"And let the beauty of the Lord our God be u and establish thou the work of our hands upon us; work of our hands establish thou it."

From Psa
Some ar

We see them part with those they love. ing for the last time in quiet, woody places, with the they adore. We hear the whisperings and the swe of eternal love as they lingeringly part forever. Oth bending over cradles, kissing babes that are asleep. are receiving the blessings of old men. Some are with mothers who hold them and press them to their again and again, and say nothing. Kisses and tears and kisses-divine mingling of agony and love! And are talking with wives, and endeavoring with brave w spoken in the old tones, to drive from their hearts the fear. We see them part. We see the wife standing door with the babe in her arms-standing in the sur sobbing. At the turn of the road a hand waves-she an by holding high in her loving arms the child. He is and forever.

"We are at home when the news comes that they dead. We see the maiden in the shadow of her first sor We see the silvered head of the old man bowed with the grief." See page 33

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Sweet and low, sweet and low,

Wind of the western sea,

Low, low, breathe and blow,

Wind of the western sea!

Over the rolling waters go,

Come from the dying moon, and blow,

Blow him again to me;

While my little one, while my pretty one, sleeps.

Sleep and rest, sleep and rest,

Father will come to thee soon;
Rest, rest, on mother's breast,
Father will come to thee soon;

Father will come to his babe in the nest,
Silver sails all out of the west

Under the silver moon:

Sleep, my little one, sleep, my pretty one, sleep."

From TENNYSON'S "The Princess."

High

Hurrah! hurrah! a single field hath turned the chance of

war.

Hurrah! hurrah! for Ivry and King Henry of Navarre!"
From MACAULAY'S "The Battle of Ivry."
"Haste thee, nymph, and bring with thee
Jest and youthful Jollity,

Quips, and cranks, and wanton wiles,
Nods, and becks, and wreathed smiles
Such as hang on Hebe's cheek,
And love to live in dimple sleek;
Sport, that wrinkled Care derides,
And Laughter, holding both his sides.
Come, and trip it as ye go

On the light fantastic toe.'

From MILTON'S "L'Allegro."

"I come from haunts of coot and hern,
I make a sudden sally,
And sparkle out among the fern,

With many a curve my banks I fret,
By many a field and fallow,

And many a fairy foreland set
With willow-weed and mallow.

"I chatter, chatter, as I flow

To join the brimming river;

For men may come and men may go,
But I go on forever.

"I wind about, and in and out,
With here a blossom sailing,
And here and there a lusty trout,
And here and there a grayling.

"And here and there a foamy flake,
Upon me, as I travel,

With many a silvery water-break
Above the golden gravel.

"I steal by lawns and grassy plots,
I slide by hazel covers,

I move the sweet forget-me-nots
That grow for happy lovers.

"I slip, I slide, I gloom, I glance,
Among my skimming swallows;
I make the netted sunbeam dance
Against my sandy shallows.

"I murmur under moon and stars
In brambly wildernesses,
I linger by my shingly bars,

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I loiter round my cresses.

And out again I curve and flow

To join the brimming river;
For men may come and men may go,

But I go on forever."

TENNYSON'S "The Brook."

fret,

go,

INFLECTION

In reading the preceding selections there is a change of pitch not only in turning from "The Brook to "A Vision of War", but also in passing from word to word and syllable to syllable. Moreover there is always in this change a slight pause; one sound is made and then, a pause intervening, we pass to the next one. When a change of pitch is made in this way, by a skip, it is called Discrete. There is, however, a change of pitch in the pronunciation of a single syllable. In pronouncing "Oh", for example, the voice may begin low and rise in pitch, or begin high and descend. This change on a single syllable is called Concrete or Inflection. This change, however, is not by a skip but by a glide. The difference between these two changes has been well illustrated by comparing the music of a piano with that of a violin. In playing the piano the musician strikes first one. note and then skips to another; but in playing the violin he may draw the bow across one of the strings, at the same time moving the stop-finger that he has upon it up and down, so that one note glides into another. There is the same differ

ence between song and speech. A song note while it lasts remains upon one pitch; a speech note always changes in pitch.

Changes in speech notes, or inflection, may be rising, falling, or circumflex, gradual or abrupt, long or short.

In rising inflection ( ́) the voice, in pronouncing a single syllable, glides upward; in falling (), downward; in simple circumflex (^), upward and then downward or (v) downward and then upward; in double circumflex there are various combinations of the upward and downward glides. The voice generally prepares for these different glides by striking a pitch above the dominant pitch of the sentence when the falling inflection is used; when the rising, a little below.

In delicate changes of pitch, either discrete or co may lie the secret of a speaker's power to convince, per and charm.

To have the proper control of pitch, to make i obedient handmaid of expression, the following requ are demanded: ability to comprehend the relation o thought to another so as to distinguish the prin from the subordinate, quickness to comprehend the shades of meaning given by the various inflections, pow feel emotion genuinely, flexibility of voice, and nicet

ear.

To obtain these practice, assiduous practice, is o necessary. In distinguishing one pitch from another, example, some pupils find great difficulty. For such task is to make, if possible, the dull ear acute, by strik the different keys of a piano, by practicing the musical sca and by reading selections that necessitate a change of pit the ear being constantly kept on the alert to distinguish t different tones. Flexibility of voice may be developed practice upon the musical scale, also by the reading of pro in which there is much dialogue. Conversation is the patte furnished us by nature. Often, to be sure, in speaking large audiences we must expand the conversational form must raise it to the second or third power; and, moreove into the expression of that which is solemn, reverent, ar sublime we must not allow the conversational changes pitch to enter and destroy the emotion; but at the sam time, if we would be natural in our reading and speaking conversation is the criterion by which we must constant be measuring our expression. If we depart too far from tha we are certain to become insincere, stilted, monotonous, an unnatural.

Although the many minute rules often given for keepin the voice up and letting it fall are of small value, the follow ing general principles may be found of use in gaining th power to inflect correctly.