FOOTNOTES:

[15] Let it be understood once for all that the various elements in expression should be the spontaneous outcome of the mental action. As has been so often stated, to tell a pupil to use a rising inflection or to emphasize this word or that, is a violation of the fundamental principle of correct teaching.

[16] The stanzas are numbered as in the original poem.

[INDEX TO SUBJECTS]

Antithesis, rhetorical, 143.
Atmosphere, [184];
examples illustrating, [185];
analysis of a selection illustrating, [193];
of description, psychology of, [199].
Central idea, [138];
study of, a logical process, [141].
Character, contrast of, [207].
Climaxes, [212];
of significance, [212], [214], [215];
of intensity, [213];
gradation of, [216].
Complexity, defined, [11].
Contrasts, [205];
two kinds of, [211].
Criteria of vocal expression, [17].
Criterion of force, [101].
Criterion of pitch, [42].
Criterion of quality, [80].
Criterion of time, [19].
Emotion, [172];
affects quality, [82];
how to develop, [172];
contrast of, [205].
Emotional transitions, examples of, [162].
Emphasis, rules for, [139];
drills in, [140].
Expression, complexity of, [178]
Figurative interrogation, [61].
Force, criterion of, [101];
pedagogical aspects of, [112].
Grouping, [28], [128];
independent of punctuation, [28];
extract from Legouvé on, [40].
Hints on readings, [254].
Imagination and quality, [84].
Imitation, [227];
not art, [189];
tendency toward, [191].
Inflections, meaning of, [57];
rising, [57];
falling, [63];
circumflex, examples of, [67].
Intangibility, defined, [11].
Interpretation, literary, [231];
vocal, [232].
Key, defined, [45];
reasons for, [49];
dependent upon degree of tension, [54].
Literary interpretation, [231];
analysis of a selection illustrating, [284].
Melody, [43], [54];
analysis of a selection illustrating, [71];
of long sentences, [77].
Mental attitude of the reader, [117].
Mental technique, [129].
Methods, mechanical, [9];
“get-the-thought,” [9];
laxity of, [13];
concluding remarks on, [224].
Momentary completeness, [61], [136];
drills in, [65];
analysis of a selection illustrating, [256].
Movement, analysis of selection illustrating, [266].
Pause, as related to time, [27];
an expressive element, [32];
examples of, [35].
Pedagogical aspects, of time, [38];
of pitch, [75];
of quality, [98];
of force, [112].
Phases, studies in, [163].
Phrases, subordinate, [150].
Pitch, criterion of, [42];
meaning of, [42];
Raymond’s definition of, [42];
melody of, [42];
analysis of a selection illustrating, [71];
pedagogical aspects of, [75];
low, [107].
Primary reading, the teaching of, [118].
Punctuation, effect upon reading, [30].
Purpose of the reading lesson, [12].
Quality, criterion of, [80];
physics of, [80];
effect of emotion upon, [82];
Rush’s classification of, [82];
orotund, [83];
imagination and, [84];
elevated feelings in relation to, [85];
normal, [90];
examples of normal, [91];
aspirated, [92];
dark, [94];
bright, [94];
examples of dark, [95];
examples of bright, [97];
pedagogical aspects of, [98];
William L. Tomlins on, [100].
Reading and literature, relation of, [10].
Requisites for the teacher of reading, [10].
Rhythm, analyses of selections illustrating, [236], [244], [254];
study in, [232];
meaning of, [238].
Sight reading, [120].
Skip, psychology of the, [56].
Stress, defined, [101];
radical, [101];
final, [102];
degrees of, [103];
Raymond’s definition of radical, [104];
Raymond’s definition of final, [105];
median, [106];
examples of radical, [107];
examples of final, [109];
examples of median, [110].
Subordinate phrases, [150].
Subordination, [149].
Succession of ideas, [132].
Suggestive lesson, [121], [130], [136], [147], [155], [167], [173], [197], [209], [221].
Teacher of reading, requisites for, [10].
Teaching reading, mechanical method of, [9];
“get-the-thought” method of, [9];
laxity of methods of, [13];
concluding remarks on method of, [224].
Technique, defined, [226].
Time, criterion of, [19];
Raymond’s definition of, [19];
psychology of, [19];
expansive paraphrase to reveal, [20];
examples of slow, [21];
examples of fast, [23];
analysis of selection illustrating, [26];
relation of quantity to, [27];
relation of pause to, [27];
pedagogical aspects of, [38].
Transitions, [159], [160];
emotional examples of, [162].
Values, [157];
examples of, [157];
analysis of a selection illustrating, [256].
Vocal expression, criteria of, [17].
Vocal interpretation, [232].
Voice, defects in, [81].

[INDEX TO FIRST LINES OF SELECTIONS]

A fool, a fool!—I met a fool, [48].
A land of streams, [240].
Alas! my noble boy! [95].
Among the exploits of marvelous, [152].
And as a hungry lion, [79].
And do you now put on your best attire, [140].
And now go bring your sharpest torments, [110].
And the evening star was shining, [87].
And the old Tartar came upon the sand, [185].
And thus King Priam supplicating, [165].
And you,—you who are, [152].
Antonio, I am married to a wife, [44].
Arise, shine; for thy light is come, [110].
As thro’ the land at eve we went, [200].
As when a boar or lion, [164].
As when some hunter in the spring, [203].
At Atri in Abruzzo, [78], [154].
At Flores in the Azores, [284].
At the moment when death, [38].
Awake, my soul! Not only passive praise, [87].
Before a quarter pole was pass’d, [24].
Blessings on thee, little man, [175].
Blow trumpet, for the world, [201].
Blow winds, and crack your cheeks! [94], [242].
Bury the great Duke, [87].
But in the gloom they fought, [107].
But Rustum eyed askance the kneeling youth, [201].
But when public taste, [79].
But when the gray dawn stole into his tent, [28].
Did your letters pierce, [188].
Ferood, and ye, Persians and Tartars, hear! [162].
Figure to yourself a cataract, [22].
For even then, Sir, even before, [112].
Fresh as the flower, whose modest worth, [153].
Gloriously, Max! gloriously! [28].
Great have thy sufferings been, [166].
Gusty and raw was the morning, [193].
Half a league, half a league, [236].
Haste thee, nymph, [48], [239].
Hear the sledges with the bells, [98].
Hector, thou almost ever chidest me, [164].
Here are old trees, [239].
He spoke, and Sohrab kindled, [202].
He spoke; but Rustum gazed, [162].
Him the Almighty power, [242].
Ho! gallant nobles of the League, [112].
However as the sun baked, [151].
How lovely are thy dwellings fair! [23].
How now, Tubal! [205].
How the robin feeds her young, [176].
I can not tell what you and other men, [180].
I come, I come ye have called, [239].
If there be three in all your company, [207].
If you have tears, prepare to shed them now, [162].
I had a dream, [47].
I know that virtue to be in you, [217].
In 1815 M. Charles Myriel, [58].
In his early manhood, [153].
In the furrowed land, [134].
I sprang to the stirrup, [232].
It is but a legend, I know, [47].
It is but change, Titinius, [144].
It is my purpose, therefore, [155].
Lars Porsena of Clusium, [266].
Lead out the pageant; sad and slow, [30].
Let me play the fool, [97].
Look! look! that livid flash! [240].
Meanwhile King Robert yielded to his fate, [44].
Messer Bernado del Nero was as inexorable, [37].
Most of all, fellow citizens, [85].
Most potent, grave, and reverend signiors, [179].
Mr. Speaker: The mingled tones of sorrow, [21].
My good blade carves the casques of men, [210].
Nay, curs’d be thou, [35].
Never, Iago. Like to the Pontic Sea, [94].
Next morning, waking with the day’s first beam, [219].
No one venerates the Peerage more than I do, [153].
Of Man’s first disobedience, and the fruit, [32].
Often have I swept backward, in imagination, [21].
Oh, young Lochinvar is come out of the west, [254].
O, my offense is rank, [95].
Once more into the breach, dear friends, [50].
On Linden, when the sun was low, [170].
On the Mountains of the Prairie, [257].
O pardon me, thou bleeding piece of earth, [216].
O, sing unto the Lord a new song, [112].
Over his keys the musing organist, [46].
O, what a rogue and peasant slave am I, [53].
Reputation, reputation, reputation! [181].
Sea-kings’ daughter from over the sea, [51].
Search creation round, [21].
See what a grace was seated, [86].
Sheltered by the verdant shores, [207].
She mounts her chariot with a trice, [97].
Sir, the gentleman inquires, [160].
Some of the softening effects, [37].
Soon after William H. Harrison’s nomination, [31].
Speak the speech, I pray you, [91].
Sweet and low, [200].
That you do love me, I am nothing jealous, [146].
That you have wronged me, [284].
The armaments which thunderstrike, [108].
The curfew tolls the knell of parting day, [189], [231].
The empire of Blefuscu, [134].
The father came on deck, [175].
The Lord reigneth, [111].
The name and memory of Washington, [28].
Then he departed with them o’er the sea, [210].
Then it was that Jo, [151].
Then methought I heard a mellow sound, [25].
Then sing, ye birds, [241].
There’s a rogue at play in my sunlit room, [123].
The trumpet, the gallop, the charge, [164].
This too, thou know’st, [163].
Three quarters round your partners swing, [157].
Thou kingly Spirit, [111].
Thou, too, sail on, O Ship of State, [86].
To be, or not to be, [52].
To whom replied King Arthur, [243].
Up from the meadows rich with corn, [71].
Venerable men! you have come down to us, [89].
Vengeance! plague! death! confusion! [161].
Whatever Lionel had said to his wife, [37].
What lesson shall those lips teach us, [89].
When a wind from the lands, [222].
Wherefore rejoice? What conquest, [26], [213].
Where sweeps round the mountains, [49].
While the Union lasts, [78].
Wrapped in a maze of thought, [22].
Yet his means are in supposition, [30].
Ye, who sometimes, in your rambles, [132].
You Heavens, give me patience, [96].
You think me a fanatic to-night, [22].

[LIST OF POEMS AND SELECTIONS ANALYZED]

Barbara FrietchieWhittier[71]
Charge of the Light BrigadeTennyson[236]
Horatius (The Lays of Ancient Rome)Macaulay[266]
How They Brought the Good News From Ghent to AixRobert Browning[212]
The Fight of Paso del MarBayard Taylor[193]
The Peace-Pipe (Hiawatha)Longfellow[256]
The Quarrel Scene (Julius Caesar)Shakespeare[284]
The RevengeTennyson[244]
Young LochinvarScott[254]

TRANSCRIBER’S NOTE

Obvious typographical errors and punctuation errors have been corrected after careful comparison with other occurrences within the text and consultation of external sources.

Except for those changes noted below, all misspellings in the text, and inconsistent or archaic usage, have been retained.

[Pg 78]: ‘throughout the earht’ replaced by ‘throughout the earth’.
[Pg 86]: ‘Hamlet,’ replaced by ‘—Hamlet,’.
[Pg 112]: ‘Ps. xcvi.,’ replaced by ‘—Ps. xcvi.,’.
[Pg 186]: ‘Idyls of the King’ replaced by ‘Idylls of the King’.
[Pg 246]: The poetry line number ‘55’ is repeated, and subsequent line numbering is off by one line; this has been left unchanged.