I endure all' should be a falling sweep of overlapping falling concretes slides or waves. 'This' should be a quick, widerising unequal wave inflection, with compound stress. The line happens, as a whole, to aggregate into a wide contour; but the referential motive is wanting, and so there is no trace of the accentual or inflectional echo.

TRANSITION.

Changes in measurement, motive, energy, and emotion are properly indicated by changes in the vocal elements,— Time, Pitch, Force, and Quality. These changes constitute Transition.

Transition is an all-pervading feature of artistic reading. In the simplest, plainest style, there must be progress in statement, narrative, description, or argument: and stress and general force, rhythm and movement, inflection and melody, volume and tone-color, should accurately mark and further that progress; interruptions, too, are to be recognized, and treated according to their importance or unimportance: so that Transition, in some form or degree, is constantly required, even in unimpassioned discourse, and should be thoughtfully and carefully employed.

Any sentence, in prose or verse, that contains principal and subordinate elements, or expletives, or digressions, or parentheses, is well read, only when the appropriate Transitions exhibit the value of each, and its relations to the whole.

The discrete changes of pitch on immutable syllables, for emphasis, and the elevation or depression of the radical of an emphatic falling or rising slide, are examples of Pitch Transition that constantly occur; as Stress is an ever-present form of Force Transition. In a word, Transition in some form and degree is necessary to all emphasis.

As thought and feeling become tumultuous, capricious, excited, and veering, the transitions are wider and wider.

In the rendering of a scene from a play, or of a conversation among several speakers, the reciter or reader should identify each character vocally, so that after a character has once spoken, he shall be instantly recognized when he speaks again. To be successful in such an undertaking means thorough command of Transition. The inference is obvious, that the study and practice of dramatic scenes and of striking colloquial passages among speakers of different types of various temper, temperament, age, sex, and nationality is a very direct path toward excellence in this particular field, the management of Transitions.

In more formal and connected discourse, as in oration, essay, or poem, each paragraph, or division, or stanza, is a unit, with its individual value; at the same time, it is a part of the entire structure, and, with all the other associated units, makes up that structure. The problem that the reader or speaker has for solution is, to give each unit its own value, no more, no less, and so to dovetail unit with unit in succession that the audience sees the structure in process of building.

The transition from one larger unit to another-from topic to topic, from paragraph to paragraph, often from stanza to stanza is made on the closing phrases of the preceding, or on the opening phrases of the succeeding, unit; or the transitional movement is shared by the two units involved. The transitional passage is usually rendered with descending melody, retarded movement, and diminishing force and volume.

Transition, when rightly done, is interpretative, because it expresses the continually shifting mental and emotional moods; and all Transition that is untrue to the one sole end-interpretation-is out of place. Hence, capricious,

meaningless changes of pitch, time, force, and quality 'for the sake of variety' are to be shunned. Many of the mannerisms of readers-especially, recurring melodies and mechanical 'drift'-are due to conscious or unconscious effort to secure variety. Monotony is the invariable result.

True, natural-and artistic-variety is always interpretative, springing from the language, the thought, the feeling, uttered. If the voice justly embodies the actual and entire meaning, monotony is impossible.

Emphasis is the importance given a word in its utterance. Since Accent and Emphasis, as a rule, coincide in place, they should be distinguished from each other; although the question might be raised, whether Accent is or is not a low degree of Emphasis. Accent, however, is a matter of correct pronunciation, and does not indicate the relative or special significance of words. Emphasis is Accent, with time, pitch, force, and quality so modified and managed as to attract special attention to the words emphasized.

In the early study of the vocal embodiment of Emphasis, Pitch, as displayed in Inflection and Skip, and Force, as displayed in Stress, are the two elements most obvious, and of the most importance to the average student.

In Accent without Emphasis, and in the lower degrees of Emphasis, the slight percussive abruptness and slight energy of the equable concrete are usually observable; but as Emphasis grows decided or vehement, the degree, and often the mode of placing, of force on the syllable are changed, and one of the forms of Stress is produced.

But all Emphasis is not loud. Any utterance of a word that gives it peculiarity and attracts attention to it is Emphasis.

Variety, truth, and clearness of emphatic distinction and the regulation of appropriate and pleasing melody, depend very greatly on the employment of the right inflection on the emphatic accent. It is in the discrimination of the simple difference between Rising and Falling that the average ear is most obtuse; and time and patience must be lavished, if we would acquire accuracy of decision and mastery of execution. The monotonous reader or speaker is so, principally, because he employs the same emphatic inflection over and over, at the same radical pitch, with the same loudness, and at substantially regular intervals: for he is as apt to emphasize the wrong word as the right one. Το this monotony of inflection, melody, force, and regular recurrence, he is almost certain to add an unvarying movement, or rate of utterance.

Time lengthens or shortens the quantity of the emphatic accent; by sympathy, lengthens, sometimes, even the unaccented syllable or syllables of the emphatic word,-as in shouting and calling. In the form of Pause, time is often the most striking and powerful element of Emphasis. Placed before the emphatic word, it causes suspense and arouses anticipation and surmise; and following the emphatic word, it holds the mind to the thought just uttered, and compels the reception and retention of a deep impression. Try to learn and to employ judiciously the emphatic pause, and you will soon find that your apprehension and grasp of all the other requirements of good reading are growing larger and firmer. Nowhere does the reader need more brains, more taste, finer instinct. Not only emphasis, but, as you have already learned, grouping and rhythm, depend vitally upon Pause.

Emotional emphasis rests chiefly on Tone-color, or Quality. Cordial sympathy with what is read or said, and allowing the voice to express, and so increase, that sympathy, is the