basis of intelligent vocal interpretation of literature is careful analysis. One cannot express shades of meaning that are not in the mind; until one clearly perceives the motives and relationships of the selection, he cannot reflect them to others. Too much cannot be said upon the importance of thorough thought and study of a selection previous to any effort toward expression. It is needless to explain that one cannot give what he does not possess; and it is equally self-evident that one gains by giving. Long and thoughtful quiescent concentration should precede the concentration of mind while speaking. The author's words are like a gold mine which must be searched by thorough digging for the nuggets of thought beneath. The pupil must live with his author, see through his eyes, think with his intellect, feel with his heart, and choose with his will, picturing to himself every scene, putting himself in the place of every character described.

Like every organism every true work of art has organic unity; it represents a unit of thought, the WHOLE, made up of essential PARTS. Each part is a part of the whole, because in its own way it reflects the whole. The perfect unity of an organism or of a work of art results from the service rendered by each part to every other part.

Here, then, is the logical order of analysis: first, the WHOLE or unit of thought; second, the PARTS; third, the SERVICE, OR THE USE OF THE PARTS; fourth, the RELATIONSHIP OF THE PARTS which is the highest service and results in revelation. In determining this higher service we are reconstructing our whole from the unit of the selection to the revelation of truth resulting from the relationship of parts; the analysis must culminate in synthesis, else it would defeat its purpose. The end of literature, as in other forms of art, is revelation. The end of analysis is to lead to the perception of this revelation. In the earlier stages of development the pupil's attention should not be directed toward minute analysis. At this period his mind is engrossed with the principal thought or unit of the composition,—the dominant theme which is developed in every organic literary composition. Let his mind rest upon this until he lives in the spirit of the theme through a passion for reflecting it to others.

Inasmuch as an attempt to define always limits, it is a question how far it will be profitable to formulate definite statements of the whole, parts, etc. Written expression, as well as oral, is individual. Each pupil may have a different formulation. Inasmuch, however, as every author is possessed by a definite purpose, we may suggest, for the guidance of the student, a tentative analysis of a selection which may aid him in reflecting its truth to an audience.

It is hoped that this brief study of one selection from each chapter may be acceptable as a working basis, a hint of the logical method of procedure rather than an arbitrary model. The elaboration of these principles is without limit and must be left to the teacher. It is the purpose here to give only simple statements intended to be suggestive rather than final.

Example: "The Cheerful Locksmith." (Page 46.)

The Unit, or Whole for working basis: The character of the
Cheerful Locksmith.

The Parts:

(a) The sound he makes. Paragraphs 1, 2, 3, 7.

(6) His personal appearance. Paragraph 4.

(c) The appearance of objects around him. Paragraphs 5, 6.

The Service of the Parts:

(a) Serves the Whole by engaging the interest at once in the Cheerful Locksmith, whom it introduces, and whose nature it reflects.

(b) Serves by presenting a definite picture of him, radiating cheer.

(c) Serves by revealing further his cheerful personality through its effect upon surrounding objects.

The Relationship of the Parts:

(a) Foreshadows (b) and (c).

(b) Fulfils the expectation awakened in (a) and helps to prepare the mind for (c).

(c) Is a natural outgrowth from (a) and (b).

Synthesis:

The revelation of truth through these relationships gives us a "New Whole" which maybe stated thus: The spirit of cheerfulness, radiating from the Locksmith's personality and expressed through his work, is reflected by all around him.

The above analysis is suggested as a guide for study. A tentative analysis of each selection might be offered here; but it is better that the student develop his own powers of discrimination by doing this preliminary work himself, directed, as far as necessary, by the teacher. However, it is not essential that a formal analysis of every selection be made; indeed, as has been already implied, minute analysis may even defeat the end of these opening chapters. The question of formal analysis may be left to the discretion of the teacher, who must determine how far it serves his purpose in each individual instance.

The criterion of Chapter I. does not demand an interpretation based upon the complete analysis given above, which is intended as an illustration of all analysis; if all the relationships suggested above be reflected through an oral reading of "The Cheerful Locksmith," the reader has attained the steps of development embodied in Volume IV. However, in drill on the selections in Volume I., the teacher should never think of limiting the pupil to the significance of that volume; every student should be encouraged to reflect as much of the truth, literal and suggestive, as his degree of discernment and of freedom will allow.

The immediate aim of drill on "The Cheerful Locksmith" should be a hearty response to the spirit of the Whole, however much beyond that may be achieved. The student must be inspired by an ardent desire to awaken the interest of his audience in "The Cheerful Locksmith," as does one who through introductory remarks presents the "speaker of the evening."

It is to be thoughtfully noted that all the selections in this and the three succeeding chapters have been chosen for their easy adaptability to use in the first natural period of art— expression, the Colossal period. They are selections with an easily distinguishable theme. Throughout these chapters the mind of the student should be engaged with the motif of the selection as it first catches the mind. Nothing in later study can make up for the loss of the first glow, the undefined answering response to the animating spirit of a writer's message. His differentiated meanings, his elaborations of theme for the purpose of increased force, intensity or suggestion are but useless lumber to a mind that has not throbbed in sympathy, scarce knowing why. It is just here that almost all teaching in both literature and its expression fails; there is not enough browsing—knee-deep, waist- deep,—for the pure joy of it.

CHAPTER II.

SMOOTHNESS.

At first, the student may find it difficult to concentrate the minds of his hearers upon his theme steadily and continuously. His ability to do this may come spasmodically. This irregular mental activity reports itself in unevenness of delivery; life appears in gleams not in steady shining. But with continued effort to concentrate other minds upon his subject, this unevenness gives place to ease in delivery, to smoothness of voice. Continuity of thought impels smoothness of expression. When a thought is held steadily in the mind of the pupil, together with a dominating purpose to communicate that thought to others, the tones of his voice become evenly sustained and smooth.

Smoothness may be said to result from a sense of oneness with the audience. So long as there is a gulf between the speaker and