Character, revealed in speech, 7-8; | Daybreak, 196.

89-101; metrical accent in relation | Grouping, the basis of, 30; and

to, 164–69.
Energy, note on vocal, 324-25.
Enoch Arden, 68.

Enunciation, distinctness depends
on clear, 285; 287; indistinctness
due to careless, 305-06; exercises
in, 309-11; general exercises in,
310-11; note on, 329.
Essay on Biography, 91.
Eternal Goodness, The, 127.
Eulogy on Lafayette, 134-35.
Evangeline, 89; 272-73.
Everett, Edward, Eulogy on Lafay-
ette, 134-35.

Exercises, purpose and use of, 10-11.
Experience, reader must understand
author's, 105.

Expression, mental and emotional
causes of faulty, 10; individuality
in, 108-09.

Falcon, The, 92.

Feeling, qualities of voice in strong
and elevated, 208–09; in somber,
209-10; in genial, 210-11.

Festus, 31.
Finis, 91.

pause, 30; and change of pitch,
31-32; and interrupted utterance,
32-33; causes of faulty, 33-34;
and breathing, 33–34; and punc-
tuation of, 34-35; examples of
faulty, 35-36; emphasis of details
in, 36-37; problems in, 37-50;
note on, 321.

Hale, Edward Everett, The Man
Without a Country, 73-82.
Hamlet, 35; 62; 90; 151-52; 311.
Harte, Bret, Frontier Stories, 18;
Dickens in Camp, 36; 297.
Henry, O., The Gift of the Magi, 96–
101.

Holmes, Oliver Wendell, The Auto-
crat of the Breakfast-Table, 62;
95-96; 207-08; 283-84; The One-
Hoss Shay, 180–81.

Hood, Thomas, The Bridge of Sighs,
241-42.

House and the Road, The, 91.
Hovey, Richard, At the End of the

Day, 159-60; The Taliesin, 297.
How They Brought the Good News
from Ghent to Aix, 131.
of Howitt, William, The Wind in a
Frolic, 148-49.

Fitzgerald, Edward, Rubáiyát
Omar Khayyám, 89.
Flower in the crannied wall, 182.
Fool's Prayer, The, 46–48.
Force, vocal, as a means of emphasis,
85; depends on speaker's emotion-
al attitude, 106; and attention of
the audience, 106.

From a College Window, 240.
Funeral Oration on Garfield, 236.
Future of the South, The, 63.

Gareth and Lynette, 38-39.
Genesis, 133.

Gift of the Magi, The, 96-101.
Gilfillan, George, Bards of the Bible,
216-17.

Gladness of Nature, The, 128.
Goethe, Johann Wolfgang von, quo-
tations from, 15; 89.
Grady, Henry W., The New South,
65; 162.

Gray, Thomas, Elegy in a Country
Churchyard, 90; 187.

change of pitch, 52-54; as a means | Lady of the Lake, The, 164.

of emphasis, 53; in musical verse,
242-43; effect of emotion on, 236;
244-48.

Ingersoll, Robert G., Address at His
Brother's Funeral, 188; A Vision
of War, 242.

Intensity, principles of, in speech,
125-29.

Interest, depends on knowledge, 7.
Intonation, a fault in melody, 249-

50.

Irving, Washington, The Legend of
Sleepy Hollow, 23-29; 116-23;
Stratford-on-Avon, 30.

Jackson, Helen Hunt, Spinning,
144-45.

James, William, Talks to Teachers,
66-67.

Jerome, Jerome K., Three Men in a
Boat, 190-92; 262-63.
Johnson, Samuel, sentence from, 89.
Jolly Old Pedagogue, The, 225-26.
Jonson, Ben, Catiline, 94.

Jordan, David Starr, The Call of the
Twentieth Century, 214; Men Told
Me, Lord, 271-72.

Julius Cæsar, 41; 63-64; 69; 90;
182; 238.

Jumblies, The, 195–96.

Keats, John, On first looking into
Chapman's Homer, 45.
Key, defined, 237; effect of thought
and emotion on, 238-41; effect of
temperament and constitution on,
237; influence of size of room on,
238.

King Henry the Eighth, 20; 72; 139–
41.

King Henry the Fifth, 38; 72-73; 239.
King Henry the Fourth, 61; 72; 257–
59.

King Richard the Second, 39; 69; 70;
220-21.

King Richard the Third, 150-51.
King Robert of Sicily, 84.
Kipling, Rudyard, Recessional, 188-

89.

Knowles, James Sheridan, William
Tell, 257.

Lalla Rookh, 39.
Lamb, Charles,
Roast Pig, 68.

Dissertation on

Landor, Walter Savage, Finis, 91.
Lanier, Sidney, The Marshes of
Glynn, 267-69.

Lantern-Bearers, The, 48-50.
Last Fight of the Revenge, The, 243.
Laus Deo, 136–37.

Leadership of Educated Men, The,
176-77.

Lear, Edward, The Jumblies, 195–96.
Left Out on Lone Star Mountain, 18.
Legend Beautiful, The, 275-78.
Legend of Sleepy Hollow, The, 23-
29; 116-23.

Liberal Education, A, 45–46.
Life (Sill), 246–48.

Life, Webster's definition of, 253.
Life of Samuel Johnson, 38.
Lincoln, Abraham, Second Inaugural

Address, 56; reference to his Ad-
dress at Gettysburg, 106.

Lincoln as a Lawyer and Orator, 67.
Lines, length of, should be observed
in poetry, 169-70; "run on," 169.
Literary History of America, A, lines
from introduction to, 253.
Literature, of power and of knowl-
edge, 4; power of, realized through
oral reading, 4; defined, 105; sym-
pathetic rendering of, improves
voice, 205; 213.

Long, John D., Memorial Day Ad-
dress, 40.

Longfellow, Henry Wadsworth, Paul
Revere's Ride, 36; King Robert of
Sicily, 84; Evangeline, 89; 272-73;
The Building of the Ship, 179-80;
Daybreak, 196; The Rainy Day,
206; A Psalm of Life, 245; The Leg-
end Beautiful, 275–78.
Lost Cause, The, 190.
Lost Days, 219.

Lotos-Eaters, The, 266–67.
Loudness, not evidence of power,
125-26.

Lowell, James Russell, The Street,

153; Stanzas on Freedom, 183.
Lubbock, Sir John, The Pleasures of
Life, 91.

149-50; | Oliver Twist, 226–28.

Poe, Edgar Allan, Silence -a Fable, | Raleigh, Walter, Style, 69–70.

219-20.
Poetry, as a source of power, 113-
14; Wordsworth's definition of,
113; voice training in, 114–15;
relation of, to eloquence, 113–14;
rhythm in reading, 164; elements
of music in, 237.
Pollard, Edward Albert, The Lost
Cause, 190.

Porter, Horace, The Soldier's Creed,
214-15.

Preparation, meaning of, 317.
Pretense, emotional, 107.
Princess, The (song from), 244.
Principles, knowledge of, essential in
study of expression, 10-11; 318-19.
Prisoner of Chillon, The, 187.
Problems, notes on, 317.
Pronunciation, importance of cor-
rect, 287; standard of, 309–10;
suggestions for improving, 309-
10; general exercises in, 310-11;
note on, 329.

Prose, rhythm of, depends on under-
standing of speaker, 162–63.
Proverbs, 62.

Psalm xxiv, 141.
Psalm of Life, A, 245.

Public speaking, value and limita-
tions of, in class work, 2-3.
Punctuation, and grouping, 34-35;
in relation to inflection, 55.

Quality, definition of vocal, 203; what
determines vocal, 203; control of
vocal, 204-05; of voice improved
by rendering literature, 205; kinds
of vocal, 206-07; relation of usual
tone to "orotund," 208; abnor-
mal, 211-12; faults in vocal, 213;
problems in vocal, 214-35; note
on vocal, 326-27.
Queen of the Air, The, 177.

Range, exercises for increasing, 300.
Rate. See Time.

Read, Thomas Buchanan, Drifting,
269-71; The Rising, 302-04.
Reading. See Oral Reading.
Recessional, 188–89.
Recitations, program of, 330-42.
Religio Medici, The, 260.
Reply to Hayne, 126–27.
Repression, sometimes desirable,
107.
Resonance, quality of voice deter-
mined by, 203–04; in "orotund"
tone, 208; what determines, 297–
98; exercises for securing, 298-

99.

Rhythm, in speech, 161; function of,
161; in prose, 162-63; conforms
to sense emphasis in prose, 163;
of poetry, 163; to be observed in
reading poetry, 164; in relation to
time, 172; in relation to metre,
173; problems in, 175-202; note
on, 325-26.

Rhythm of Life, The, 130–31.
Riley, James Whitcomb, Dialect in
Literature, 40; The South Wind and
the Sun, 174.
Rising, The, 302-04.
Rivals, The, 230-35.

Rossetti, Dante Gabriel, Lost Days,
219.

Rousseau, 94-95.

Rubáiyát of Omar Khayyám, 89.
Rules, ineffective in expression, 10.
Ruskin, John, Work, 90; The Queen
of the Air, 177; The Mystery of
Life, 214.

Sartor Resartus, 42–43.
Saul, 210-11.

Schurz, Carl, The Venezuelan Ques
tion, 71.

Scollard, Clinton, On the Eve of
Bunker Hill, 189–90.

Scott, Walter, Hunting Song, 36;
quotation from, 37; Peveril of the
Peak, 70; Marmion, 155-56; 175;
The Lady of the Lake, 164; Breathes
there the man, 182.
Seasons, The, 184.