4  ,the play
 on the words makes the salient idea    
more striking4          ,and flood upon 
flood hurries on never ending2 and it   
never will rest nor from travail be     
free4                    --,the ,diver4 
,,schiller-,,lytton4                    

,,macbeth4 ,i dare do all that may      
become a man2        ,who dares do more 
is none4            ,,lady ,,macbeth4   
,what beast was't then        ,that made
 you break this enterprise to me8       
,when you durst do it1 then you were a  
man1        ,and1 to be more than what  
you were1 you would        ,be so much  
more the man4 ,nor time nor place       
,did then adhere1 and yet you would make
 both1        ,they have made           
themselves1 and that their fitness now  
,does unmake you4                       
--,macbeth1 ,act i41 ,sc4 #g4           
444 it becomes        ,the thrond       
,,monarch better than his ,,crown4      
--,the ,merchant of ,venice1 ,act iv41  
,sc4 #a4    ,why is 8better0 not the    
most significant word8          ,lives  
of great men all remind us          ,we 
can make our lives sublime4             
--,psalm of ,life4 ,,longfellow4    ,why
 not emphasize 8we08          444       
perchance to dream2 ay1 there's the rub6
        ,for in that sleep of death what

 dreams may come4                       
--,hamlet1 ,act iii41 ,sc4 #a4          
8,what0 is equivalent to what horrible  
or awful4            ,,cassius4 ,i may  
do that ,i shall be sorry for4          
,,brutus4 ,you have done that you should
 be sorry for4                          
--,julius ,caesar1 ,act iv41 ,sc4 #c4   
,it is the bright day that brings forth 
the adder1        ,and that craves wary 
walking4                    --,julius   
,caesar1 ,act ii41 ,sc4 #a4             
,and since the quarrel        ,will bear
 no color for the thing he is1          
,fashion it thus2 that what he is1      
,,augmented1        ,would run to these 
and these extremities4                  
--,ibid4    ,this reading brings out    
most clearly the rationale of ,brutus's 
attitude4 ,the soliloquy should be      
studied in its entirety4                
,give me that man        ,that is not   
passion's slave1 and ,i will wear him   
,in my heart's core1 ay1 in my ,,heart  
of heart1        ,as ,i do thee4        

--,hamlet1 ,act iii41 ,sc4 #b4    ,this 
example is used in ,fulton and          
,trueblood's ,practical  ,elocution4    
,the authors state3      ,it has been a 
question with the actors which word of  
the phrase    heart of heart should     
receive the chief emphasis1 some        
claiming    the reading should be 8heart
 of heart10 others 8heart of    heart10 
still others 8heart of heart40 ,the     
first seems to us    the preferable     
reading1 for if the lines read1 8,i will
 wear him    in my heart's core1 ay1 in 
the center of it10 the case would be    
clear4 ,here 8center0 stands in the     
place of the first 8heart40             
,she looked down to blush and she looked
 up to sigh1        ,with a smile on her
 lip and a tear in her eye4             
--,lochinvar4 ,,scott4    ,there are    
those who argue that 8lip0 and 8eye0    
should not be  emphasized4 ,this is a   
serious error4 ,the phrases 8on her lip0
 and  8in her eye0 are elaborative1 and 
hence the emphasis is distributed  over 

the entire phrase4 ,if this is wrong1 we
 must blame the writer  for tautology4  
,but literature has many similar        
examples4 ,here is  another3      ,bring
 forth the best robe1 and put it on him3
 and put a ring on    his hand1 and     
shoes on his feet4--,luke xv4 #bb4      
,there is a rule telling us to emphasize
 words in antithesis4 ,in  many cases we
 do so2 but these cases would emphasize 
themselves1 so  to speak4 ,there are1   
however1 many cases of rhetorical       
antithesis  where it interferes with the
 sense to emphasize both members of the 
antithesis1 and here the rule steps in  
to lead astray the pupil4  ,to          
illustrate3 8,i am going to town        
to-morrow1 but you need not go  until   
the day after40    ,mr4 ,a4 ,melville   
,bell has put this very clearly4 ,in his
 ,essays and  ,postscripts on           
,elocution1 he says3      ,the emphasis 
of contrast falls necessarily on the    
second of a    contrasted pair of words1
 but not necessarily on the first4 ,the 

first word is emphatic or otherwise1    
according as it is new1 or    implied in
 preceding thoughts2 but it is not      
emphatic in virtue    of subsequent     
contrast4 ,a purposed anticipation may  
give emphasis    to the first word1 but 
such anticipatory emphasis should not be
    made habitual4      ,if the bright  
blood that fills my veins1 transmitted  
free from    godlike ancestry1 were like
 the slimy ooze which stagnates in      
your arteries1 ,i had remained at home4 
,is it not clear that the anticipatory  
emphasis on 8my0 is not  only           
unnecessary1 but would1 if given1 weaken
 the force of the  succeeding phrase8   
,i have nothing more to say1 but the    
honorable gentleman will no    doubt    
speak for hours4      ,what could ,i do 
less2 what could he do more8            
,,messala4 ,it is but change1 ,titinius2
 for ,octavius        ,is overthrown by 
noble ,brutus' power1        ,as        
,cassius' legions are by ,antony4       
,,titinius4 ,these tidings will well    

comfort ,cassius4          ,,messala4   
,is not that he that lies upon the      
ground8          ,,titinius4 ,he lies   
not like the living4 ,oh my heart6      
,,messala4 ,is not that he8             
,,titinius4                  ,no1 this  
was he1 ,messala1        ,but ,cassius  
is no more1--,o setting sun6        ,as 
in thy red rays thou dost sink to-night1
        ,so in his red blood ,cassius'  
day is set2        ,the sun of ,rome is 
set6 ,our day is gone2        ,clouds1  
dews1 and dangers come2 our deeds are   
done6        ,mistrust of my success    
hath done this deed4                    
--,julius ,caesar1 ,act v41 ,sc4 #c4    
,it is evident that the speakers have   
been conversing about the two  parts of 
the battle1 and ,titinius has told his  
friend that ,cassius  has been          
overthrown4 ,to this ,messala replies1  
comfortingly1 ,affairs  are balanced1   
then1 etc4 ,the entire extract needs and
 will amply  repay most critical study4 
,it would be hard to find one containing

  more difficulties4                    
,,bassanio4 ,this is no answer1 thou    
unfeeling man1        ,to excuse the    
current of thy cruelty4                 
,,shylock4 ,i am not bound to please    
thee with my answer4                    
,,bassanio4 ,do all men kill the things 
they do not love8          ,,shylock4   
,hates any man the thing he would not   
kill8          ,,bassanio4 ,every       
offense is not a hate at first4         
,,shylock4 ,what6 wouldst thou have a   
serpent sting thee twice8               
--,merchant of ,venice1 ,act iv41 ,sc4  
#a4            ,,duncan4 ,go1 pronounce 
his present#aa death1        ,and with  
his former title greet ,macbeth4        
,,ross4 ,i'll see it done4              
,,duncan4 ,what he hath lost1 noble     
,macbeth hath won4                      
--,macbeth1 ,act i41 ,sc4 #b4           
,thou shalt get kings1 though thou be   
none4                    --,macbeth1    
,act i41 ,sc4 #c4            ,,macbeth4 
,the thane of ,cawdor lives3 why do you 

dress me        ,in borrow'd robes8     
,,angus4 ,who was the thane1 lives yet4 
--,ibid4            ,,ligarius4 ,what's 
to do8          ,,brutus4 ,a piece of   
work that will make sick men whole4     
,,ligarius4 ,but are not some whole that
 we must make sick8                     
--,julius ,caesar1 ,act ii41 ,sc4 #a4   
,when beggars die1 there are no comets  
seen2        ,the heavens themselves    
blaze forth the death of princes4       
--,julius ,caesar1 ,act ii41 ,sc4 #b4   
,,brutus4 ,he hath the falling sickness4
          ,,cassius4 ,no1 ,caesar hath  
it not2 but you and ,i1        ,and     
honest ,casca1 we have the falling      
sickness4                    --,julius  
,caesar1 ,act i41 ,sc4 #b4              
,romans now        ,have thews and limbs
 like to their ancestors1        ,but1  
woe the while6 our fathers' minds are   
dead1        ,and we are govern'd with  
our mothers' spirits4                   
--,julius ,caesar1 ,act i41 ,sc4 #c4    
,that you do love me1 ,i am nothing     

jealous2        ,what you would work me 
to1 ,i have some aim2        ,how ,i    
have thought of this1 and of these      
times1        ,i shall recount          
hereafter2 for this present1        ,i  
would not1 so with love ,i might entreat
 you1        ,be any further mov'd4     
,what you have said1        ,i will     
consider2 what you have to say1         
,i will with patience hear1 and find a  
time        ,both meet to hear1 and     
answer such high things4                
--,julius ,caesar1 ,act i41 ,sc4 #b4    
,cowards die many times before their    
deaths2        ,the valiant never taste 
of death but once4                      
--,julius ,caesar1 ,act ii41 ,sc #b4    
,,flavius4 ,thou art a cobbler1 art     
thou8        ,,citizen4 ,truly1 sir1 all
 that ,i live by is with the awl4       
--,julius ,caesar1 ,act i41 ,sc4 #a4    
,,sir ,,peter4 ,very well1 ma'am1 very  
well6 ,so a husband is to have    no    
influence--no authority6      ,,lady    
,,teazle4 ,authority8 ,no1 to be sure6  

,if you wanted authority    over me1 you
 should have adopted me1 and not married
 me2 ,i am    sure you were old         
enough6--,the ,school for ,scandal4     
,,sheridan4          ,we live in deeds1 
not years2 in thought1 not breath2      
,in feelings1 not in figures on a dial2 
,we should count time by heart-throbs4  
,he most lives1        ,who thinks most1
 feels the noblest1 acts the best4      
--,festus4 ,,bailey4          ,i must be
 cruel1 only to be kind2        ,thus   
bad begins1 and worse remains behind4   
,our new heraldry is--hands1 not hearts4
          ,he jests at scars that never 
felt a wound4      ,friendship was in   
their looks1 but in their hearts there  
was    hatred4          ,oh6 the blood  
more stirs        ,to rouse a lion than 
to start a hare4      ,you will find it 
less easy to uproot faults than choke   
them by    gaining virtues4      ,a     
maiden's wrath has two eyes--one blind1 
the other keener than    a falcon's4    
,the storm that rends the oak uproots   

the flower4          ,but break1 my     
heart1 for ,i must hold my tongue4      
,suggestions for a class lesson follow3 
,let us look at the following sentence3 
8,i heard ,william say it40    ,can you 
read that sentence now8 ,i should say   
you could not1 and    my reason is1 that
 you are not quite sure of its meaning4 
,let us    see what that meaning is4    
,one person might mean that he had heard
 ,william say it1 but    that you had   
not4 ,how would you read the sentence   
then8 ,another    person might mean1 8,i
 am sure ,william said it1 for ,i was   
there    to hear him40 ,how would you   
express that8 ,again1 a third person    
might mean that he was sure ,george or  
,john had not said it1    but ,william4 
,how would you read that8      ,we learn
 from this another reason why we must   
use great care in    preparing our      
reading lesson4 ,you see1 if we do not1 
we shall    not stop to consider just   
what the sentence means1 and then in    
reading we shall not express the        

author's meaning4 ,let us try a    few  
more examples4 ,in each make up your    
mind just what you want    to say1 and  
then say it as if you meant it4         
,,example #a4--8;,i like geography      
better than ,i do history40 ,now1    if 
you have been talking to a friend about 
the studies you like    best1 and he has
 just said1 8,i like geography as well  
as ,i do    history10 how would you read
 the above example8 ,of course1 you     
see that the main idea in your mind     
would be to tell him that you    liked  
geography not only as well as1 but      
better than1 history4    ,well then1 now
 you may read the example4              
,,example #b4--8;,i should rather be a  
lawyer than a doctor40 ,suppose    in   
this case a friend has said1 8,my father
 wants me to be a    doctor40 ,how would
 you then read the sentence8            
,,example #c4--8,queen ,victoria has    
reigned longer than any other    monarch
 who ever sat upon the ,english throne40
 ,suppose you are    telling this to    

your classmates1 and that you have not  
been    talking about ,queen ,victoria  
before1 but you want only to give       
them a piece of information4      ,let  
us remember1 then1 that every sentence  
has a principal1 or1    as we sometimes 
say1 a central idea4 ,we need be        
extremely careful    to get that central
 idea1 and if we have been1 we notice   
that    certain words will stand out    
very prominently in our reading4        
,this is true because reading is just   
like speaking4 ,if some one    asks you 
where you are going1 and you are going  
to school1 what    do you think of8 ,you
 don't think of each word of your       
answer2 you    think only one           
idea--school4 ,so you say1 8,i am going 
to school10    and you make the word    
8school0 very prominent1 or important4  
8,school0 is the central idea4          
,until our next step ,i want you to     
study every sentence of    every reading
 lesson1 bearing in mind this very      
important fact    regarding the central 

idea4 ,every sentence has such a central
    idea1 and until you have found it   
you cannot read the sentence4    ,very  
few directions are necessary except to  
warn the teacher  against speaking about
 the various kinds of emphasis4 ,no     
matter  what the kind1 the thought will 
find its natural channel if the         
conditions be right4 ,it is true1 that  
sometimes a word is made  prominent by  
inflection 7rising1 falling1            
circumflex71 sometimes by  slower time1 
sometimes by force alone4 ,but let us   
remember1 these  various forms are the  
results of various forms of thinking4   
,if  those are right1 correct reading   
will follow4    ,it is further worth    
noting that the best authorities use    
8emphasis0  as signifying any means of  
making the thought stand out4 ,hence1   
the  teacher is urged not to use the    
term 8emphasis0 at all4 ,if a pupil     
err1 tell him he has not given you the  
central1 or leading1 idea4              
,,chapter ,,ix    ,,subordination       

,the analysis for determining the       
central idea must have led the  student 
to discern subordinate ideas4 ,as a     
rule1 the expression  of these will not 
be difficult1 but there are certain     
phases of  subordination that require   
special study4 ,we have noted that in   
our  desire to impress the leading      
thought upon another we have used       
significant inflection1 or force or     
time4 ,it must follow then that  the    
relatively unimportant words will be    
read in a manner less  striking4 ,in the
 following speech of ,portia1 observe   
how naturally  we slight the relatively 
unimportant ideas3      ,if to do were  
as easy as to know what were good    to 
do1 chapels had been churches1 and poor 
men's cottages princes' palaces4 ,it is 
a good    divine that follows his own   
instructions3 ,i can easier    teach    
twenty what were good to be done1 than  
to be one of the twenty to follow mine  
own teaching4    ,there will be degrees 
of subordination1 of course3 the above  

marking is meant only to draw attention 
to the purely instinctive  process as a 
result of which the vocal modulations   
manifest the  relative degrees of       
thought value4    ,it is something of an
 art to touch lightly upon the          
unimportant  and yet not to slur it4 ,we
 are not advocating that the teacher    
should at any length dwell upon this1   
though it is well for him to  recognize 
this feature of expression4 ,there are  
two reasons for  this3 first1 in the    
earlier stages of reading there is a    
tendency  to overemphasize2 second1 in  
the later stages1 the unimportant  words
 are hurried1 with the result that the  
reading becomes  indistinct4    ,as     
there are slighted words in every       
phrase1 so there are slighted  phrases  
and clauses in many sentences4 ,we are  
all acquainted with  the time-honored   
advice concerning the manner in which   
one should  read words in parentheses3  
8,lower the voice and read faster40  ,it
 is not to be denied that the average   

parenthetical thought  is expressed in  
that way1 but there are many examples in
 which  the injunction will not apply4  
,whether the key will be raised or      
lowered1 and whether the time will be   
accelerated or retarded1  will depend   
entirely upon the mental attitude of the
 reader4 ,to  illustrate3 8,the battle  
of ,waterloo1--the most important battle
 of  the nineteenth century1--ended the 
career of ,napoleon40 ,if one has  been 
speaking of the great importance of this
 battle1 and takes  for granted that his
 audience recognizes this importance1 he
 will  probably lower the key in the    
subordinate sentence1 and read it       
faster2 but otherwise he would read it  
more slowly 7as a result  of the        
importance of the thought71 even if he  
did not raise the  key4 ,this leads us  
to the conclusion that a phrase or      
clause may  be grammatically subordinate
 and yet of the greatest importance4    
,the degree of importance determines how
 it shall be read1 and not  arbitrary   

rules4 ,the main result to be obtained  
in this step is the  training of the    
student's mind in apprehending          
thought-modulation2  to enable him to   
weigh the thought in order that he may  
perceive  more clearly the relative     
values of the various phrases4 ,this    
perception leads in expression to that  
most desirable phase of                 
utterance--variety4    ,a few simple    
illustrations are added as examples of  
what may be  used for class drill4 ,the 
more difficult illustrations may be used
  for advanced classes1 and for practice
 by the teacher himself3          ,and  
children1 coming home from school1      
,look in at the open door2              
,and1 with his hard1 rough hand1 he     
wipes        ,a tear out of his eyes4   
,however1 as the sun baked these two    
very dry and hard1 ,i lifted    them    
very gently1 and set them down again in 
two great wicker    baskets1 which ,i   
had made on purpose for them1 that they 
might    not break2 and1 as between the 

pot and the basket there was a    little
 room to spare1 ,i stuffed it full of   
the rice and barley    straw2 and these 
two pots1 being to stand always dry1 ,i 
thought    would hold my dry corn1 and  
perhaps the meal1 when the corn was     
bruised4      ,though ,i succeeded so   
poorly in my design for large pots1 yet 
,i    made several smaller things with  
better success1 such as little    round 
pots1 flat dishes1 pitchers1 and        
pipkins1 and anything my    hand turned 
to2 and the heat of the sun baked them  
very hard4          ,art is long1 and   
,time is fleeting1          ,and our    
hearts1 though stout and brave1         
,still1 like muffled drums1 are beating 
,funeral marches to the grave4          
,then it was that ,jo1 living in the    
darkened room1 with that    suffering   
little sister always before her eyes1   
and that pathetic    voice sounding in  
her ears1 learned to see the beauty and 
sweetness of ,beth's nature1 to feel how
 deep and tender a place    she filled  

in all hearts1 and to acknowledge the   
worth of ,beth's    unselfish ambition  
to live for others1 and make home happy 
by the    exercise of those simple      
virtues which all may possess1 and which
    all should love and value more than 
talent1 wealth1 or beauty4#ab      ,it  
was past two o'clock when ,jo1 who stood
 at the window thinking    how dreary   
the world looked in its winding-sheet of
 snow1 heard    a movement by the bed1  
and1 turning quickly1 saw ,meg kneeling 
before their mother's easy-chair1 with  
her face hidden4      ,in what school   
did the worthies of our land--the       
,washingtons1    ,henrys1 ,franklins1   
,rutledges--learn those principles of   
civil    liberty8      ,next to the     
worship of the ,father of us all--the   
deepest and    grandest of human        
emotions--is the love of the land that  
gave us    birth4      ,i am not--,i    
need scarcely say it--the panegyrist of 
,england4      ,i have returned1--not1  
as the right honorable member has said1 

to    raise a storm1--,i have returned  
to discharge an honorable debt of       
gratitude to my country4      ,may that 
,god 7,i do not take his name in vain71 
may that ,god    forbid it4      ,one   
day--shall ,i forget it ever8--ye were  
present--,i had fought    long and well4
      ,i was about to slay him1 when a  
few hurried words--rather a    welcome  
to death than a plea for life--told me  
he was a ,thracian4      ,one raw       
morning in spring--it will be eighty    
years the #aith of    this              
month--,hancock and ,adams were both at 
,lexington4      ,and are we to speak   
and act like men who have sustained no  
wrong8    ,we6 ,six millions of--what   
shall ,i say8--citizens8      ,among the
 exploits of marvelous and almost       
legendary valor    performed by that    
great ,english chieftain--who has been  
laid    aside uncoroneted1 and almost   
unhonored because he would promote      
and distinguish the men of work in      
preference to the men of                

idleness--among his achievements not the
 least wondrous was the    subjugation  
of the robber tribes of the ,cutchee    
,hills in the    north of ,scinde4      
,but if there is one man here--,i am    
speaking not of shapes and    forms1 but
 of feelings--if there is one here that 
feels as men    were wont to feel1 he   
will draw the sword4      ,and you--you1
 who are eight millions strong--you1 who
 boast at    every meeting that this    
island is the finest which the sun looks
    down upon--you1 who have no         
threatening sea to stem1 no avalanche   
to dread--you1 who say that you could   
shield along your coast    a thousand   
sail1 and be the princes of a mighty    
commerce--you1    who by the magic of an
 honest hand1 beneath each summer sky1  
might cull a plenteous harvest from your
 soil1 and with the    sickle strike    
away the scythe of death--you1 who have 
no vulgar    history to read--you1 who  
can trace1 from field to field1 the     
evidences of civilization older than the

 ,conquest--the relics of    a religion 
far more ancient than the ,gospel--you1 
who have thus    been blessed1 thus been
 gifted1 thus been prompted to what is  
wise and generous and great--you will   
make no effort--you will    perish by   
the thousand1 and the finest island that
 the sun looks    down upon1 amid the   
jeers and hooting of the world1 will    
blacken    into a plague spot1 a        
wilderness1 a sepulcher4      ,in his   
early manhood1 at the bidding of        
conscience1 against the    advice of his
 dearest friends1 in opposition to stern
 paternal    commands1 against every    
dictate of worldly wisdom and human     
prudence1 in spite of all the dazzling  
temptations of ambition    so alluring  
to the heart of a young man1 he turned  
away from the    broad fair highway to  
wealth1 position1 and distinction1 that 
the hands of a king opened before him1  
and1 casting his lot with    the sect   
weakest and most unpopular in ,england1 
through paths    that were tangled with 

trouble1 and lined with pitiless thorns 
of    persecution1 he walked into honor 
and fame1 and the reverence of    the   
world1 such as royalty could not promise
 and could not give    him4      ,no one
 venerates the ,peerage more than ,i do2
 but1 my ,lords1 ,i    must say that the
 ,peerage solicited me1--not ,i the     
,peerage4    ,nay1 more1--,i can say1   
and will say1 that1 as a ,peer of       
,parliament1 as ,speaker of this right  
honorable ,house1 as keeper    of the   
great seal1 as guardian of his          
,majesty's conscience1 as    ,lord ,high
 ,chancellor of ,england1--nay1 even in 
that character    alone in which the    
noble ,duke would think it an affront to
 be    considered1 but which character  
none can deny me1 as a ,,man1--,i am    
at this moment as respectable--,i beg   
leave to add--,i am as much             
respected1--as the proudest ,peer ,i now
 look down upon4          ,fresh as the 
flower1 whose modest worth        ,he   
sang1 his genius 8glinted0 forth1       

,rose like a star that touching earth1  
,for so it seems1        ,doth glorify  
its humble birth          ,with         
matchless beams4          ,the piercing 
eye1 the thoughtful brow1        ,the   
struggling heart1 where be they now8    
,full soon the aspirant of the plow1    
,the prompt1 the brave1        ,slept1  
with the obscurest1 in the low          
,and silent grave4          ,true       
friends though diversely inclined2      
,but heart with heart and mind with     
mind1        ,where the main fibers are 
entwined1          ,through ,nature's   
skill1        ,may even by contraries be
 joined          ,more closely still4   
,sighing ,i turned away2 but ere        
,night fell1 ,i heard1 or seemed to     
hear1        ,music that sorrow comes   
not near1          ,a ritual hymn1      
,chanted in love that casts out fear    
,by ,seraphim4          ,too frail to   
keep the lofty vow        ,that must    
have followed when his brow        ,was 
wreathed--8,the ,vision0 tells us how-- 

,with holly spray1        ,he faltered1 
drifted to and fro1          ,and passed
 away4    ,the five preceding stanzas   
are from ,wordsworth's poem1 ,at the    
,grave of ,burns4    ,in the            
illustrations that follow1 the student  
will note three  distinct degrees of    
importance of thought2 in other words1  
there is  the main idea1 its modifier1  
and the modifier of the modifier4 ,the  
vocal expression of these illustrations 
will be affected just to  the extent    
that the student appreciates the value  
of the different  phrases4          ,at 
,atri in ,abruzzo1 a small town         
,of ancient ,roman date1 but scant      
renown1        ,one of those little     
places that have run        ,half up the
 hill1 beneath a blazing sun1           
,and then sat down to rest1 as if to    
say1        8,i climb no farther upward1
 come what may10        ,the ,re        
,giovanni1 now unknown to fame1         
,so many monarchs since have borne the  
name1        ,had a great bell hung in  

the market-place4      ,it is my        
purpose1 therefore1 believing that there
 are certain    points of superiority in
 modern artists1 and especially in one  
or    two of their number1 which have   
not yet been fully understood1    except
 by those who are scarcely in a position
 admitting the    declaration of their  
conviction1 to institute a close        
comparison    between the great works of
 ancient and modern landscape art4      
,many students who find no difficulty in
 silently reading such  extracts as the 
above1 will often fail in their vocal   
expression  because of the fact that the
 latter is more deliberate2 and         
consequently they may lose the trend of 
the main thought in  rendering the      
explanatory and parenthetical portions4 
,to overcome  this difficulty1 they are 
advised to read the sentence1 with the  
omission of all but the most essential  
idea2 then let them add one  idea after 
another to the main idea1 until the     
sentence is read  correctly in its      

entirety4 ,in the last example quoted1  
the main  idea is1 8,it is my purpose   
444 to institute a close comparison     
between the great works of ancient and  
modern landscape art40 ,read  this three
 or four times1 until the idea is       
clearly apprehended4  ,now read the     
sentence1 omitting 8and especially in   
one or two of  their number10 until this
 larger thought is grasped2 after which 
let the sentence be read as a whole4    
,following the usual plan1 a class      
lesson is added3      8,when ,i was in  
,paris 7which is in ,france71 ,i saw a  
great many    pretty things40      ,read
 this sentence carefully and you will   
find something we have    not had       
before3 a group of words in parenthesis4
      ,you notice1 we should have very  
good sense without this group4    ,read 
it3 8,when ,i was in ,paris ,i saw a    
great many pretty things40      ,so you 
see1 the words 8which is in ,france0 are
 not so important    as the rest of the 
sentence4 ,you might say they were      

thrown in    after you had thought of   
the other idea4      ,now1 ,i want you  
to read the sentence aloud1 leaving out 
the    group1 8which is in ,france40    
,after you have done this five or six   
times1 then read the whole sentence1    
keeping in mind that the    words in    
parenthesis are not very important1 but 
just thrown in    to let people know    
that you mean ,paris in ,france1 and not
 some    other ,paris4      ,the groups 
that are thrown in are not always put in
 parenthesis4    ,but that does not make
 any difference in the reading4 ,here   
are a    few examples4 ,i want you to   
practice on them just as you did on     
the first example in this lesson4       
#a4 8,the king of ,england1 who was a   
very brave man1 won several    victories
 over the ,french40      #b4 8,the      
largest school in our city1 which is    
,chicago1 has more    than five hundred 
children in it40      #c4 8,during the  
,christmas vacation1 which lasts ten    
days1 ,i went    to see my grandmother40

      #d4 8,frank did all his mother    
asked him to do2 but ,william1          
because he was careless and disobedient1
 gave his mother and    teacher a great 
deal of trouble40      ,this last       
example makes very clear what we have   
been studying    in this lesson4 ,you   
see plainly that the words1 8because he 
was    careless and disobedient10 are   
put in simply to explain why    ,william
 gave a great deal of trouble4      ,you
 must be very careful about this kind of
 sentence1 because    there are a great 
many of them on every page1 and you will
 be    sure to miss them if you are     
careless4    ,the teacher should ask the
 pupils to bring in other examples1 and 
have them read in the class4 ,he should 
also select examples from  the reading  
book4          ,,chapter ,x    ,,values 
,this feature of expression is one of   
the most vital4 ,it has to  do with the 
value of each phrase of the sentence and
 each phase  of the whole selection4    
,with every change of thought and       

emotion  comes another form of          
expression1 and these different forms we
 may  call ,values4 ,we apply the term  
,transition to the act of passing  from 
one shade of thought or feeling to      
another4 ,all transitions  are not      
necessarily emotional1 and yet those    
most significant are  certainly of this 
character4 ,let us first consider a few 
examples  not strongly marked with      
emotion3          8,three quarters round
 your partners swing60        8,across  
the set60 ,the rafters ring1        ,the
 girls and boys have taken wing1        
,and have brought their roses out6      
',tis 8,forward six60 with rustic grace1
        ,ah1 rarer far than--8,swing to 
place60        ,than golden clouds of   
old point lace1          ,they bring the
 dance about4    ,in the foregoing we   
have a picture of the country dance4 ,we
 hear  the figures called out by the old
 fiddler1 and see the ever-varying      
changes of ,the ,money ,musk4 ,study the
 lines so as to be able to  bring out   

the calls clearly1 noting the two       
distinct calls at the  opening1 and the 
abrupt break in the sixth line4    ,the 
next extract presents a wife confiding  
to a friend the story  of her courtship4
 ,her husband is a true knight1 and     
would  perhaps resent it to have even   
his bravery form the subject of         
conversation4 ,the story has reached its
 conclusion when the speaker  says3     
,our elder boy has got the clear        
,great brow2 tho' when his brother's    
black        ,full eyes show scorn1 it--
    and she is probably about to add    
some such statement as1 8,it  behooves  
one to look out10 when suddenly the     
husband appears on  the scene4 ,with a  
woman's ready wit1 she breaks off the   
sentence  abruptly1 saying3             
,gismond here8        ,and have you     
brought my tercel back8        ,i was   
just telling ,adela        ,how many    
birds it struck since ,may4    ,we might
 put into words what passes through her 
mind4 ,she is about  to add something   

further concerning the eyes of her boy1 
when she  hears the sound of feet along 
the walk4 ,expecting her husband1 the   
concluding words of her sentence pass   
from her mind as she turns to  see the  
visitor4 ,it is ,gismond4 ,he must not  
know that she has been  speaking of him4
 ,the tercel in his hand gives her the  
opportunity  of opening the             
conversation1 which she is quick to do1 
adroitly  pretending that it was of that
 very tercel she and her friend had     
been conversing before his arrival4     
,one more illustration of this kind will
 suffice4 ,a tender1 loving  woman is   
talking to her husband4 ,he is a learned
 poet1 and perhaps  just a trifle of a  
pedant4 ,he is most minute and exact in 
all he  does1 ever losing sight of the  
spirit in the letter4 ,the wife is  the 
true poet1 caring nothing for the       
archology and philology  and the        
geography1 but quick to perceive the    
inner meaning of the  poetic4 ,he has   
told her a story in the past1 and she is

 going now  to tell it back to him with 
a new moral4    ,here is the first      
stanza3          ,what a pretty tale you
 told me          ,once upon a time     
--,said you found me somewhere 7scold   
me67          ,was it prose or was it   
rhyme1        ,greek or ,latin8    ,when
 the woman comes to 8somewhere10 she    
finds she has forgotten  the source of  
the original story4 ,that means so much 
to him6 ,it  is so important6 ,with a   
quizzical look1 she pretends to rack her
  brains for the missing information1   
knowing all the time she will  not find 
it1 and knowing equally well that it    
makes no difference  in the story4      
,then1 with a coy expression and a look 
of mock  humility on her face1 she lets 
fall her eyes1 meekly acknowledging  her
 awful guilt1 and stands prepared to    
accept her just punishment1  saying1    
,scold me6 ,i deserve it4 ,i have       
sinned2 my punishment is  just4    ,many
 students find it no easy task to make  
these transitions  naturally4 ,some do  

not make them at all1 but run the two   
phases of  thought or emotion together4 
,others anticipate the coming idea1  and
 hurry the last two or three words      
before the break4 ,the proper  training 
is to write or think out the incomplete 
sentence1  then let it more or less     
quickly vanish from the mind as the new 
conception grows clearer1 without       
betraying the fact that one is          
conscious of a coming interruption4 ,for
 instance1 in the second  example1 one  
must read up to and through 8it0 without
 the slightest  suggestion of the coming
 of ,gismond1 and even think the        
conclusion  of the sentence4 ,then hear 
or suddenly see ,gismond just as the    
word  8it0 falls from the lips1 and     
dismissing from the mind the former     
idea1 conclude with the joyous1 wifely  
welcome and question4    ,it might be   
proper to remark here that the same     
principle applies  to the reading of    
dialogue4 ,except in rare cases the     
reader should  not in any way anticipate

 the speech of one character while      
rendering the words of another4    ,for 
those who do not intend to become       
readers1 but who would be  preachers or 
lawyers1 the practice here recommended  
will prove of  great value4 ,too many   
speakers1 in their excitement on the one
  hand and in their spiritlessness on   
the other1 glide along line  after line 
in one monotonous drift4 ,a study of    
these exercises  will teach the         
necessity of transitions1 and train in  
the control  of the mental action in    
this regard1--a control antecedent to   
that  most important requisite1 variety4
 ,after almost every paragraph  or      
stanza there is more or less of change  
in the thought1 and the  apprehension of
 this change will be sufficient to      
modulate the  vocal expression4    ,even
 where there is no abrupt change in the 
flow of ideas1 there  is often a gradual
 transition from one emotion to another1
 and  these transitions may occur       
several times within one paragraph4     

,take the following excerpt from        
,webster's reply to ,hayne4 ,it is  one 
paragraph2 but it is divided into four  
smaller paragraphs1  each of which is a 
marked 8phase0 of the thinking4         
,practice in  the analysis of selections
 to determine these phases is the best  
and only rational training in           
transitions4 ,but its value does not    
stop here2 for the student not only     
makes transitions1 but is led1  through 
careful analysis1 to discern shades of  
meaning and emotion  he might otherwise 
overlook3      ,sir1 the gentleman      
inquires why he was made the object of a
    reply4 ,why was he singled out8 ,if 
an attack has been made on the    ,east 
he1 he assures us1 did not begin it2 it 
was made by the    gentleman from       
,missouri4      ,sir1 ,i answered the   
gentleman's speech because ,i happened  
to    hear it1 and because ,i chose to  
answer that speech which1    if         
unanswered1 ,i thought most likely to   
produce injurious    impressions4       

,i did not stop to inquire who was the  
original drawer of the    bill4 ,i found
 a responsible endorser before me1 and  
it was    my purpose to hold him liable1
 and to bring him to his just           
responsibility without delay4      ,but1
 sir1 this interrogatory of the         
honorable member was only               
introductory to another4 ,he proceeds to
 ask whether ,i had turned    upon him  
in this debate from the consciousness   
that ,i should find    an overmatch if  
,i ventured on a contest with his friend
 from    ,missouri4    ,transitions in  
emotion do not differ in principle from 
those we  have been considering4 ,the   
student must pursue the same method with
  these as with the others1 expressing  
the first emotion until he  comes to the
 break1 making then an elliptical       
paraphrase1 and then  presenting the new
 emotion4 ,an excellent model is the    
following  speech of ,king ,lear4       
,the aged monarch has1 in a fit of rage1
 cast adrift his youngest  child1 and   

his eldest has turned him from her home4
 ,he turns in  despair to his remaining 
daughter1 assured that he will here     
receive a filial welcome4 ,to his       
surprise1 she refuses to meet him2  says
 she is sick and travel-weary2 and his  
amazed feeling finds  vent in an        
uncontrolled explosion of passion3      
,,lear4 ,vengeance6 plague6 death6      
confusion6--        ,fiery8 what        
quality8 ,why1 ,gloucester1 ,gloucester1
        ,i'd speak with the ,duke of    
,cornwall and his wife4                 
,,gloucester4 ,well1 my good lord1 ,i   
have inform'd them so4          ,,lear4 
,inform'd them6 ,dost thou understand   
me1 man8          ,,gloucester4 ,ay1 my 
good lord4          ,,lear4 ,the ,king  
would speak with ,cornwall2 the dear    
father        ,would with his daughter  
speak2 commands her service3        ,are
 they inform'd of this8--,my breath and 
blood6        ,fiery8 the fiery ,duke8  
,tell the hot ,duke that--        ,no1  
but not yet3 may be he is not well3--   

--,king ,lear1 ,act ii41 ,sc4 #d4    and
 he then proceeds to find excuses for   
her action1 and that of  her husband1   
the ,duke of ,cornwall4 ,there is hardly
 a more pathetic  incident in a most    
pathetic play than this1 in which the   
old man1  past his eightieth year1 after
 holding undisputed sway through his    
long reign1 is at last compelled to     
temporize4 ,he is about to send  a      
message to the ,duke1 the character of  
which is easily judged from  his        
previous language4 ,if that message is  
sent1 ,lear will be alone  in the world4
 ,but suddenly his fearful position     
flashes upon him4  ,the threat dies upon
 his lips1 gradually blending into      
apology and  conciliation4              
,,examples ,,of ,,emotional             
,,transitions4            ,if you have  
tears1 prepare to shed them now4        
,you all do know this mantle3 ,i        
remember        ,the first time ever    
,caesar put it on2        ',twas on a   
summer's evening1 in his tent1          

,that day he overcame the ,nervii3      
,look1 in this place ran ,cassius'      
dagger through4                         
--,julius ,caesar1 ,act iii41 ,sc #b4   
,he spoke2 but ,rustum gazed1 and gazed1
 and stood        ,speechless2 and then 
he utter'd one sharp cry3        8,o    
boy--thy father60--and his voice choked 
there4        ,and then a dark cloud    
pass'd before his eyes1        ,and his 
head swam1 and he sank down to earth4   
--,sohrab and ,rustum4 ,m4 ,,arnold4    
8,ferood1 and ye1 ,persians and         
,tartars1 hear6        ,let there be    
truce between the hosts to-day4         
,but choose a champion from the ,persian
 lords        ,to fight our champion    
,sohrab1 man to man40          ,as in   
the country1 on a morn in ,june1        
,when the dew glistens on the pearld    
ears1        ,a shiver runs through the 
deep corn for joy--        ,so1 when    
they heard what ,peran-,wisa said1      
,a thrill through all the ,tartar       
squadrons ran        ,of pride and hope 

for ,sohrab1 whom they loved4           
,but as a troop of peddlers from        
,cabool1        ,cross underneath the   
,indian ,caucasus1        ,the vast     
sky-neighboring mountain of milk snow2  
,crossing so high1 that1 as they mount1 
they pass        ,long flocks of        
traveling birds dead on the snow1       
,choked by the air1 and scarce can they 
themselves        ,slake their parch'd  
throats with sugar'd mulberries--       
,in single file they move and stop their
 breath1        ,for fear they should   
dislodge the o'erhanging snows--        
,so the pale ,persians held their breath
 with fear4                    --,sohrab
 and ,rustum4 ,m4 ,,arnold4    ,note    
how1 after the words1 8whom they loved10
 the atmosphere  changes from that of   
joy to that of dread and scorn--scorn at
 the  cowardice of the ,persians1 and   
the dread that the speaker would        
sympathetically feel as he recounted the
 deed4          ,this too thou know'st1 
that while ,i still bear on        ,the 

conquering ,tartar ensigns through the  
world1        ,and beat the ,persians   
back on every field1        ,i seek one 
man1 one man1 and one alone--           
,rustum1 my father2 who ,i hoped should 
greet1        ,should one day greet1    
upon some well-fought field1        ,his
 not unworthy1 not inglorious son4      
,so ,i long hoped1 but him ,i never     
find4        ,come then1 hear now1 and  
grant me what ,i ask4        ,let the   
two armies rest to-day2 but ,i          
,will challenge forth the bravest       
,persian lords        ,to meet me man to
 man2 if ,i prevail1        ,rustum will
 surely hear it2 if ,i fall--           
,old man1 the dead need no one1 claim no
 kin4        ,dim is the rumor of a     
common fight1        ,where host meets  
host1 and many names are sunk2          
,but of a single combat fame speaks     
clear4                    --,sohrab and 
,rustum4 ,m4 ,,arnold4      ,,studies   
,,in 8,,phases40    ,this extract from  
,tennyson's ,charge of the ,heavy       

,brigade contains  five distinct phases1
 or strata1 ending respectively with the
  words1 8fight10 8close10 8then10      
8thousands10 and 8,brigade40            
,the trumpet1 the gallop1 the charge1   
and the might of the fight6             
,thousands of horsemen had gather'd     
there on the height1        ,with a wing
 push'd out to the left and a wing to   
the right1        ,and who shall escape 
if they close8 but he dash'd up alone   
,thro' the great gray slope of men1     
,sway'd his saber1 and held his own     
,like an ,englishman1 there and then2   
,all in a moment follow'd with force    
,three that were next in their fiery    
course1        ,wedged themselves in    
between horse and horse1        ,fought 
for their lives in the narrow gap they  
had made--        ,four amid thousands6 
and up the hill1 up the hill1           
,gallopt the gallant three hundred1 the 
,heavy ,brigade4                        
,as when a boar        ,or lion mid the 
hounds and huntsmen stands1             

,fearfully strong1 and fierce of eye1   
and they        ,in square array assault
 him1 and their hands        ,fling many
 a javelin2--yet his noble heart        
,fears not1 nor does he fly1 although at
 last        ,his courage cause his     
death2 and oft he turns1        ,and    
tries their ranks2 and where he makes a 
rush        ,the rank gives way2--so    
,hector moved and turned        ,among  
the crowd1 and bade his followers cross 
,the trench4                    --,the  
,iliad4          ,hector1 thou almost   
ever chidest me        ,in council1 even
 when ,i judge aright4        ,i know it
 ill becomes the citizen        ,to     
speak against the way that pleases thee1
        ,in war or council1--he should  
rather seek        ,to strengthen thy   
authority2 yet now        ,i will       
declare what seems to me the best3      
,let us not combat with the ,greeks1 to 
take        ,their fleet2 for this1 ,i  
think1 will be the end1--        ,if now
 the omen we have seen be meant         

,for us of ,troy who seek to cross the  
trench2--        ,this eagle1 flying    
high upon the left1        ,between the 
hosts1 that in his talons bore        ,a
 monstrous serpent1 bleeding1 yet alive1
        ,hath dropped it mid our host   
before he came        ,to his dear nest1
 nor brought it to his brood2--         
,so we1 although by force we break the  
gates        ,and rampart1 and although 
the ,greeks fall back1        ,shall not
 as happily retrace our way2        ,for
 many a ,trojan shall we leave behind1  
,slain by the weapons of the ,greeks1   
who stand        ,and fight to save     
their fleet4 ,thus will the seer1       
,skilled in the lore of prodigies1      
explain        ,the portent1 and the    
people will obey4                       
--,the ,iliad4          ,and thus ,king 
,priam supplicating spake3--            
8,think of thy father1 an old man like  
me1        ,godlike ,achilles6 ,on the  
dreary verge        ,of closing life he 
stands1 and even now        ,haply is   

fiercely pressed by those who dwell     
,around him1 and has none to shield his 
age        ,from war and its disasters4 
,yet his heart        ,rejoices when he 
hears that thou dost live1        ,and  
every day he hopes that his dear son    
,will come again from ,troy4 ,my lot is 
hard1        ,for ,i was father of the  
bravest sons        ,in all wide ,troy1 
and none are left me now4        ,fifty 
were with me when the men of ,greece    
,arrived upon our coast2 nineteen of    
these        ,owned the same mother1 and
 the rest were born        ,within my   
palaces4 ,remorseless ,mars             
,already had laid lifeless most of      
these1        ,and ,hector1 whom ,i     
cherished most1 whose arm               
,defended both our city and ourselves1  
,him didst thou lately slay while       
combating        ,for his dear country4 
,for his sake ,i come        ,to the    
,greek fleet1 and to redeem his corse   
,i bring uncounted ransom4 ,o revere    
,the gods1 ,achilles1 and be merciful1  

,calling to mind thy father6 happier he 
,than ,i2 for ,i have borne what no man 
else        ,that dwells on earth could 
bear1--have laid my lips        ,upon   
the hand of him who slew my son40       
,he spake3 ,achilles sorrowfully thought
        ,of his own father4 ,by the hand
 he took        ,the suppliant1 and with
 gentle force removed        ,the old   
man from him4 ,both in memory        ,of
 those they loved were weeping4 ,the old
 king1        ,with many tears1 and     
rolling in the dust        ,before      
,achilles1 mourned his gallant son4     
,achilles sorrowed for his father's     
sake1        ,and then bewailed         
,patroclus1 and the sound        ,of    
lamentation filled the tent4 ,at last   
,achilles1 when he felt his heart       
relieved        ,by tears1 and that     
strong grief had spent its force1       
,sprang from his seat2 then lifting by  
the hand        ,the aged man1 and      
pitying his white head        ,and his  
white chin1 he spake these wingd words3 

--,the ,iliad4    ,it is especially in  
the reading of description that the     
study of  values will prove most        
beneficial4 ,there are very few readers 
who  can make description interesting1  
and their failure is in most  cases due 
to the monotony arising from their      
inability to perceive  and make palpable
 the different values4 ,the reply of    
,achilles to  ,priam becomes most       
interesting reading when values are     
carefully  observed4          ,great    
have thy sufferings been1 unhappy king6 
,how couldst thou venture to approach   
alone        ,the ,grecian fleet1 and   
show thyself to him        ,who slew so 
many of thy valiant sons8        ,an    
iron heart is thine4 ,but seat thyself1 
,and let us1 though afflicted           
grievously1        ,allow our woes to   
sleep awhile1 for grief        ,indulged
 can bring no good4 ,the gods ordain    
,the lot of man to suffer1 while        
themselves        ,are free from care4  
,beside ,jove's threshold stand         

,two casks of gifts for man4 ,one cask  
contains        ,the evil1 one the good1
 and he to whom        ,the ,thunderer  
gives them mingled sometimes falls      
,into misfortune1 and is sometimes      
crowned        ,with blessings4 ,but the
 man to whom he gives        ,the evil  
only stands a mark exposed        ,to   
wrong1 and1 chased by grim calamity1    
,wanders the teeming earth1 alike       
unloved        ,by gods and man4 ,so did
 the gods bestow        ,munificent     
gifts on ,peleus from his birth1        
,for eminent was he among mankind       
,for wealth and plenty2 o'er the        
,myrmidons        ,he ruled1 and1 though
 a mortal1 he was given        ,a       
goddess for a wife4 ,yet did the gods   
,add evil to the good1 for not to him   
,was born a family of kingly sons       
,within his house1 successors to reign4 
,one short-lived son is his1 nor am ,i  
there        ,to cherish him in his old 
age2 but here        ,do ,i remain1 far 
from my native land1        ,in ,troy1  

and causing grief to thee and thine4    
,of thee1 too1 aged king1 they speak1 as
 one        ,whose wealth was large in  
former days1 when all        ,that      
,lesbos1 seat of ,macar1 owns was thine4
        ,and all in ,phrygia and the    
shores that bound        ,the           
,hellespont2 men said thou didst excel  
,all others in thy riches and thy sons4 
,but since the gods have brought this   
strife on thee        ,war and perpetual
 slaughter of brave men        ,are     
round thy city4 ,yet be firm of heart1  
,nor grieve forever4 ,sorrow for thy son
        ,will profit nought2 it cannot  
bring the dead        ,to life again1   
and while thou dost afflict             
,thyself for him fresh woes may fall on 
thee4                    --,the ,iliad4 
,the subject may be presented to the    
class somewhat in the manner of  the    
following lesson3      ,suppose you were
 very busy studying your reading lesson1
 and you    were just about to read     
aloud a sentence like this3             

,there's a good time coming1 boys1      
,a good time coming6      ,but when you 
came to the second 8good10 let us       
suppose somebody    knocks at the door  
and you say1 8,come in40 ,what has      
happened    in your reading8 ,you have  
broken off one thought suddenly and     
another has come in its place4 ,let us  
see how such a sentence    would look3  
,there's a good time coming1 boys1      
,a good--,come in4      ,now1 what is   
the difference between this sentence and
 those we    studied in our last lesson8
 ,it is this3 ,in the former lesson the 
new thought that was thrown in was      
really a part of the principal          
thought2 but in this the new thought has
 no connection with the    principal    
idea4 ,in the previous lesson the group 
that was thrown    in was a kind of     
explanation2 in this lesson1 the first  
picture    is driven entirely out of    
mind by the second4      ,breaks in the 
thought are of many kinds1 and it is    
very necessary    that you should be on 

the look-out for them4 ,here is an      
example    of a kind you will find quite
 often3          8,halt60 ,the          
dust-brown ranks stood fast4            
8,fire60 out blazed the rifle-blast4    
,the words 8halt0 and 8fire0 are        
commands given by the general2    the   
sentence that follows each of these     
words tells us what    happened after   
the commands were given4      ,another  
kind of break is found in those         
selections in which there    are two or 
more persons speaking4 ,as in this3     
8,frank said1 #8,will    you go to      
school with me8' and his brother said1  
#8,no1 ,i don't    like it4' #8,not like
 school8' replied ,frank1 who was very  
much    surprised1 #8,i would rather go 
there than anywhere ,i know4'0 ,you     
can see plainly that there is a break   
when the reader changes    from one     
person to another4      ,the last kind  
of break we shall speak about in this   
lesson is    that which occurs between  
the stanzas of a poem or between the    

paragraphs of a prose selection4 ,i need
 not give any examples    here1 for you 
will find them on every page of your    
reader4 ,all    ,i need do is tell you  
that the new paragraph or the new stanza
    generally begins with a new thought4
 ,so you must be sure to get    that new
 thought1 and hold it well in mind1     
before you try to    express it4        
,in closing this lesson ,i want to show 
you that you may learn how    to read   
such examples as we have had1 if you    
will but be careful4    ,you must be    
sure to get each new picture before you 
utter a word4    ,take the first        
example4 ,you have read the first line1 
8,there's a    good time coming1 boys10 
and you are just about to repeat it4    
,now    think what you are going to say1
 and just as you come to the word       
8good10 imagine you hear a knocking1 and
 say1 8,come in40 ,if you    will only  
think what the words mean and see the   
picture1 there    will be no trouble    
about reading the example well4    ,a   

few examples for class use are appended4
 ,the teacher may easily  invent        
suitable contexts3      ,my servant-boy1
 with a reserve gun1 was ten or twelve  
yards    off--a long way at such a      
moment4      ,it would make the reader  
pity me to learn that1 after having     
labored hard1 ,i could not make above   
two large earthen1 ugly    things 7,i   
can not call them jars7 in about two    
months' labor4          ,the tear will  
start1 and let it flow2        ,thou    
8poor ,inhabitant below10        ,at    
this dread moment1--even so--           
,might we together        ,have sate and
 talked where gowans blow1          ,or 
on wild heather4    ,in the above1      
,wordsworth laments that the death of   
,burns should  have deprived them of the
 joy of communion4 ,note the force of   
the  semicolon after 8flow10 and the    
pathos of 8even so40 ,the following     
lines are from the same poem3           
,too frail to keep the lofty vow        
,that must have followed when his brow  

,was wreathed--8,the ,vision0 tells us  
how--          ,with holly spray1       
,he faltered1 drifted to and fro1       
,and passed away4      ,now1 when the   
,hare came to the top of the field1 the 
,hedgehog    cried out1 8,hallo6 here ,i
 am4 ,where have you been all this      
while80 ,but the ,hare was out of his   
wits1 and cried out1 8,once             
more--turn about1 and away60 8,by all   
means10 answered the    ,hedgehog2 8for 
my part1 as often as you please40       
,young ,harry was a lusty drover--      
,and who so stout of limb as he8        
,his cheeks were red as ruddy clover2   
,his voice was like the voice of three4 
,old ,goody ,blake was old and poor2    
,ill-fed she was1 and thinly clad2      
,and any man who passed her door        
,might see how poor a hut she had4      
,there is a change of feeling in almost 
every stanza of the  following poem4 ,if
 the pupils can grasp its meaning it    
will be  an excellent exercise in       
training them to perceive the relative  

values4 ,it may be well to delay the    
study of this selection until  after the
 principle of the next two chapters has 
been thoroughly  grasped and put into   
practice3          ,on ,linden1 when the
 sun was low1        ,all bloodless lay 
th' untrodden snow1        ,and dark as 
winter was the flow          ,of ,iser1 
rolling rapidly4          ,but ,linden  
saw another sight1        ,when the drum
 beat at dead of night1                 
,commanding fires of death to light     
,the darkness of her scenery4           
,by torch and trumpet fast arrayed1     
,each horseman drew his battle-blade1   
,and furious every charger neighed1     
,to join the dreadful revelry4          
,then shook the hills1 with thunder     
riven2        ,then rushed the steed1 to
 battle driven2        ,and1 louder than
 the bolts of heaven1          ,far     
flashed the red artillery4          ,but
 redder yet that light shall glow       
,on ,linden's hills of staind snow1     
,and bloodier yet the torrent flow      

,of ,iser1 rolling rapidly4             
',tis morn1 but scarce yon lurid sun    
,can pierce the war-clouds1 rolling dun1
        ,where furious ,frank and fiery 
,hun          ,shout in their sulph'rous
 canopy4          ,the combat deepens4  
,on1 ye brave1        ,who rush to glory
 or the grave6        ,wave1 ,munich6   
all thy banners wave1          ,and     
charge with all thy chivalry6           
,few1 few shall part where many meet6   
,the snow shall be their winding-sheet1 
,and every turf beneath their feet      
,shall be a soldier's sepulcher4        
--,hohenlinden4 ,,campbell4             
,,chapter ,,xi    ,,emotion             
,teaching children to read with feeling 
is one of the most difficult  tasks     
falling to the lot of the teacher1 and  
yet it is one that  has1 if successfully
 accomplished1 far-reaching results4    
,for1 apart  from the legitimate        
development of emotion1 it enlarges     
their  sympathy and lays the foundation 
for a genuine love of literature4    ,we

 must confess that emotional expression 
is rarely found in our  public schools4 
,it would avail little to discuss the   
causes of this  condition in detail4 ,in
 this chapter we shall try to discover a
  remedy4 ,emotion in reading comes     
largely through the imagination4        
,unless the mind conceives the thought1 
how can the nerves thrill  and tingle8  
,it is for this that we need teachers   
who are themselves  lovers of the       
beautiful1 sublime1 tender1 in order    
that they may  impart their appreciation
 and feeling to their classes4 ,emotion 
is catching1 and so is the absence of   
it6 ,time1 time1 time1 is  here the     
great need4 ,it takes time to think2    
time for the picture  to come forth in  
its fulness out of subconsciousness4 ,is
 not  imagination the basis of literary 
interpretation1 of historical  study1   
yes1 even of mathematics and science8   
,the time spent on the  development of  
imagination and emotion in the reading  
lesson will  show its results in every  

other study4    ,if1 then1 the teacher  
would get the right emotion1 he must see
 to  it that the child has the proper   
and adequate stimulus4 ,appeal to  his  
everyday experience and make that serve 
as an introduction to  the new          
experience of the poem4    ,let us      
suppose we are speaking to the children3
      ,if your class were to have a     
contest with another class1 let us      
say in spelling1 and your class were to 
come out victorious1    you would1 no   
doubt1 feel very joyful over the result4
 ,now1 let    us suppose that after the 
victory one of the members of the       
class should get up on his seat and wave
 his hand above his    head1 crying3    
8,three cheers for our class60 ,would   
there be any    difference between the  
way in which he spoke those words and   
the way in which he would read the same 
words if they came in a    sentence like
 this3 8,if we win ,i shall give three  
cheers for our    class08      ,of      
course1 you will see at once that there 

would be a great deal    of difference4 
,in the first place1 he would be very   
joyful1 and    perhaps excited1 and this
 joy and excitement would get into his  
voice1 and he would call out1 8,three   
cheers for our class10 with    a great  
deal of feeling1 or emotion2 and        
everybody would see    at once just how 
exultant he was4 ,now1 what is it that  
causes    that feeling1 or emotion8 ,i  
do not think that there will be much    
difficulty in answering this question4  
,he was very much excited    before the 
spelling contest came off1 and now that 
it has been    decided in your favor    
there is a feeling of great joy that    
comes    over the whole body1 and it is 
almost impossible to keep back    the   
expression of that joy4 ,in other words1
 he has been strongly    moved4      ,i 
want to impress now upon you that as you
 go on with your study    of reading1   
you will find that there is a great deal
 of emotion    in many of the passages  
you will be called upon to read1 and the

    only way to discover what the       
emotion is1 must be by getting    a very
 clear picture4 ,but remember that the  
picture itself is    not very likely to 
move you unless you enter into the      
spirit of    the picture just as you    
entered into the spirit of the spelling 
contest4 ,do you see my meaning8 ,one   
might say the words1 8,three    cheers  
for our class10 and not express very    
much emotion4 ,one    might even have a 
very clear picture of the whole spelling
 match1    and yet not be very much     
moved4 ,but if you will close your eyes 
and let the picture get hold of you1 ,i 
think there will be no    trouble about 
the emotion4 ,let me see whether ,i can 
make clear to    you what ,i mean by    
letting the picture get hold of you4    
,suppose we take this line from a       
well-known speech1 8,wolsey on    ,his  
,fall30--8,farewell1 a long farewell to 
all my greatness60 ,who    speaks those 
words8 is the first question4 ,the      
answer is3 ,an    old man who has been  

for many years one of the leading men in
    the court of ,henry ,,viii4 ,he has 
used every effort to gain great         
power1 and has forgotten his ,god1 and  
now at last the king has    cast him    
off4 ,just after ,wolsey has been       
informed of his loss    of power1 he    
utters the words quoted above4 ,just    
think how much    these words mean to   
this poor man4 ,think how much he must  
suffer1    and then try to feel as much 
as you can what it would mean to    you 
if everything you had hoped for and     
struggled for were to be    taken away  
from you4 ,of course1 ,i know that you  
have not been so    ambitious as        
,wolsey1 but yet ,i think you will have 
no trouble in    imagining just how you 
would feel if everything you cared for  
were to be taken away from you4 ,well1  
this is all that you need    feel in    
order to read with emotion the lines of 
,wolsey4 ,just    think this over for a 
few minutes1 and then see how much      
regret    you can feel as you utter     

these words4 ,be sure that you get      
the meaning of the words2 be sure you   
get hold of the picture2    try to      
imagine just how you would feel if you  
were very deeply    disappointed1 and   
then utter the words of ,wolsey4        
,this1 then1 is what ,i mean by telling 
you to let the picture    get hold of   
you4 ,when you were exultant over the   
result of the    spelling contest1 joy  
possessed you4 ,when ,wolsey learned of 
his    fall1 sorrow and remorse         
possessed him4 ,so with all emotions4   
,you must think over the whole story2   
you must think over all the    events   
connected with it until you really feel 
somewhat as the    speaker felt whose   
words you are reading4 ,then there will 
be no    trouble about the expression4  
,the teacher will observe that the two  
illustrations are chosen from  two      
distinct fields3 one near to the child's
 experience1 the other  far removed from
 it4 ,it is further observed that both  
are direct  discourse rather than       

description4    ,it seems the best plan 
to begin the definite study of emotional
  expression by using extracts in which 
the pupil uses direct rather  than      
indirect discourse4 ,the reason for this
 is that it is far  more difficult to   
read1 with expression1 a passage of     
description  in which the pupil would be
 expected to put emotion1 than a piece  
of direct quotation4 ,for instance1 is  
it not easier for a child to  enter into
 the spirit of the first of the         
following stanzas than  into that of the
 second1 granting even that it is       
difficult to  conceive the anguish of   
the father8          ,the father came on
 deck4 ,he gasped1          8,o ,god6   
thy will be done60        ,then suddenly
 a rifle grasped1          ,and aimed it
 at his son3        8,jump--far-out1    
boy1 into the wave6          ,jump1 or  
,i fire60 he said2        8,that only   
chance your life can save6              
,jump6 jump6 boy60 ,he obeyed4          
,he sank--he rose--he lived--he moved1  

,and for the ship struck out3        ,on
 board we hailed the lad beloved1       
,with many a manly shout4        ,his   
father drew1 in silent joy1             
,those wet arms round his neck1         
,and folded to his heart his boy--      
,then fainted on the deck4    ,in the   
second place1 the reason for choosing   
selections in which  the emotion is akin
 to those of the child's own experience 
must be  clear4 ,how many pupils ten or 
eleven years old can be expected to     
enter into the spirit of ,whittier's    
,the ,barefoot ,boy8          ,blessings
 on thee1 little man--        ,barefoot 
boy1 with cheek of tan6        ,with thy
 turned-up pantaloons1        ,and thy  
merry whistled tunes2        ,with thy  
red lip1 redder still1        ,kissed by
 strawberries on the hill2        ,with 
the sunshine on thy face1               
,through thy torn brim's jaunty grace2  
,from my heart ,i give thee joy6        
,i was once a barefoot boy6    ,it is   
only to discourage him1 to ask him to   

feel like an adult who  looks back upon 
the joys of boyhood4 ,one hears this    
selection  read in an affected voice and
 manner1 where it is clear that the     
child is simply trying to imitate his   
teacher4 ,but such experiences  simply  
go to prove the contention that children
 should not be  called upon to represent
 emotions far removed from their own    
experience4    ,but how shall we get our
 pupils to express emotions beyond their
  experience8 ,the answer is3 the       
teacher should strive to find those     
experiences in the child's life that are
 similar to those of the  selection to  
be read4 ,we have shown how this might  
be done in  the line from ,wolsey's     
speech4 ,the child has experienced      
regret2  let us make use of this        
experience to get him to feel something 
of ,wolsey's feeling4 ,again 7and this  
applies largely to advanced  classes71  
it is by no means necessary that the    
pupil should ever  have come into       
contact with the picture that stirs the 

writer1 in  order to represent the      
latter's feelings4 ,it is the joy that  
the  lover of nature feels that finds   
expression in these lines3          ,how
 the robin feeds her young1        ,how 
the oriole's nest is hung2        ,where
 the whitest lilies blow1        ,where 
the freshest berries grow1        ,where
 the ground-nut trails its vine2        
,where the wood-grape's clusters shine2 
,of the black wasp's cunning way1       
,mason of his walls of clay4            
--,the ,barefoot ,boy4 ,,whittier4      
,but how can we get the true expression 
from one who knows nothing  of the joy  
we take in contemplating the pictures of
 this stanza8  ,by reminding him that   
our joy is not far different from his   
when  rejoicing in a beautiful book1 a  
lucky hit at baseball1 or a pretty      
,christmas gift4 ,let us remember that  
it is not enough that he shall  get the 
pictures3 he must get the joy4 ,and if  
he cannot get the joy  from the pictures
 of the poet1 he must get it from the   

memory of  his own past joy1 no matter  
under what circumstances4 ,it is simply 
a question of transferring his own past 
emotion to the present  moment4         
,summarized1 our points are3    ,first1 
choose emotions near to the child's     
experience4    ,second1 transfer his    
past experiences and emotions to the    
particular poem or stanza to be read4   
,third1 use direct discourse1 in drill  
work1 as far as possible4    ,perhaps it
 would not be advisable to use          
selections in our  reading lessons that 
call for an extremely difficult exercise
 of  imagination on the part of the     
child1 but since these selections  are  
found in our reading books it is well to
 know how to do the  best possible under
 the circumstances4    ,the most        
important point of all is that children 
must be brought  into contact with      
nature4 ,we cannot expect them to       
delight in a  description of a sunset1  
or a robin's nest1 or a bunch of        
pansies1  when they have never delighted

 in sunsets1 or robins' nests or        
pansies4 ,when their early training is  
wise they will not need  to transfer    
their emotions from another realm to    
read with true  expression4    ,we are  
now to enter the more complex realm of  
expression1 in which  the emotion is    
more intense1 and instead of being a    
single emotion  is a blending of many4  
,take1 for example1 the trial scene from
 ,the  ,merchant of ,venice4 ,there are 
many speeches of ,shylock that might    
illustrate our point1 and we shall take 
the first that presents  itself4 ,the   
,duke of ,venice has been urging        
,shylock to abandon his  suit1 whereupon
 the latter replies3          ,i have   
possessed your grace of what ,i purpose2
        ,and by our holy ,sabbath have  
,i sworn1        ,to have the due and   
forfeit of my bond4    ,what emotions   
does ,shylock portray8 ,there is the    
emotion of hatred  of ,antonio and the  
feeling of obstinacy2 and there is1     
further1  the sense of wrong that has   

been heaped upon his race in general1   
and himself in particular4 ,it would be 
useless to discuss how  far each of     
these elements is an emotion4 ,it is    
sufficient for  our purpose to have     
shown that these three mental conditions
 are  present virtually at one time in  
the brain of the speaker4 ,now1 if  any 
one of these elements 7to say nothing of
 others that might be  mentioned7 is    
omitted1 the characterization will lack 
truthfulness4    ,there is another      
element in complexity of expression that
 needs a  moment's attention4 ,the      
emotion itself may be a simple one1 but 
the character we aim to represent may be
 so far removed from our  own that one  
must assume or take on many attributes4 
,for instance1  if one were portraying  
old ,adam in ,as ,you ,like ,it1 he     
would be  compelled to manifest the     
weakness of old age in body and voice4  
,now1 when the old man says1 8,dear     
master1 ,i can go no further2 ,o1  ,i   
die for food10 it is not sufficient for 

the reader to portray  simply the pathos
 of the line1 but his expression becomes
 more  complex in so far as it must     
manifest both the pathos and the        
weakness4    ,in preparing to present   
the emotions in the following extracts  
it is well for the student to study     
carefully the nature of the  thought1   
the emotion1 and the character          
separately1 and conceive  each of the   
simpler emotional elements by itself4   
,if he is  representing1 let us say1    
pathos and dignity1 let him hold dignity
  before his mind until the whole being 
responds2 then let him  conceive pathos 
by itself2 and1 finally1 let him        
conceive pathos  and dignity1 and       
endeavor to present them4 ,this process 
will not  be necessary in all cases2 for
 there are those who can conceive  these
 more complex conditions with one       
effort1 as it were4 ,but  unless the    
student has this ability1 the preceding 
process should  be followed4 ,and even  
when a student has the necessary ability

 to  conceive the complete expression at
 once1 he is very likely to  lose some  
of what might be called the ingredients 
of a composite  emotion4 ,for instance1 
in representing the strong language of  
one who might be said never to lose his 
anger1 the student who  is particularly 
choleric by nature is very likely to    
forget the  dignity of the character4   
,he may be reminded of his error by     
recalling dignity to his mind1 and at   
once the natural temperament  of the    
speaker will be modified by the new     
stimulus4    ,it might also be well to  
consider here another reason for the    
practice of these illustrations4 ,many  
students are temperamentally  restricted
 and shy1 and others have become so     
through training and  environment4      
,before these can hope to become        
effective readers  there must be a      
certain amount of genuine abandon4      
,hence1 even if a  student may never    
have any use for the ability to         
impersonate1 the  practice here         

recommended will prove to be one of the 
best1 surest1  and quickest methods of  
bringing him out of himself4 ,the       
abandon  thus gained will stand him in  
good stead in any effort he may be      
called upon to make as a public speaker4
    ,let it be remembered that niceties 
of form are not to be expected  for a   
long time4 ,if the student's abandon is 
developed1 that is all  that should be  
expected4    ,in the following speech   
the student must never forget that      
,othello  is a warrior1 one accustomed  
to command1 and of large heart4 ,his    
dignity1 therefore1 must be manifest    
throughout the address3          ,most  
potent1 grave1 and reverend signiors1   
,my very noble and approv'd good        
masters1--        ,that ,i have ta'en   
away this old man's daughter1        ,it
 is most true2 true1 ,i have married    
her2        ,the very head and front of 
my offending        ,hath this extent1  
no more4 ,rude am ,i in my speech1      
,and little bless'd with the soft phrase

 of peace2        ,for1 since these arms
 of mine had seven years' pith1         
,till now some nine moons wasted1 they  
have used        ,their dearest action  
in the tented field2        ,and little 
of this great world can ,i speak1       
,more than pertains to feats of broil   
and battle1        ,and therefore little
 shall ,i grace my cause        ,in     
speaking for myself4 ,yet1 by your      
gracious patience1        ,i will a     
round unvarnished tale deliver          
,of my whole course of love2 what drugs1
 what charms1        ,what conjuration1 
and what mighty magic1        7,for such
 proceeding ,i am charg'd withal17      
,i won his daughter with4        ,her   
father lov'd me2 oft invited me2        
,still question'd me the story of my    
life1        ,from year to year2 the    
battles1 sieges1 fortunes1        ,that 
,i have passed4        ,i ran it        
through1 even from my boyish days1      
,to the very moment that he bade me tell
 it3        ,wherein ,i spake of most   

disastrous chances1        ,of moving   
accidents by flood and field1        ,of
 hair-breadth 'scapes i' the imminent   
deadly breach2        ,of being taken by
 the insolent foe1        ,and sold to  
slavery2 of my redemption thence1       
,and portance in my travel's history4-- 
--,othello1 ,act i41 ,sc4 #c4           
,another excellent extract for practice 
is the following speech of  ,cassius    
from the first act of ,julius ,caesar4  
,note the dignity1  the sarcasm1 the    
ridicule1 the contempt1 and the sense of
 triumph3          ,i cannot tell what  
you and other men        ,think of this 
life2 but1 for my single self1        ,i
 had as lief not be1 as live to be      
,in awe of such a thing as ,i myself4   
,i was born as free as ,caesar2 so were 
you3        ,we both have fed as well1  
and we can both        ,endure the      
winter's cold as well as he3        ,for
 once upon a raw and gusty day1         
,the troubled ,tiber chafing with her   
shores1        ,caesar said to me1      

8,darest thou1 ,cassius1 now            
,leap in with me into this angry flood1 
,and swim to yonder point80 ,upon the   
word1        ,accoutred as ,i was1 ,i   
plungd in1        ,and bade him follow2 
so indeed he did4        ,the torrent   
roared1 and we did buffet it            
,with lusty sinews1 throwing it aside   
,and stemming it with hearts of         
controversy2        ,but ere we could   
arrive the point proposed1              
,caesar cried1 8,help me1 ,cassius1 or  
,i sink60        ,i1 as neas1 our great 
ancestor1        ,did from the flames of
 ,troy upon his shoulder        ,the old
 ,anchises bear1 so from the waves of   
,tiber        ,did ,i the tird ,caesar4 
,and this man        ,is now become a   
god1 and ,cassius is        ,a wretched 
creature1 and must bend his body1       
,if ,caesar carelessly but nod on him4  
--,julius ,caesar1 ,act i41 ,sc4 #b4    
,these speeches of ,cassio in ,othello  
show remorse1 self-contempt1  with anger
 and regret3      ,,cassio4 ,reputation1

 reputation1 reputation6 ,oh6 ,i have   
lost my    reputation4 ,i have lost the 
immortal part of myself1 and what       
remains is bestial4 ,my reputation1     
,iago1 my reputation6      ,,iago4 ,as  
,i am an honest man1 ,i thought you had 
received some    bodily wound2 there is 
more sense in that than in reputation4  
,reputation is an idle and most false   
imposition2 oft got without    merit1   
and lost without deserving3 you have    
lost no reputation at    all1 unless you
 repute yourself such a loser4 ,what1   
man6 there    are ways to recover the   
general again3 you are but now cast in  
his mood1 a punishment more in policy   
than in malice2 even so    as one would 
beat his offenseless dog1 to affright an
 imperious    lion4 ,sue to him again1  
and he's yours4      ,,cassio4 ,i will  
rather sue to be despised1 than to      
deceive so good    a commander with so  
slight1 so drunken1 and so indiscreet an
    officer4 ,drunk8 and speak parrot8  
and squabble8 swagger8 swear1    and    

discourse fustian with one's own shadow8
 ,o thou invisible    spirit of wine6 if
 thou hast no name to be known by1 let  
us call    thee devil4      ,,iago4     
,what was he that you followed with your
 sword8 ,what had he    done to you8    
,,cassio4 ,i know not4      ,,iago4     
,is't possible8      ,,cassio4 ,i       
remember a mass of things1 but nothing  
distinctly2    a quarrel1 but nothing   
wherefore4 ,o ,god1 that men should put 
an enemy in their mouths1 to steal away 
their brains6 that we    should1 with   
joy1 pleasance1 revel1 and applause1    
transform    ourselves into beasts6     
,,iago4 ,why1 but you are now well      
enough3 how came you thus    recovered8 
,,cassio4 ,it has pleased the devil     
drunkenness1 to give place to    the    
devil wrath3 one unperfectness shows me 
another1 to make me    frankly despise  
myself4      ,,iago4 ,come1 you are too 
severe a moraler4 ,as the time1 the     
place1    and the condition of this     
country stands1 ,i could heartily wish  

this had not befallen2 but1 since it is 
as it is1 mend it for    your own good4 
,,cassio4 ,i will ask him for my place  
again3 he shall tell me1 ,i am    a     
drunkard4 ,had ,i as many mouths as     
,hydra1 such an answer would    stop    
them all4 ,to be now a sensible man1    
by-and-by a fool1 and    presently a    
beast6 ,o1 strange6 ,every inordinate   
cup is unblessed1    and the ingredient 
is a devil4--,othello1 ,act ii41 ,sc4   
#c4    ,in conclusion1 begin with simple
 emotions4 ,do not ask the younger      
pupils to represent intense pathos1     
great solemnity1 and the like4  ,reserve
 these for the upper grades of the high 
school4 ,again1  avoid the baser        
emotions1 such as anger1 hate1 jealousy4
 ,time does  not permit us to enlarge on
 this1 but the whole trend of the best  
psychology is in favor of this          
admonition4 ,select extracts in which   
the characters manifest simple1 noble1  
inspiring1 and uplifting  feeling4      
,patriotism1 self-sacrifice1 love of    

nature1 these are the  themes with which
 the imagination of the pupils should   
come into  contact4    ,the teacher is  
heartily advised to gather a dozen or   
more extracts  and speeches 7from this  
book and elsewhere7 under three or four 
significant heads1 such as patriotism1  
love of nature1 etc41  and to keep the  
class at each phase until definite      
results are  attained4 ,there is no     
hesitation in deprecating the method    
that  compels teachers to teach any     
lesson simply because it follows1       
numerically1 the preceding lesson4 ,the 
proper method is hinted at  elsewhere4  
,a few words are now added to justify   
that method4 ,in  many readers there may
 be two patriotic selections2 one at the
  beginning1 one at the end4 ,probably a
 year will intervene between  these two4
 ,is it not good pedagogy to take up    
these lessons in  succession8 ,to keep  
the pupils in a patriotic mood for five 
consecutive days must be certainly      
productive of better results  than can  

be obtained by the other method of      
,lesson ,i1 ,lesson ,,ii1  ,lesson      
,,iii4 ,so also with other emotions4    
,when a certain emotion is  present in  
only one or two paragraphs of a         
selection1 only those  paragraphs need1 
of course1 to be prepared4              
,,chapter ,,xii    ,,atmosphere         
,this element of expression1 perhaps    
more than any other1 manifests  the     
artistic nature of the reader2 artistic1
 inasmuch as the  atmosphere1 or vocal  
color1 shows the sensitiveness of the   
reader  to sense stimuli2 shows that he 
is moved by the contemplation of  the   
beautiful1 the sublime1 the tender1 the 
pathetic4 ,this element  is called by   
different names1 but perhaps none is    
more significant  than ,atmosphere4     
,this effect is not easy to describe1   
and yet it  is as real as rhythm or     
inflection or any other of the elements 
discussed in this book4 ,atmosphere is  
that sympathetic quality  of voice that 
manifests the spirit of literature4 ,who

 can fail  to notice the tender motherly
 sympathy that pervades every word  of  
the lyric ,sweet and ,low8 ,now compare 
this with the knights'  chorus from ,the
 ,coming of ,arthur4 ,this is permeated 
throughout  with the spirit of the      
,round ,table4 ,the spirit of motherly  
love in  the former1 and of knightly    
courage and the clang of arms in the    
latter1 completely envelop these poems1 
and permeate every letter4  ,therefore1 
in the rendering the reader must        
exercise the greatest  care not to      
dissipate this atmosphere4 ,the least   
misstep1 one false  note1 and the       
atmosphere is dissipated4    ,in longer 
selections there may be variety of      
atmosphere in the  different stanzas or 
paragraphs1 provided always that the    
variety  enhances the poem as a whole4  
,mere variety in reading is not art1    
but chaos1 says ,professor ,corson4     
,the following lines from ,matthew      
,arnold's ,sohrab and ,rustum#ac        
illustrate the principle of variety in  

unity4 ,the poem purports to  be an     
extract from the epic of ,rustum1 the   
,persian ,achilles1 and  is especially  
marked by a dignity truly ,homeric4     
,this atmosphere  of dignity envelops   
every line4 ,hence pathos and joy1      
patriotism  and defiance1 scorn and     
contempt1 and all the other emotions1   
are  always dignified4 ,the ,tartar     
champion1 ,sohrab1 challenges the       
bravest ,persian champion to meet him in
 single combat2 and the  ,tartar leader1
 ,peran-,wisa1 announces the challenge4 
,the ,tartars  love their hero1 and the 
thrill that pervades their army is      
significant of that love4 ,but the      
,persian champion1 ,achilles-like1      
sulks in his tent2 and the knowledge of 
this fact1 when the  announcement of the
 challenge is heard by the ,persians1   
fills them  with awe and dismay4 ,read  
the following lines1 bringing out the   
significant atmosphere of the two parts 
of the contrast1 but being  careful to  
bear in mind the general atmosphere of  

dignity3          ,and the old ,tartar  
came upon the sand        ,betwixt the  
silent hosts1 and spake1 and said3--    
8,ferood1 and ye1 ,persians and ,tartars
 hear6        ,let there be truce       
between the hosts to-day4        ,but   
choose a champion from the ,persian     
lords        ,to fight our champion     
,sohrab1 man to man40          ,as1 in  
the country1 on a morn in ,june1        
,when the dew glistens on the pearled   
ears1        ,a shiver runs through the 
deep corn for joy--        ,so1 when    
they heard what ,peran-,wisa said1      
,a thrill through all the ,tartar       
squadrons ran        ,of pride and hope 
for ,sohrab1 whom they loved4           
,but as a troop of peddlers from        
,cabool1        ,cross underneath the   
,indian ,caucasus1        ,the vast     
sky-neighboring mountain of milk snow2  
,crossing so high1 that1 as they mount1 
they pass        ,long flocks of        
traveling birds dead on the snow1       
,choked by the air1 and scarce can they 

themselves        ,slake their parch'd  
throats with sugar'd mulberries--       
,in single file they move and stop their
 breath1        ,for fear they should   
dislodge the o'erhanging snows--        
,so the pale ,persians held their breath
 with fear4    ,the reader must also    
bear in mind that from the very         
beginning of  each picture the          
atmosphere of joy and fear respectively 
must be in  the mind1 and must never be 
lost sight of under any circumstances4  
,sometimes the atmosphere is modified by
 the fact that the speaker  is quoting  
the words of another person1 and then it
 is often a  matter of the most subtle  
analysis to determine the extent to     
which  the quoted words will modify the 
atmosphere of the reader1 whether       
speaking in his own person or in the    
person of another4    ,there are two    
kinds of literature that must be        
considered in this  connection4 ,first1 
that class in which the reader tells the
 story  in his own person4 ,second1 when

 the reading is a personation           
throughout4 ,an example of the first    
class is ,the ,idylls of the  ,king2 and
 of the second1 the 8,instigation0      
speech of ,cassius in  ,julius ,caesar4 
,the principle governing atmosphere     
applies equally  and in the same way to 
both kinds of selections4 ,the knowledge
 of  this fact will often be valuable to
 the reader4    ,we get a good example  
in the 8,instigation0 speech1 where     
,cassius  tells ,brutus that ,caesar1   
when he had a fever1 cried1 8#8,give  me
 some drink1 ,titinius1' as a sick      
girl40 ,the whole matter of  atmosphere1
 as far as quoted words are concerned1  
will be made  clear by a study of this  
simple passage4 ,cassius is so exercised
  over the success of ,caesar and his   
own consequent humiliation1  that his   
scorn and rage are well-nigh boundless4 
,as the torrent  of his emotion rushes  
forth1 is it not entirely inconsistent  
with  our knowledge of human nature to  
suppose that that torrent would  be so  

impeded or arrested when ,cassius came  
to the above words1  that he would stop 
to reproduce the actual manner and tones
 of  ,caesar8 ,what ,cassius probably   
does is to suggest something of the     
effeminate manner of ,caesar enveloped  
in ,cassius' own atmosphere  of         
bitterest loathing and contempt4 ,one   
will be helped in work of  this kind by 
asking himself the question1 ,what is   
the atmosphere  of the speaker8 ,then1  
having determined this1 he must next    
make up  his mind1 through his knowledge
 of human nature1 to what extent  this  
atmosphere is modified by the quoted    
words that are introduced  into the body
 of the story4 ,he may be assisted in   
determining this  by putting a second   
question to himself1 ,is what the quoted
 words  convey1 or the manner in which  
they are conveyed1 of the greater       
importance8 ,this is well illustrated in
 ,king ,robert of ,sicily4  ,it makes no
 difference in this particular poem how 
the sexton  uttered the words1 8,who is 

there80 and1 consequently1 it would be a
  mistake to give them any very         
significant atmosphere4 ,as a matter  of
 fact1 the words are really equivalent  
to indirect discourse2 the  expression  
would convey exactly the same meaning to
 the listener  if read1 ,asking who was 
within4 ,the following from ,king ,lear 
is  full of suggestiveness in this      
connection4 ,we recall that ,kent  has  
sent a gentleman to ,cordelia to tell   
her of the condition of  her father4    
,later in the drama1 ,kent meets the    
gentleman1 and  from him gets the story 
of the manner in which ,cordelia        
received  the sad news of her father's  
suffering4 ,how truly ridiculous it     
would be for the gentleman to imitate   
the manner of ,cordelia6 ,the           
psychological explanation of what       
happens is probably this3 ,as he        
relates the story to ,kent1 the tearful 
face and voice of ,cordelia  come into  
his mind1 and1 since there is always in 
human nature  a tendency to become that 

which one describes1 something of the   
manner of ,cordelia will be suggested in
 the voice of the speaker2  but let us  
bear in mind that the imitation is not  
intentional and  detailed1 but          
instinctive and suggestive only4 ,it is 
not meant  that the reader is not       
conscious of what he is doing1 but that 
the gentleman 7to use a concrete        
illustration7 is not consciously        
imitating ,cordelia4 ,the artistic      
reader in reproducing this scene  is    
conscious of what he is doing1 but      
consciously sympathetic1 not  imitative3
            ,,kent4 ,did your letters   
pierce the queen to any demonstration   
of grief8          ,,gentleman4 ,ay1    
sir2 she took them1 read them in my     
presence2        ,and now and then an   
ample tear trilled down        ,her     
delicate cheek3 it seemed1 she was a    
queen        ,over her passion1 who1    
most rebel like1        ,sought to be   
king o'er her4          ,,kent4         
,o1 then it moved her4                  

,,gentleman4 ,not to a rage3 patience   
and sorrow strove        ,who should    
express her goodliest4 ,you have seen   
,sunshine and rain at once2 her smiles  
and tears        ,were like a better    
,may3 those happy smilets        ,that  
played on her ripe lip1 seemed not to   
know        ,what guests were in her    
eyes1 which parted thence        ,as    
pearls from diamonds dropped4--,in      
brief1        ,sorrow would be a rarity 
most beloved1        ,if all could so   
become it4          ,,kent4             
,made she no verbal question8           
,,gentleman4 ',faith1 once1 or twice1   
she heav'd the name of                  
8father10        ,pantingly forth1 as if
 it pressed her heart2        ,cried1   
8,sisters6 sisters6 ,shame of ladies6   
sisters6        ,kent6 father6 sisters6 
,what8 i' the storm8 i' the night8      
,let pity not be believd60--,there she  
shook        ,the holy water from her   
heavenly eyes1        ,and clamor       
moistened3 then away she started        

,to deal with grief alone4              
--,king ,lear1 ,act iv41 ,sc4 #c4       
,this leads to another feature of the   
study of atmosphere4 ,in the  following 
lines from the ,elegy in a ,country     
,churchyard1 we  certainly speak slowly2
 but let it be remembered that this is  
done1  not in imitation of the slow     
movement of the objects described1 but  
in sympathy with them4 ,the solemnity   
and dignity of the occasion so  affect  
us that our movement becomes slow1 and  
this movement and the  right vocal      
quality give us the proper atmosphere4  
,the curfew tolls the knell of parting  
day1          ,the lowing herd winds    
slowly o'er the lea1        ,the plowman
 homeward plods his weary way1          
,and leaves the world to darkness and to
 me4          ,now fades the glimmering 
landscape on the sight1          ,and   
all the air a solemn stillness holds1   
,save where the beetle wheels his       
droning flight1          ,and drowsy    
tinklings lull the distant folds3       

,save that from yonder ivy-mantled      
tower1          ,the moping owl does to 
the moon complain        ,of such as1   
wandering near her secret bower1        
,molest her ancient solitary reign4     
,beneath those rugged elms1 that        
yew-tree's shade1          ,where heaves
 the turf in many a moldering heap1     
,each in his narrow cell forever laid1  
,the rude forefathers of the hamlet     
sleep4    ,let us remember1 too1 that an
 event which once filled us with joy    
may be recalled with pain and sorrow1   
and that it is our present  condition   
that determines the atmosphere4         
,browning's ,patriot will  illustrate   
this4    ,the untrained reader is       
altogether too prone to imitation2 but  
let him bear in mind that imitation1 if 
ever art1 is its lowest  form4 ,the     
province of the reader is to manifest1  
through his  interpretation1 the        
innermost spirit of the poem4 ,very     
often  by imitating1 by literally       
reproducing the voice1 manner1 and      

movements1 we obscure the underlying    
spirit of the line1 paragraph  or poem4 
,there are certain readers1 for         
instance1 who sing1 ,non  ti scordar di 
me1 in ,aux ,italiens4 ,for the sake of 
argument1  we might admit1 that at the  
end of the poem there might be some     
slightest justification for this        
procedure2 but in the beginning1  it is 
absolutely indefensible4 ,the speaker is
 in a deep reverie2  he dwells in the   
past4 ,his mind goes back to a visit to 
the  opera-house in ,paris1 years       
before4 ,the opera is ,il ,trovatore2   
and the heroine comes before us seeking 
her lover1 who has been  snatched from  
her arms through the jealousy of        
another4 ,she arrives  before the       
monastery as the monks chant the        
,miserere4 ,her prayer  ascends         
heavenward2 and when she ceases1 there  
rises clear and  passionately the voice 
of her lover from within his cell1      
singing1  ,non ti scordar di me 7,forget
 me not74 ,as the audience in the       

opera-house hear these words1 their     
minds go back to the past4 ,the  king   
goes back to his early triumphs2 the    
queen's mind reverts to  her life in    
,spain2 the wife of the ,marquis of     
,carabas lets her  thoughts glide back  
to her first husband2 and to the        
speaker's mind  there comes the vision  
of his early love4 ,non ti scordar di   
me1  then1 is the source of the poem4   
,the tie that binds us to the past  is  
the poet's theme1 8,old things are      
best40 ,now let us look at the  stanza  
at the end of which occurs the line we  
are discussing3          ,the moon on   
the tower slept soft as snow1           
,and who was not thrilled in the        
strangest way1        ,as we heard him  
sing while the gas burned low1          
8,non ti scordar di me40    ,in the     
first place1 when one sings these lines1
 he is just a little  likely to be      
deemed presumptuous when it is recalled 
that the  previous stanza has said3     
,and ,mario can soothe with a tenor     

note1        ,the souls in purgatory4   
,it is hardly likely that the reader is 
a ,mario2 but this is a small           
criticism1 comparatively speaking4 ,the 
atmosphere of the poem is  one of       
reverie2 and what possesses the speaker 
is not the literal  way the words were  
sung1 but the memory of the thrill that 
passed  through him and through the     
audience as these words rang out in a   
pause of the solemn ,miserere of the    
monks4 ,let it be borne in  mind that   
the argument is not against the singing 
as singing1 but  against the method that
 would completely destroy the atmosphere
  of the poem for the sake of a vocal   
affectation4 ,what should  be expressed 
is the rapture of the speaker as he     
recalls those  passionate words and     
tones1 in his present moment of         
contemplation4  ,there are certain      
reprints of this poem that leave out the
 stanzas  describing the effect of the  
song on the king1 the queen1 and the    
marchioness4 ,does this not prove that  

those who print such versions  have     
missed the very essence of the story8   
,there is one more element that we are  
to discuss in this  connection1 and that
 is the atmosphere of sympathy that     
envelops  the reading of description4   
,this atmosphere shows the effect upon  
us of that which the author describes4  
,the tendency of most readers is toward 
imitation1--to groan and  moan1 and     
laugh and cry1 whenever these words     
appear in the  selection interpreted4   
,in such passages as the following from 
,aldrich's ,face ,against the ,pane1 we 
have heard more than one  reader imitate
 the screeching and the moaning1 and the
 groaning and  the breaking3            
,she hears the sea bird screech1        
,and the breakers on the beach          
,making moan1 making moan4    ,and      
again1 in the same poem1 we have heard  
imitations of the  tolling bells in3    
,how it tolls for the souls        ,of  
the sailors on the sea2    ,in these    
passages and all similar ones1 as1 for  

instance1 those  already quoted from the
 ,elegy in a ,country ,churchyard1 our  
aim  should be to manifest through the  
atmosphere the effect of the            
description upon ourselves4    ,perhaps 
it will assist us to get a clearer      
conception of this  important feature if
 we discuss a few typical examples1 even
  repeating some of the selections      
already used in the discussion4         
,example #a 7from ,sohrab and ,rustum74 
,the atmosphere of the first  simile is 
that of joy2 not in imitation of the joy
 of the ,tartars1  but because we are   
moved to joy by our sympathy with       
,sohrab4    ,example #b 7ibid474 ,we do 
not express the fear of the ,persians   
or of the peddlers1 but our contempt for
 the former--perhaps  slightly tinged1  
through sympathy1 with their fear4      
,example #c 7from ,king ,robert of      
,sicily74 ,the atmosphere is that  of   
simple narrative1 which is in no wise   
changed by the words of  the sexton4    
,example #d4 ,eugene ,field's ,little   

,boy ,blue presents a father  standing  
before the dust-covered toys of his dead
 child4 ,the father  speaks throughout1 
and yet there are those who actually    
imitate the  voice and manner of the    
child in the opening lines of the second
  stanza3          8,now don't you go   
till ,i come10 he said1          8,and  
don't you make any noise20        ,so   
toddling off to his trundle-bed         
,he dreamt of the pretty toys4    ,it is
 the father we want1 not the child4     
,example #e 7from the ,elegy in a       
,country ,churchyard74 ,we read the     
passage slowly1 not because we desire to
 imitate the slow movement  of the      
objects described1 but because we are   
impressed by their  solemnity4    ,it   
may be thought that the principle here  
discussed has no value  except for      
advanced pupils or for those who desire 
to make a  specialty of reading4 ,this  
is a grave error and one that has had   
much to do with the spiritless reading  
of our schools4 ,at least  one-half of  

the selections in our readers1 above the
 second1  present opportunities for the 
expression of what we have termed       
sympathy4 ,in the chapter on ,values we 
observed that there were  ever-varying  
phases of thought and feeling1 each one 
of which  would be read with a different
 atmosphere4 ,let us look at another    
complete poem solely with a view to     
applying the principles of  phases and  
of atmosphere3          ,gusty and raw  
was the morning2          ,a fog hung   
over the seas1        ,and its gray     
skirts1 rolling inland1          ,were  
torn by the mountain-trees4        ,no  
sound was heard but the dashing         
,of waves on the sandy bar1        ,when
 ,pablo of ,san ,diego          ,rode   
down to the ,paso del ,mar4             
#h          ,the pescador1 out in his   
shallop1          ,gathering his harvest
 so wide1        ,sees the dim bulk of  
the headland          ,loom over the    
waste of the tide2        ,he sees1 like
 a white thread1 the pathway            

,wind round on the terrible wall1       
,where the faint1 moving speck of the   
rider          ,seems hovering close to 
its fall6                         #af   
,stout ,pablo of ,san ,diego            
,rode down from the hills behind2       
,with the bells on his gray mule        
tinkling1          ,he sang through the 
fog and wind4        ,under his thick1  
misted eyebrows          ,twinkled his  
eye like a star1        ,and fiercer he 
sang as the sea-winds          ,drove   
cold on the ,paso del ,mar4             
#bd          ,now ,bernal1 the herdsman 
of ,corral1          ,had traveled the  
shore since dawn4        ,leaving the   
ranches behind him3          ,good      
reason had he to be gone6        ,the   
blood was still red on his dagger1      
,the fury was hot in his brain1         
,and the chill1 driving scud of the     
breakers          ,beat thick on his    
forehead in vain4                       
#cb          ,with his blanket wrapped  
gloomily round him          ,he mounted 

the dizzying road1        ,and the      
chasms and steeps of the headland       
,were slippery and wet as he trode4     
,wild swept the wind of the ocean1      
,rolling the fog from afar1        ,when
 near him a mule-bell came tinkling1    
,midway on the ,paso del ,mar4          
#dj          8,back60 shouted ,bernal   
full fiercely1          ,and 8,back60   
shouted ,pablo in wrath1        ,as his 
mule halted1 startled and shrinking1    
,on the perilous line of the path4      
,the roar of devouring surges           
,came up from the breakers' hoarse war2 
,and 8,back1 or you perish60 cried      
,bernal2          8,i turn not on ,paso 
del ,mar60                              
#dh          ,the gray mule stood firm  
as the headland2          ,he clutched  
at the jingling rein1        ,when      
,pablo rose up in his saddle            
,and smote till he dropped it again4    
,a wild oath of passion swore ,bernal1  
,and brandished his dagger still red2   
,while fiercely stout ,pablo leaned     

forward1          ,and fought o'er his  
trusty mule's head4                     
#ef          ,they fought till the black
 wall below them          ,shone red    
through the misty blast4        ,stout  
,pablo then struck1 leaning farther1    
,the broad breast of ,bernal at last2   
,and1 frenzied with pain1 the swart     
herdsman          ,closed round him with
 terrible clasp1        ,and jerked him1
 despite of his struggles1              
,down from the mule in his grasp4       
#fd          ,they grappled with        
desperate madness          ,on the      
slippery edge of the wall2        ,they 
swayed on the brink1 and together       
,reeled out to the rush of the fall6    
,a cry of the wildest death-anguish     
,rang faint through the mist afar1      
,and the riderless mule went homeward   
,from the fight of the ,paso del ,mar6  
#gb                    --,the ,fight of 
,paso del ,mar4 ,,bayard ,,taylor4    l4
 #a-d4--,simple description1 the last   
line slightly colored with  emotion4    

l4 #e1 #f4--,note how the voice becomes 
suppressed in sympathy with  the        
picture4    l4 #g1 #h4--,simple         
description4    l4 #i-ab4--,simple      
description4    l4 #ac-af4--,the        
important part this pathway is to play  
in the poem  and the danger of the rider
 will bring the suggestion of fear into 
the voice of the reader4 ,it is the     
effect of the picture upon us  that we  
must manifest2 this is half the art of  
reading4    l4 #ag-bd4--,the joy of     
,pablo will find an echo in our reading1
 as  will his joyous defiance in l4 #bc1
 #bd4    l4 #be-bg4--,simple description
 to 8behind him10 when the coming  event
 casts its shadow before2 the color of  
the next line is  clearly anticipated on
 these two words4    l4 #bh4--,the      
atmosphere is difficult to characterize 
in a word1 but  not to manifest4    l4  
#bi-cb4--,note the marked change4 ,the  
atmosphere is largely that  of          
sympathy--fury and dogged1 gloomy       
determination4 ,perhaps there  might be 

something of our horror and loathing in 
l4 #bi4    l4 #cc-cf4--,simple          
description4    l4 #cg1 #ch4--,sympathy4
    l4 #ci1 #dj4--;,brighter4    l4 #da1
 #db4--,the atmosphere is that of the   
speakers4    l4 #dc1 #dd4--,our fear of 
a fatal misstep4    l4 #de1 #df4--,the  
effect upon us1 not imitation of the    
roar4    l4 #dg1 #dh4--;,anger and      
determination4    l4 #di4--,see l4 #de1 
#df4    l4 #ej-ef4--,virtually the same 
atmosphere1 throughout1 of terror1      
strife1 determination1 hate4    l4 #eg1 
#eh4--,oh6 the pity of it4    l4        
#ei-fd4--,see l4 #ej-ef4    l4          
#fe-fh4--,terror and fear increase until
 the climax on 8fall40    l4 #fi1       
#gj4--,terror and pity4    l4           
#ga4--,observe the transition4          
,restrained pathos to the end4    ,the  
most important fact to be borne in mind 
in endeavoring to  develop the pupil's  
sympathy with what he describes is this3
  imitation of sounds1 and of gestures1 
and of movement1 is a very  low order of

 art4 ,we can not imitate thunder1 but  
we can show  in our voices the awe that 
it inspires4 ,when we unconsciously     
hurry our reading under the impulse the 
imagination receives  from              
contemplating1 let us say1 the rapid    
movement of a cavalry  charge1 we do so 
not in imitation of1 but in sympathy    
with1 the  picture4 ,this is not        
primarily a question of art1 but of     
nature4  ,it is only ignorant teaching  
that says to a pupil1 8,is that the  way
 the thunder roars80 or 8,read more     
rapidly2 don't you see that  you are    
describing the flight of the horses80   
,furthermore1 if  we read slowly a      
passage describing a funeral procession1
 there  is no conscious imitation of    
slowness1 but a sympathy with the       
solemnity1 stateliness and dignity of   
the occasion4    ,a very little         
observation will show us whether the    
imitation is  conscious or sympathetic4 
,in the former case1 the voice will be  
expressing merely speed or slowness4 ,in

 the latter1 there will  be speed or    
slowness1 too1 but accompanied by an    
indefinable and  yet recognizable       
quality of voice1 which is the          
expression of our  sympathy4 ,this is an
 infallible criterion4    ,lastly1 it   
must be urged that we give more time to 
this work4 ,the  imagination cannot be  
developed in a week or a month2 and     
unless  there is imagination1 there can 
be no sympathy4 ,it is difficult  to    
restrain one's self and not dwell longer
 on the value of the  training of the   
imagination4 ,we have no hesitation in  
saying that  that feature of education  
is the most neglected4 ,such training   
as is here suggested will1 in many      
cases1 do much to bring about  a more   
favorable condition of affairs4 ,but it 
takes time1 and  plenty of it4 ,the     
teacher should read to the class quite  
often  such passages as are likely to   
stimulate the imagination4 ,make the    
class follow attentively and get them to
 give back the picture1 as  far as      

possible1 in minutest detail4 ,do this  
again and again and  improvement must   
follow4 ,just in proportion as the      
imagination is  stimulated may we hope  
for a better class of reading4 ,we have 
no  time to teach any subject poorly6   
,this phase of the subject may be       
presented to pupils in some such  manner
 as this3      ,let me tell you a story3
      ,the other day1 a little child    
came to its mother1 saying1 8,oh1       
mother6 ,i just saw a beautiful toy in  
the window3 ,i wish you    would buy it 
for me40 ,the sweet voice was full of   
pleading4 ,the    mother was very poor1 
and had hardly earned enough to pay for 
fuel4 ,how could she spare even the few 
pennies for the toy8 ,but    she said to
 herself1 8,this is ,christmas time20   
and the tears came    into her eyes4    
,the little one saw the tears1 and said3
 8,what are    you crying for1 mother80 
,and then the mother hugged her child   
to her breast and kissed her again and  
again1 saying over and    over1         

8,because ,i love you6 ,because ,i love 
you60      ,when ,christmas morning     
dawned the little toy was on the mantel 
and the child was happy4 ,but when the  
time for breakfast came1    the child   
asked her mother why she did not eat2   
and the mother    answered1 8,i am not  
hungry1 darling2 don't mind me10 and she
    smiled tenderly upon the sweet face1
 upturned to kiss her4      ,after you  
have read this simple tale two or three 
times1 ,i think    you will begin to    
feel some sympathy with the loving      
mother who    would do without her food 
to give joy to her little child4 ,when  
you read the sentences ,i have put in   
italics1 if you have really    tried to 
see the pictures1 ,i am sure you will   
feel some sympathy    that will make    
your reading so different from the      
reading of1    let us say1 the first    
sentence in this lesson4 ,take the line1
    8,the sweet voice was full of       
pleading40 ,can't you imagine some      
sweet child-voice pleading for the toy8 

,well1 then1 listen to    that voice1   
and after you have1 then read1 8,the    
sweet voice was    full of pleading40   
,you will find that your voice will be  
so full    of sympathy that it will say 
not only the words1 but also will       
express love1 and tenderness1 and       
sympathy4 ,you will think1    perhaps1  
some such thought as1 8,she was such a  
lovely child and    she wanted the toy  
so much4 ,it made me feel sorry to hear 
her ask    for it40 ,there is another   
sentence in italics that ,i want you to 
think about4 ,when you read1 8,and the  
tears came into her eyes10    can you   
not feel something of the sadness of    
that mother1 as she    thinks how much  
she would like to buy the toy1 and yet  
there    is nothing to buy it with8     
,when you express your feeling1 your    
voice will say1 8,and the mother's heart
 was sad when she thought    that her   
darling could have no little gift at    
,christmas1 when it    seemed everyone  
should be made happy4 ,how disappointed 

the sweet    one would be when she found
 out how many toys her playmates had    
while she had not one60 ,all these      
thoughts will run through your    mind  
if you will only think about this scene 
long enough1 and    then your voice will
 express that sympathy with the picture 
you    are describing without which you 
can never be a good reader4 ,let    us  
then close this lesson by reminding you 
that the best way to    develop our     
feelings as we read is through sympathy4
      ,there are several other phrases  
and sentences in this story that    ,i  
want you to study sympathetically for   
to-morrow's lesson4    ,then1 after you 
have grasped the idea of this lesson1 be
 sure1    in every selection you read   
hereafter1 that you do not fail to      
pay particular attention to sympathy4   
,let us1 in closing this long but most  
vital discussion1 direct  attention in a
 few words to the psychology of the     
atmosphere of  description4 ,when we are
 giving the description for its own     

sake1  desiring simply to impress the   
picture upon the audience1 we should    
probably use the normal quality4 ,to    
illustrate3          ,a fellow in a     
market-town1        ,most musical1 cried
 8,razors60 up and down1          ,and  
offered twelve for eighteen pence2      
,which certainly seemed wondrous cheap1 
,and for the money quite a heap1        
,as every man would buy1 with cash and  
sense4    ,when1 however1 we are        
somewhat moved through the contemplation
 of  what we see1 when it takes         
possession of us1 we should be likely   
to manifest our feeling in a suggestive 
imitation of the object  described4 ,see
 the third stanza of ,the ,fight of     
,paso del ,mar4 ,the  third stage is    
reached when the picture moves us to    
such an extent  that imitation and      
suggestion disappear1 and we show merely
 our own  feelings4 ,see lines #fi and  
#gj of the same poem4 ,in reading these 
we  do not utter the cry1 nor do we show
 the death anguish1 but our own         

feelings of pity and perhaps terror4    
,there is a fourth stage1 in  which the 
conditions of the second and third are  
blended4 ,again we  may use the same    
poem as an illustration4 ,in lines #ec  
and #ed1 one  could conceive a reader   
partaking through sympathy of the       
passion  of ,bernal1 and yet manifesting
 his own feeling of fear and horror  at 
the same time4    ,it is believed that  
this classification is psychologically  
sound1  and that it will repay close    
study4 ,it need hardly be added that    
the attention of the pupil is not to be 
drawn to the details4  ,selections for  
practice follow3          ,as thro' the 
land at eve we went1          ,and      
pluck'd the ripen'd ears1        ,we    
fell out1 my wife and ,i1        ,o we  
fell out ,i know not why1          ,and 
kiss'd again with tears4        ,and    
blessings on the falling out            
,that all the more endears1        ,when
 we fall out with those we love         
,and kiss again with tears4        ,for 

when we came where lies the child       
,we lost in other years1        ,there  
above the little grave1        ,o there 
above the little grave1          ,we    
kiss'd again with tears4                
--,the ,princess4 ,,tennyson4    ,the   
essence of these exquisite lines is in  
their tender simplicity4          ,sweet
 and low1 sweet and low1          ,wind 
of the western sea1        ,low1 low1   
breathe and blow1          ,wind of the 
western sea6        ,over the rolling   
waters go1        ,come from the dying  
moon1 and blow          ,blow him again 
to me2        ,while my little one1     
while my pretty one1 sleeps4            
,sleep and rest1 sleep and rest1        
,father will come to thee soon2         
,rest1 rest1 on mother's breast1        
,father will come to thee soon2         
,father will come to his babe in the    
nest1        ,silver sails all out of   
the west          ,under the silver     
moon3        ,sleep1 my little one1     
sleep1 my pretty one1 sleep4            

--,ibid4          ,blow trumpet1 for the
 world is white with ,may2        ,blow 
trumpet1 the long night hath roll'd     
away6        ,blow thro' the living     
world--8,let the ,king reign40          
,shall ,rome or ,heathen rule in        
,arthur's realm8        ,flash brand and
 lance1 fall battleaxe upon helm1       
,fall battleaxe1 and flash brand6 ,let  
the ,king reign4          ,strike for   
the ,king1 and live6 his knights have   
heard        ,that ,god hath told the   
,king a secret word4        ,fall       
battleaxe1 and flash brand6 ,let the    
,king reign4          ,blow trumpet6 he 
will lift us from the dust4        ,blow
 trumpet6 live the strength and die the 
lust6        ,clang battleaxe1 and clash
 brand6 ,let the ,king reign4           
,strike for the king and die6 and if    
thou diest1        ,the ,king is ,king1 
and ever wills the highest4             
,clang battleaxe1 and clash brand6 ,let 
the ,king reign4          ,blow1 for our
 ,son is mighty in his ,may6            

,blow1 for our ,son is mightier day by  
day6        ,clang battleaxe1 and clash 
brand6 ,let the ,king reign4            
,the ,king will follow ,christ1 and we  
the ,king        ,in whom high ,god hath
 breathed a secret thing4        ,fall  
battleaxe1 and flash brand6 ,let the    
,king reign4                            
--8,knights' ,chorus0 from ,the ,coming 
of ,arthur4 ,,tennyson4    ,it would    
hardly be appropriate to imitate the    
blow of the trumpet2  and1 striking as  
the effect would be1 it would not be the
 highest  art to have an accompaniment  
of clanging arms4            ,but       
,rustum eyed askance the kneeling youth1
        ,and turn'd away1 and spake to  
his own soul3--          8,ah me1 ,i    
muse what this young fox may mean6      
,false1 wily1 boastful1 are these       
,tartar boys4        ,for if ,i now     
confess this thing he asks1        ,and 
hide it not1 but say3 #8,rustum is      
here6'        ,he will not yield indeed1
 nor quit our foes1        ,but he will 

find some pretext not to fight1         
,and praise my fame1 and proffer        
courteous gifts1        ,a belt or sword
 perhaps1 and go his way4        ,and on
 a feast tide1 in ,afrasiab's hall1     
,in ,samarcand1 he will arise and cry3  
#8,i challenged once1 when the two      
armies camp'd        ,beside the ,oxus1 
all the ,persian lords        ,to cope  
with me in single fight2 but they       
,shrank1 only ,rustum dared2 then he and
 ,i        ,changed gifts1 and went on  
equal terms away4'        ,so will he   
speak1 perhaps1 while men applaud2      
,then were the chiefs of ,iran shamed   
through me40                            
--,sohrab and ,rustum4 ,m4 ,,arnold4    
,note that when ,rustum utters the      
supposed words of ,sohrab he would      
still speak in the musing mood4 ,it is  
still the voice and manner  of ,rustum1 
with the faint suggestion of the other's
 supposed  boastfulness4            ,he 
spoke1 and ,sohrab kindled at his       
taunts1        ,and he too drew his     

sword2 at once they rush'd              
,together1 as two eagles on one prey    
,come rushing down together from the    
clouds1        ,one from the east1 one  
from the west2 their shields            
,dash'd with a clang together1 and a din
        ,rose1 such as that the sinewy  
woodcutters        ,make often in the   
forest's heart at morn1        ,of      
hewing axes1 crashing trees--such blows 
,rustum and ,sohrab on each other       
hail'd4        ,and you would say that  
sun and stars took part        ,in that 
unnatural conflict2 for a cloud         
,grew suddenly in heaven1 and dark'd the
 sun        ,over the fighters' heads2  
and a wind rose        ,under their     
feet1 and moaning swept the plain1      
,and in a sandy whirlwind wrapp'd the   
pair4        ,in gloom they twain were  
wrapp'd1 and they alone2        ,for    
both the on-looking hosts on either hand
        ,stood in broad daylight1 and   
the sky was pure1        ,and the sun   
sparkled on the ,oxus stream4           

,but in the gloom they fought1 with     
bloodshot eyes        ,and laboring     
breath3 first ,rustum struck the shield 
,which ,sohrab held stiff out2 the      
steel-spiked spear        ,rent the     
tough plates1 but fail'd to reach the   
skin1        ,and ,rustum pluck'd it    
back with angry groan4        ,then     
,sohrab with his sword smote ,rustum's  
helm1        ,nor clove its steel quite 
through2 but all the crest        ,he   
shore away1 and that proud horsehair    
plume1        ,never till now defiled1  
sank to the dust2        ,and ,rustum   
bow'd his head2 but then the gloom      
,grew blacker1 thunder rumbled in the   
air1        ,and lightnings rent the    
cloud2 and ,ruksh1 the horse1           
,who stood at hand1 utter'd a dreadful  
cry2--        ,no horse's cry was that1 
most like the roar        ,of some      
pain'd desert lion1 who all day         
,hath trail'd the hunter's javelin in   
his side1        ,and comes at night to 
die upon the sand4        ,the two hosts

 heard that cry1 and quaked for fear1   
,and ,oxus curdled as it cross'd his    
stream4                    --,sohrab and
 ,rustum4 ,m4 ,,arnold4    ,the above is
 an interesting illustration4 ,we are   
not to be eagles  and the wind and the  
sand1 but to manifest the awe which     
overwhelms  us as we describe the       
terrible struggle of this father and    
son1  each ignorant of the identity of  
the other4            ,as when some     
hunter in the spring hath found         
,a breeding eagle sitting on her nest1  
,upon the craggy isle of a hill lake1   
,and pierced her with an arrow as she   
rose1        ,and follow'd her to find  
her where she fell        ,far          
off2--anon her mate comes winging back  
,from hunting1 and a great way off      
descries        ,his huddling young left
 sole2 at that1 he checks        ,his   
pinion1 and with short uneasy sweeps    
,circles above his eyry1 with loud      
screams        ,chiding his mate back to
 her nest2 but she        ,lies dying1  

with the arrow in her side1        ,in  
some far stony gorge out of his ken1    
,a heap of fluttering feathers--never   
more        ,shall the lake glass her1  
flying over it2        ,never the black 
and dripping precipices        ,echo her
 stormy scream as she sails by--        
,as that poor bird flies home1 nor knows
 his loss1        ,so ,rustum knew not  
his own loss1 but stood        ,over his
 dying son1 and knew him not4           
--,sohrab and ,rustum4 ,m4 ,,arnold4    
,rustum has mortally wounded his son in 
the combat1 and now the poet  introduces
 the exquisite simile given above4 ,it  
is a fine study in  the reading of      
description4          ,,chapter ,,xiii  
,,contrasts      ,it is because         
contrasts are a distinct feature of     
literature that  it is well to make the 
study of them and their vocal           
presentation  a feature of the reading  
course4 ,it is understood1 of course1   
that the teacher must use his discretion
 as to the time when the  definite study

 of contrasts should be undertaken2 but 
when clearly  presented and             
discriminatingly illustrated1 even young
 children can  be led to perceive the   
artistic value of contrast1 to enjoy it 
as  art1 and to manifest their          
appreciation of it in their reading4 ,it
  should not be difficult to show young 
children that ,cinderella's  character  
is made to appear more lovable because  
it is set over  against those of her    
sisters4 ,children enjoy such effects as
 well  as adults1 when pleasantly and   
suggestively presented to them4    ,in  
literature there are found illustrations
 of contrast upon  every page4 ,there   
are contrasts of ideas1 contrasts of    
emotions1  contrasts of scenes1         
contrasts of characters1 and many       
others4  ,under the head of 8,the       
,central ,idea0 will be found numerous  
examples of the first class4 ,we shall  
here consider a few  illustrations of   
the other classes1 while in later pages 
will be  found illustrations for more   

extended study4    ,contrast of emotion 
is admirably illustrated in the         
following scene  from ,the ,merchant of 
,venice1 ,act iii41 ,sc4 #a3            
,,shylock4 ,how now1 ,tubal6 what news  
from ,genoa8 hast thou found my         
daughter8      ,,tubal4 ,i often came   
where ,i did hear of her1 but cannot    
find her4      ,,shylock4 ,why there1   
there1 there1 there6 a diamond gone1    
cost me    two thousand ducats in       
,frankfort6 ,the curse never fell upon  
our    nation till now2 ,i never felt it
 till now3--two thousand ducats    in   
that2 and other precious1 precious      
jewels4 ,i would my daughter    were    
dead at my foot1 and the jewels in her  
ear6 would she were    hearsed at my    
foot1 and the ducats in her coffin6 ,no 
news of    them8 ,why so2--and ,i know  
not what's spent in the search3 why1    
thou loss upon loss6 the thief gone with
 so much1 and so much    to find the    
thief2 and no satisfaction1 no revenge3 
nor no ill    luck stirring but what    

lights on my shoulders2 no sighs but of 
my    breathing2 no tears but of my     
shedding4      ,,tubal4 ,yes1 other men 
have ill luck too4 ,antonio1 as ,i heard
 in    ,genoa1--      ,,shylock4 ,what1 
what1 what8 ill luck1 ill luck8         
,,tubal4 ,hath an argosy cast away1     
coming from ,tripolis4      ,,shylock4  
,i thank ,god1 ,i thank ,god6 ,is it    
true1 is it true8      ,,tubal4 ,i spoke
 with some of the sailors that escaped  
the wreck4      ,,shylock4 ,i thank     
thee1 good ,tubal4 ,good news1 good     
news6 ha1    ha6--,where8 in ,genoa8    
,,tubal4 ,your daughter spent in ,genoa1
 as ,i heard1 one night    fourscore    
ducats4      ,,shylock4 ,thou stick'st a
 dagger in me2 ,i shall never see my    
gold    again4 ,fourscore ducats at a   
sitting6 fourscore ducats6      ,,tubal4
 ,there came divers of ,antonio's       
creditors in my company to    ,venice1  
that swear he cannot choose but break4  
,,shylock4 ,i am very glad of it3 ,i'll 
plague him2 ,i'll torture him3    ,i am 

glad of it4      ,,tubal4 ,one of them  
showed me a ring that he had of your    
daughter    for a monkey4               
,,shylock4 ,out upon her6 ,thou         
torturest me1 ,tubal3 it was my         
turquoise2 ,i had it of ,leah when ,i   
was a bachelor4 ,i would not    have    
given it for a wilderness of monkeys4   
,,tubal4 ,but ,antonio is certainly     
undone4      ,,shylock4 ,nay1 that's    
true1 that's very true4 ,go1 ,tubal1 fee
 me an    officer2 bespeak him a        
fortnight before4 ,i will have the heart
 of    him1 if he forfeit2 for1 were he 
out of ,venice1 ,i can make what        
merchandise ,i will4 ,go1 go1 ,tubal1   
and meet me at our synagogue2    go1    
good ,tubal2 at our synagogue1 ,tubal4  
,we cannot fail to remark how the       
contrast between ,shylock's  emotions   
7when bemoaning the loss of his ducats  
at one moment1 and  cursing the daughter
 who has robbed him and eloped with a   
,christian  at another7 serves to bring 
out his peculiar character4    ,contrast

 of character is brought out in every   
great play4 ,horatio  and ,hamlet1      
,cordelia and her sisters1 ,macbeth and 
his wife1 suggest  themselves as        
examples4 ,the third act of ,king ,lear1
 where the  jester's jibes are          
interpolated between the fearful        
outbursts  of the king1 is a striking   
example of character1 as well as of     
emotional contrast4    ,it may be well  
to remark that the two parts of a       
contrast do not  always occur in        
succession4 ,do not the last three or   
four speeches  of ,shylock depend1 for  
their effect1 upon the keeping in mind  
by the audience of his emotions and     
bearing during the former  scenes8 ,let 
the audience forget these1 and they have
 lost a most  significant sthetic       
detail4 ,similarly1 when ,king ,robert  
utters the  speech beginning1 8,thou    
knowest best10 the whole effect is lost 
unless we bear in mind that never for   
three years has his answer to  the      
angel's question been other than1 8,i   

am1 ,i am the king40    ,the following  
examples will afford good practice3     
,sheltered by the verdant shores1 an    
hundred triremes were riding    proudly 
at their anchors1 their brazen beaks    
glittering in the    sun1 their         
streamers dancing in the morning breeze1
 while many a    shattered plank and    
timber gave evidence of desperate       
conflicts    with the fleets of         
,rome4--,regulus to the ,carthaginians4 
,,kellogg4      ,the multitude swayed to
 and fro like a forest beneath a        
tempest1    and the rage and hate of    
that tumultuous throng vented itself in 
groans1 and curses1 and yells of        
vengeance4 ,but calm1 cold and          
immovable as the marble walls around him
 stood the ,roman4--,ibid4      ,if     
there be three in all your company dare 
face me on the bloody    sands1 let them
 come on4 ,and yet ,i was not always    
thus1 a hired    butcher1 a savage chief
 of still more savage men6 ,my ancestors
    came from old ,sparta1 and settled  

among the vine-clad rocks    and citron 
groves of ,syrasella4 ,my early life ran
 quiet as    the brooks by which ,i     
sported2 and when at noon ,i gathered   
the    sheep beneath the shade1 and     
played upon the shepherd's flute1       
there was a friend to join me in the    
pastime4444 ,one evening1 my            
grandsire1 an old man1 was telling of   
,marathon and ,leuctra1 and    how1 in  
ancient times1 a little band of         
,spartans1 in a defile of    the        
mountains1 had withstood a whole army4  
,i did not then know    what war was2   
but my cheeks burned1 and ,i clasped the
 knees of    that venerable man1 until  
my mother1 parting the hair from off    
my forehead1 kissed my throbbing temples
 and bade me go to rest1    and think no
 more of those old tales and savage     
wars4 ,that very    night the ,romans   
landed on our coast4 ,i saw the breast  
that had    nourished me trampled by the
 hoof of the war-horse1 and the         
bleeding body of my father flung amidst 

the blazing rafters of    our           
dwelling6--,spartacus4 ,,kellogg4       
,o ,rome1 ,rome1 thou hast been a tender
 nurse to me6 ,ay1 thou hast    given to
 that poor1 gentle1 timid shepherd lad1 
who never knew a    harsher tone than a 
flute note1 muscles of iron and a heart 
of    flint2 taught him to gaze into the
 glaring eyeballs of the fierce         
,numidian lion1 even as a boy upon a    
laughing girl4--,ibid4      ,the shouts 
of revelry had died away4-,ibid4        
,the roar of the lion had               
ceased4--,ibid4          ,you all do    
know this mantle3 ,i remember           
,the first time ever ,caesar put it on2 
',twas on a summer's evening in his     
tent1        ,that day he overcame the  
,nervii4        ,look6 in this place ran
 ,cassius' dagger through4              
--,julius ,caesar1 ,act iii41 ,sc4 #b4  
,the selection entitled the 8,choric    
,song10 a part of ,tennyson's ,the      
,lotos-,eaters1 is a fine study in      
contrast4 ,the speakers are the         

followers of ,ulysses1 who are debating 
whether they shall remain  in this new  
found land of the ,lotos or return to   
their homes4 ,the  first1 third1 fifth1 
and seventh stanzas are in striking     
contrast  to the others4 ,the feelings  
of the sailors as they alternately      
contemplate their life as it is and has 
been1 in contrast with what  it might be
 should they remain here1 are strikingly
 depicted4    ,the subject of contrasts 
may be presented to the class in some   
such  manner as the following3          
,have you not noticed how much brighter 
the sunlight seems to    be after a     
thunder-shower8 how keenly we enjoy a   
victory after    defeat seems certain8  
,why is this8 ,because the clouds by    
their    blackness make us appreciate   
the sunlight2 and the fear of losing    
the contest makes us doubly glad when we
 win4 ,if we had sunshine    all the    
time1 how monotonous it would be1 and   
how little we    should notice it6 ,and 
you must see that if the other side in  

a contest were very weak1 we should not 
derive much pleasure    from the        
outcome4 ,all nature is full of these   
contrasts3 joy    and sorrow1 light and 
darkness1 success and failure1 are      
always    around us4 ,so literature1    
which deals with nature1 contains these 
contrasts1 too4      ,in literature1 the
 contrast is used to impress upon us    
some    idea or picture more completely 
than could be done by merely            
describing it4 ,this is done by placing 
before us the idea and its    opposite3 
it is like placing a dark screen behind 
a white marble    statue4 ,this being   
so1 we can easily see how necessary it  
is for    us to recognize these         
contrasts in order that we may present  
them    with our voices to the          
listeners4      ,let us take a few      
simple examples4 ,our grandparents tell 
us    that it took them sixty days to   
cross the ocean from ,england to        
,america2 and now1 we know1 it takes but
 six4 ,the best way to show    how great

 an advance this century has made in    
boat-building would    be by contrasting
 the past and the present4 ,we might    
say3 8,it    took my grandparents sixty 
days1 in a sailing vessel1 to cross     
the ocean1 but now we go by steam in    
six40      ,again3 8,last week ,i was   
sleighing and skating in ,minneapolis2  
but to-day ,i am plucking violets and   
japonicas in the gardens of             
,savannah40      ,in both examples you  
observe that the concluding idea of the 
sentence is made more striking because  
of the contrast it makes    with the    
first part4 ,be sure to bear this in    
mind4 ,a contrast is    made up of two  
ideas1 and you must have both of them in
 mind or    your reading will be a      
failure4 ,do you not see that this is   
true8    ,if you were to say 8,i am     
plucking violets in ,savannah to-day10  
there would be very little emotion shown
 in your voice3 you would    be making  
just an ordinary statement4 ,but if you 
were thinking of    the great change you

 had made2 how strange it was that you  
should    be in the midst of winter one 
week and in the midst of spring the     
next1 then the contrast would be such a 
pleasant one that your    voice would be
 full of joy1 and your joy would be     
largely the    result of the contrast4  
,if you had violets all the year round1 
perhaps you would hardly notice them4   
,here are two more examples of contrast1
 more difficult to    express1 but more 
beautiful than the others4      ,imagine
 a noble warrior whose whole life is    
devoted to good    deeds4 ,imagine him  
as he speaks the following words        
descriptive    of the old time          
tournament4 ,then imagine how grateful  
he would    feel for the relief after   
the fierce struggle1 a relief so        
beautifully described by the author3    
,my good blade carves the casques of    
men1          ,my tough lance thrusteth 
sure1        ,my strength is as the     
strength of ten1          ,because my   
heart is pure4        ,the shattering   

trumpet shrilleth high1          ,the   
hard brands shiver on the steel1        
,the splintered spear-shafts crack and  
fly1          ,the horse and rider reel4
        ,they reel1 they roll1 in       
clanging lists1          ,and when the  
tide of combat stands1        ,perfume  
and flowers fall in showers1            
,that lightly rain from ladies' hands4  
--,sir ,galahad4 ,,tennyson4      ,in   
this next example1 we have the picture  
of a king who is    punished for his    
pride by being deprived of all his      
power1    wealth1 and friends4 ,see how 
powerful the contrast he makes as    he1
 who should be master1 rides in mock    
state amid the splendor    of his       
courtiers4 ,the word 8he0 in the first  
line does not refer    to the king1 but 
to another4          ,then he departed  
with them o'er the sea1        ,into the
 lovely land of ,italy1        ,whose   
loveliness was more resplendent made    
,by the mere passing of that cavalcade1 
,with plumes1 and cloaks1 and housings1 

and the stir        ,of jeweled bridle  
and of golden spur4        ,and lo6     
among the menials1 in mock state1       
,upon a piebald steed1 with shambling   
gait1        ,his cloak of foxtails     
flapping in the wind1        ,the solemn
 ape demurely perched behind1           
,king ,robert rode1 making huge         
merriment        ,in all the country    
towns through which they went4          
--,king ,robert of ,sicily4             
,,longfellow4    ,let us remember that  
contrasts are of two kinds3 logical and 
emotional4 ,the former are largely      
antitheses1 such as 8,i said ,john1  not
 ,charles10 and will need but casual    
attention4 ,the pupils will  perceive   
them without difficulty4 ,the other     
class need much care4  ,perhaps the most
 important fact that the teacher must   
bear in mind  concerning these1 is that 
their successful rendition depends upon 
the pupils' keeping both parts of the   
contrasts in mind1 the  first serving as
 a background1 or relief1 for the       

second4 ,just as  contrasts in          
literature afford variety and relief1 so
 the reading  aloud of contrasts gives  
great variety in vocal expression4      
,,chapter ,,xiv    ,,climaxes      ,in  
,genung's ,practical ,rhetoric we find  
the following definition  of ,climax3   
8,this figure1 which depends upon the   
law that a thought  must have progress1 
is the ordering of thought and          
expression so  that there shall be      
uniform and evident increase in         
significance1  or interest1 or          
intensity40    ,an excellent            
illustration of increase in             
,significance is found in  the following
 speech from ,regulus3      ,the artisan
 had forsaken his shop1 the judge his   
tribunal1 the    priest the sanctuary1  
and even the stern stoic had come forth 
from his retirement4    ,here the author
 desires to show that the return of     
,regulus had  thrown all ,carthage into 
a state of intense excitement4 ,the     
artisan1 who could ill afford to lose   

his day's labor1 had left his  shop to  
join the throng that was taking its way 
to the great square  of the city4 ,the  
judge1 whose duty it was to administer  
justice1  could not refrain from joining
 the crowd4 ,the priest1 whose sacred   
office was to tend the altars of the    
gods1 he too1 for once1 was  neglecting 
his duty4 ,and even the stern stoic1    
whose philosophy  taught him to remain  
unmoved under any and all conditions of 
life1 even he1 perforce1 must mix with  
the multitude thronging  the            
,carthaginian streets4 ,each succeeding 
clause presents to us a  more unusual   
disturbance of the normal condition of  
,carthaginian  affairs2 and the climax  
is reached when even the man whose whole
  philosophy teaches him never to be    
moved1 is impelled to do  violence to   
his life-long convictions4    ,in the   
following lines from ,lord ,chatham's   
speech we have an  illustration of the  
climax of ,intensity3      ,if ,i were  
an ,american1 as ,i am an ,englishman1  

while a foreign    troop was landed in  
my country1 ,i never would lay down my  
arms6    ,never6 ,never6 ,never6    ,the
 verbal expression does not progress2   
and yet the emotion  increasing in      
force1 as the mind dwells upon the      
thought1 finds  vent in increasing      
intensity of vocal expression4 ,it may  
be well  to note that by increasing the 
intensity is not necessarily  meant     
greater loudness or higher pitch2 but   
greater intensity of  feeling1 which may
 result in greater loudness or higher   
pitch1 or1  on the other hand1 in       
deeper1 more controlled1 or more        
dignified  expression4    ,we have thus 
far been considering simple and palpable
 forms of  climaxes4 ,let us turn now to
 the examination of the more difficult  
and complex4 ,the following speech is   
uttered by ,marullus1 one  of the       
tribunes1 in the first scene of the     
first act of ,julius  ,caesar4 ,we      
recall the fact that ,marullus appears  
to be greatly  surprised that the       

citizens of ,rome should dress          
themselves in  holiday garb and make    
holiday to celebrate the return of the  
victorious ,caesar4 ,he inquires of them
 what is their purpose in  thus         
celebrating2 and1 after considerable    
bantering1 one of the  crowd remarks    
that they make holiday to see ,caesar1  
and to rejoice  in his triumph1         
whereupon ,marullus speaks3             
,wherefore rejoice8 ,what conquest      
brings he home8        ,what tributaries
 follow him to ,rome1        ,to grace  
in captive bonds his chariot wheels8    
,you blocks1 you stones1 you worse than 
senseless things6        ,o you hard    
hearts1 you cruel men of ,rome1         
,knew you not ,pompey8 ,many a time and 
oft        ,have you climb'd up to walls
 and battlements1        ,to towers and 
windows1 yea1 to chimney-tops1          
,your infants in your arms1 and there   
have sat        ,the livelong day1 with 
patient expectation1        ,to see     
great ,pompey pass the streets of ,rome3

        ,and when you saw his chariot   
but appear1        ,have you not made an
 universal shout1        ,that ,tiber   
trembled underneath her banks1          
,to hear the replication of your sounds 
,made in her concave shores8        ,and
 do you now put on your best attire8    
,and do you now cull out a holiday8     
,and do you now strew flowers in his    
way1        ,that comes in triumph over 
,pompey's blood8        ,be gone6       
,run to your houses1 fall upon your     
knees1        ,pray to the gods to      
intermit the plague        ,that needs  
must light on this ingratitude4    ,the 
first three ideas are arranged in order 
of climax4 ,it may be  termed a climax  
of ,significance4 ,but we must not lose 
sight of  the fact that1 throughout the 
speech1 as the emotion of ,marullus     
increases1 we shall have a climax in    
,intensity4 ,in line #d1 we have        
another climax1 reaching its height on  
the word 8worse40 ,then1  with 8many a  
time and oft10 begins another climax1   

which1 with  occasional diminutions1    
continues to 8shores40 ,in the next four
  lines we have a climax which is       
intensified by contrast4 ,the word      
8now0 is full of reproof and            
condemnation2 and by the time the       
speaker utters the words 8over ,pompey's
 blood0 he is so overcome  with the     
enormity of the crime that1 with the    
utmost fervor1 he  urges the mob to run 
to their houses and pray to the gods to 
refrain from visiting upon their heads  
the rightful punishment of  their       
ingratitude4    ,this cursory analysis  
of the speech has shown us that while   
there  is a steady increase in intensity
 from the first word to the last1  there
 are1 besides1 many smaller climaxes in 
,significance4 ,we find  these in lines 
#a to #c1 line #d1 lines #f to #af1     
lines #ag to #bj1  lines #bb to #bd4 ,it
 may be said in passing1 that the climax
 in lines  #ag to #bj forms a very      
interesting study4 8,best attire10      
8holiday10  8strew flowers in his way10 

are plainly arranged in order of        
climax1 while the three 8now's0 are     
evidently an anti-climax4 ,the  first   
8now0 is most significant1 while the    
last is of very little  importance4 ,on 
the other hand1 the fact of strewing    
flowers in  ,caesar's way is clearly a  
very much more striking mark of their   
ingratitude than that of merely putting 
on their best attire4    ,just as in the
 long paragraph that we have analyzed we
 find a  climax1 so in a drama or in a  
poem we find this steady progression4   
,that scene which is the climax of the  
action is gradually led up  to by       
successive steps1 each one more         
significant and intense than  the       
preceding4 ,the artist is careful not to
 destroy his effect by  anti-climax1 for
 to do so would be to lessen the        
interest of the  audience1 and          
consequently defeat the very purpose of 
the drama or  story4 ,the play of ,the  
,merchant of ,venice illustrates this4  
,each  scene manifestly increases the   

intensity which finally culminates  in  
the trial scene1 after which the play1  
being a comedy1 descends  to a restful  
close at the end of the fifth act4      
,in recitation the ordinary climax of   
,significance presents no  great        
difficulty for the reader4 ,as soon as  
he appreciates the  fact of the growth  
in significance1 he will manifest that  
increase  in greater loudness or        
intensity1 or increase of passion4 ,it  
may  be well to repeat that the increase
 need not be in loudness1 nor  is it    
necessary that the pitch of the voice be
 raised2 but there  will unquestionably 
be some form of climax in the           
expression4 ,the  difficulty begins when
 the climax is made up of smaller       
climaxes1  as in the example from       
,julius ,caesar1 or when a climax is1 so
 to  speak1 one of considerable length4 
,in the latter case1 the utmost  care   
must be used to husband one's resources1
 that when the moment  of intensest     
feeling is reached1 there shall be      

sufficient power  to produce the        
required result4 ,one of the most       
striking defects  in oratory1           
recitation1 and acting1 is the inability
 to present  climaxes artistically4     
,either from a failure to perceive their
  literary value1 or from lack of       
control1 or other limitations  of       
technique1 the effect is often spoiled1 
with most disastrous  results4 ,the     
student1 then1 is advised to determine  
carefully that  point of a passage or   
story where the strongest effect is to  
be  made1 and then to be careful to     
subordinate all else to this4           
,,gradation    ,this feature of literary
 art may appropriately be considered in 
connection with ,climax4 ,the law of    
gradation demands that the  progress    
from the smaller to the greater be      
gradual and regular4  ,in the musical   
and elocutionary arts this is by no     
means an easy  task1 and great care must
 be taken to reserve the strongest      
effects  for the culmination of the     

climax4 ,this is not difficult when the 
climax is short1 but in the longer      
examples one requires all the  art at   
his command4    ,to assist in rendering 
a climax artistically1 let the reader   
bear  in mind the end from the          
beginning4 ,then the temptation to      
overdo  the less important details will 
be reduced4            ,,antony4 ,o1    
pardon me1 thou bleeding piece of earth1
        ,that ,i am meek and gentle with
 these butchers6        ,thou art the   
ruins of the noblest man        ,that   
ever livd in the tide of times4         
,woe to the hand that shed this costly  
blood6        ,over thy wounds now do ,i
 prophesy1--        ,which1 like dumb   
mouths1 do ope their ruby lips          
,to beg the voice and utterance of my   
tongue1--        ,a curse shall light   
upon the limbs of men2        ,domestic 
fury and fierce civil strife1           
,shall cumber all the parts of ,italy2  
,blood and destruction shall be so in   
use1        ,and dreadful objects so    

familiar1        ,that mothers shall but
 smile when they behold        ,their   
infants quartered with the hands of war1
        ,all pity choked with custom of 
fell deeds2        ,and ,caesar's       
spirit1 ranging for revenge1            
,with ,at by his side1 come hot from    
hell1        ,shall in these confines   
with a monarch's voice        ,cry      
8,havoc60 and let slip the dogs of war2 
,that this foul deed shall smell above  
the earth        ,with carrion men      
groaning for burial4                    
--,julius ,caesar1 ,act iii41 ,sc4 #a4  
,,cassius4 ,i know that virtue to be in 
you1 ,brutus1        ,as well as ,i do  
know your outward favor4        ,well1  
honor is the subject of my story4--     
,i cannot tell what you and other men   
,think of this life2 but for my single  
self1        ,i had as lief not be1 as  
live to be        ,in awe of such a     
thing as ,i myself4        ,i was born  
free as ,caesar2 so were you3        ,we
 both have fed as well1 and we can both 

,endure the winter's cold as well as he3
        ,for once1 upon a raw and gusty 
day1        ,the troubled ,tiber chafing
 with her shores1        ,caesar said to
 me1 8,darest thou1 ,cassius1 now       
,leap in with me into this angry flood1 
,and swim to yonder point80--,upon the  
word1        ,accoutred as ,i was1 ,i   
plungd in1        ,and bade him follow3 
so1 indeed1 he did4        ,the torrent 
roared1 and we did buffet it            
,with lusty sinews1 throwing it aside   
,and stemming it with hearts of         
controversy2        ,but ere we could   
arrive the point proposed1              
,caesar cried1 8,help me1 ,cassius1 or  
,i sink40        ,i1 as neas1 our great 
ancestor1        ,did from the flames of
 ,troy upon his shoulder        ,the old
 ,anchises bear1 so from the waves of   
,tiber        ,did ,i the tird ,caesar4 
,and this man        ,is now become a   
god2 and ,cassius is        ,a wretched 
creature1 and must bend his body        
,if ,caesar carelessly but nod on him4  

,he had a fever when he was in ,spain1  
,and when the fit was on him1 ,i did    
mark        ,how he did shake3 'tis     
true1 this god did shake3        ,his   
coward lips did from their color fly2   
,and that same eye1 whose bend doth awe 
the world1        ,did lose his luster4 
,i did hear him groan2        ,ay1 and  
that tongue of his1 that bade the       
,romans        ,mark him1 and write his 
speeches in their books1        ,alas it
 cried1 8,give me some drink1           
,titinius10        ,as a sick girl4 ,ye 
gods1 it doth amaze me1        ,a man of
 such a feeble temper should        ,so 
get the start of the majestic world1    
,and bear the palm alone4      ,shout4  
,flourish4            ,,brutus4         
,another general shout6        ,i do    
believe that these applauses are        
,for some new honors that are heaped on 
,caesar4          ,,cassius4 ,why1 man1 
he doth bestride the narrow world1      
,like a ,colossus2 and we petty men     
,walk under his huge legs1 and peep     

about        ,to find ourselves         
dishonorable graves4        ,men at some
 time are masters of their fates3       
,the fault1 dear ,brutus1 is not in our 
stars1        ,but in ourselves1 that we
 are underlings4        ,brutus1 and    
,caesar3 what should be in that ,caesar8
        ,why should that name be sounded
 more than yours8        ,write them    
together1 yours is as fair a name2      
,sound them1 it doth become the mouth as
 well2        ,weigh them1 it is as     
heavy2--conjure with 'em1        ,brutus
 will start a spirit as soon as ,caesar4
        ,now1 in the names of all the   
gods at once1        ,upon what meat    
doth this our ,caesar feed1        ,that
 he is grown so great8 ,age1 thou art   
shamed6        ,rome1 thou hast lost the
 breed of noble bloods6        ,when    
went there by an age1 since the great   
flood1        ,but it was famed with    
more than with one man8        ,when    
could they say1 till now1 that talked of
 ,rome1        ,that her wide walls     

encompassed but one man8        ,now is 
it ,rome indeed1 and room enough1       
,when there is in it but one only man4  
,o1 you and ,i have heard our fathers   
say1        ,there was a ,brutus once   
that would have brooked        ,the     
eternal devil to keep his state in ,rome
        ,as easily as a king4           
--,julius ,caesar1 ,act i41 ,sc4 #b4    
,in the preceding illustration it must  
be remembered that the  description of  
the rescue of ,caesar from the ,tiber is
 only the  beginning of ,cassius' plan2 
and that his object is to cite the      
illustrations of ,caesar's weakness1 and
 finally to lead up to that  subtle     
flattery with which the 8,instigation0  
speech closes4      ,it is an outrage to
 bind a ,roman citizen2 to scourge him  
is an    atrocious crime2 to put him to 
death is almost parricide2 but to       
crucify him--what shall ,i call it8     
,i know it1 ,i concede it1 ,i confess   
it1 ,i proclaim it4          ,when a    
wind from the lands they had ruin'd     

awoke from sleep1        ,and the water 
began to heave and the weather to moan4 
,if there be one among you who can say  
that ever1 in public fight    or private
 brawl1 my actions did belie my tongue1 
let him stand    forth and say it4 ,if  
there be three in all your company dare 
face    me on the bloody sands1 let them
 come on4      ,o comrades1 warriors1   
,thracians1--if we must fight1 let us   
fight    for ourselves6 ,if we must     
slaughter1 let us slaughter our         
oppressors6 ,if we must die1 let it be  
under the clear sky1 by    the bright   
water1 in noble1 honorable battle6      
,next morning1 waking with the day's    
first beam1        ,he said within      
himself1 8,it was a dream60        ,but 
the straw rustled as he turned his head1
        ,there were the cap and bells   
beside his bed2        ,around him rose 
the bare1 discolored walls1             
,close by1 the steeds were champing in  
their stalls1        ,and in the corner1
 a revolting shape1        ,shivering   

and chattering1 sat the wretched ape4   
,it was no dream2 the world he loved so 
much        ,had turned to dust and     
ashes at his touch6      ,have ,i not1  
since first my youthful arms could wield
 a spear1    conquered your armies1     
fired your towns1 and dragged your      
generals at my chariot wheels8          
,remember that ,greece had her          
,alexander1 ,rome her ,caesar1 ,england 
her ,cromwell1 ,france her ,bonaparte1  
and that1 if we would escape    on the  
rock on which they split1 we must avoid 
their errors4      8,but1 ,mr4 ,speaker1
 we have a right to tax ,america40 ,oh1 
inestimable right6 ,oh1 wonderful1      
transcendent right6 the    assertion of 
which has cost this country thirteen    
provinces1 six    islands1 one hundred  
thousand lives1 and seventy millions of 
money4    ,this last example is a       
peculiar one4 ,under ordinary           
circumstances  thirteen provinces would 
be more valuable than six islands1 and  
surely one hundred thousand lives are   

more valuable than seventy  millions of 
money4 ,on the other hand1 the figures  
in the last three  phrases certainly    
rise to a climax4 ,on the whole1 ,i     
think it better  to regard this as an   
oratorical climax1 understanding ,burke 
not  to have had in mind anything more  
than to present the losses of  ,england1
 as each occurred to him1 while his     
emotion and indignation  rise with each 
enumeration4    ,the climax is a very   
important feature in reading4 ,it       
stimulates  the imagination and         
feelings1 and1 through them1 the voice4 
,it  should be remembered that no       
definite method of expressing a  climax 
vocally can be laid down4 ,in one case  
the pitch may rise2  in another it may  
fall4 ,sometimes the force increases2 at
 other  times it diminishes4 ,hence1 the
 admonition so often given must be      
repeated3 ,do not tell the pupil to     
raise his voice1 or to speak  louder4   
,work at his imagination4 ,if there be a
 climax there1 it  will come out in his 

expression4    ,frequent drills in      
climax will do much to give flexibility1
 power1  and range to the voice4 ,and   
that1 too1 in a far more rational way   
than through any mechanical exercises in
 pitch and force4    ,the following plan
 of presenting climaxes to classes has  
been found  extremely helpful3          
,read the following sentence carefully  
to yourself4 ,notice each    clause1 and
 try to discover if there is not        
something here that    we have not had  
before4 ,i want to ask you not to read  
more than    that sentence until you    
have studied over it for some time4 8,it
    is an outrage to bind a ,roman      
citizen2 to scourge him is an           
atrocious crime2 to put him to death is 
almost parricide2 but to    crucify     
him--what shall ,i call it80      ,we   
have here another method used by writers
 and speakers for    making an idea more
 striking4 ,in this case1 the speaker is
    condemning one who has caused the   
crucifixion of a ,roman4 ,the    orator 

desires to impress upon the judges the  
seriousness of the    offense4 ,how does
 he do it8 ,instead of speaking at once 
about the    crucifying of the victim1  
he begins by showing that a far less    
serious punishment was a grave offense  
against the ,roman law4 ,he    says1    
8,it is an outrage to bind a ,roman     
citizen40 ,then he goes    another step1
 saying3 8,to scourge him is an         
atrocious crime40    ,worse still3 8,to 
put him to death0 7by any means7 8is    
almost    parricide40 ,and now1 having  
shown that less extreme methods    of   
punishment were great crimes1 the orator
 is ready for his    final statement3   
8,but to crucify him--what shall ,i call
 it80 ,in    other words1 the speaker   
seems to have exhausted his vocabulary  
in giving names to lower crimes2 when he
 comes to a name with    which to       
describe the crime of crucifying a      
,roman1 he finds his    vocabulary does 
not have one strong enough4 ,do you not 
see how    powerful an effect such an   

arrangement of clauses must have8 ,it   
is much stronger than if the speaker had
 said merely1 8,i know no    word to    
describe the crime of crucifying a      
,roman citizen40      ,analyze the      
following sentence1 and explain how the 
thought is    made more striking by this
 kind of arrangement4 8,i know it1 ,i   
concede it1 ,i confess it1 ,i proclaim  
it40      ,this method of increasing the
 effect is called climax4 ,whenever1    
for any reason1 a speaker or writer     
keeps on adding thought to    thought1  
making each succeeding idea stronger    
than the preceding1    we have a climax4
 ,although you may never have called it 
by this    name you have used it many   
times4 ,if you were determined to do a  
certain thing you might say1 8,i can do 
it1 ,i will do it1 ,i must    do it40   
,well1 that is a climax4 ,or you might  
say1 8,you can't have    it for ten     
dollars1 for fifty dollars1 for a       
hundred dollars40    ,that is another   
climax4      ,note this example3 8,if ,i

 were an ,american1 as ,i am an         
,englishman1    while a foreign troop   
was landed in my country1 ,i never would
 lay    down my arms6 never6 never6     
never60 ,this1 too1 is a climax1 each   
of the last three 8never's0 being       
stronger than the preceding4 ,if    you 
will put yourself in the position of the
 speaker1 you will    soon feel that    
each 8never0 after the first is the     
result of    stronger1 more intense     
feeling4 ,if you will think of it in    
this    way you will notice the effect  
in your expression4      ,we shall close
 this lesson with two illustrations4    
,your teacher    will tell you the story
 from which these extracts are taken1   
and    then you will prepare them very  
carefully1 taking particular    pains to
 note the climax in each4          ,when
 a wind from the lands they had ruin'd  
awoke from sleep1        ,and the water 
began to heave and the weather to moan1 
,and or ever that evening ended a great 
gale blew1        ,and a wave like a    

wave that is raised by an earthquake    
grew1        ,till it smote on their    
hulls and their sails and their masts   
and their flags1        ,and the whole  
sea plunged and fell on the             
shot-shatter'd navy              of     
,spain1        ,and the little ,revenge 
herself went down by the island crags1  
,to be lost evermore in the main4       
--,the ,revenge4 ,,tennyson4            
,and thro' the centuries let a people's 
voice                ,in full acclaim1  
,a people's voice1        ,the proof and
 echo of all human fame1        ,a      
people's voice1 when they rejoice       
,at civic revel and pomp and game1      
,attest their great commander's claim   
,with honor1 honor1 honor1 honor to him1
        ,eternal honor to his name4     
--,ode on the ,death of the ,duke of    
,wellington4 ,,tennyson4                
,,chapter ,,xv    ,,concluding ,,remarks
 ,,on ,,method      ,in taking leave of 
the pedagogy of the subject it may be   
profitable  to review some of the       

principal features of the method        
advocated1  and add a few hints on minor
 topics not treated elsewhere4    ,the  
method herein laid down aims to present 
one principle at  a time2 calls for     
specific preparation on the part of the 
pupils2 urges that there be definite    
grading of the difficulties  encountered
 by children in learning to read2       
advises strongly  against calling their 
attention to the vocal technique of     
expression2 and lastly1 holds out the   
hope that the impression will           
eventually find an outlet in true       
expression4    ,as at present taught1 no
 distinction is drawn1 in reading1      
between  the easy and the difficult1 the
 simple and the complex4 ,we trust  that
 in the suggestions of this book will be
 found at any rate a  partial solution  
of the difficulty4    ,it should be     
impressed upon pupils from the outset   
that they are  studying the thoughts and
 feelings of others that find expression
  in words upon the printed page4 ,they 

must discover the thoughts  behind the  
words and then express them2 that is all
 there is to  reading4    ,while it is  
believed that the order of the steps as 
here outlined  is a rational one1 it is 
not claimed that this order is hard and 
fixed4 ,in advanced classes1 where the  
method has not been used  in the lower  
grades1 the teacher should endeavor to  
discover the  particular weakness of his
 pupils1 and use with them the step     
most likely to produce the desired      
effect4 ,or if it is thought  advisable1
 he may start with the first step and   
cover all the  ground in one grade as   
fast as the pupils can absorb the spirit
  of each step4 ,but it must never be   
forgotten that carelessness  in reading 
is a habit not easily eradicated2 and1  
further1 that  because a pupil          
satisfactorily prepares a lesson in1 let
 us say1  grouping1 he will not         
necessarily have formed the habit of    
grouping  correctly4 ,we are dealing    
with complicated psychical phenomena1   

and  until the eye1 the memory1 the     
voice1 in fact1 all the elements of     
expression are thoroughly co-ordinated1 
we are in constant danger  of error4    
,the time deemed necessary in public    
schools to complete all the  steps1 is  
about two years1 beginning with the     
grade third or fourth  below the        
highest4 ,before the pupils reach that  
grade1 the sole  effort of the teacher  
should be directed to making the reading
  vital and meaningful4 ,if this is done
 the work of subsequent  teachers will  
be relatively easy4    ,avoid1 and the  
admonition is repeated once more1       
talking to the  pupils about inflection1
 pause1 and the like4 ,these are        
instinctive  manifestations of mental   
states1 and will appear when the        
conditions are right4    ,let the       
teacher not follow slavishly the order  
of lessons in the  regular reading book4
 ,let him choose such selections or     
parts of  them as offer the best        
opportunity for practice where the class

  most needs it4 ,let him further find  
extracts from outside sources  for class
 use4 ,these may be written on the board
 or mimeographed4    ,it has been said  
that we must have a technique if we     
would read4  ,this may be granted2 but  
it is equally to be granted that the    
principal technique is mental1 and1     
moreover1 that1 in the public  schools1 
our aim is to produce simple1 natural1  
expressive readers1  not artistic actors
 and orators4 ,there is1 then1 no       
necessity for  drills on inflection1    
time1 modulation1 and the like1 as such4
 ,give  the pupil all the drill that is 
necessary on the states of mind         
producing these effects1 but let us     
never separate the technique  from the  
mental condition that will find         
instinctive expression  in that         
technique4#ad ,expression grows through 
expressing4 ,if we  will bear this in   
mind1 and present the right thoughts and
 emotions  to be expressed1 at the right
 time1 there should and will be no      

difficulty4    ,it is suggested that1   
perhaps once a week1 short extracts  be 
committed and recited before the class4 
,there need be no  gesture1 just simple 
saying4 ,such a procedure will give the 
pupil  confidence1 develop his          
earnestness1 improve his voice1 and in  
every way affect for good the reading   
spirit of the class4 ,where  a suitable 
selection can be found1 it will be well 
to give a  stanza to each pupil4 ,a word
 may be added about the recitations     
that form so large a part of the closing
 exercises in our schools4  ,if the     
recitation were an honest1 legitimate   
presentation of the  reading as taught  
in the school1 there could be no        
objection to  it2 but in most cases it  
is anything but this4 ,special teachers 
are called in to 8coach0 the students1  
and the result is far from              
satisfactory4 ,a few lessons can seldom 
make a reader1 and where  that plan     
partially succeeds1 so much greater is  
the hypocrisy2 for  the reading stands  

for the work of the school rather than  
for that  of an individual teacher4 ,a  
true showing of the work of the school1 
and one that would in time be heartily  
appreciated by parents1  would be to    
select the good readers 7a few hints to 
them are all  that would be necessary71 
and let them1 book in hand1 read as they
  would in class4 ,if the class reading 
has been good1 so will be the           
individual reading2 otherwise it has no 
business to parade under  false colors  
at public exercises4    ,to what extent 
shall pupils imitate8 ,no fixed rule    
should be laid  down1 but one might say 
that they should never attempt to       
imitate  inflections1 pauses1 rate of   
movement1 and the like4 ,on the         
contrary1 there seems to be much value  
in stimulating the pupils'  imagination 
by having the teacher read certain      
emotional passages  for them4 ,they then
 may catch the spirit of the selection  
without  any conscious effort at        
imitation4 ,there are many who train a  

class  to read in concert from          
imitation4 ,the results of such training
 are  worse than baneful1 leading only  
to inane1 affected expression4          
,,footnotes3    #g ,other examples      
should be found by the teacher4 ,with a 
little  care much valuable material may 
be selected4    #h ,from the            
introduction to the author's 8,how to   
,read ,aloud10  which is out of print4  
,all the essential features1 however1   
are  included in the present work4    #i
 ,the teacher should select the         
examples1 not too many1 and write  them 
on the board2 or they may be selected   
from the reader4 ,drills  of this kind  
should be continued until correct habits
 are formed1  but should cease before   
the pupils become tired of them4    #aj 
,the sources of most of the following   
excerpts are given in  order that the   
student may refer to the context when   
necessary4  ,it is urged1 however1 that1
 since the extracts are taken from      
literature quite available1 the teacher 

refer to the context as  often as       
possible4    #aa ,i4 e41 instant4    #ab
 ,a good example to illustrate          
succession of ideas4    #ac ,it would   
occupy too much space to insert the     
complete  poems mentioned in this       
chapter4 ,these are all1 however1 easily
  available1 and it is hoped that the   
teacher will read them4    #ad ,a great 
deal of what seems to be unnecessary    
confusion exists  regarding the meaning 
of this term4 ,it is used very freely to
 mean  not only mechanical facility1 but
 also that facility plus the  knowledge 
of where and how to use it1 a meaning   
which leads to  confusion4 ,technique is
 8a collective term for all that relates
  to the purely mechanical part of      
either vocal or instrumental            
performance4 ,the technique of a        
performer may be perfect1 and yet  his  
playing 444 fail to interpret           
intelligibly the ideas of the           
composer40 ,these words from the        
,century ,dictionary ought to  settle   

this misunderstanding effectually4      
,,part ,,three    ,,literary            
,,interpretation          ,,chapter     
,,xvi    ,,literary ,,interpretation    
,in the concluding part of this work it 
is purposed to lay before  the teacher  
some examples of literary               
interpretation4 ,the object  of these is
 to assist him to a deeper insight into 
literature1 and  hence to become a      
better reader and teacher of reading4   
,it is not too much to say that we      
accept as good reading what  is often   
the reverse simply because the subject  
matter does not  appeal to us or is only
 partly appreciated4 ,a pupil may read  
such a  passage as the following in a   
commonplace way1 and be complimented  by
 one teacher for his distinct           
articulation and forceful  utterance1   
whereas a teacher who appreciated the   
true spirit of the  lines would severely
 condemn the reading4          ,the     
curfew tolls the knell of parting day2  
,the lowing herd winds slowly o'er the  

lea2        ,the plowman homeward plods 
his weary way1          ,and leaves the 
world to darkness and to me4    ,the    
explanation of the difference in the    
attitudes of the teachers  is that the  
former has no appreciation of the spirit
 of the lines1  while the latter keenly 
feels their tenderness1 their beauty1   
and  their pensive solemnity4    ,the   
best way to learn to love good          
literature is to study only  good       
literature1 and to study it again1 again
 and again4 ,what is  truly great art   
cannot be apprehended at a glance1 but  
requires  time for its fullest          
appreciation4 ,we believe1 however1 that
 it is  good pedagogy1 in a work of this
 kind1 to lay before the teacher        
certain examples of what careful        
analysis may reveal4 ,the effect of     
such analysis upon the reading must be  
evident to all4    ,we have already     
discerned that all analysis preparatory 
to reading  aloud is virtually literary 
analysis4 ,this is well illustrated in  

the chapters on ,climax and on          
,contrast4 ,it remains1 therefore1 to   
deal only with certain broader aspects  
of literary appreciation1 in  connection
 with which we shall endeavor to show   
the application of  the principles      
discussed in ,parts ,i and ,,ii to vocal
 interpretation4      ,,study ,,in      
,,rhythm    ,it is a truism to state    
that every poem should be a unity1 but  
we  often forget a most important       
corollary1 that every line should be    
scanned with a view to determine that   
unity4 ,it is only in so far  as we     
understand the parts that we understand 
the whole4 ,let us  illustrate this     
principle in the following well-known   
poem3      ,,how ,,they ,,brought ,,the 
,,good ,,news ,,from ,,ghent ,,to ,,aix 
,,robert ,,browning          ,i sprang  
to the stirrup1 and ,joris1 and he2     
,i galloped1 ,dirck galloped1 we        
galloped all three3        8,good       
speed60 cried the watch1 as the         
gate-bolts undrew2        8,speed60     

echoed the wall to us galloping through2
        ,behind shut the postern1 the   
lights sank to rest1        ,and into   
the midnight we galloped abreast4       
,not a word to each other2 we kept the  
great pace        ,neck by neck1 stride 
by stride1 never changing our place2    
,i turned in my saddle and made its     
girths tight1        ,then shortened    
each stirrup1 and set the pique right1  
,rebuckled the check-strap1 chained     
slacker the bit1        ,nor galloped   
less steadily ,roland a whit4           
',twas moonset at starting2 but while we
 drew near        ,lokeren1 the cocks   
crew and twilight dawned clear1         
,at ,boom1 a great yellow star came out 
to see2        ,at ,duffeld1 'twas      
morning as plain as could be2           
,and from ,mecheln church-steeple we    
heard the half chime1        ,so ,joris 
broke silence with1 8,yet there is      
time60          ,at ,aerschot1 up leaped
 of a sudden the sun1        ,and       
against him the cattle stood black every

 one1        ,to stare through the mist 
at us galloping past1        ,and ,i saw
 my stout galloper ,roland at last1     
,with resolute shoulders1 each butting  
away        ,the haze1 as some bluff    
river headland its spray4          ,and 
his long head and crest1 just one sharp 
ear bent back        ,for my voice1 and 
the other pricked out on his track2     
,and one eye's black intelligence1--ever
 that glance        ,o'er its white edge
 at me1 his own master1 askance6        
,and the thick heavy spume-flakes which 
aye and anon        ,his fierce lips    
shook upwards in galloping on4          
,by ,hasselt1 ,dirck groaned2 and cried 
,joris1 8,stay spur6        ,your ,roos 
galloped bravely1 the fault's not in    
her2        ,we'll remember at          
,aix10--for one heard the quick wheeze  
,of her chest1 saw the stretched neck   
and staggering knees1        ,and sunk  
tail1 and horrible heave of the flank1  
,as down on her haunches she shuddered  
and sank4          ,so we were left     

galloping1 ,joris and ,i1        ,past  
,looz and past ,tongres1 no cloud in the
 sky2        ,the broad sun above       
laughed a pitiless laugh1        ',neath
 our feet broke the bright brittle      
stubble like chaff2        ,till over by
 ,dalhem a dome-spire sprang white1     
,and 8,gallop10 gasped ,joris1 8for ,aix
 is in sight60          8,how they'll   
greet us60--and all in a moment his roan
        ,rolled neck and croup over1 lay
 dead as a stone2        ,and there was 
my ,roland to bear the whole weight     
,of the news which alone could save ,aix
 from her fate1        ,with his        
nostrils like pits full of blood to the 
brim1        ,and with circles of red   
for his eye-sockets' rim4          ,then
 ,i cast loose my buff coat1 each       
holster let fall1        ,shook off both
 my jack-boots1 let go belt and all1    
,stood up in the stirrup1 leaned1 patted
 his ear1        ,called my ,roland his 
pet-name1 my horse without peer2        
,clapped my hands1 laughed and sang1 any

 noise1 bad or good1        ,till at    
length into ,aix ,roland galloped and   
stood4          ,and all ,i remember is1
 friends flocking round        ,as ,i   
sat with his head 'twixt my knees on the
 ground1        ,and no voice but was   
praising this ,roland of mine1          
,as ,i poured down his throat our last  
measure of wine1        ,which 7the     
burgesses voted by common consent7      
,was no more than his due who brought   
good news from ,ghent4    ,the central  
idea in this poem is ,roland2 not the   
rider1 not the  historical element4 ,as 
a matter of fact1 the poem has no       
historical  basis4 ,browning tells us   
somewhere that after a tiresome and     
tedious sea voyage he longed for a      
gallop over the ,english downs1  and    
that this poem is a result of that      
longing4 ,the rhythm of the  poem is    
peculiarly adapted to express the       
bounding joy of the poet1  and is in    
striking contrast to the long1          
monotonous roll of ocean  waves4    ,on 

studying the poem1 we note the absence  
of any but cursory  reference to the    
rider1 and1 on the contrary1 the        
constant  reference to the real hero1   
,roland4 ,one might imagine a setting   
for  the lines something as follows3    
,around a camp-fire are gathered  many  
veterans of the wars4 ,they are telling 
of the gallant deeds of  their war      
steeds1 when one of their number starts 
up and says3    8,you talk of your      
horses2 have you ever heard of mine8    
,have you  heard how my ,roland helped  
to save ,aix8 ,no8 ,let me tell you4    
,you  remember so-and-so's famous       
campaign1 and how the enemy were        
preparing to take ,aix4 ,you know1 too1 
that the officer in command  had no hope
 of saving the city and was preparing to
 capitulate the  moment the enemy began 
the attack4 ,well1 one night1 just after
 we  had turned in1 a messenger came in 
hot haste to tell us that the  king     
himself had that day started to relieve 
the city and that we  must carry the    

good news to ,aix and thus encourage    
them to hold out  until his arrival4    
,our commander called for three         
volunteers to  undertake the dangerous  
task of hearing the news4 ,we--,joris1  
,dirck1  and ,i--offered our services4  
,they were accepted1 and a moment after 
we had received our instructions1       
#8,i sprang to the stirrup1 and ,joris1 
and he2'0    ,from now on observe how   
the poet fixes our attention on ,roland4
          ,nor galloped less steadily   
,roland a whit4          ,and ,i saw my 
stout galloper ,roland at last1         
,with resolute shoulders1 each butting  
away        ,the haze1 as some bluff    
river headland its spray4          ,and 
there was my ,roland to bear the whole  
weight        ,of the news which alone  
could save ,aix from her fate1          
,till at length into ,aix ,roland       
galloped and stood4          ,and no    
voice but was praising this ,roland of  
mine4    ,the whole of the fifth stanza 
is devoted to praise of ,roland2 while  

the failure of the horses of ,joris and 
,dirck serves but to enhance  the glory 
of ,roland's feat4    ,as soon as we    
perceive the meaning of the poem--its   
central  thought--the entire reading    
becomes permeated with the joy and      
exultation of the rider in his steed4   
,the poem is well adapted to  develop   
vocal flexibility1 and freedom of       
expression4    ,tennyson's ,charge of   
the ,light ,brigade affords another     
opportunity for analysis4    ,the       
atmosphere of this poem is that of a    
dirge4 ,this does not mean  that we     
snivel and whine while rendering it1 but
 that the whole  poem is enveloped in   
the atmosphere of dignified solemnity4  
,it  is true that this is not the       
popular view1 which seems to be that    
,tennyson wrote the poem to afford the  
reader an opportunity of  making        
descriptive gestures4 ,tennyson's heart 
ached for those brave  fellows in their 
useless sacrifice2 and he wrote the     
poem1 not  primarily to show how they   

fought1 but that they fought in vain4   
,true1 there is a vein of stirring      
patriotism in the lines1 but  all that  
is inferior in importance to the        
dignified solemnity and  controlled     
pathos of the speaker4      ,,the       
,,charge ,,of ,,the ,,light ,,brigade   
,,tennyson          ,half a league1 half
 a league1          ,half a league      
onward1        ,all in the valley of    
,death          ,rode the six hundred4  
8,forward1 the ,light ,brigade6         
,charge for the guns60 he said3         
,into the valley of ,death              
,rode the six hundred4                  
8,forward1 the ,light ,brigade60        
,was there a man dismayed8        ,not  
tho' the soldier knew          ,some one
 had blunder'd3        ,theirs not to   
make reply1        ,theirs not to reason
 why1        ,theirs but to do and die3 
,into the valley of ,death              
,rode the six hundred4          ,cannon 
to right of them1        ,cannon to left
 of them1        ,cannon in front of    

them          ,volley'd and thunder'd2  
,storm'd at with shot and shell         
,boldly they rode and well1        ,into
 the jaws of ,death1        ,into the   
mouth of ,hell          ,rode the six   
hundred4          ,flash'd all their    
sabres bare1        ,flash'd as they    
turn'd in air        ,sabring the       
gunners there1        ,charging an army1
 while          ,all the world wonder'd3
        ,plunged in the battery-smoke   
,right thro' the line they broke2       
,cossack and ,russian        ,reel'd    
from the sabre-stroke                   
,shatter'd and sunder'd4        ,then   
they rode back1 but not--          ,not 
the six hundred4          ,cannon to    
right of them1        ,cannon to left of
 them1        ,cannon behind them       
,volley'd and thunder'd2        ,storm'd
 at with shot and shell1        ,while  
horse and hero fell1        ,they that  
had fought so well        ,came thro'   
the jaws of ,death1        ,back from   
the mouth of ,hell1        ,all that was

 left of them1          ,left of six    
hundred4          ,when can their glory 
fade8        ,o the wild charge they    
made6          ,all the world wonder'd4 
,honor the charge they made6            
,honor the ,light ,brigade1             
,noble ,six ,hundred6    ,it is         
impossible to overlook the constant     
recurrence of the phrases  8valley of   
,death20 8jaws of ,death20 8mouth of    
,hell10 and their  significance4 ,the   
keynote of the poem is found in the     
line1          ,some one had blunder'd3 
,here is the central thought4 ,the men  
made a gallant charge1 went  boldly and 
willingly to their doom2 but it was all 
a mistake1 a  fearful1 horrible mistake4
 ,we care not for the fact that cannons 
were to the right1 to the left1 and to  
the front of them4 ,the mere  position  
is nothing4 ,but who can repress the    
shudder of despair  as he contemplates  
that heroic band surrounded by fires    
from  death-dealing cannon8    ,on pages
 #bjj and #bja will be found three poems

 from ,tennyson1 each  of which presents
 a different aspect4 ,the first is      
marked by an  exquisite simplicity4 ,it 
contains but one simple idea1 which is  
set  forth in the simplest language4    
,consequently1 the reading should be    
equally unassuming4 ,the least          
appearance of affectation or effort     
will dissipate the atmosphere4    ,the  
second is a lullaby4 ,the rocking cradle
 is felt in every line1  while in the   
last line of each stanza we have the    
rhythmic picture  of the gradual        
cessation of the rocking1 and it seems  
impossible to  omit the long pause      
before the last word in each of these   
lines1 a  pause exactly equal to the    
time of one of the preceding feet4      
,the third poem is of an entirely       
different nature4 ,here we have  the    
strength of spirit that animated ,king  
,arthur's ,knights of the  ,round       
,table4 ,when we bear in mind that this 
song is sung after ,king  ,arthur's     
claim to the throne1 which has long been

 in doubt1 has  been firmly established1
 and he has taken ,guinevere to wife1 we
 can  better understand its passionate  
joy4    ,one of the most interesting    
features in connection with the  study  
of literature is rhythm4 ,the meaning of
 rhythm is not  always clearly          
apprehended1 many regarding it simply as
 poets'  playfulness1 interesting in the
 nursery rhyme1 tickling the  childish  
ear1 but beyond that a useless and even 
senseless  filigree4 ,nothing could be  
farther from truth4 ,rhythm is not  a   
conventional appendage of poetry1 but   
its very heart1 life1  spirit4 ,it      
springs spontaneously from the poet's   
heart1 and is the  manifestation of his 
deepest feeling4 ,who can fail to catch 
the  bounding spirit of life and joy in 
the following3          ,i come1 ,i     
come6 ye have called me long2        ,i 
come o'er the mountains with light and  
song2        ,ye may trace my step o'er 
the wakening earth1        ,by the winds
 which tell of the violet's birth1      

,by the primrose stars in the shadowy   
grass1        ,by the green leaves      
opening as ,i pass4                     
--,spring4 ,,hemans4          ,haste    
thee1 nymph1 and bring with thee        
,jest1 and joyful ,jollity1             
,quips1 and cranks1 and wanton wiles1   
,nods1 and becks1 and wreathd smiles1   
,such as hang on ,hebe's cheek1         
,and love to live in dimple sleek2      
,sport that wrinkled ,care derides1     
,and ,laughter holding both his sides4  
,come and trip it as you go        ,on  
the light fantastic toe2        ,and in 
thy right hand lead with thee           
,the mountain-nymph1 sweet ,liberty3    
,and1 if ,i give thee honor due1        
,mirth1 admit me to thy crew1        ,to
 live with her1 and live with thee1     
,in unreprovd pleasures free3           
--,l',allegro4 ,,milton4    ,what a     
dignity is imparted to the scene by the 
rhythm in the  following extracts3      
,here are old trees1 tall oaks and      
gnarld pines1        ,that stream with  

gray-green mosses2 here the ground      
,was never trenched by spade1 and       
flowers spring up        ,unsown1 and   
die ungathered4 ,it is sweet        ,to 
linger here1 among the flitting birds   
,and leaping squirrels1 wandering       
brooks1 and winds        ,that shake the
 leaves1 and scatter as they pass1      
,a fragrance from the cedars1 thickly   
set        ,with pale blue berries4 ,in 
these peaceful shades--                 
,peaceful1 unpruned1 immeasurably old-- 
,my thoughts go up the long dim path of 
years1        ,back to the earliest days
 of liberty4                            
--,freedom4 ,,bryant4          ,a land  
of streams6 some1 like a downward smoke1
        ,slow-dropping veils of thinnest
 lawn1 did go2        ,and some through 
wavering lights and shadows broke       
,rolling a slumbrous sheet of foam      
below4        ,they saw the gleaming    
river seaward flow        ,from the     
inner land3 far off1 three              
mountain-tops1        ,three silent     

pinnacles of aged snow1        ,stood   
sunset-flushed3 and1 dewed with showery 
drops1        ,up-clomb the shadowy pine
 above the woven copse4                 
--,the ,lotos-,eaters4 ,,tennyson4      
,often in the same poem the emotional   
changes are manifested in  changes of   
rhythm4 ,observe this in the following  
lines3              ,look6 look6 that   
livid flash6          ,and instantly    
follows the rattling thunder            
,as if some cloud-crag1 split asunder1  
,fell1 splintering with a ruinous crash1
          ,on the earth1 which crouches 
in silence under2            ,and now a 
solid gray wall of rain        ,shuts   
off the landscape1 mile by mile2        
,for a breath's space ,i see the blue   
wood again1        ,and1 ere the next   
heart-beat1 the wind-hurled pile1       
,that seemed but now a league aloof1    
,bursts rattling over the sun-parched   
roof2          ,against the windows the 
storm comes dashing1          ,through  
tattered foliage the hail tears         

crashing1                ,the blue      
lightning flashes1                ,the  
rapid hail clashes1              ,the   
white waves are tumbling1               
,and in one baffled roar1               
,like the toothless sea mumbling        
,a rock-bristling shore1            ,the
 thunder is rumbling            ,and    
crashing and crumbling1--               
,will silence return never more8        
--,a ,summer ,shower4 ,,lowell4    ,or  
in the concluding stanzas of            
,wordsworth's ode on ,intimations of    
,immortality3          ,then sing1 ye   
birds1 sing1 sing a joyous song6        
,and let the young lambs bound          
,as to the tabor's sound6        ,we in 
thought will join your throng1          
,ye that pipe and ye that play1         
,ye that through your hearts to-day     
,feel the gladness of the ,may6         
,what though the radiance that was once 
so bright        ,be now forever taken  
from my sight1          ,though nothing 
can bring back the hour        ,of      

splendor in the grass1 of glory in the  
flower1              ,we will grieve    
not1 rather find              ,strength 
in what remains behind1              ,in
 the primal sympathy              ,which
 having been1 must ever be2             
,in the soothing thoughts that spring   
,out of human suffering2                
,in the faith that looks through death1 
,in years that bring the philosophic    
mind4          ,and ,o ye fountains1    
meadows1 hills and groves1              
,forebode not any severing of our loves6
        ,yet in my heart of hearts ,i   
feel your might2        ,i only have    
relinquished one delight1        ,to    
live beneath your more habitual sway4   
,i love the brooks which down their     
channels fret1        ,even more than   
when ,i tripped lightly as they3        
,the innocent brightness of a new-born  
day                ,is lovely yet2      
,the clouds that gather round the       
setting sun        ,do take a sober     
coloring from an eye        ,that hath  

kept watch o'er man's mortality2        
,another race hath been1 and other palms
 are won4        ,thanks to the human   
heart by which we live2        ,thanks  
to its tenderness1 its joys and fears1  
,to me the meanest flower that blows can
 give        ,thoughts that do often lie
 too deep for tears4    ,in blank verse 
we get the best and clearest            
illustration of  the meaning of rhythm4 
,here the poet has the utmost freedom1  
untrammeled by rhyme or any limitations 
as to the length of his  stanza4 ,the   
rhythm in the description of the        
overthrow of ,satan is  most suggestive 
of strength and determination3          
,him the ,almighty power        ,hurl'd 
headlong flaming from th' ethereal sky1 
,with hideous ruin and combustion1 down 
,to bottomless perdition2 there to dwell
        ,in adamantine chains and penal 
fire1        ,who durst defy th'        
,omnipotent to arms6                    
--,paradise ,lost1 ,book ,i4 ,,milton4  
,how clearly the frantic passion of     

,lear is shown in the irregular1        
erratic1 almost chaotic1 rhythm of the  
following speech3          ,blow1 winds1
 and crack your cheeks6 rage6 blow6     
,you cataracts and hurricanoes1 spout   
,till you have drench'd our steeples1   
drowned the cocks6        ,you          
sulphurous and thought-executing fires1 
,vaunt-couriers to oak-cleaving         
thunderbolts1        ,singe my white    
head6 ,and thou1 all-shaking thunder1   
,smite flat the thick rotundity o' the  
world6        ,crack ,nature's moulds1  
all germens spill at once1        ,that 
make ingrateful man6                    
--,king ,lear1 ,act iii41 ,sc4 #b4      
,note how the varying rhythm in the     
following passage corresponds  with the 
ever varying moods of the ,king and the 
poet3            ,to whom replied ,king 
,arthur1 much in wrath3        8,ah1    
miserable and unkind1 untrue1           
,unknightly1 traitor-hearted6 ,woe is   
me6        ,authority forgets a dying   
king1        ,laid widow'd of the power 

in his eye        ,that bow'd the will4 
,i see thee what thou art        ,for   
thou1 the latest-left of all my knights1
        ,in whom should meet the offices
 of all1        ,thou wouldst betray me 
for the precious hilt2        ,either   
from lust of gold1 or like a girl       
,valuing the giddy pleasure of the eyes4
        ,yet1 for a man may fail in duty
 twice1        ,and the third time may  
prosper1 get thee hence3        ,but1 if
 thou spare to fling ,excalibur1        
,i will arise and slay thee with my     
hands40          ,then quickly rose ,sir
 ,bedivere1 and ran1        ,and1       
leaping down the ridges lightly1 plunged
        ,among the bulrush-beds1 and    
clutch'd the sword1        ,and strongly
 wheel'd and threw it4 ,the great brand 
,made lightnings in the splendor of the 
moon1        ,and flashing round and    
round1 and whirl'd in an arch1          
,shot like a streamer of the northern   
morn1        ,seen where the moving     
isles of winter shock        ,by night1 

with noises of the northern sea4        
,so flash'd and fell the brand          
,excalibur3        ,but ere he dipt the 
surface1 rose an arm        ,clothed in 
white samite1 mystic1 wonderful1        
,and caught him by the hilt1 and        
brandish'd him        ,three times1 and 
drew him under in the mere4        ,and 
lightly went the other to the ,king4    
--,morte d',arthur4 ,,tennyson4    ,in  
order to give a clear conception of the 
meaning and purpose of  rhythm1 the     
analysis of an entire poem is given4    
,,the ,,revenge    ,a ,,ballad ,,of     
,,the ,,fleet    ,,tennyson      ,i     
,at ,flores in the ,azores ,sir ,richard
 ,grenville lay1        ,and a pinnace1 
like a flutter'd bird1 came flying from 
far away3        8,spanish ships of war 
at sea6 we have sighted fifty-three60   
,then sware ,lord ,thomas ,howard3      
8',fore ,god ,i am no coward2           
,but ,i cannot meet them here1 for my   
ships are out of gear1       #e         
,and the half my men are sick4 ,i must  

fly1 but follow quick4        ,we are   
six ships of the line2 can we fight with
 fifty-three80      ,,ii          ,then 
spake ,sir ,richard ,grenville3 8,i know
 you are no coward2        ,you fly them
 for a moment to fight with them again4 
,but ,i've ninety men and more that are 
lying sick ashore4        #aj        ,i 
should count myself the coward if ,i    
left them1 my ,lord ,howard1        ,to 
these ,inquisition dogs and the         
devildoms of ,spain40      ,,iii        
,so ,lord ,howard past away with five   
ships of war that day1        ,till he  
melted like a cloud in the silent summer
 heaven2        ,but ,sir ,richard bore 
in hand all his sick men from the land  
#ae        ,very carefully and slow1    
,men of ,bideford in ,devon1        ,and
 we laid them on the ballast down below2
        ,for we brought them all aboard4
        ,and they blest him in their    
pain1 that they were not left to        
,spain1                                 
#bj        ,to the thumbscrew and the   

stake1 for the glory of the ,lord4      
,,iv          ,he had only a hundred    
seamen to work the ship and to fight1   
,and he sailed away from ,flores till   
the ,spaniard came in sight1            
,with his huge sea-castles heaving upon 
the weather bow4        8,shall we fight
 or shall we fly8                       
#be        ,good ,sir ,richard1 tell us 
now1        ,for to fight is but to die6
        ,there'll be little of us left  
by the time this sun be set40           
,and ,sir ,richard said again3 8,we be  
all good ,english men4        ,let us   
bang these dogs of ,seville1 the        
children of the devil1   #cj        ,for
 ,i never turn'd my back upon ,don or   
devil yet40      ,v          ,sir       
,richard spoke and he laugh'd1 and we   
roar'd a hurrah1 and so        ,the     
little ,revenge ran on sheer into the   
heart of the foe1        ,with her      
hundred fighters on deck1 and her ninety
 sick below2        ,for half of their  
fleet to the right and half to the left 

were              seen1                 
#ce        ,and the little ,revenge ran 
on thro' the long sea-lane between4     
,,vi          ,thousands of their       
soldiers look'd down from their decks   
and              laugh'd1               
,thousands of their seamen made mock at 
the mad little craft        ,running on 
and on1 till delay'd        ,by their   
mountain-like ,san ,philip that1 of     
fifteen hundred              tons1      
#dj        ,and up-shadowing high above 
us with her yawning tiers of guns1      
,took the breath from our sails1 and we 
stay'd4      ,,vii          ,and while  
now the great ,san ,philip hung above us
 like a cloud        ,whence the        
thunderbolt will fall        ,long and  
loud1                                   
#de        ,four galleons drew away     
,from the ,spanish fleet that day1      
,and two upon the larboard and two upon 
the starboard lay1        ,and the      
battle-thunder broke from them all4     
,,viii          ,but anon the great ,san

 ,philip1 she bethought herself and went
   #ej        ,having that within her   
womb that had left her ill content2     
,and the rest they came aboard us1 and  
they fought us hand to hand1        ,for
 a dozen times they came with their     
pikes and musqueteers1        ,and a    
dozen times we shook 'em off as a dog   
that shakes his ears        ,when he    
leaps from the water to the land4       
#ee      ,,ix          ,and the sun went
 down1 and the stars came out far over  
the summer              sea1            
#ee        ,but never a moment ceased   
the fight of the one and the            
fifty-three4        ,ship after ship1   
the whole night long1 their high-built  
galleons              came1        ,ship
 after ship1 the whole night long1 with 
her battle-thunder              and     
flame2        ,ship after ship1 the     
whole night long1 drew back with her    
dead              and her shame4        
,for some were sunk and many were       
shatter'd1 and so could fight           

us no more--                            
#fj        ,god of battles1 was ever a  
battle like this in the world before8   
,x          ,for he said 8,fight on6    
fight on60        ,tho' his vessel was  
all but a wreck2        ,and it chanced 
that1 when half of the short summer     
night was              gone1            
,with a grisly wound to be drest he had 
left the deck1           #fe        ,but
 a bullet struck him that was dressing  
it suddenly dead1        ,and himself he
 was wounded again in the side and the  
head1        ,and he said 8,fight on6   
fight on60      ,,xi          ,and the  
night went down1 and the sun smiled out 
far over the              summer sea1   
,and the ,spanish fleet with broken     
sides lay round us all in a             
ring2                                   
#gj        ,but they dared not touch us 
again1 for they fear'd that we still    
could sting1        ,so they watch'd    
what the end would be4        ,and we   
had not fought them in vain1        ,but

 in perilous plight were we1            
,seeing forty of our poor hundred were  
slain1                    #ge           
,and half of the rest of us maim'd for  
life        ,in the crash of the        
cannonades and the desperate strife2    
,and the sick men down in the hold were 
most of them stark and                  
cold1        ,and the pikes were all    
broken or bent and the powder was all   
of it spent2        ,and the masts and  
the rigging were lying over the side2   
#hj        ,but ,sir ,richard cried in  
his ,english pride1        8,we have    
fought such a fight for a day and a     
night        ,as may never be fought    
again6        ,we have won great glory1 
my men6        ,and a day less or more  
#he        ,at sea or ashore1        ,we
 die--does it matter when8        ,sink 
me the ship1 ,master ,gunner--sink her1 
split her in twain6        ,fall into   
the hands of ,god1 not into the hands of
 ,spain60      ,,xii          ,and the  
gunner said 8,ay1 ay10 but the seamen   

made reply3        #ij        8,we have 
children1 we have wives1        ,and the
 ,lord hath spared our lives4        ,we
 will make the ,spaniard promise1 if we 
yield to let us go2        ,we shall    
live to fight again and to strike       
another blow40        ,and the lion     
there lay dying1 and they yielded to the
 foe4      #ie      ,,xiii          ,and
 the stately ,spanish men to their      
flagship bore him then1        ,where   
they laid him by the mast1 old ,sir     
,richard caught at last1        ,and    
they praised him to his face with their 
courtly foreign              grace2     
,but he rose upon their decks1 and he   
cried3        8,i have fought for ,queen
 and ,faith like a valiant man and      
true2                                   
#ajj        ,i have only done my duty as
 a man is bound to do3        ,with a   
joyful spirit ,i ,sir ,richard          
,grenville die60        ,and he fell    
upon their decks1 and he died4          
,,xiv          ,and they stared at the  

dead that had been so valiant and true1 
,and had holden the power and glory of  
,spain so cheap           #aje          
,that he dared her with one little ship 
and his ,english few2        ,was he    
devil or man8 ,he was devil for aught   
they knew1        ,but they sank his    
body with honor down into the deep1     
,and they mann'd the ,revenge with a    
swarthier alien crew1        ,and away  
she sail'd with her loss and long'd for 
her own2      #aaj        ,when a wind  
from the lands they had ruin'd awoke    
from sleep1        ,and the water began 
to heave and the weather to moan1       
,and or ever that evening ended a great 
gale blew1        ,and a wave like the  
wave that is raised by an earthquake    
grew1        ,till it smote on their    
hulls and their sails and their masts   
and their flags1                        
#aae        ,and the whole sea plunged  
and fell on the shot-shatter'd navy     
of ,spain1        ,and the little       
,revenge herself went down by the island

 crags        ,to be lost evermore in   
the main4      ,,notes ,,on ,,rhythm    
,stanza ,i    l4 #a-b4--,normal rhythm4 
l4 #c4--,note the emphasis imparted to  
the call by the trochees4    l4         
#d-f4--,the effect of the internal      
rhymes ,howard--coward1  here--gear1    
sick--quick1 is very marked4 ,similar   
effects are  frequently introduced in   
the poem4      ,stanza ,,ii    l4       
#aj4--,the two emphatic syllables1 ,i've
 and nine-1 coming in  succession1 add  
force to ,sir ,richard's statement4     
,stanza ,,iii    l4 #ac4--,note how the 
author retards his movement and hence   
impresses us with the slow moving       
picture1 by drawing his emphatic        
syllables together1 as ,so ,lord ,how-2 
five ships2 and that  day4 ,this effect 
is one of the commonest in literature1  
and one of  the most natural4 ,this line
 will scan as a normal line2 but let us 
bear in mind that sense accent          
determines the rhythm in ,english1  not 
quantity4    l4 #af4--;,a strange       

device1 the effect of which is to cause 
,sir  ,richard's gallantry to stand out 
most strikingly4 ,in spite of the  fact 
that fifty-three ,spanish galleons were 
coming down upon him1  the brave captain
 was as considerate in the handling of  
his sick  sailors as a mother of her    
babe4 ,and this is emphasized by making 
this statement in a line by itself4     
,stanza ,,iv    l4 #bd4--;,again note   
the strength imparted by the successive 
accents  in huge sea-castles heaving4   
l4 #be-bg4--,the abruptness aptly fits  
in with the sentiment4 ,observe  that   
the effect of the short line is brought 
out by the rhyme1  fly--die4 ,the       
further apart the rhyme1 the less       
striking it  becomes4 ,see lines #dc-de1
 and #eg-ei4      ,stanza ,v    l4      
#cb4--;,full of strength and admirably  
expressive in rhythm4    l4             
#cf4--;,again we observe the retardation
 and its effect4 ,observe  further1 that
 this is the first time the concluding  
line of a  stanza has deviated from the 

normal1 and note how appropriate  is the
 deviation2 not merely for the sake of  
variety1 but the  spontaneous expression
 of feeling4      ,stanza ,,vi    l4    
#cg-ch4--;,how forceful is the effect of
 beginning each line with  the accented 
syllable6    l4 #db4--,the contrast of  
this line with the preceding is most    
marked4 ,line #da is long drawn out1    
while in #db one can feel the  shock of 
the abrupt stop4      ,stanza ,,viii    
l4 #ec-ed4--,the first four lines of    
this stanza are quite regular1  but when
 we reach the last two1 observe the     
correspondence between  the rhythm and  
the sense4      ,stanza ,,ix    l4      
#ef-fj4--;,how admirably the rhythm     
lends itself to the expression  of the  
feelings of the narrator as he recalls  
the terrible strain  of that            
never-ending night6 ,one must read the  
passage aloud to  appreciate this       
effect4      ,stanza ,x    l4           
#fc4--,observe the strength of ,fight   
on6 ,fight on6 and also the  contrast   

between the rhythm of this stanza and   
that of ,stanza ,,ix4    ,the stanza as 
a whole moves quite rapidly1 owing to   
the  preponderance of unaccented        
syllables4 ,the appropriateness of this 
rapid movement is recognized when we    
bear in mind that the stanza  is        
intended to cite but one incident of    
that awful night1 and  serves only as a 
link between ,stanzas ,,ix and ,,xi4    
,stanza ,,xi    l4 #gj4--;,compare this 
rhythm with that of line #ef1 and       
observe how  the emotion of ,stanza ,,ix
 is recalled by the similarity of       
rhythm4    l4 #hc-ij4--;,compare with   
lines #be-bh and #ia-ie4      ,stanza   
,,xiii    l4 #ajj4--;,compare with lines
 #db and #ajc1 and note similarity of   
mood4      ,stanza ,,xiv    l4          
#aab-aai4--;,it is almost impossible to 
analyze the effect of these  lines1 so  
admirably do sound1 sense1 and rhythm   
correspond4 ,we can1  however1 clearly  
observe the forceful effect of great    
gale blew2  the accumulation of power   

and size in line #aae2 the exultant joy 
of the speaker as he describes the      
effect of the storm in lines  #aaf and  
#aag2 and the gradual diminution of the 
passion as the poem  comes back to      
normal movement in the concluding line4 
,,interpretative ,,notes    ,the poem as
 a whole is a magnificent specimen of   
vigorous  ,anglo-,saxon4 ,there are few 
inversions1 the style is simple and     
direct1 and the imagery peculiarly      
appropriate4 ,the speaker is  a         
survivor1 and brings us face to face    
with one of the proudest  moments in the
 history of ,english naval warfare4     
,the poem deals with an event at the    
close of the expedition of the  ,spanish
 ,armada against ,great ,britain1 and it
 is interesting to know  that it is     
almost literally true to fact and       
history4      ,stanza ,i    l4          
#d-g4--,the opening words seem a little 
like brag4 ,but ,sir  ,richard's reply1 
which is borne out by history1 proves   
the  contrary4 ,the oath is not the vain

 oath of a braggart1 but the  solemn    
words of one who believes in ,god and   
calls upon ,him to bear  witness to the 
truth of his statement4      ,stanza    
,,ii    l4 #h4--,the delivery of the    
first five words will certainly manifest
  the pride of the narrator in such a   
leader4    l4 #ab4--,note the contempt  
expressed in dogs and devildoms4        
,stanza ,,iii    l4 #ae-ah4--;,be sure  
to bring out the speaker's emotion4 ,how
 the  common sailor worships him who    
stayed to certain death to save the     
lives of his sick men6    l4 #ba4--,note
 the irony1 contempt1 and even hate4    
,stanza ,,iv    l4 #be-bh4--,the rhythm 
clearly indicates the abrupt manner in  
which  these lines should be read4    l4
 #bi4--,we be all good ,english men3    
this is ,sir ,richard's answer  to their
 appeal4      ,stanza ,v    l4          
#cc4--;,heart3 right into the midst of  
the fleet4 ,the ,spaniards  came down in
 double line of battle4 ,it was         
evidently ,sir ,richard's  intention to 

attempt to escape with his fleet craft  
by running the  gauntlet of heavy1      
large1 unwieldy ,spanish galleons4 ,a   
picture of  these galleons1 with their  
triple and quadruple decks1 will greatly
  assist us to comprehend the disastrous
 outcome of one of the most  elaborate  
naval demonstrations in the history of  
the world4 ,the  vessels were so        
unwieldy that only a few at a time could
 attack the  ,revenge1 and1 by constant 
maneuvering1 ,sir ,richard could almost 
always avoid the effect of their        
cannonading4      ,stanza ,,vi    l4    
#cg-ch4--,there is bitter sarcasm in    
these lines as the speaker  recalls the 
outcome of the fight4      ,stanza      
,,viii    l4 #ej4--;,bethought herself3 
note the sarcasm4      ,stanza ,,ix     
l4 #ef-fj4--,the emotion of these five  
lines is very striking4 ,oh6  the       
anguish1 horror1 and suspense of that   
awful night4 ,the sun went  down1 but   
the battle went on4 ,the stars came out1
 but still no  rest4 ,and so on1 on1 on1

 through that dreadful night4    l4     
#fb-fa4--,observe the sudden transition 
and the exultant shout at  the end4     
,stanza ,x    ,see note on rhythm4      
,stanza ,,xi    l4 #gb4--,observe the   
note of pride and grim determination4   
l4 #gd4--,the speaker apologizes for    
even an appearance of  boastfulness4    
l4 #ge-ha4--,pathos4    l4              
#hc-ij4--,note the contrast between the 
emotion of ,sir ,richard in  these lines
 and that of the speaker in uttering    
lines #ge-ha4      ,stanza ,,xii    l4  
#ib-ie4--,the sailors would naturally   
speak rapidly4 ,the rhythm  helps us to 
understand their feelings4    l4        
#ic4--;,and therefore we have no right  
to kill ourselves4 ,a most  significant 
line4      ,stanza ,,xiii    l4         
#ii4--,observe the tribute the          
,englishman pays to his foe4 ,see  also 
line #ajh4 ,the voice should manifest   
the speaker's attitude and  will when we
 grasp the situation4    l4             
#aja-ajc4--,note and bring out the blunt

 defiance of ,sir ,richard4      ,stanza
 ,,xiv    l4 #aaa4--;,how natural seems 
the use of her6 ,it is expressive of    
the sailor's love for his vessel4 ,and  
further1 we remark that the  ,revenge   
becomes human as she yearns for those   
who so long have  seemed her very       
children4    l4 #aab4--;,here we have   
one of the most significant lines in the
  whole poem4 ,history tells us that a  
storm arose and shattered the  remnant  
of the ,armada1 and sunk the battered   
hulk of the little  ,revenge4 ,poetry   
conjures up this storm as an avenging   
,nemesis4 ,out  of the lands they had   
ruined comes the storm that avenges the 
,revenge4    l4 #aah4--,what tenderness 
is there in that word little6    l4     
#aah-aai4--,there is no regret in these 
lines4 ,on the contrary1  they are full 
of exultation4 ,remember1 the poet was  
limited by  history4 ,he could not save 
the ,revenge1 but he could sink her on  
the spot where the glorious victory had 
been won4 ,the picture of  shattered    

greatness is not an inspiring one4 ,if  
the ,revenge had not  sunk1 she would   
have been dragged ignominiously at the  
hawser's end  into some ,spanish port1  
to become the object of every           
,spaniard's  petty spite1 and finally to
 fall into decay and ruin4 ,now she     
lives  evermore as she was in that      
fight1 a glorious inspiration to every  
son of ,england4      ,,hints ,,on      
,,readings    ,,young ,,lochinvar       
,,sir ,,walter ,,scott          ,oh1    
young ,lochinvar is come out of the     
west1        ,through all the wide      
,border his steed was the best3         
,and save his good broad-sword he weapon
 had none1        ,he rode all unarmed1 
and he rode all alone2        ,so       
faithful in love1 and so dauntless in   
war1        ,there never was knight like
 the young ,lochinvar6             #f   
,he stayed not for brake1 and he stopped
 not for stone1        ,he swam the ,esk
 river where ford there was none--      
,but1 ere he alighted at ,netherby gate1

        ,the bride had consented1 the   
gallant came late3        ,for a laggard
 in love and a dastard in war1          
,was to wed the fair ,ellen of brave    
,lochinvar4               #ab           
,so boldly he entered the ,netherby     
hall1        ',mong bride's-men1 and    
kinsmen1 and brothers and all3          
,then spoke the bride's father1 his hand
 on his sword--        ,for the poor    
craven bridegroom said never a word--   
8,o come ye in peace here1 or come ye in
 war8        ,or to dance at our bridal1
 young ,lord ,lochinvar80           #ah 
8,i long wooed your daughter1 my suit   
was denied2        ,love swells like the
 ,solway1 but ebbs like its tide6       
,and now am ,i come1 with this lost love
 of mine1        ,to tread but one      
measure1 drink one cup of wine6         
,there be maidens in ,scotland1 more    
lovely by far1        ,that would gladly
 be bride to the young ,lochinvar40     
#bd          ,the bride kissed the      
goblet2 the knight took it up1          

,he quaffed off the wine1 and he threw  
down the cup6        ,she looked down to
 blush1 and she looked up to sigh1      
,with a smile on her lips and a tear in 
her eye4        ,he took her soft hand  
ere her mother could bar--        8,now 
tread we a measure60 said young         
,lochinvar4             #cj          ,so
 stately his form1 and so lovely her    
face1        ,that never a hall such a  
galliard did grace6        ,while her   
mother did fret and her father did fume1
        ,and the bridegroom stood       
dangling his bonnet and plume1          
,and the bride-maidens whispered1       
8',twere better by far1        ,to have 
matched our fair cousin to young        
,lochinvar60        #cf          ,one   
touch to her hand1 and one word to her  
ear1        ,when they reached the hall 
door1 and the charger stood near4       
,so light to the croupe the fair lady he
 swung1        ,so light to the saddle  
before her he sprung6        8,she is   
won6 we are gone1 over bank1 bush1 and  

scaur2        ,they'll have fleet steeds
 that follow60 quoth young              
,lochinvar4                             
#db          ,there was mounting 'mong  
,graemes of the ,netherby clan2         
,fosters1 ,fenwicks1 and ,musgraves1    
they rode and they ran2        ,there   
was racing and chasing on ,cannobie     
,lea1        ,but the lost bride of     
,netherby ne'er did they see6        ,so
 daring in love1 and so dauntless in    
war1        ,have ye e'er heard of      
gallant like young ,lochinvar6          
#dh    ,we observe1 in the first place1 
that the rhythm is very pronounced4  ,it
 reminds us of the rhythm of ,the ,ride 
from ,ghent1 and suggests1  in fact1    
what we soon discover to be true1 that  
the two poems are  in spirit very       
closely allied4    l4 #b-f are intended 
to win our sympathy for the hero4       
,observe his  courage in riding unarmed 
and alone4    l4 #aj4--,the accent on   
gallant is on the final syllable4       
,observe  how the emphasis on -lant1    

came1 and late retards the  movement and
 suggests the contrast between          
,lochinvar's hope and his  failure to   
arrive in time4    l4 #aa4--,note the   
contempt in laggard and dastard4 ,also  
in line  #af1 where the movement is     
again retarded4    l4 #ai-bd4--;,how    
cleverly ,lochinvar conceals his true   
intention1  under the guise of          
indifference6    l4 #bj4--,love swells  
like ocean tides1 but diminishes with   
equal  rapidity3 ,i can get along       
without your daughter4    l4            
#cb4--;,galliard3 a lively dance4    l4 
#cc-cd4--;,bring out the pictures       
clearly4 ,do not slur4    l4            
#cg4--;,accelerate the movement1 but not
 with a manufactured speed4  ,catch the 
spirit of haste and the movement will   
accelerate itself4    l4 #da-db4--,note 
the triumphant joy of ,lochinvar4    l4 
#da4--,scaur3 a steep bank2 pronounced  
scar4    l4 #dc-de4--,the lively        
movement continues throughout these     
lines4    l4 #df4--,this is a summary4  

,the time will be slow when we recognize
  and endeavor to express the full      
import of the passage4           99     
99       99       99       99           
,longfellow's ,peace-,pipe1 from ,the   
,song of ,hiawatha1 is  particularly    
adapted to analytic study4 ,we shall    
confine our study  principally to       
questions of sense relations1 such as   
,momentary  ,completeness1 ,values1 and 
the like4      ,,the ,,peace-,,pipe     
,,longfellow          ,on the ,mountains
 of the ,prairie1        ,on the great  
,red ,pipe-,stone ,quarry1              
,gitche ,manito1 the mighty1        ,he 
the ,master of ,life1 descending1       
,on the red crags of the quarry         
#e        ,stood erect1 and called the  
nations1        ,called the tribes of   
men together4          ,from his        
footprints flowed a river1              
,leaped into the light of morning1      
,o'er the precipice plunging downward   
#aj        ,gleamed like ,ishkoodah1 the
 comet4        ,and the ,spirit1        

stooping earthward1        ,with his    
finger on the meadow        ,traced a   
winding pathway for it1        ,saying  
to it1 8,run in this way60              
#ae          ,from the red stone of the 
quarry        ,with his hand he broke a 
fragment1        ,moulded it into a     
pipe-head1        ,shaped and fashioned 
it with figures2        ,from the margin
 of the river                           
#bj        ,took a long reed for a      
pipe-stem1        ,with its dark green  
leaves upon it6        ,filled the pipe 
with bark of willow1        ,with the   
bark of the red willow2        ,breathed
 upon the neighboring forest1           
#be        ,made its great boughs chafe 
together1        ,till in flame they    
burst and kindled2        ,and erect    
upon the mountains1        ,gitche      
,manito1 the mighty1        ,smoked the 
calumet1 the ,peace-,pipe1              
#cj        ,as a signal to the nations4 
,and the smoke rose slowly1 slowly1     
,through the tranquil air of morning1   

,first a single line of darkness1       
,then a denser1 bluer vapor1            
#ce        ,then a snow-white cloud     
unfolding1        ,like the tree-tops of
 the forest1        ,ever rising1       
rising1 rising1        ,till it touched 
the top of heaven1        ,till it broke
 against the heaven1                    
#dj        ,and rolled outward all      
around it4          ,from the ,vale of  
,tawasentha1        ,from the ,valley of
 ,wyoming1        ,from the groves of   
,tuscaloosa1        ,from the far-off   
,rocky ,mountains1                      
#de        ,from the ,northern lakes and
 rivers        ,all the tribes beheld   
the signal1        ,saw the distant     
smoke ascending1        ,the ,pukwana of
 the ,peace-,pipe4          ,and the    
,prophets of the nations                
#ej        ,said3 8,behold it1 the      
,pukwana6        ,by this signal from   
afar off1        ,bending like a wand of
 willow1        ,waving like a hand that
 beckons1        ,gitche ,manito1 the   

mighty1                                 
#ee        ,calls the tribes of men     
together1        ,calls the warriors to 
his council60          ,down the rivers1
 o'er the prairies1        ,came the    
warriors of the nations1        ,came   
the ,delawares and ,mohawks1            
#fj        ,came the ,choctaws and      
,camanches1        ,came the ,shoshonies
 and ,blackfeet1        ,came the       
,pawnees and ,omahas1        ,came the  
,mandans and ,dacotahs1        ,came the
 ,hurons and ,ojibways1                 
#fe        ,all the warriors drawn      
together        ,by the signal of the   
,peace-,pipe1        ,to the ,mountains 
of the ,prairie1        ,to the ,great  
,red ,pipe-,stone ,quarry4          ,and
 they stood there on the meadow1        
#gj        ,with their weapons and their
 war-gear1        ,painted like the     
leaves of ,autumn1        ,painted like 
the sky of morning1        ,wildly      
glaring at each other2        ,in their 
faces stern defiance1                   

#ge        ,in their hearts the feuds of
 ages1        ,the hereditary hatred1   
,the ancestral thirst of vengeance4     
,gitche ,manito1 the mighty1        ,the
 creator of the nations1                
#hj        ,looked upon them with       
compassion1        ,with paternal love  
and pity2        ,looked upon their     
wrath and wrangling        ,but as      
quarrels among children1        ,but as 
feuds and fights of children6           
#he          ,over them he stretched his
 right hand1        ,to subdue their    
stubborn natures1        ,to allay their
 thirst and fever1        ,by the shadow
 of his right hand2        ,spake to    
them with voice majestic                
#ij        ,as the sound of far-off     
waters1        ,falling into deep       
abysses1        ,warning1 chiding1 spake
 in this wise3--          8,o my        
children6 my poor children6             
,listen to the words of wisdom1         
#ie        ,listen to the words of      
warning1        ,from the lips of the   

,great ,spirit1        ,from the ,master
 of ,life1 who made you6          8,i   
have given you lands to hunt in1        
,i have given you streams to fish in1   
#ajj        ,i have given you bear and  
bison1        ,i have given you roe and 
reindeer1        ,i have given you brant
 and beaver1        ,filled the marshes 
full of wild-fowl1        ,filled the   
rivers full of fishes2                  
#aje        ,why then are you not       
contented8        ,why then will you    
hunt each other8          8,i am weary  
of your quarrels1        ,weary of your 
wars and bloodshed1        ,weary of    
your prayers for vengeance1             
#aaj        ,of your wranglings and     
dissensions2        ,all your strength  
is in your union1        ,all your      
danger is in discord2        ,therefore 
be at peace henceforward1        ,and as
 brothers live together4                
#aae          8,i will send a ,prophet  
to you1        ,a ,deliverer of the     
nations1        ,who shall guide you and

 shall teach you1        ,who shall toil
 and suffer with you4        ,if you    
listen to his counsels1                 
#abj        ,you will multiply and      
prosper2        ,if his warnings pass   
unheeded1        ,you will fade away and
 perish6          8,bathe now in the    
stream before you1        ,wash the     
war-paint from your faces1              
#abe        ,wash the blood-stains from 
your fingers1        ,bury your         
war-clubs and your weapons1             
,break the red stone from this quarry1  
,mould and make it into ,peace-,pipes1  
,take the reeds that grow beside you1   
#acj        ,deck them with your        
brightest feathers1        ,smoke the   
calumet together1        ,and as        
brothers live henceforward60            
,then upon the ground the warriors      
,threw their cloaks and shirts of       
deer-skin1                #ace          
,threw their weapons and their war-gear1
        ,leaped into the rushing river1 
,washed the war-paint from their faces4 

,clear above them flowed the water1     
,clear and limpid from the footprints   
#adj        ,of the ,master of ,life    
descending2        ,dark below them     
flowed the water1        ,soiled and    
stained with streaks of crimson1        
,as if blood were mingled with it6      
,from the river came the warriors1      
#ade        ,clean and washed from all  
their war-paint2        ,on the banks   
their clubs they buried1        ,buried 
all their warlike weapons4              
,gitche ,manitou1 the mighty1           
,the ,great ,spirit1 the creator1       
#aej        ,smiled upon his helpless   
children6          ,and in silence all  
the warriors        ,broke the red stone
 of the quarry1        ,smoothed and    
formed it into ,peace-,pipes1           
,broke the long reeds by the river1     
#aee        ,decked them with their     
brightest feathers1        ,and departed
 each one homeward1        ,while the   
,master of ,life1 ascending1            
,through the opening of cloud-curtains1 

,through the doorways of the heaven1    
#afj        ,vanished from before their 
faces1        ,in the smoke that rolled 
around him1        ,the ,pukwana of the 
,peace-,pipe6    ,it is to be hoped that
 the following notes will be carefully  
considered4 ,inflections are most subtle
 indications of  interpretation1 and    
their meaning none too well apprehended4
 ,time  spent in such an analysis as    
that herein undertaken should solve  all
 the ordinary difficulties of the       
class-room4    l4 #a4--;,incomplete1    
hence rising inflection#ae on ,prairie4 
l4 #b4--,the same inflection on ,quarry4
    l4 #c-e4--7;a7 ,gitche ,manito is   
the central idea2 hence there  will be  
more force on those words4 7b7 ,note    
that descending  is separated from the  
next line by a comma4 ,this is a good   
illustration of the function of         
punctuation2 for if the comma were  not 
inserted we should read1 descending ,on 
the red crags of the  quarry1 and should
 not learn of our mistake until we came 

to the  next line4    l4 #f4--,nations3 
falling inflection4 ,a good illustration
 of the  principle that punctuation does
 not determine inflection3 the sense  is
 complete1 and the falling inflection   
instinctively denotes  that fact4 ,the  
whole paragraph is pointing forward to  
the main  statement1 called the nations4
 ,there might be some reason in  the use
 of a falling inflection on erect1 but  
perhaps the other  interpretation is to 
be preferred4    l4 #h-i4--;,falling    
inflections on river and on morning4    
l4 #aj4--,rising inflection on downward4
 ,there is likelihood of                
misinterpretation here4 ,paraphrased1   
lines #aj and #aa are equivalent  to1   
,and the river1 plunging downward over  
the precipice1 gleamed  like ,ishkoodah1
 the comet4    l4 #aa4--;,falling       
inflection on ,ishkoodah1 because the   
river did  not gleam like the comet     
,ishkoodah1 but like ,ishkoodah1 which  
is  the ,indian name for comet4    l4   
#ab4--,stooping earthward3 subordinate  

idea4    l4 #ab-ae4--;,it is surprising 
how careless pupils are in reading      
these lines4 ,they nearly always read   
them to convey the idea that  the       
,spirit stooped earthward with his      
finger on the meadow4 ,observe  how the 
meaning is brought out by the following 
reading3          ,and the ,spirit      
7pause71 stooping earthard 7pause71     
,with his finger 7pause7 on the meado   
7pause71        ,traced a winding pathay
 for it 7pause71        ,saying to it   
7pause71 8,run in this way60    l4      
#ag-ai4--,the melody is virtually the   
same in each of these lines1  with a    
falling inflection on fragment1         
pipe-head and figures4    l4            
#ba4--,rising inflection preferable on  
pipe-stem4 ,the poem  abounds in lines  
ending with falling inflections2 hence1 
one should  be on the alert for such    
lines as this4    l4 #bc4--;,falling    
inflection on willow4    l4             
#be-bf4--,rising inflection on forest   
and on together4 ,we note  that these   

two lines point forward4    l4          
#bh-ca4--,rising inflections throughout1
 even on calumet1 upon  which word the  
pupil often errs4    l4 #cj4--,the      
,peace-,pipe is not a subordinate idea2 
it is an idea  cordinate with calumet4  
l4 #cb4--,observe the rhythmic change   
and its meaning4    l4 #cc4--;,falling  
inflection on morning4 ,lines #cb and   
#cc contain  the general statement1 and 
l4 #cd-ci contain the particular4 ,when 
we perceive this latter fact  we will   
use the rising inflection at the end of 
each line until  we reach heaven in line
 #ci1 when1 of course1 we shall have the
  falling4    l4 #cg4--,subordinate4    
l4 #dj4--,observe that broke is the     
emphatic word1 not against4  ,rising    
inflection on heaven4    l4             
#db-df4--;,it is an open question       
whether we should use a rising  or a    
falling inflection at the end of each of
 these lines4 ,to use  the falling would
 convey the idea that each detail was   
important2  to use the rising1 to lay   

the stress upon the whole4 7,see        
,momentary  ,completeness1 page #fa1 et 
seq47 ,the former reading seems the     
better4    l4 #ea4--;,falling inflection
 on ,behold it4    l4                   
#ec-ed4--,subordinate4    l4            
#ef4--;,falling inflection on together4 
l4 #eh4--;,an interesting point is      
presented in this line4 ,the poet       
intends to convey the idea that some    
tribes came down the rivers  and others 
o'er the prairies4 ,hence the melody and
 force of the  two phrases will be      
identical4    l4 #ei4--;,falling        
inflection on nations4    l4            
#fj-fe4--,the most natural              
interpretation seems to be to use a     
rising inflection on the name of the    
first tribe in each line1 and  a falling
 on the second4    l4 #ff-fg4--,rising  
inflection on together and on           
,peace-,pipe4    l4 #fh4--;,falling     
inflection on ,prairie4    l4           
#gj4--,rising inflection on meadow4     
l4 #ga-gd4--;,falling inflection on     

war-gear1 ,autumn1 morning1  and other4 
l4 #gd4--,this is the strongest line of 
the four4    l4 #ge-gf4--;,faces and    
hearts are not contrasted4 ,the melody  
of  the two lines is virtually the same4
    l4 #ha4--;,falling inflection on    
compassion4    l4 #hf4--;,falling       
inflection on hand is to be preferred4  
l4 #hg-hi4--,these three lines should be
 construed as one idea4 ,hence  rising  
inflection will be given on natures and 
on fever4    l4 #ij-ic4--,rising        
inflections on majestic1 waters1        
warning1  chiding4 ,why8 ,falling       
inflection on abysses4 ,why8    l4      
#id4--;,does he use rising inflection or
 falling on children8  ,what would be   
the difference in the idea conveyed by  
each8    l4 #ie-if4--;,do these lines   
mean 8,will you not listen80 ,if so they
  are full of pleading4 ,if the speaker 
is imperative the inflection  will be   
falling4    l4 #ih4--;,falling          
inflection on ,life4 ,observe how       
meaningful are  the words who made you4 

l4 #ii-aje4--,shall there be rising or  
falling inflection at the end  of these 
lines8 ,what would each convey          
respectively8    l4 #aab4--,observe the 
radical change in the speaker's         
attitude4 ,he  has been asserting2 now  
he argues and pleads4    l4             
#aaf-aag4--;,falling inflection on you  
and on nations4    l4 #aah4--,rising    
inflection on guide4    l4 #aai4--,toil 
and suffer should be joined together1   
with the  main pause after suffer4 ,do  
not emphasize with4    l4 #aba4--,rising
 inflection on multiply4    l4          
#abb4--,note the contrast on unheeded4  
l4 #abd-abg4--;,falling inflection on   
all the emphatic words4 ,there  will be 
a tendency to use the rising inflection 
on war-paint1  blood-stains1 war-clubs4 
l4 #abh4--,rising inflection on quarry4 
,why8    l4 #acj4--,rising inflection on
 you4    l4 #aca4--;,falling inflection 
on feathers4    l4 #acc4--,principal    
pause after brothers1 with perhaps a    
brief  pause after live4    l4          

#acd4--,short pause after then2 longer  
after ground4    l4 #ace4--,rising      
inflection on deer-skin seems           
preferable4    l4 #acf4--;,falling      
inflection on war-gear4    l4           
#ach4--;,falling inflection on faces4   
l4 #aci4--;,falling inflection on water4
    l4 #adj4--;,falling inflection on   
limpid4    l4 #adb4--,rising inflection 
on water4    l4 #adc-add4--;,falling    
inflection on crimson and on blood4     
l4 #acd-add4--,this is the climax of the
 poem4 ,when one grasps this  idea the  
voice becomes full of joy4 ,be sure to  
get the picture of  the clear and limpid
 water as it flows down to where the    
warriors  are1 and note the change as it
 passes below them1 tinged with the     
war-paint it has washed away4 ,note the 
emphasis on clear above1  and on dark   
below4    l4 #ade4--,rising inflection  
on warriors4    l4 #adh4--;,falling     
inflection on weapons4    l4            
#adi-aej4--,rising inflection on mighty 
and on creator4    l4 #aea4--;,falling  

inflection on smiled4    l4             
#aeb4--,pause after silence2 rising     
inflection on warriors4    l4           
#aec4--,rising inflection on quarry4    
l4 #aed4--;,falling inflection on       
,peace-,pipes4    l4 #aee-aef4--,rising 
inflection on river1 feathers4    l4    
#aeh4--,note the pause after ascending4 
,he ascended through  and vanished in4  
l4 #aeh-afj4--,rising inflection on     
,life1 ascending1 curtains1  and heaven4
    l4 #afa4--;,falling inflection on   
vanished2 rising on faces4    l4        
#afb4--;,it seems that the rising       
inflection would be preferable on  him4 
,in the following poem it is purposed to
 offer comments principally  as to the  
movement4 ,there is nothing that        
conduces more to variety  in reading    
than frequent changes in movement4 ,not 
that these  changes should be haphazard2
 on the contrary1 as we have seen in    
,chapter ,i1 there is a definite        
principle underlying movement4 ,the     
analysis should reveal that the various 

ideas are of different  degrees of      
importance1 and the recognition of these
 differences  will lead to the variety  
of movement4    ,attention is also      
directed to transitions1 and            
occasionally to the  atmosphere4        
,every comment should be carefully      
considered and challenged4 ,the  printed
 page is a monochrome of type4 ,the     
danger is1 therefore1  that we read     
monotonously4 ,with the years we acquire
 a fatal  facility for pronouncing words
 without getting the underlying         
thought4 ,the object of these analyses  
is to take the mind from  the words to  
the ideas which they express1 and so to 
improve the  reading4      ,,horatius   
,a ,,lay ,,made ,,about ,,the ,,year    
,,of ,,the ,,city ,,cccix      ,i#af    
,lars ,porsena of ,clusium          ,by 
the ,nine ,gods he swore        ,that   
the great house of ,tarquin             
,should suffer wrong no more4        ,by
 the ,nine ,gods he swore it1           
#e          ,and named a trysting day1  

,and bade his messengers ride forth1    
,east and west and south and north1     
,to summon his array4           99      
99       99       99       99    ,,xi   
,and now hath every city                
#aj          ,sent up her tale of men3  
,the foot are fourscore thousand1       
,the horse are thousands ten4           
,before the gates of ,sutrium           
,is met the great array4                
#ae        ,a proud man was ,lars       
,porsena          ,upon the trysting    
day4      ,,xii          ,for all the   
,etruscan armies          ,were ranged  
beneath his eye1        ,and many a     
banished ,roman1                        
#bj          ,and many a stout ally2    
,and with a mighty following            
,to join the muster came        ,the    
,tusculan ,mamilius1          ,prince of
 the ,latian name4                      
#be      ,,xiii          ,but by the    
yellow ,tiber          ,was tumult and  
affright3        ,from all the spacious 
champaign          ,to ,rome men took   

their flight4        ,a mile around the 
city1                                   
#cj          ,the throng stopped up the 
ways3        ,a fearful sight it was to 
see          ,through two long nights   
and days4      ,,xiv          ,for aged 
folks on crutches1          ,and women  
great with child1                       
#ce        ,and mothers sobbing over    
babes          ,that clung to them and  
smiled1        ,and sick men borne in   
litters          ,high on the necks of  
slaves1        ,and troops of sunburned 
husbandmen                          #dj 
,with reaping-hooks and staves1         
,,xv          ,and droves of mules and  
asses          ,laden with skins of     
wine1        ,and endless flocks of     
goats and sheep1          ,and endless  
herds of kine1                          
#de        ,and endless trains of wagons
          ,that creaked beneath the     
weight        ,of corn-sacks and of     
household goods1          ,choked every 
roaring gate4      ,,xvi          ,now1 

from the rock ,tarpeian1                
#ej          ,could the wan burghers spy
        ,the line of blazing villages   
,red in the midnight sky4        ,the   
,fathers of the city1          ,they sat
 all night and day2                     
#ee        ,for every hour some horseman
 came          ,with tidings of dismay4 
99       99       99       99       99  
,,xix          ,they held a council1    
standing          ,before the           
,river-,gate3        ,short time was    
there1 ye may well guess1               
#fj          ,for musing or debate4     
,out spake the ,consul roundly3         
8,the bridge must straight go down2     
,for1 since ,janiculum is lost1         
,naught else can save the town40        
#fe      ,,xx          ,just then a     
scout came flying1          ,all wild   
with haste and fear3        8,to arms6  
to arms6 ,sir ,consul3          ,lars   
,porsena is here40        ,on the low   
hills to westward                       
#gj          ,the ,consul fixed his eye1

        ,and saw the swarthy storm of   
dust          ,rise fast along the sky4 
,,xxi          ,and nearer fast1 and    
nearer1          ,doth the red whirlwind
 come2                              #ge 
,and louder still1 and still more loud1 
,from underneath that rolling cloud1    
,is heard the trumpet's war-note proud1 
,the trampling and the hum4        ,and 
plainly1 and more plainly1              
#hj          ,now through the gloom     
appears1        ,far to left1 and far to
 right1        ,in broken gleams of     
dark-blue light1        ,the long array 
of helmets bright1          ,the long   
array of spears4                        
#he           99       99       99      
99       99      ,,xxv          ,but    
when the face of ,sextus          ,was  
seen among the foes1        ,a yell that
 rent the firmament          ,from all  
the town arose4        ,on the housetops
 was no woman                           
#ij          ,but spat towards him1 and 
hissed2        ,no child but screamed   

out curses4          ,and shook its     
little fist4      ,,xxvi          ,but  
the ,consul's brow was sad1             
,and the ,consul's speech was low2      
#ie        ,and darkly looked he at the 
wall1          ,and darkly at the foe4  
8,their van will be upon us             
,before the bridge goes down2           
,and if they once may win the bridge1   
#ajj          ,what hope to save the    
town80      ,,xxvii          ,then out  
spake brave ,horatius1          ,the    
,captain of the ,gate3        8,to every
 man upon this earth1          ,death   
cometh soon or late4                    
#aje        ,and how can man die better 
,than facing fearful odds        ,for   
the ashes of his fathers1          ,and 
the temples of his gods10           99  
99       99       99       99           
,,xxix          8,hew down the bridge1  
,sir ,consul1                           
#aaj          ,with all the speed ye    
may3        ,i1 with two more to help   
me1          ,will hold the foe in play4

        ,in yon strait path a thousand  
,may well be stopped by three4          
#aae        ,now1 who will stand on     
either hand1          ,and keep the     
bridge with me80      ,,xxx             
,then out spake ,spurius ,lartius1--    
,a ,ramnian proud was he1--        8,lo1
 ,i will stand at thy right hand1       
#abj          ,and keep the bridge with 
thee40        ,and out spake strong     
,herminius1--          ,of ,titian blood
 was he1--        8,i will abide on thy 
left side1          ,and keep the bridge
 with thee40                            
#abe      ,,xxxi          8,horatius10  
quoth the ,consul1          8,as thou   
sayest1 so let it be40        ,and      
straight against that great array       
,forth went the dauntless ,three4       
,for ,romans in ,rome's quarrel         
#acj          ,spared neither land nor  
gold1        ,nor son nor wife1 nor limb
 nor life1          ,in the brave days  
of old4           99       99       99  
99       99      ,,xxxiv          ,now1 

while the ,three were tightening        
,their harness on their backs1          
#ace        ,the ,consul was the        
foremost man          ,to take in hand  
an axe4        ,and ,fathers mixed with 
commons          ,seized hatchet1 bar1  
and crow1        ,and smote upon the    
planks above1                           
#adj          ,and loosed the props     
below4      ,,xxxv          ,meanwhile  
the ,tuscan army1          ,right       
glorious to behold1        ,come        
flashing back the noonday light1        
,rank behind rank1 like surges bright   
#ade          ,of a broad sea of gold4  
,four hundred trumpets sounded          
,a peal of warlike glee1        ,as that
 great host1 with measured tread1       
,and spears advanced1 and ensigns       
spread1                   #aej          
,rolled slowly towards the bridge's     
head1          ,where stood the         
dauntless ,three4      ,,xxxvi          
,the ,three stood calm and silent1      
,and looked upon the foes1        ,and a

 great shout of laughter                
#aee          ,from all the vanguard    
rose3        ,and forth three chiefs    
came spurring          ,before that deep
 array2        ,to earth they sprang1   
their swords they drew1        ,and     
lifted high their shields1 and flew     
#afj          ,to win the narrow way4   
99       99       99       99       99  
,,xxxviii          ,stout ,lartius      
hurled down ,aunus          ,into the   
stream beneath2        ,herminius struck
 at ,seius1          ,and clove him to  
the teeth2                              
#afe        ,at ,picus brave ,horatius  
,darted one fiery thrust1        ,and   
the proud ,umbrian's gilded arms        
,clashed in the bloody dust4            
99       99       99       99       99  
,,xl          ,herminius smote down     
,aruns2                                 
#agj          ,lartius laid ,ocnus low2 
,right to the heart of ,lausulus        
,horatius sent a blow4        8,lie     
there10 he cried1 8fell pirate6         

,no more1 aghast and pale1              
#age        ,from ,ostia's walls the    
crowd shall mark        ,the track of   
thy destroying bark4        ,no more    
,campania's hinds shall fly        ,to  
woods and caverns when they spy         
,thy thrice accursd sail40              
#ahj      ,,xli          ,but now no    
sound of laughter          ,was heard   
among the foes4        ,a wild and      
wrathful clamor          ,from all the  
vanguard rose4        ,six spears'      
lengths from the entrance               
#ahe          ,halted that deep array1  
,and for a space no man came forth      
,to win the narrow way4      ,,xlii     
,but hark6 the cry is ,astur2           
,and lo6 the ranks divide1              
#aij        ,and the great ,lord of     
,luna          ,comes with his stately  
stride4        ,upon his ample shoulders
          ,clangs loud the fourfold     
shield1        ,and in his hand he      
shakes the brand                        
#aie          ,which none but he can    

wield4      ,,xliii          ,he smiled 
on those bold ,romans1          ,a smile
 serene and high        ,he eyed the    
flinching ,tuscans1          ,and scorn 
was in his eye4                         
#bjj        ,quoth he1 8,the she-wolf's 
litter          ,stand savagely at bay2 
,but will ye dare to follow          ,if
 ,astur clears the way80      ,,xliv    
,then1 whirling up his broadsword       
#bje          ,with both hands to the   
height1        ,he rushed against       
,horatius1          ,and smote with all 
his might4        ,with shield and blade
 ,horatius          ,right deftly turned
 the blow4                              
#baj        ,the blow1 though turned1   
came yet too nigh3        ,it missed its
 helm1 but gashed his thigh4        ,the
 ,tuscans raised a joyful cry           
,to see the red blood flow4      ,,xlv  
,he reeled1 and on ,herminius           
#bae          ,he leaned one            
breathing-space1        ,then1 like a   
wild-cat mad with wounds1               

,sprang right at ,astur's face4         
,through teeth and skull and helmet1    
,so fierce a thrust he sped1            
#bbj        ,the good sword stood a     
hand-breadth out          ,behind the   
,tuscan's head4      ,,xlvi             
,and the great ,lord of ,luna           
,fell at that deadly stroke1        ,as 
falls on ,mount ,alvernus               
#bbe          ,a thunder-smitten oak4   
99       99       99       99       99  
,,xlvii          ,on ,astur's throat    
,horatius          ,right firmly pressed
 his heel1        ,and thrice and four  
times tugged amain1          ,ere he    
wrenched out the steel4                 
#bcj        8,and see10 he cried1 8the  
welcome1          ,fair guests1 that    
waits you here6        ,what noble      
,lucumo comes next          ,to taste   
our ,roman cheer80           99       99
       99       99       99    ,,li     
,yet one man for one moment             
#bce          ,strode out before the    
crowd3        ,well known was he to all 

the ,three1          ,and they gave him 
greeting loud4        8,now welcome1    
welcome1 ,sextus6          ,now welcome 
to thy home6                            
#bdj        ,why dost thou stay1 and    
turn away8          ,here lies the road 
to ,rome40      ,,lii          ,thrice  
looked he at the city2          ,thrice 
looked he at the dead2        ,and      
thrice came on in fury1                 
#bde          ,and thrice turned back in
 dread1        ,and1 white with fear and
 hatred1          ,scowled at the narrow
 way1        ,where1 wallowing in a pool
 of blood1          ,the bravest        
,tuscans lay4                           
#bej      ,,liii          ,but meanwhile
 axe and lever          ,have manfully  
been plied2        ,and now the bridge  
hangs tottering          ,above the     
boiling tide4        8,come back1 come  
back1 ,horatius60                       
#bee          ,loud cried the ,fathers  
all4        8,back1 ,lartius6 back1     
,herminius6          ,back1 ere the ruin

 fall60      ,,liv          ,back darted
 ,spurius ,lartius3          ,herminius 
darted back3                            
#bfj        ,and1 as they passed1       
beneath their feet          ,they felt  
the timbers crack4        ,but when they
 turned their faces1          ,and on   
the farther shore        ,saw brave     
,horatius stand alone1                  
#bfe          ,they would have crossed  
once more4      ,,lv          ,but with 
a crash like thunder          ,fell     
every loosened beam1        ,and1 like a
 dam1 the mighty wreck          ,lay    
right athwart the stream3               
#bgj        ,and a long shout of triumph
          ,rose from the walls of ,rome1
        ,as to the highest turret-tops  
,was splashed the yellow foam4          
,,lvi          ,and like a horse        
unbroken1                               
#bge          ,when first he feels the  
rein1        ,the furious river         
struggled hard1          ,and tossed his
 tawny mane1        ,and burst the curb1

 and bounded1          ,rejoicing to be 
free1                                   
#bhj        ,and whirling down1 in      
fierce career1        ,battlement and   
plank and pier1          ,rushed        
headlong to the sea4      ,,lvii        
,alone stood brave ,horatius1           
,but constant still in mind2            
#bhe        ,thrice thirty thousand foes
 before1          ,and the broad flood  
behind4        8,down with him60 cried  
false ,sextus1          ,with a smile on
 his pale face4        8,now yield      
thee10 cried ,lars ,porsena1            
#bij          8,now yield thee to our   
grace40      ,,lviii          ,round    
turned he1 as not deigning              
,those craven ranks to see2             
,naught spake he to ,lars ,porsena1     
,to ,sextus naught spake he2            
#bie        ,but he saw on ,palatinus   
,the white porch of his home1           
,and he spake to the noble river        
,that rolls by the towers of ,rome4     
,,lix          8,o ,tiber6 father       

,tiber6                                 
#cjj          ,to whom the ,romans pray1
        ,a ,roman's life1 a ,roman's    
arms1          ,take thou in charge this
 day60        ,so he spake1 and1        
speaking1 sheathed          ,the good   
sword by his side1                      
#cje        ,and with his harness on his
 back1          ,plunged headlong in the
 tide4      ,,lx          ,no sound of  
joy or sorrow          ,was heard from  
either bank3        ,but friends and    
foes in dumb surprise1                  
#caj        ,with parted lips and       
straining eyes1          ,stood gazing  
where he sank2        ,and when above   
the surges1          ,they saw his crest
 appear1        ,all ,rome sent forth a 
rapturous cry1                          
#cae        ,and even the ranks of      
,tuscany          ,could scarce forbear 
to cheer4      ,,lxi          ,but      
fiercely ran the current1               
,swollen high by months of rain3        
,and fast his blood was flowing1        

#cbj          ,and he was sore in pain1 
,and heavy with his armor1          ,and
 spent with changing blows2        ,and 
oft they thought him sinking1           
,but still again he rose4               
#cbe           99       99       99     
99       99      ,,lxiii                
8,curse on him60 quoth false ,sextus3   
8,will not the villain drown8           
,but for this stay1 ere close of day    
,we should have sacked the town60       
8,heaven help him60 quoth ,lars         
,porsena1                     #ccj      
8,and bring him safe to shore2          
,for such a gallant feat of arms        
,was never seen before40      ,,lxiv    
,and now he feels the bottom2           
,now on dry earth he stands2            
#cce        ,now round him throng the   
,fathers1          ,to press his gory   
hands2        ,and now1 with shouts and 
clapping1          ,and noise of weeping
 loud1        ,he enters through the    
,river-,gate1                           
#cdj          ,borne by the joyous      

crowd4           99       99       99   
99       99      ,stanza ,i    l4       
#a-d4--,the exalted position of ,lars   
,porsena1 the oath1 and the  grandeur of
 the ,tarquin house1 all contribute to  
make the movement  slow and the         
atmosphere dignified4    l4 #e4--,note  
the repetition and its effect on the    
movement4    l4 #g4--,rather fast4    l4
 #h4--;,according to the importance we  
attach to this line will be  the rate of
 movement4 ,if it means simply in all   
directions1 the  time will be moderate4 
,if1 however1 we desire to emphasize    
that  the messengers rode far to the    
east1 and far to the west1 and so       
forth1 the time will be slow4 ,probably 
the former is the better                
interpretation4      ,stanza ,,xi       
,colloquial style and moderate time     
prevail throughout the stanza  except in
    l4 #af1 where the transition is     
marked4      ,stanza ,,xii    ,the      
atmosphere is that of the pride of      
,porsena in his army4      ,stanza      

,,xiii    l4 #bf4--,observe the         
transition to the atmosphere of fright  
and  terror that pervades the entire    
stanza4    l4 #cj4--;,conceive that mass
 of humanity and note how the length of 
the inflection on mile is extended4     
l4 #cc4--,very slow2 each day and each  
night seems to be endless4      ,stanzas
 ,,xiv and ,,xv    ,observe that the    
principal verb does not appear until    
line #di4  ,hence there will be a rising
 inflection at the end of every line of 
these stanzas except #di4    ,the       
movement is rather fast and the         
atmosphere that of despair4    l4       
#di4--,very slow4      ,stanza ,,xvi    
l4 #ej-ed4--,narrative style4    l4     
#ee4--,slow4    l4 #ef4--,note the      
longer inflections on every hour4       
,stanza ,,xix    l4 #eh4--;,be careful  
to separate the last two words4    l4   
#fc4--,slower time and marked           
transition4      ,stanza ,,xx    l4     
#ff-fg4--;,fast time2 not in imitation  
of the speed of the scout1  but in      

sympathy with his feelings4    l4       
#fh-fi4--,no effort should be made to   
shriek these words2 it is  sufficient to
 suggest the fact that he is calling1   
and his fear4  ,the time will be fast4  
l4 #gj4--,observe the change in time and
 atmosphere4    l4 #gc4--;,a good       
illustration of the principle underlying
 movement4  ,this line is read slowly1  
for it announces the doom of the city4  
,stanza ,,xxi    l4 #gd-ge4--,moderate  
time4    l4 #gf-gi4--,note that the time
 grows gradually slower as the mind     
becomes more and more engrossed with the
 picture1 and how the voice  swells with
 increasing grandeur4    l4             
#hj-he4--,prevailingly moderate         
movement4    l4 #hd4--,rising inflection
 on bright because the speaker no doubt 
has in mind the two lines1 #hd and #he4 
,stanza ,,xxv    ,the hatred and        
contempt of the speaker will color the  
entire  stanza4 ,the movement will be on
 the whole moderate4    l4 #hh4--,slow4 
,stanza ,,xxvi    l4 #id4--,slower time1

 and an atmosphere of sadness4 ,bear in 
mind the  speaker sympathizes with the  
,consul4    l4 #ih4--;,despair and      
sadness4      ,stanza ,,xxvii    l4     
#ajb-ajc4--,manifest the speaker's pride
 in ,horatius1 and note the  striking   
contrast between the atmosphere of these
 lines and that of  the concluding lines
 of the preceding stanza4    l4         
#ajd-aji4--,solemn and deliberate4      
,stanza ,,xxix    l4 #aaj-aae4--,note   
the change in ,horatius4    l4          
#aaf-aag4--;,as if addressing the crowd2
 a marked transition4      ,stanza ,,xxx
    ,a good study in variety2 nearly    
every line presents a change of         
atmosphere4      ,stanza ,,xxxi    l4   
#abf-abg4--,very deliberately the       
,consul speaks4 ,why8 ,what are his     
feelings8    l4 #abh-abi4--,observe the 
patriotic ring in the speaker's words4  
,stanza ,,xxxiv    ,the stanza is in    
simple narrative style1 and contains but
 little  emotion4 ,the significant idea 
is that the patricians in this hour  of 

trial worked side by side with          
plebeians4      ,stanza ,,xxxv    ,the  
time is moderate at the beginning1      
becoming gradually slower to  the end4  
,observe the change in atmosphere in the
 last line4 ,once more it is  well to   
remind the reader that the speaker is a 
patriot4      ,stanza ,,xxxvi    ,the   
movement of the first two lines is      
rather slow2 after that it  accelerates 
to the end1 in sympathy with the fast   
moving picture4      ,stanza ,,xxxviii  
,the atmosphere is that of struggle and 
of the joy of victory4    ,the time will
 be rather fast1 retarding towards the  
close4      ,stanza ,,xl    l4          
#agj-agc4--,see note on preceding       
stanza4    l4 #agd4--,transition4       
,observe the hate of ,horatius4         
,stanza ,,xli    ,the time is           
prevailingly slow1 and the atmosphere in
 marked  contrast to that of the        
preceding stanza4 ,there is1 too1 a note
 of  contempt and irony4      ,stanza   
,,xlii    l4 #ahi4--;,abrupt transition 

to atmosphere of what is almost fear4   
,time fast4    l4 #aij-aif4--,time slow1
 and atmosphere in sympathy with the    
size  and strength of ,astur4           
,stanza ,,xliii    l4                   
#aig-aih4--,observe the contrast between
 the atmosphere of these  lines and that
 of the succeeding two4    l4           
#bja-bjb4--;,astur's contempt for his   
own allies4    l4 #bjc4--;,boastfully4  
,stanza ,,xliv    l4 #bje-bjh4--;,fast  
and strong4    l4 #bji-baj4--;,fast4    
l4 #baa-bab4--,slower1 and note change  
in feeling3 ,horatius is  wounded4    l4
 #bac-bad4--,the joy of the enemy serves
 but to increase the  speaker's sorrow4 
,stanza ,,xlv    l4 #bag-bbb4--,note the
 intensity of the speaker's feeling and 
his  savage joy at the close4           
,stanza ,,xlvi    ,slow time throughout4
      ,stanza ,,xlvii    l4             
#bbg4--,moderate time4    l4            
#bca-bcd4--,transition to the proud and 
contemptuous defiance of  ,horatius4    
,the time is moderate2 the key is high1 

because ,horatius  is calling to the    
opposing army4      ,stanza ,,li    l4  
#bce-bcf4--,simple narrative4    l4     
#bcg-bch4--;,contemptuous4    l4        
#bci-bdb4--,sarcastic throughout4 ,time 
quite slow4      ,stanza ,,lii    l4    
#bdf4--,very slow and contemptuous1     
especially the last four  words4        
,falling inflection on dread4           
,stanza ,,liii    l4 #bea4--,note the   
transition4    l4 #bea-bed4--,rather    
fast4    l4 #bee4--,suggest the         
sustained call and the warning4    l4   
#bef4--,subordinate4    l4              
#beg-beh4--;,faster and with greater    
trepidation4      ,stanza ,,liv    l4   
#bei-bfb4--;,fast4    l4                
#bfc4--,transition4      ,stanza ,,lv   
,this stanza is the climax of the poem4 
,horatius' work is done6 ,the           
atmosphere is that of joy1 triumph1 and 
exultation4      ,stanza ,,lvi    ,the  
excitement of the speaker carries him on
 with headlong speed as  he recalls the 
picture described in this stanza4       

,stanza ,,lvii    l4 #bhd4--,the        
excitement subsides4    l4              
#bhf-bhg4--,no hope4    l4 #bhi4--,what 
is the emotion of ,sextus8 ,note the    
smile4    l4 #bij4--,observe the        
difference between ,lars ,porsena and   
,sextus in  their feelings toward       
,horatius4      ,stanza ,,lviii    l4   
#bib4--,slower time4 ,is there not a    
note of pride in the speaker's  voice as
 he recalls the bravery of ,horatius8   
l4 #big-bii4--,tender and slow4         
,stanza ,,lix    l4 #cjj-cjc4--,slow and
 reverential4    l4 #cjd-cjg4--,rather  
fast1 with pause before and after       
headlong4      ,stanza ,,lx    l4       
#cjh-cab4--,rather slow4    l4          
#cac4--,note transition to the feeling  
of joy4      ,stanza ,,lxi    ,the      
entire stanza is permeated with the     
speaker's suspense and with  his        
sympathy with the struggles of the      
wounded man4      ,stanza ,,lxiii       
,observe again the contrast between     
,sextus and ,lars ,porsena1 both        

enemies of ,horatius4      ,stanza      
,,lxiv    ,if we will follow the picture
 and describe it as we see it and as    
the speaker now recalls it1 we will make
 long pauses after bottom  and stands4  
,the time increases in rapidity through 
the first four lines1 and  then is      
retarded to the end4    ,the atmosphere 
of the first four lines is that of joy1 
and it is  hardly possible to keep back 
the tears as we utter the last four4    
99       99       99       99       99  
,in the final selection we shall call   
attention to all the  interpretative    
difficulties which the teacher is likely
 to meet  with in the class-room4 ,there
 is no reason why such a piece of       
literature as this cannot be used to    
advantage even in the public  school1   
provided we take the time for careful   
analysis4      ,,julius                 
,,caesar4--,,shakespeare      ,,act     
,,iv41 ,,scene #c    ,brutus's ,tent    
,enter ,,brutus and ,,cassius           
,,cas4 ,that you have wrong'd me doth   

appear in this3        ,you have        
condemn'd and noted ,lucius ,pella      
,for taking bribes here of the          
,sardians2        ,wherein my letters1  
praying on his side1        ,because ,i 
knew the man1 were slighted off4        
,,bru4 ,you wrong'd yourself to write in
 such a case4          ,,cas4 ,in such a
 time as this it is not meet            
,that every nice offence should bear his
 comment4          ,,bru4 ,let me tell  
you1 ,cassius1 you yourself        ,are 
much condemn'd to have an itching palm2 
#aj        ,to sell and mart your       
offices for gold        ,to undeservers4
          ,,cas4            ,i an       
itching palm6        ,you know that you 
are ,brutus that speak this1        ,or1
 by the gods1 this speech were else your
 last4          ,,bru4 ,the name of     
,cassius honours this corruption1       
,and chastisement doth therefore hide   
his head4          ,,cas4 ,chastisement6
          ,,bru4 ,remember ,march1 the  
ides of ,march remember3        ,did not

 great ,julius bleed for justice sake8  
,what villain touch'd his body1 that did
 stab1               #bj        ,and not
 for justice8 ,what1 shall one of us1   
,that struck the foremost man of all    
this world        ,but for supporting   
robbers1 shall we now                   
,contaminate our fingers with base      
bribes1        ,and sell the mighty     
space of our large honours        ,for  
so much trash as may be grasped thus8   
,i had rather be a dog1 and bay the     
moon1        ,than such a ,roman4       
,,cas4               ,brutus1 bay not   
me2        ,i'll not endure it2 you     
forget yourself1        ,to hedge me in2
 ,i am a soldier1 ,i1                   
#cj        ,older in practice1 abler    
than yourself        ,to make           
conditions4          ,,bru4             
,go to2 you are not1 ,cassius4          
,,cas4 ,i am4          ,,bru4 ,i say you
 are not4          ,,cas4 ,urge me no   
more1 ,i shall forget myself2           
,have mind upon your health1 tempt me no

 farther4          ,,bru4 ,away1 slight 
man6          ,,cas4 ,is't possible8    
,,bru4                ,hear me1 for ,i  
will speak4        ,must ,i give way and
 room to your rash choler8        ,shall
 ,i be frighted when a madman stares8   
#dj          ,,cas4 ,o ye gods1 ye gods6
 must ,i endure all this8               
,,bru4 ,all this6 ay1 more3 fret till   
your proud heart break2        ,go show 
your slaves how choleric you are1       
,and make your bondmen tremble4 ,must ,i
 budge8        ,must ,i observe you8    
must ,i stand and crouch        ,under  
your testy humour8 ,by the gods1        
,you shall digest the venom of your     
spleen1        ,though it do split you2 
for1 from this day forth1        ,i'll  
use you for my mirth1 yea1 for my       
laughter1        ,when you are waspish4 
,,cas4                  ,is it come to  
this8                 #ej               
,,bru4 ,you say you are a better        
soldier2        ,let it appear so2 make 
your vaunting true1        ,and it shall

 please me well3 for mine own part1     
,i shall be glad to learn of noble men4 
,,cas4 ,you wrong me every way2 you     
wrong me1 ,brutus2        ,i said1 an   
elder soldier1 not a better3        ,did
 ,i say #8better'8          ,,bru4      
,if you did1 ,i care not4               
,,cas4 ,when ,caesar lived1 he durst not
 thus have moved me4          ,,bru4    
,peace1 peace6 you durst not so have    
tempted him4          ,,cas4 ,i durst   
not6                                    
#fj          ,,bru4 ,no4          ,,cas4
 ,what1 durst not tempt him6            
,,bru4                  ,for your life  
you durst not4          ,,cas4 ,do not  
presume too much upon my love2        ,i
 may do that ,i shall be sorry for4     
,,bru4 ,you have done that you should be
 sorry for4        ,there is no terror1 
,cassius1 in your threats1        ,for  
,i am arm'd so strong in honesty        
,that they pass by me as the idle wind1 
,which ,i respect not4 ,i did send to   
you        ,for certain sums of gold1   

which you denied me3              #gj   
,for ,i can raise no money by vile      
means3        ,by heaven1 ,i had rather 
coin my heart1        ,and drop my blood
 for drachmas1 than to wring            
,from the hard hands of peasants their  
vile trash        ,by any indirection3  
,i did send        ,to you for gold to  
pay my legions1        ,which you denied
 me3 was that done like ,cassius8       
,should ,i have answer'd ,caius ,cassius
 so8        ,when ,marcus ,brutus grows 
so covetous1        ,to lock such rascal
 counters from his friends1             
#hj        ,be ready1 gods1 with all    
your thunderbolts2        ,dash him to  
pieces6          ,,cas4                 
,i denied you not4          ,,bru4 ,you 
did4          ,,cas4 ,i did not3 he was 
but a fool that brought        ,my      
answer back4 ,brutus hath rived my      
heart3        ,a friend should bear his 
friend's infirmities1        ,but       
,brutus makes mine greater than they    
are4          ,,bru4 ,i do not1 till you

 practise them on me4          ,,cas4   
,you love me not4          ,,bru4       
,i do not like your faults4             
,,cas4 ,a friendly eye could never see  
such faults4          #ij               
,,bru4 ,a flatterer's would not1 though 
they do appear        ,as huge as high  
,olympus4          ,,cas4 ,come1        
,antony1 and young ,octavius1 come1     
,revenge yourselves alone on ,cassius1  
,for ,cassius is aweary of the world3   
,hated by one he loves2 braved by his   
brother2        ,check'd like a bondman2
 all his faults observed1        ,set in
 a note-book1 learn'd1 and conn'd by    
rote1        ,to cast into my teeth4 ,o1
 ,i could weep        ,my spirit from   
mine eyes6 ,there is my dagger1         
#ajj        ,and here my naked breast2  
within1 a heart        ,dearer than     
,plutus' mine1 richer than gold3        
,if that thou be'st a ,roman1 take it   
forth2        ,strike1 as thou didst at 
,caesar2 for1 ,i know1        ,i1 that  
denied thee gold1 will give my heart3   

,when thou didst hate him worst1 thou   
lovedst him better        ,than ever    
thou lovedst ,cassius4          ,,bru4  
,sheathe your dagger3        ,be angry  
when you will1 it shall have scope2     
,do what you will1 dishonour shall be   
humour4        ,o ,cassius1 you are     
yoked with a lamb                       
#aaj        ,that carries anger as the  
flint bears fire2        ,who1 much     
enforced1 shows a hasty spark1          
,and straight is cold again4            
,,cas4                        ,hath     
,cassius lived        ,to be but mirth  
and laughter to his ,brutus1            
,when grief1 and blood ill-temper'd1    
vexeth him8          ,,bru4 ,when ,i    
spoke that1 ,i was ill-temper'd too4    
,,cas4 ,do you confess so much8 ,give me
 your hand4          ,,bru4 ,and my     
heart too4          ,,cas4              
,o ,brutus6          ,,bru4             
,what's the matter8          ,,cas4     
,have not you love enough to bear with  
me1        ,when that rash humour which 

my mother gave me              #abj     
,makes me forgetful8          ,,bru4    
,yes1 ,cassius2 and1 from henceforth1   
,when you are over-earnest with your    
,brutus4        ,he'll think your mother
 chides1 and leave you so4    ,a few    
words of introduction are first         
necessary4 ,we should  understand the   
play as a whole1 and be conversant with 
the events  that lead up to this        
particular scene2 further1 we should    
bear  in mind the tense1 splenetic      
character of ,cassius1 and the calm1    
controlled1 stoical disposition of      
,brutus4    l4 #a4--;,in ,scene #b we   
get the keynote to ,cassius' manner4 ,he
  is so full of his supposed wrong that 
he pays no heed to the  surroundings1   
and bluntly plunges into the matter in  
hand4 ,brutus  restrains him1 and       
together they move to the former's tent4
 ,no  sooner do they enter than again   
,cassius bursts forth4    l4            
#d4--;,cassius is piqued that his       
letters should have failed to  shield   

,lucius ,pella from the punishment for  
his wrongdoing4    l4 #e4--,subordinate 
and explanatory4    l4 #f4--;,brutus's  
answer is simple and direct1 yet without
 feeling4    l4 #h4--,nice is equivalent
 to unimportant1 small4 ,there is a     
touch  of contempt in this speech4    l4
 #i4--;,again we note the directness of 
,brutus's statement1 and the  absence of
 feeling4 ,note1 too1 that he in no way 
seeks to soften  his charges4    l4     
#ab4--;,imagine the surprise and rage of
 ,cassius4 ,there will be  a sweeping   
upward inflection on ,i4 ,it is only    
with the utmost  effort that the fiery  
,cassius can control himself4    l4     
#ae-af4--,paraphrased1 these lines mean1
 ,the name of ,cassius is  associated   
with this corruption1 and hence the     
hands of justice are  tied4 ,for1 to    
bring the corrupters to trial would be  
to drag in  ,cassius with them4    l4   
#ag4--;,do you dare to use the term     
chastisement in connection  with my     
name8    l4 #ah4--,unmoved by the anger 

of ,cassius1 ,brutus proceeds calmly and
  perhaps too ruthlessly to arraign his 
friend4    l4 #ba4--,observe the high   
moral standard of ,brutus4    l4        
#ba-bf4--,rising inflections throughout4
    l4 #bg4--,observe the contempt4     
l4 #bh4--;,during the speech of ,brutus1
 ,cassius can scarcely contain  himself4
 ,never has any one dared to arraign    
him4 ,now he is even  forgetting the    
deference he has been wont to show to   
one whom he  recognizes as his superior4
    l4 #cb-cd4--,rapidly1 as the passion
 of the men rises4    l4 #ce-cf4--,now  
,cassius begins to threaten4    l4      
#cg4--,there is no anger in this4       
,brutus knows that ,cassius  is beside  
himself1 and brushes him aside as one   
would brush an  insignificant dust speck
 from his clothing4    l4 #ch4--,such   
treatment ,cassius cannot understand4   
,the line is  exclamatory rather than   
interrogative4 ,it is equivalent to1    
,can ,i  believe my ears8    l4         
#ch4--;,brutus now begins to assert     

himself4 ,it is a new aspect of  his    
character1 which we can comprehend only 
when we learn1 as we do  later1 that    
,portia is dead4    l4 #dj4--;,brutus   
must be greatly moved to call his       
dearest friend a  madman4    l4         
#da4--,the strain of listening to such  
words is becoming too great  for        
,cassius to bear4    l4 #db4--;,brutus  
seems almost to enjoy the terrible      
lesson he is  reading ,cassius4 ,it is  
well-nigh incredible that the           
thoughtful1  loving husband of ,portia1 
and the considerate master of ,lucius1  
should speak thus to any one1 let alone 
his best friend4    l4 #ej4--,there     
seems to be no feeling but surprise in  
this1  surprise verging on bewilderment4
 ,as ,brutus grows more passionate      
,cassius seems to subside4    l4        
#ea-ed4--;,it is ,brutus now who appears
 to lose self-control4  ,cassius never  
said he was a better soldier4    l4     
#ee-eg4--;,anger and bewilderment give  
way to a sense of having  been wronged3 

the last sentence is almost pathetic in 
its humility4    l4 #eg4--;,anger and   
contempt4    l4 #eh4--;,cassius' passion
 is again beginning to rise4    l4      
#ei-fb4--,note the increasing           
astonishment in the speeches of         
,cassius1 and the superciliousness of   
,brutus4    l4 #fc-fd4--;,a threat      
uttered not so much in anger as in fear 
that he  may not be able to control his 
feelings4    l4 #fe4--;,have and should 
are the emphatic words4    l4           
#fe-hb4--,this speech needs no          
commentary4 ,it is a plain and          
unmistakable arraignment1 uttered in    
unequivocal language1 and in  simple1   
direct manner4    l4 #hb4--;,cassius is 
pained that his friend should so        
misunderstand  him4 ,from now to line   
#ic ,cassius seems to throw himself upon
 the  mercy of his friend1 while the    
latter repels his advances1 each  time  
with greater harshness4    l4           
#ic-ajg4--;,cassius' heart is broken4   
,if his best friend can so  wantonly    

misunderstand him1 what can he hope from
 his enemies8  ,there is nothing left to
 live for1 and he would eagerly welcome 
death even at the hands of ,antony4 ,the
 passage is overflowing with            
heartbreak1 and gains our sympathy for  
one who else would seem but  a crafty1  
self-seeking schemer4    l4 #ajg4--,the 
speech of ,cassius brings ,brutus back  
to himself4 ,here  is the real ,brutus1 
full of tenderness and love4    ,to     
understand fully the unusual display of 
feeling in this scene we  should read   
further to the stage direction1         
,re-enter ,lucius1 with  wine and taper4
      ,,footnotes3    #ae ,let it be    
understood once for all that the various
 elements in  expression should be the  
spontaneous outcome of the mental       
action4  ,as has been so often stated1  
to tell a pupil to use a rising         
inflection or to emphasize this word or 
that1 is a violation of the  fundamental
 principle of correct teaching4    #af  
,the stanzas are numbered as in the     

original poem4          ,,index ,,to    
,,subjects        ,antithesis1          
rhetorical1 #adc4      ,atmosphere1     
#ahd2      examples illustrating1 #ahe2 
analysis of a selection illustrating1   
#aic2      of description1 psychology   
of1 #aii4        ,central idea1 #ach2   
study of1 a logical process1 #ada4      
,character1 contrast of1 #bjg4          
,climaxes1 #bab2      of significance1  
#bab1 #bad1 #bae2      of intensity1    
#bac2      gradation of1 #baf4          
,complexity1 defined1 #aa4              
,contrasts1 #bje2      two kinds of1    
#baa4      ,criteria of vocal           
expression1 #ag4      ,criterion of     
force1 #aja4      ,criterion of pitch1  
#db4      ,criterion of quality1 #hj4   
,criterion of time1 #ai4                
,emotion1 #agb2      affects quality1   
#hb2      how to develop1 #agb2         
contrast of1 #bje4      ,emotional      
transitions1 examples of1 #afb4         
,emphasis1 rules for1 #aci2      drills 
in1 #adj4      ,expression1 complexity  

of1 #agh        ,figurative             
interrogation1 #fa4      ,force1        
criterion of1 #aja2      pedagogical    
aspects of1 #aab4        ,grouping1 #bh1
 #abh2      independent of punctuation1 
#bh2      extract from ,legouv on1 #dj4 
,hints on readings1 #bed4               
,imagination and quality1 #hd4          
,imitation1 #bbg2      not art1 #ahi2   
tendency toward1 #aia4                  
,inflections1 meaning of1 #eg2          
rising1 #eg2      falling1 #fc2         
circumflex1 examples of1 #fg4           
,intangibility1 defined1 #aa4           
,interpretation1 literary1 #bca2        
vocal1 #bcb4        ,key1 defined1 #de2 
reasons for1 #di2      dependent upon   
degree of tension1 #ed4        ,literary
 interpretation1 #bca2      analysis of 
a selection illustrating1 #bhd4         
,melody1 #dc1 #ed2      analysis of a   
selection illustrating1 #ga2      of    
long sentences1 #gg4      ,mental       
attitude of the reader1 #aag4           
,mental technique1 #abi4      ,methods1 

mechanical1 #i2      8get-the-thought10 
#i2      laxity of1 #ac2      concluding
 remarks on1 #bbd4      ,momentary      
completeness1 #fa1 #acf2      drills in1
 #fe2      analysis of a selection      
illustrating1 #bef4      ,movement1     
analysis of selection illustrating1     
#bff4        ,pause1 as related to time1
 #bg2      an expressive element1 #cb2  
examples of1 #ce4      ,pedagogical     
aspects1 of time1 #ch2      of pitch1   
#ge2      of quality1 #ih2      of      
force1 #aab4      ,phases1 studies in1  
#afc4      ,phrases1 subordinate1 #aej4 
,pitch1 criterion of1 #db2      meaning 
of1 #db2      ,raymond's definition of1 
#db2      melody of1 #db2      analysis 
of a selection illustrating1 #ga2       
pedagogical aspects of1 #ge2      low1  
#ajg4      ,primary reading1 the        
teaching of1 #aah4      ,punctuation1   
effect upon reading1 #cj4      ,purpose 
of the reading lesson1 #ab4             
,quality1 criterion of1 #hj2            
physics of1 #hj2      effect of emotion 

upon1 #hb2      ,rush's classification  
of1 #hb2      orotund1 #hc2             
imagination and1 #hd2      elevated     
feelings in relation to1 #he2           
normal1 #ij2      examples of normal1   
#ia2      aspirated1 #ib2      dark1    
#id2      bright1 #id2      examples of 
dark1 #ie2      examples of bright1 #ig2
      pedagogical aspects of1 #ih2      
,william ,l4 ,tomlins on1 #ajj4         
,reading and literature1 relation of1   
#aj4      ,requisites for the teacher of
 reading1 #aj4      ,rhythm1 analyses of
 selections illustrating1 #bcf1 #bdd1   
#bed2      study in1 #bcb2      meaning 
of1 #bch4        ,sight reading1 #abj4  
,skip1 psychology of the1 #ef4          
,stress1 defined1 #aja2      radical1   
#aja2      final1 #ajb2      degrees of1
 #ajc2      ,raymond's definition of    
radical1 #ajd2      ,raymond's          
definition of final1 #aje2      median1 
#ajf2      examples of radical1 #ajg2   
examples of final1 #aji2      examples  
of median1 #aaj4      ,subordinate      

phrases1 #aej4      ,subordination1     
#adi4      ,succession of ideas1 #acb4  
,suggestive lesson1 #aba1 #acj1 #acf1   
#adg1 #aee1 #afg1 #agc1 #aig1 #bji1     
#bba4        ,teacher of reading1       
requisites for1 #aj4      ,teaching     
reading1 mechanical method of1 #i2      
8get-the-thought0 method of1 #i2        
laxity of methods of1 #ac2              
concluding remarks on method of1 #bbd4  
,technique1 defined1 #bbf4      ,time1  
criterion of1 #ai2      ,raymond's      
definition of1 #ai2      psychology of1 
#ai2      expansive paraphrase to       
reveal1 #bj2      examples of slow1 #ba2
      examples of fast1 #bc2            
analysis of selection illustrating1 #bf2
      relation of quantity to1 #bg2     
relation of pause to1 #bg2              
pedagogical aspects of1 #ch4            
,transitions1 #aei1 #afj2      emotional
 examples of1 #afb4        ,values1     
#aeg2      examples of1 #aeg2           
analysis of a selection illustrating1   
#bef4      ,vocal expression1 criteria  

of1 #ag4      ,vocal interpretation1    
#bcb4      ,voice1 defects in1 #ha4     
,,index ,,to ,,first ,,lines ,,of       
,,selections        ,a fool1 a fool6--,i
 met a fool1 #dh4      ,a land of       
streams1 #bdj4      ,alas6 my noble boy6
 #ie4      ,among the exploits of       
marvelous1 #aeb4      ,and as a hungry  
lion1 #gi4      ,and do you now put on  
your best attire1 #adj4      ,and now go
 bring your sharpest torments1 #aaj4    
,and the evening star was shining1 #hg4 
,and the old ,tartar came upon the sand1
 #ahe4      ,and thus ,king ,priam      
supplicating1 #afe4      ,and you1--you 
who are1 #aeb4      ,antonio1 ,i am     
married to a wife1 #dd4      ,arise1    
shine2 for thy light is come1 #aaj4     
,as thro' the land at eve we went1 #bjj4
      ,as when a boar or lion1 #afd4    
,as when some hunter in the spring1     
#bjc4      ,at ,atri in ,abruzzo1 #gh1  
#aed4      ,at ,flores in the ,azores1  
#bhd4      ,at the moment when death1   
#ch4      ,awake1 my soul6 ,not only    

passive praise1 #hg4        ,before a   
quarter pole was pass'd1 #bd4           
,blessings on thee1 little man1 #age4   
,blow trumpet1 for the world1 #bja4     
,blow winds1 and crack your cheeks6 #id1
 #bdb4      ,bury the great ,duke1 #hg4 
,but in the gloom they fought1 #ajg4    
,but ,rustum eyed askance the kneeling  
youth1 #bja4      ,but when public      
taste1 #gi4      ,but when the gray dawn
 stole into his tent1 #bh4        ,did  
your letters pierce1 #ahh4              
,ferood1 and ye1 ,persians and ,tartars1
 hear6 #afb4      ,figure to yourself a 
cataract1 #bb4      ,for even then1     
,sir1 even before1 #aab4      ,fresh as 
the flower1 whose modest worth1 #aec4   
,gloriously1 ,max6 gloriously6 #bh4     
,great have thy sufferings been1 #aff4  
,gusty and raw was the morning1 #aic4   
,half a league1 half a league1 #bcf4    
,haste thee1 nymph1 #dh1 #bci4          
,hear the sledges with the bells1 #ih4  
,hector1 thou almost ever chidest me1   
#afd4      ,here are old trees1 #bci4   

,he spoke1 and ,sohrab kindled1 #bjb4   
,he spoke2 but ,rustum gazed1 #afb4     
,him the ,almighty power1 #bdb4         
,ho6 gallant nobles of the ,league1     
#aab4      ,however as the sun baked1   
#aea4      ,how lovely are thy dwellings
 fair6 #bc4      ,how now1 ,tubal6 #bje4
      ,how the robin feeds her young1   
#agf4        ,i can not tell what you   
and other men1 #ahj4      ,i come1 ,i   
come ye have called1 #bci4      ,if     
there be three in all your company1     
#bjg4      ,if you have tears1 prepare  
to shed them now1 #afb4      ,i had a   
dream1 #dg4      ,i know that virtue to 
be in you1 #bag4      ,in #ahae ,m4     
,charles ,myriel1 #eh4      ,in his     
early manhood1 #aec4      ,in the       
furrowed land1 #acd4      ,i sprang to  
the stirrup1 #bcb4      ,it is but a    
legend1 ,i know1 #dg4      ,it is but   
change1 ,titinius1 #add4      ,it is my 
purpose1 therefore1 #aee4        ,lars  
,porsena of ,clusium1 #bff4      ,lead  
out the pageant2 sad and slow1 #cj4     

,let me play the fool1 #ig4      ,look6 
look6 that livid flash6 #bdj4           
,meanwhile ,king ,robert yielded to his 
fate1 #dd4      ,messer ,bernado del    
,nero was as inexorable1 #cg4      ,most
 of all1 fellow citizens1 #he4          
,most potent1 grave1 and reverend       
signiors1 #agi4      ,mr4 ,speaker3 ,the
 mingled tones of sorrow1 #ba4      ,my 
good blade carves the casques of men1   
#baj4        ,nay1 curs'd be thou1 #ce4 
,never1 ,iago4 ,like to the ,pontic     
,sea1 #id4      ,next morning1 waking   
with the day's first beam1 #bai4        
,no one venerates the ,peerage more than
 ,i do1 #aec4        ,of ,man's first   
disobedience1 and the fruit1 #cb4       
,often have ,i swept backward1 in       
imagination1 #ba4      ,oh1 young       
,lochinvar is come out of the west1     
#bed4      ,o1 my offense is rank1 #ie4 
,once more into the breach1 dear        
friends1 #ej4      ,on ,linden1 when the
 sun was low1 #agj4      ,on the        
,mountains of the ,prairie1 #beg4       

,o pardon me1 thou bleeding piece of    
earth1 #baf4      ,o1 sing unto the     
,lord a new song1 #aab4      ,over his  
keys the musing organist1 #df4      ,o1 
what a rogue and peasant slave am ,i1   
#ec4        ,reputation1 reputation1    
reputation6 #aha4        ,sea-kings'    
daughter from over the sea1 #ea4        
,search creation round1 #ba4      ,see  
what a grace was seated1 #hf4           
,sheltered by the verdant shores1 #bjg4 
,she mounts her chariot with a trice1   
#ig4      ,sir1 the gentleman inquires1 
#afj4      ,some of the softening       
effects1 #cg4      ,soon after ,william 
,h4 ,harrison's nomination1 #ca4        
,speak the speech1 ,i pray you1 #ia4    
,sweet and low1 #bjj4        ,that you  
do love me1 ,i am nothing jealous1 #adf4
      ,that you have wronged me1 #bhd4  
,the armaments which thunderstrike1     
#ajh4      ,the curfew tolls the knell  
of parting day1 #ahi1 #bca4      ,the   
empire of ,blefuscu1 #acd4      ,the    
father came on deck1 #age4      ,the    

,lord reigneth1 #aaa4      ,the name and
 memory of ,washington1 #bh4      ,then 
he departed with them o'er the sea1     
#baj4      ,then it was that ,jo1 #aea4 
,then methought ,i heard a mellow sound1
 #be4      ,then sing1 ye birds1 #bda4  
,there's a rogue at play in my sunlit   
room1 #abc4      ,the trumpet1 the      
gallop1 the charge1 #afd4      ,this    
too1 thou know'st1 #afc4      ,three    
quarters round your partners swing1     
#aeg4      ,thou kingly ,spirit1 #aaa4  
,thou1 too1 sail on1 ,o ,ship of ,state1
 #hf4      ,to be1 or not to be1 #eb4   
,to whom replied ,king ,arthur1 #bdc4   
,up from the meadows rich with corn1    
#ga4        ,venerable men6 you have    
come down to us1 #hi4      ,vengeance6  
plague6 death6 confusion6 #afa4         
,whatever ,lionel had said to his wife1 
#cg4      ,what lesson shall those lips 
teach us1 #hi4      ,when a wind from   
the lands1 #bbb4      ,wherefore        
rejoice8 ,what conquest1 #bf1 #bac4     
,where sweeps round the mountains1 #di4 

,while the ,union lasts1 #gh4           
,wrapped in a maze of thought1 #bb4     
,yet his means are in supposition1 #cj4 
,ye1 who sometimes1 in your rambles1    
#acb4      ,you ,heavens1 give me       
patience1 #if4      ,you think me a     
fanatic to-night1 #bb4          ,,list  
,,of ,,poems ,,and ,,selections         
,,analyzed        ,barbara ,frietchie   
,whittier   #ga    ,charge of the ,light
 ,brigade                               
,tennyson  #bcf    ,horatius 7,the ,lays
 of ,ancient ,rome7                     
,macaulay  #bff    ,how ,they ,brought  
the ,good ,news ,from            ,ghent 
to ,aix                        ,robert  
,browning  #bab    ,the ,fight of ,paso 
del ,mar                     ,bayard    
,taylor  #aic    ,the ,peace-,pipe      
7,hiawatha7                             
,longfellow  #bef    ,the ,quarrel      
,scene 7,julius ,caesar7                
,shakespeare  #bhd    ,the ,revenge     
,tennyson  #bdd    ,young ,lochinvar    
,scott  #bed            ,,transcriber',s

 ,,note      ,obvious typographical     
errors and punctuation errors have been 
corrected after careful comparison with 
other occurrences within    the text and
 consultation of external sources4      
,except for those changes noted below1  
all misspellings in the text1    and    
inconsistent or archaic usage1 have been
 retained4      ,pg #gh3 #8throughout   
the earht' replaced by #8throughout the 
earth'4    ,pg #hf3 #8,hamlet1' replaced
 by #8--,hamlet1'4    ,pg #aab3 #8,ps4  
xcvi41' replaced by #8--,ps4 xcvi41'4   
,pg #ahf3 #8,idyls of the ,king'        
replaced by #8,idylls of the ,king'4    
,pg #bdf3 ,the poetry line number #8#ee'
 is repeated1 and subsequent line       
numbering is off by one line2 this has  
been left unchanged4