c-Beware, gentlemen, beware. I warn you, in less than a week they will be here.

d

Classical.

But, hear you, leave behind

Your son, George Stanley: look your heart be firm,
Or else his head's assurance is but frail.

e

SHAKESPEARE, Richard III, iv, 4. -Beware the Ides of March.

SHAKESPEARE, Julius Caesar, i, 2.

211. WELCOME: (See Delight.)

Colloquial.

a-Why, how do you do? I am delighted to see you.

Classical.

b-A hundred thousand welcomes: I could weep,
And I could laugh; I am light, and heavy; welcome.
SHAKESPEARE, Coriolanus, ii, 1.

212. WHISPERING:

Colloquial.

a-Sh! Don't stir; they'll hear you.

Classical.

b-Hark! Who lies i' the second chamber?

SHAKESPEARE, Macbeth, ii, 1.

213. WOE: (See Grief.)

Colloquial.

ing looks!

a-Oh, gentlemen, it was piteous; the moans, the agoniz

Classical.

b-O piteous spectacle! O bloody times!

SHAKESPEARE, Henry VI, III, ii, 5.

214. WONDER: (See Amazement, Admiration.)

c-O day and night, but this is wondrous strange!

SHAKESPEARE, Hamlet, i, 5.

DEVELOPING SPECIFIC POWERS OF PORTRAYAL.

Frequently it will be found that a student while effective in portraying one class of emotions is weak in another. To assist such student examples especially valuable for different classes of feelings are now given. As many tones are combinations of simple emotions in various proportions, the same example will be found sometimes under different heads.

1. To Develop Brightness, Animation, Vivacity. Practice Tone Drills Nos. 63, 106, 108, 128, 137; also Nos. 1, 5, 85, 88, 93, 94, 96, 147, 183, 207, 214.

2. To Develop Facility in the Expression of Admiration, Love, Affection and Kindred Feelings. Practice Tone Drills Nos. 1, 3, 5, 111, 132, 194; also Nos. 10, 18, 19 41b, 43, 53, 63, 84, 85, 102, 108a, 152, 190, 201.

3. To Develop Expression of Sympathy, Regret, Grief, Agony and the Like. Practice Tone Drills Nos. 8, 53, 110, 140, 145, 150, 181, 190; also Nos. 20, 66, 79, 80, 86, 90, 97, 101, 136, 163, 166, 186, 198, 213.

4. To Develop Expression of Assertion, Conviction, Intention, Determination and the Like. Practice Tone Drills Nos. 24, 55, 60, 64, 69, 164, 165; also Nos. 46, 48, 51, 61, 78, 91, 143, 152, 153, 156, 157, 159, 162, 167, 173, 193, 202, 206, 209, 210.

5. To Develop Expression of the Various Forms of Dissatisfaction and Dislike, Indignation, Aggrievance and Contempt. Practice Tone Drills Nos. 11, 27, 49, 54, 58, 118, 158, 176, 180, 184; also Nos. 7, 13, 26, 29, 31, 44, 46c, 59, 65, 71, 74, 77, 81, 91, 114, 122, 124, 134, 141, 142, 160, 170, 177, 182.

6. To Develop Expression of Emotions Demanding Perturbation, Excitement. Practice Tone Drills Nos. 88, 96a, 99, 191, 208; also Nos. 15, 52, 57, 80, 83, 85, 89, 91, 105, 113, 144, 187, 200, 207, 212.

7. To Develop Expression of Entreaty From Request to Appeal. Practice Tone Drills Nos. 16, 42, 53, 86, 92, 140,

175.

8. To Develop Power in the Expression of Climax. Practice Tone Drills Nos. 24, 41, 45a, 64, 69a, 145, 208; also Nos. 22, 40, 60, 88, 89, 162a, 176b, 214b.

9. To Develop Expression of Awe, Solemnity, Dignity, Sublimity. Practice Tone Drills 28, 30a, c, 48, 110, 181, 189, 194; also Nos. 55d, e, f, 56, 62, 70, 144, 163a, d, 171c.

FIVE TO TEN MINUTE GENERAL DRILL ON TONES.

10. Practice Tone Drills Nos. 1a, 5a, 8a, 11a, d, 16a, 19a, 21a, 22a, 24a, b, 26a, 28a, b, 35, 41a, b, 43a, 46a, b, c, 49a, 53a, 55b, 63a, b, 86a, 88a, b, 89a, b, 96a, b, 99a, 106a, 110, 126, 132a, b, 135, 137a, b, c, 140a, 150a, 158, 168a, 181, 182b, 190a, b, 191, 200a, 207, 208, 214a.

TEN TO TWENTY MINUTE GENERAL DRILL ON

TONES.

11. All of Five Minute Drill, as above, also Tone Drills Nos. 3, 5c, 7a, 13a, 15, 20a, 23c, 27, 32, 34a, 37a, 40, 41c, 42a, 47a, 48a, 51, 52, 54a, 57a, 59, 60a, 61a, 65a, 69a, 70a, 80, 83b, 84, 91a, 92b, 93b, 97a, 101, 105, 114a, 116, 118, 121, 124a, 136a, 139b, 144, 148, 153, 157, 177, 180a, 187, 206a, 202a, 203a.

Note: In some instances Colloquial Drills only have been specified. Where desired a Classical example under same Tone may be used.

TONE DRILLS FOR VOCAL DEVELOPMENT.

12. To Free the Vocal Muscles. Practice Tone Drills Nos. 8, 63, 86, 110, 128, 132, 137, 145, 166, 181, 194, 200, 207.

13. To Secure Flexibility. Practice Tone Drills Nos. 1, 5, 9, 16, 20, 25, 42, 47, 94, 106, 111, 126, 132, 141, 169d, 180, 182, 190, 201.

14. To Secure Forward Placing of Tone. Practice Tone Drills Nos 24, 26, 46, 63, 64, 89, 157, 200, 208.

15. To Secure Resonance and Volume Practice Tone Drills Nos. 8, 10, 19, 32, 33, 34, 35, 40, 41, 61, 96, 110, 137, 152, 154, 181, 189, 194, 207.

16. To Develop Musical Quality. Practice Tone Drills Nos. 36, 110, 136, 150, 166, 168, 181, 189, 207, 213.

INTERPRETATION

1. Interpretation Implies Conception and Execution.-By conception is meant the clear and complete apprehension of all that the author intended in his composition. By execution is meant the complete portrayal of the conception to the listener. Conception implies knowing, execution implies showing. It is plain that before a person can portray a picture or tell a story effectively to others he must himself know completely such story or picture. Execution is, therefore, lame and impotent without conception.

2. A United Aim-Unity-Implies that Nothing Stands for Itself.--Every line, every word, every syllable of a worthy composition is a necessary part of the whole, has some use, is for some purpose. They all coöperate in producing the writer's conception; they have a United Aim. If, then, the student does not realize this coöperative aim he cannot be said to read well. Without understanding the coöperative purpose of all, he cannot tell the relative value of words, phrases, sentences and parts, and his interpretation (?) will be a hap-hazard affair in which the writer's thoughts and feelings run the risk of not being expressed at all. Here is a short poem from Tennyson:

BREAK, BREAK, BREAK.

Break, break, break,

On thy cold gray stones, O Sea!

And I would that my tongue could utter
The thoughts that arise in me.