the throat whenever you speak to them. Tell them that you intend to read after them line by line, and that you intend to exaggerate their faults a little, so that they may see how they appear to other people. Call for volunteers to begin with, and the chances are you will have hands enough raised to select as you please. Take one of these brave ones aside, or facing the class, if you please, and let them read a line, and then imitate their manner and errors, if any. So continue until a stanza or prose division has been reflected line by line. If the class laugh, say, "Never mind; we'll see who'll laugh when your turn comes." Excuse this pupil, and call another, and another, until each one in class has had a peep in the glass—the faithful glass that, with hope to cure, portrays unconscious defects.

Many persons have mannerisms and faults of speech of which they seem entirely unconscious. Convince one that he is wrong, and there is hope of making him right.

VIII. Contrasting the pure with other qualities of voice. Note.-Select a poem having decided rhythmical accent. Read the successive stanzas, alternating the qualities of voice. The pure tone should always be used as one of the qualities in every contrast. (See Qualities of Voice, p. 126.) IX. A word each.

X. A sentence each.

XI. To a punctuation mark.

XII. A line.

XIII. A couplet. Each in succession.
XIV. A stanza.

Note.-In each of these similar methods each pupil reads his allotted portion just as if he expected to continue reading, keeping the voice up on the last word, where the stress requires it, or letting it down. Herein lies the skill of these methods. The pupils must be attentive to keep the place, and should emphasize and accent as if to go on reading. XV. Alternate repetition.

Note.-A reads a line, B repeats it, C reads the succeeding line, and D repeats it, etc.

XVI. Repeat and read a line each in succession.

Note. A reads two lines; B repeats the last line that A

read, and one more; C reads the last line that B read, and one more, etc. Let each one leave off with the same inflection, emphasis, as if to continue.

XVII. Review and read an additional word each.

Note.-A reads the first word; B reads the first and second words; C the first, second, and third; D the first, second, third, and fourth, etc. When the repetition is too great, begin again. In prose composition six or eight lines is quite enough.

XVIII. Review and read an additional line each.

Note. This method is executed like XVII.

XIX. All who have read, repeat all that has been read, and an additional word for each successive reader.

Note. This method is similar to XVII. The whole class unite in the repetitions. A reads the first word of a stanza; A and B read the first and second words of the stanza; A, B, and C read the first, second, and third words; A, B, C, and D read the first, second, third, and fourth words, etc., until all the words of the stanza are read; then begin anew on the second stanza.

XX. is like XIX., except that lines take the place of words. Note.-If the teacher wishes a whole class to learn a poem, this is a quick and sure way to accomplish it.

XXI. Let a pupil be appointed, from time to time, to select and read an entire selection to the class.

XXII. Let the teacher bring a selection and read it to the class for reproduction.

XXIII. Read from a periodical or other paper by passing it from one to another, if there be but one copy.

Note. This makes intelligent readers, as all must be made to understand what is read before a reader is excused.

XXIV. Let the teacher read, making errors for the class to observe and criticise.

XXV. Reading high and low in contrast.

XXVI. Reading fast and slow in contrast.

Note.-Read alternate lines in the XXVth, and, by alternation, one line slow and two or three lines fast in the XXVIth. The former increases the compass of voice, and the latter helps regulate the speed of speech.

III. REVIEWS. (See Table 24.)

The review should begin by a careful description of the selections which have been read. First, the form, subject, or thought, objects, incidents, definitions, with the moral or personal application. Second, the errors committed by the pupils with regard to their reading position, articulation, pronunciation, phonic spelling, definitions, technical and received meaning of words, and elocution in general.

There are various ways of conducting the review, a few of which will be explained in this chapter. First method. Call on pupils, one by one, to give as full a review of all the items and errors named above as possible, independent of all prompting or questioning. Second method (adapted to large classes or short recitations). Divide the items under the head of review, and assign a portion to each pupil in class: ex. gr. In this review, A may talk of the form of the composition (see Table 24); B, of the subject or thought; C, of the class of poetry (whether epic, lyric, or dramatic); D, of the objects (whether natural or artificial, etc.); E, of the incidents narrated; and F, of the errors of the class, and so on. After these subjects have been given, call upon A, and require a complete and uninterrupted explanation of the subject. Ask no question, and allow no prompting until the pupil has finished and seated himself, or until the entire review is formally ended.

IV. A LINE, COUPLET, OR STANZA TO MEMORIZE.

The advantage of this exercise is not easily calculated. It stores the minds of pupils with the best thoughts of the best authors, expressed in choicest language. It is a source of enjoyment and means of entertainment during life. It creates a taste for a high order of literature, and inspires the young to seek noble companionship and to pursue lofty ambitions.

As you value truth and beauty, do not neglect this exercise. Choose judiciously, and give but a few lines each day, and the result will amply reward you.

Those poems or selections best calculated to answer this

purpose are pure in tone and replete with reflections, incidents, or examples of the cardinal virtues, faith, hope, patience, courage, generosity, gratitude, etc., etc.*

Suit the selections to the capacity of the learners by all means, for one is heartily tired of hearing Cato's or Hamlet's Soliloquy from children seven or eight years old. The fault with two thirds of school exhibitions, rehearsals, and even higher literary entertainments, is that the actors and speakers affect pieces or themes beyond their comprehension. There are high-toned selections suited to every understanding, if but found in time, and treasured up for occasions of need. †

V. EXAMINATION OF THE ADVANCE LESSON.

The lesson to be read at the next recitation should be examined and the difficulties removed before any time is wasted in erroneous study. It is certainly indispensable with young classes who are unable to consult the dictionary and reference books.

All the words should be properly pronounced before they are committed.

Older classes should be directed where to look for information desired, and thus be materially assisted without breaking the spirit of the first "Rule for Teachers"-"Never tell a pupil what he can discover for himself." (Primary Methods, page 66.)

* According to the ancients, the cardinal virtues are prudence, justice, temperance, and fortitude.

†There is a school in New England where for a number of years the pupils (over twelve years of age) have been required to commit forty lines a day; and, judging from the persons pursuing this course, it must be acknowledged a successful mental discipline. The lines should be read only once before an effort be made to recite them. This exercises the power of concentration, and pupils trained to reproduce a composition from once reading can readily give the substance of a lecture or sermon.

(A. Pathetic.

B. Patriotic.

C. Humorous, etc.

In epic or lyric verse.

In dramatic poetry.

(heroic, hexameter), Essays, etc. (a. Ode.

c. Tragi-comedy.

d. Farce.

e. Opera and Burletta.

f. Melodrama.

Didactic, descriptive, narrative. See Note, page 1.