To understand fully the unusual display of feeling in this scene we should read further to the stage direction, Re-enter Lucius, with wine and taper.
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].