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LIST OF AUTHORS.

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DICKENS, CHARLES

BLACK, WILLIAM .
BOSTWICK, HELEN L.
BROWN, FRANCES
BUCHANAN, ROBERT
BUTTS, MARY FRANCES
CARLYLE, THOMAS
CARY, ALICE

CARY, PHOEBE

CHADWICK, JOHN W
CHAMBERS, ROBERT
COOLIDGE, SUSAN
COLERIDGE, HENRY NELSON.
COPPÉE, FRANÇOIS
CRAIK, DINAH MULOCK
CURTIS, GEO. WM.

DE QUINCEY, THOMAS

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221 ROSSETTI, CHRISTINA G.
128 SANGSTER, MARGARET E.

EASTERBROOKS, REBECCA W. 213 SPENCER, CARL

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187 MACE, FRANCES L.
216 MASSEY, GERALD

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ELIOT, GEORGE

EMERSON, RALPH WALDO

80 SPOFFORD, H. PRESCOTT. 134 STOCKTON, FRANK R.

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EVERETT, EDWARD

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SUGGESTIONS TO TEACHERS.

THE ability to read well is a very different thing from the ability to teach reading, as nearly all teachers not specially trained for the work have proved by experience. The object of this compilation is to furnish a simple-and consequently practical-text-book which shall be a genuine help in this direction.

It is no easy task to convey by printed words that which requires the living voice for its exemplification; moreover, as Elocution is not an "exact science," it is impossible to specify an unvarying plan of instruction. In this particular branch, more than in any other, judgment, ingenuity and taste are called into requisition.

Reading should not be entirely taught by imitation, though this is frequently the only method at the command of the teacher. Such a process destroys all originality of style, and generally prevents all originality of thought.

One cause of the disagreeable styles of reading so common in schools, is the failure to connect sound and sense. Speaking is the utterance of original ideas; reading, the utterance of the ideas of others. So far as the thoughts of another are expressed by the reader as the speaker would himself utter them, so far it is good reading. But when this expression is in poetical, dramatic or oratorical formin other words, when the style becomes more beautiful, more intense, or more exalted than that of our ordinary

conversation-something more is necessary than the direction, "Read as you talk." An apt response to such direction would be, "I do not talk, or hear anybody else talk, in that style; therefore I do not know how to read it." It is just here that the more difficult and artistic work of Elocution is to be done. By use of the examples illustrating certain styles and different degrees of force, pitch, time, etc., the imagination, judgment and taste of the student are educated, and he can apply to any selection the principles which he has learned in detached lines and sentences. For this is needed not only intellectual comprehension of what is to be read, but ability to produce the tones suitable for its expression. This last is wholly dependent upon physical development. Every student can readily understand that Byron's " Apostrophe to the Ocean" needs the orotund quality of voice; the "Death and Burial of Little Nell," soft force; "Thanatopsis," low pitch, while perhaps not one in fifty can produce these variations. It is for the cultivation of this physical power that the Vocal Exercises are given.

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An adequate supply of breath, and a proper manner of using it, are matters of the first importance in all vocalization. As well expect to reap a harvest before sced-sowing, ar to wear a garment before the material for it is manufactured, as to produce a good tone of voice from a scanty amount of breath, or without muscular action of the natural breathing apparatus. So important is this matter and so comprehensive in all its bearings, that it is fully considered elsewhere in the book in an article originally written by the compiler for a physiological magazine. Its statements are urged upon the attention and thought of teachers and pupils alike.

It is suggested that a few minutes of each reading lesson

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