Tennyson's words, by thus first bringing them down to the reader's own level, is quite another thing.

The splendor falls on castle walls

And snowy summits old in story;

The long light shakes across the lakes,
And the wild cataract leaps in glory.
Blow, bugle, blow, set the wild echoes flying,
Blow, bugle; answer, echoes, dying, dying, dying.
Oh, hark! Oh, hear! how thin and clear,
And thinner, clearer, farther going!,

Oh, sweet and far, from cliff and scar,
The horns of Elfland faintly blowing!

Blow, let us hear the purple glens replying:

Blow, bugle; answer, echoes, dying, dying, dying.

O love, they die in yon rich sky,

They faint on hill or field or river;

Our echoes roll from soul to soul,

And grow forever and forever.

Blow, bugle, blow, set the wild echoes flying,

And answer, echoes, answer, dying, dying, dying.

The mellow, brilliant light now glorifies the turrets and embrasures of yon ancient fortress, and tints the historic peaks of the hoary mountains towering above us. The westering sun sends slanting rays, which shimmer on the water; and the free, glad stream, rejoicing in the fullness of its life, gives itself to its destined course with confident abandon, throwing out its glorious torrents resplendent in the smile of heaven. And while we gaze, hark to that floating strain of melody! Oh! let the bugle tones awake the echoes from hill and valley! Listen! how the sounds grow fainter, fainter, but still musical, and lingeringly sweet! Hark again! how thrillingly resonant, and yet how airy and dreamlike, as it seems to leave us, throwing back its soft "good-bye"! How transporting come those enchanting melodies, refined from all the noises of the earth below, and, like the airy peaks that buoyantly re-echo them, upraising fancy to ideal heights, where spirit dwells, unmixed with baser matter! Let these sprite voices once again remind us of that higher spirit-life whose peaks of pure affection reach, as these hill-tops do, far into heaven.

My love, these mellow sounds, and those rich colors in our sky, stay but a moment; we turn our ear to catch the last reverberation, and it sounds no more; we search the purpling sky for those bright tints we saw but now-they gleam no longer. Not like them is our love. It only swells the fuller, as chord awakens answering chord in our responsive souls. There is no tendency in love-tones to grow feeble, nor in love-lighted skies to pale and darken. The song of love is but enhanced with each reverberation, and so its volume and its sweetness shall increase to all eternity.

Then let the glad-voiced horn once more sound forth the notes that feebly tell our spirits' quivering, trembling, yet exultant joy; and as its tones, reflected, die away, let our souls repeat, yet once again, that truer, spiritual song, whose echoes never cease.

The following poetic passages are suggested as especially helpful in this work: The Burial of Moses, by Mrs. Alexander; The Psalm of Life, by Longfellow; Moral Warfare, Song of the Free, My Soul and I, The Prisoner for Debt, by Whittier; passages from The Present Crisis, and The Vision of Sir Launfal, by Lowell; the Waterfowl, The West Wind, Autumn Woods, March, Waiting by the Gate, Death of the Flowers, The Hurricane, and the Hymn of the Sea, by Bryant. Be sure that each sentence or clause in the prose paraphrase translates the corresponding element in the poetry; and let it, further, really add some interpretation, or some helpful comment.

The changing of the phraseology may be thought to belong to literary criticism rather than to vocal expression. The reply is, this device only suggests a rational method of doing that which every intelligent reader or speaker is constantly doing, and must continually do; viz.

make a running commentary on the passage, while delivering it. THE EXPRESSIONAL PARAPHRASE BRINGS OUT TO CONSCIOUSNESS, FOR A TIME, THOSE THOUGHTPROCESSES WHICH UNCONSCIOUSLY ASSERT THEMSELVES IN MOST CASES OF VIVID, FRESH, SUGGESTIVE VOCAL INTERPRETATION This process of mentally restating the thought before expressing it, will largely eliminate from the delivery the elements of cant and lifelessness. A passage, or a form of words, long familiar to one, ceases to have for him the freshness of lately discovered, or newly stated, truth; and the habit of freely paraphrasing will almost necessitate that freshness and vividness of impression which is indispensable to a genuine delivery. This study in paraphrasing, then, belongs directly and pre-eminently to that part of elocutionary training which has to do with the mental preparation for speech: it is a natural element in the study of rhetorical delivery.

Examples. Find suitable passages in literature to illustrate all the above kinds of paraphrases.

First. Actually write such paraphrases, then learn to think them rapidly. Always remember that the purpose throughout this work is to reformulate and restate the matter given, and to suggest accompanying thoughts, plainly implied, as a means of gaining a fresher, deeper impression of the thing to be said. This constitutes the mental part of Expressional Technique: and itself does much both to prepare for, and to vitalize, the physical part of the technique.

THE INTELLECTUAL ELEMENT.

A.

DELIBERATION, OR FORMULATION.

We must subordinate the component effect to the total effect. -Herbert Spencer.

Deliberation as a mood of utterance is,

Subjectively, the purpose on the part of the speaker to present to the mind of the listener thought-elements, -thought which for the purpose of communication is viewed discretively, separately, and not in connection or relations. It addresses the perceptive faculties of the mind, and is typically adapted to the expression of matter needing orderly presentation-fact, narrative, argument.

Objectively, it is that property in utterance which serves to express this purpose. It contributes especially to structure in speech, and is pre-eminently the formulative element in communication. Its tone exponent is time. The special occasions for Deliberation are in

I. Introductory Matter. (1) Explanatory, (2) Adaptative, (3) Conciliatory, (4) Incentive.

II. Propositional Matter. (1) Formal Propositions, (2) Definitions, (3) All Thought Logically Important, Weighty, or Conclusive.

III. Transitional Matter. Whatever merely connects one division, paragraph, or sentence with another.

Each of these three main divisions will be discussed in a separate chapter.

CHAPTER IV.

INTRODUCTORY USE.

THE various types of Introductory Matter will be found to differ from each other in their secondary elements. The general purpose, which is the same in. all forms of introduction, is that of preparation. As preparatory, the introductory sentence or passage serves to place before the mind some fact or truth which is to be received as a basis, or as a point of departure for other thoughts that are to follow. The strictly introductory element is, thus, matter of perception or Deliberation.

1. The Explanatory introduction exhibits it in its purest type, since there is usually nothing but the placing before the listener of simple fact in anticipation of some further use to be made of such matter or of related thoughts to which this may lead. The purely deliberative nature of such introductory matter is seen in the fact that it appeals to nothing but the intelligence.

EXAMPLES OF EXPLANATORY INTRODUCTION.-It sometimes happens on certain coasts of Brittany or Scotland, that a man-traveler or fisherman-walking on the beach at low tide, far from the bank, suddenly notices that for several minutes he has been walking with some difficulty. The strand beneath his feet is like pitch; his soles stick to it: it is sand no longer, it is glue. The beach is perfectly dry;