to select passages in which different characters speak, and enter sympathetically into the point of view of each. This is a more dramatic method, while the other way is more lyric. The imagination acts in both ways.

In reading "Over the Hill" do you observe the difference between the child's voice in the questions and the traveler's serious answers? Which would be apt to be on a lower pitch? Which would have richer coloring of experience and deeper feeling?

Why can we not make a mechanical difference that is satisfactory? It is because true, rich qualities of tone come only from imagination and sympathy and feeling.

THE SWALLOW AND THE CHILD

Child. The lilacs are in blossom,

The cherry flowers are white;

I hear a sound below me,
A twitter of delight;
It is my friend, the swallow

Once more come back alive!
"I'm very glad to see you!
Pray, when did you arrive?"

Swallow. "And I'm so glad to be here;
I only came to-day;
I was, this very morning,
A hundred miles away."

It was a long, long journey;
How weary you must be!"

"Oh, no! I'm used to travelling,
And it agrees with me."

And, pray, where did you go?"

Child.

Swallow.

Child.

You're just the same old swallow!
Your wings are just as black."

Swallow. "I always wear dark colours;

Child.

Swallow.

Child.

I'm ever on the wing;
A sober suit for travelling

For me 's the proper thing."
"Your little last year's nestlings,
Do tell me how they grow?"
"My young ones are big swallows,
And married long ago."

"And shall you build, this summer,
Among the flowers and leaves?"

Swallow. "No; I have taken lodgings

Beneath the cottage eaves.

You'll hear, each night and morning,
My twitter in the sky."

Can you give the difference between the child's voice and the swallow's as they talk together?

A more important method of improving the sympathetic qualities of the voice, but one requiring more care in its application, is to contrast a hearty, open tone with a very delicate one.

In making a delicate tone, you must have as much breath, and as open a throat as with a louder tone, but you must spend less breath; make the tone very soft without weakening or wasting the breath.

In Mr. Trowbridge's "Charcoal-Man " we have pictured one who goes through the street, calling out "Charco'!" loud and strong. The tone of this good-natured man was so rich and joyous that it rang all through the streets.,

Call "Charco'!" with great joy and plenty of breath in the lungs, and a very open free passage; then give the 66 faint and far" echo of his voice as it rolls through the street, "Hark, O" with the very softest possible tone. Go from one to the other suddenly, and let the change of imagination and feeling change the control of the breath, without changing the amount of breath or the degree of openness in the tone passage.

We cannot too strongly emphasize the fact that whether the tone is gentle or loud, the throat must be equally open and there must be an equal amount of breath. Feeling may escape in loudness or the tone may be held back as a reservoir for feeling. How far the breath is to be allowed to pass out by vital energy and make the tone loud, on the one hand, or on the other held in reserve causing the tone to be more intense and resonant, depends on the degree of demonstration, the intensity or control of feeling, and the dignity of the man. Here in "Charco' " it comes out in volume, while in the echo it becomes very soft. The tone is greatly improved by retaining the breath, keeping the tone passage open, and at the same time making a very soft tone, full of feeling.

Joy time and love time

and so the world goes,

Think of a thorn, and you get to a rose.

Out in the sunlight,

And hear the bells ring!

Love making winter

As rosy as spring.

Holiday people! The light in the skies

Is nothing so bright as the light in love's eyes

Joy time and love time,

And life growing bright:

The roses of love

Make the lilies of light!

Author not known

Can you give "Joy Time and Love Time," putting great

tenderness and delicacy into your tone?

Till something inside speaks out bold:
"I am the monitor who told!

Oh, yes, 't was I who told the Wind,
And both of us know you have sinned."

"Willie, you

Willie, yo — u!”
Wind and Conscience both say, "y-o- u.”

Zitella Cocke

The Place of Presence! Viewless phantoms crowd
In mist and cloud.

Not his nor theirs the Presence nor the Place!
Close to the face

Of Heaven we stand, and more in love than fear
Feel God is here.

"Summit of Snowdon."

F. W. Bourdillon

The oak-tree boughs once touched the grass;

But every year they grew

A little farther from the ground,

And nearer toward the blue.