COLERIDGE, SAMUEL TAYLOR, from Ancient
Mariner, 106; from Essay on Method,
130-135; Genevieve, 288; from Mont
Blanc, 50; lines from, 159, 186.
Color expresses feeling, 184.
CONCEPTION, 26-34; free, 31.
Concord Hymn, lines from, 101.
Consider, Rossetti, 137.
Consolation, Shakespeare's sonnet, 83.
Contrasts in movement, illustrations for,
215; necessity of practising, 54.
Control of breath, developed by touch, 102.
Convention of France, Mirabeau, 234.
CONVERSATION, 266-269; action of the
mind in, 98; form of, 117-125; as differ-
ent from soliloquy, 160; uses pauses, 62;
variety in, 57.
Co-operation of powers, necessary in Ex-
pression, 28.
COWLEY, ABRAHAM, lines from, 79.
COWPER, WILLIAM, Boadicea, 96; Loss of
the Royal George, 85.
CRAIK, DINAH MULOCH, from Now and After-
wards, 210.
CRITICISM, 279-282; defined, 280; desired
by students, 281.
Crossing the Bar, Tennyson, 216.
Cuckoo, To the, Wordsworth, 10.
CUNNINGHAM, ALLAN, lines from, 108.
Curtain Lecture, Jerrold, 164.
CURTIS, GEORGE WILLIAM, Wendell Phillips,
248; Paragraph from, 91.
Daisy, from Wordsworth, 22.
DAFFODILS, Herrick, 61.
Dawn, Allingham, 25.
DEBATE, 272-274.
Declamation, cause of, 99.
DEGREES OF EMPHASIS, 231–234.
Dejection, from Shelley, 97.
Delivery, aims of, 249; how improved, 4-6.
DE QUINCY, THOMAS, Solitude, 179.
Derzhazim, lines from, 108.
DEVELOPMENT OF METHOD, 244–247.
Dialogues, Use of, 236.
DICKENS, CHARLES, Kettle and Cricket, 205;
Little Joe, 288.
DIRECTION OF INFLECTION, 172-174;
shows process of thinking, 173.
DISCUSSION AND DEBATE, 272-274.
DOBSON, HENRY AUSTIN, Before Sedan, 187;
Ladies of St. James, 287.
Domestic Asides, Hood, 292.
DOMETT, Christmas Hymn, 291.
DOUDNEY, from the Water-Mill, 216.
Drifting, as a fault, 38.
DRUMMOND, WILLIAM, The Lessons of Na-
ture, 211.
DWIGHT, TIMOTHY, Rest, 138.
EARNESTNESS, 253-257; cause of sim-
Education of Nature, Wordsworth, 25.
EDUCATION OF THE EYE, 69-72.
Elijah, story of, 308.
ELIOT, GEORGE, lines on Speech, 67; on
Expansion, 290.
Elocution, narrower than Vocal Expres-
sion, 2.
Effect of Distance, Ruskin, 248.
EMERSON, RALPH WALDO, Good-bye, 151;
from Concord Hymn, 101; from The
Sphinx, 18; lines from, 78, 178, 212.
Emerson, Inflections of, 194.
EMOTION AND INFLECTION, 183-185.
Emphasis, antithesis in, 153; development
of, 227, 232, 235, 244, 245; how increased,
232; illustrated, 110-115, 138-141; in
soliloquy, 160; modes of, 226-228; re-
quires subordination, 207; Sheridan on,
152; kinds of, 231.
Epilogue to Asalando, Browning, 228.
Essentials, importance of, 121; how tested,
Evening at Rokeby, Scott, 150.
Excitement, not earnestness, 90.
Expostulation and Reply, Wordsworth, 126.
Expression, all modes should be studied,
263, 264, 265; definition of, 47; every art
a form of, 1; how improved, 1, 21; modes
of, 1.
EXTEMPORANEOUS SPEAKING, 269-
Fall of the Romans, 230.
Falstaff's Reproof, 192.
Farewell, A, Tennyson, 80.
FAULTS OF EMPHASIS, 235-237; how
Faults, in Expression, 38; two leading, 59.
Fear No More, Shakespeare, 108.
Feeling, dominated by ideas, 97; needs
abandon, 42.
Fishing, Anon., 124.
Function of Art, Browning, 250.
Fundamentals, 123.
Flynn, Bret Harte, 167.
FORCE AND LOUDNESS, 223–225.
Form, elements of vocal, 120.
FORMS OF EXPRESSION, 263–266.
FREEDOM OF INFLECTION, 193-196.
Garrick, Paragraph on, Sterne, 69.
George Third, Thackeray, 93.
Gettysburg, Lincoln's Address on, 211.
Glory of God, Moore, 211.
GOETHE, Without and Within, 55.
HERBERT, GEORGE, Virtue, 196.
Hermione's Speech, 262.
HERRICK, ROBERT, lines from, 33.
Hesitation, and Pause, 63.
HOLMES, OLIVER WENDELL, lines from, 106;
from Old Ironsides, 108.
HOMER, Priam and Achilles, 84.
Home Thoughts from the Sea, 91.
HOOD, THOMAS, Domestic Asides, 292; The
Lee Shore, 109; Pain in a Pleasure Boat,
300; from Ruth, 32.
Horatius, lines from, Macaulay, 107.
Hotspur's Defence, 301.
Howitt, paragraph from, 92.
HUGO, VICTOR, lines from, 208.
HUNT, LEIGH, Abou Ben Adhem, 208; para-
graph from, 256.
Hunt, The, Arnold, 294.
HUTCHINSON, HELEN M., The Mariners, 222.
Ideas, accentuated in two ways, 113; must
be discovered, 66.
Images, importance of, 28.
Imagination, George Macdonald, 262.
Imagination must create scene, 147.
Imitation, how avoided, 265; and modula-
tion, 52.
Inflection, Abruptness of, 179; and color,
184; cannot be developed by rules, 174;
compared with words, 170; contrasted
with change of pitch, 204; danger in,
177; direction of, 172; free, 193-195;
function of, 171; important element of
conversational form, 168; modulation,
168-171; variations of, 170.
INGELOW, JEAN, from Songs of Seven, 48;
lines from Widowhood, 108.
Instinct, logical, 144.
Intention and Extension in Logic, 115.
Indifference, opposite of, 254, 255.
Instinct, penetrative, 147.
Intensity, how shown, 232.
INTERVALS OF PITCH, 201-205.
IRVING, WASHINGTON, The Wreck, 138.
Italian in England, Browning, 242.
Jacques and the Deer, 298; And the Fooi,
217.
James, Prof., on Attention, 19.
JERROLD, DOUGLAS, A Curtain Lecture, 164.
Job XXVIII., 136.
JOHN HAMPDEN, Macaulay, 247.
JONSON, BEN, Gipsy Benediction, 80.
Julius Cæsar, Opening Scene, 190.
Keenan's Charge, 293.
KELLOGG, paragraph from, 225; from Spar
tacus, 221.
Kettle and Cricket, Dickens, 205.
KINGSLEY, CHARLES, The Three Fishers, 290.
Ladies of St. James, Dobson, 287.
Laugh, Mental cause of, 35.
Lee Shore, Hood, 109.
LENGTH OF INFLECTION, 177-178.
Lessons of Nature, 211.
Life, Beaumont, 110.
Light and Shade, compared with color, 119-
121.
LINCOLN, Dedication of Gettysburg Cemetery,
211; paragraph from, 138.
Literature, expression should study, 267,
thought and feeling, 47.
LOGAN, JOHN, from To the Cuckoo, 201.
Logical Instinct, how developed, 144; illus
trated in a story, 138; needed in reading.
136.
LONGFELLOW, HENRY WADSWORTH, from The
Builders, 106; from Building of the Ship,
54; lines from The Old Clock, 32; Twi-
light, 45; lines from Wreck of the Hes-
perus, 296.
Lord is my Shepherd, The, 84.
Lost Leader, lines from, 107.
Loss of the Royal George, 85.
Loudness, not animation, 89.
Loudness, undignified, 223, 224.
Lover and his Lass, Shakespeare, 43.
LOWELL, JAMES RUSSELL, from Bigelow Pa-
pers, 190; from Commemoration Ode, 117;
from Conversations, 67; lines from Sir
Launfal, 26, 66, 159; from Present Crisis,
179, 233; from Stanzas on Freedom
190.
LYTE, H. F., Agnes, 204; Lost Love, 226.
Lyrics, develop spontaneity, 41,
MACAULAY, THOMAS B., from the Essay on
Milton, 155; from Horatius, 176.
MACDONALD, GEORGE, from The Imagina-
tion, 262.
Maid of Neidpath, 185.
Make Way for Liberty, 109.
Marie Antoinette, Burke, 72.
Marmion and Douglas, 182.
Marshall, Wiseman, on Touch, 104.
MARTIN, WILLIAM WESLEY, Apple Blossoms,
Massacre in Piedmont, Milton, 10.
Melody, Elements of, 118.
Memory, how improved, 275; philosophical,
275; should be trained,
Method, defined by Coleridge, 129; Cole-
ridge's Essay on, 130; development of,
246; in description, 147-148; of the igno-
rant, 130; IN NARRATION, 138-146; OF
THOUGHT AND WORDS, 127-136.
Midsummer, lines from Trowbridge, 148.
MILTON, JOHN, Late Massacre in Piedmont,
10; from The Nativity, 68; Picture, from,
33; On His Blindness, 257.
MIRABEAU, The Convention of France, 234.
MODES OF EXPRESSION, 50-55.
Modest Wit, Anon., 197.
MOIR, DAVID M., from To the Skylark, 187.
Monologue, Emphasis in, 161.
Monotony, Elements of, 119.
Mont Blanc, Coleridge, lines from, 50.
MONTGOMERY, JAMES, Arnold Winkelried,
109.
Moonrise, Tennyson, 296.
MOORE, THOMAS, Light of Other Days, 288;
lines from, 211.
MORRIS, WILLIAM, from All For the Cause,
To a Mountain Daisy, Burns, 86.
MOVEMENT, 213–215.
Muckle-Mouth Meg, Browning, 171.
MYERS, Prayer, 48.
My Last Duchess, Browning, 165.
Nativity, Hymn on, 68.
Naturalness in Conversation, 117-120; defi-
nition of, 17; misconceived, 39; nature
of, 37; pause, sign of, 65.
Natural Supernaturalism, Carlyle, 251.
Nature, art near to, 11; methods of study-
ing, 121.
Nature, Sonnet on, Keats, 282.
NEWMAN, lines from, 181.
Night and Death, White, 72.
Nightingale, The, Bailey, 61.
Objective Study, necessary in expression, 57.
O Captain, My Captain, Whitman, 217.
Ode to the West Wind, Shelley, 260.
Originality, how developed, 265.
Padre Pugnaccio, Bertrand, 67.
Pain in a Pleasure Boat, Hood, 300.
PALGRAVE, FRANCIS TURNER, Paragraph
from, 233.
Parting at Morning, Browning, 77.
Passion, Gamut of, narrow in many, 45; in-
creases touch, 106; right impulse in, 74.
Past and Poetry, Carlyle, 224.
PATER, WALTER, The Artist, 251.
Pause, as a method of emphasis, 209, 210.
PAUSING, 62-67.
PEABODY, from Skater's Song, 216.
PENNELL, HENRY CHOLMONDELEY, from The
Rose of Ettrick, 26.
Perception, nature of, 26.
Pictures, danger of effort, 29.
Pine Forest, Shelley, 23.
PITT, Paragraph from, 183, 233.
PHRASING, 73-78.
Phrasing, how developed, 75.
Phillips, inflections of, 194.
Polonius Address to the King and Queen,
135.
Polonius to Laertes, Shakespeare, 158.
Prayer, Myers, 48.
Priam and Achilles, Homer, 84.
PROCTOR, Legend of Bregenz, lines from,
182.
Psalm XVIII., 291; XIX., 116;
CXXXIX., 212.
Psalms, contrast in, 48.
Punctuation, of printers and readers, differ-
ent, 74.
Rules, example of evil, 58; in pausing illus-
trated, 75.
RUSKIN, JOHN, Effect of Distance, 248.
Rhythm and Touch, 114; explained, 213.
Sailor Boy, Tennyson, 90.
Sally in our Alley, 86.
SCOTT, SIR WALTER, The Chase, 145; from
Marmion, 212; from Dundee, 61; Even-
ing at Rokeby, 150; from Guy Mannering,
197; Song, 73; Song, True and False
Lover, 284; The Maid of Neidpath, 185;
Parting of Marmion and Douglas, 182;
from Pibroch, 79, 178; Transition from
Marmion, 108.
School for Scandal, scenes from, 237.
Self-consciousness, importance of, 42.
Self-Dependence, Arnold, 44.
SEQUENCE OF IDEAS, 18-25.
SHAIRP, Shakespeare and Goethe, 258.
SHAKESPEARE, Adam and Orlando, 298;
Adam's Speech, 188; Bassanio to Portia,
127; Bassanio and Shylock, 307; Blow,
Blow, 288; from Cassius and Brutus, 176,
179; Done to Death, 115; Brutus Solilo-
quy, 162; Falstaff and Hostess, 131, 106;
Falstaff's Dismissal; 192; Fear No More,
108; A Fool, A Fool, 217; Hamlet and
Horatio, 197; Hamlet and Polonius, 191;
Hamlet's Voyage, 132; Hamlet's Soliloquy,
To Be, 161; O What a Rogue, 159; Hark,
Hark! 290; Henry IV. to Worcester, 131;
lines from Henry V., 107, 225; from Henry
VIII., 225; Hotspur, 225; Hotspur's
Defence, 301; Opening Scene, Julius
Cæsar, 190; Lover and His Lass, 43;
Time, 102; Merrily, Merrily, 35; Picture
from, 32; Polonius' Farewell, 158; Solilo-
quy of Richard III., 94; lines from Rich-
ard III., 182; from Romeo and Juliet,
SHELLEY, PERCY BYSSHE, from A Defence of
Poetry, 107; from Dejection, 97; from
Julian and Maddalo, 178; Pine Forest,
23; Ode to the West Wind, 260; My Soul
an Enchanted Boat, 34; lines from, 32, 91,
158.
Sheridan, on Emphasis, 152.
SHERIDAN, Soliloquy, School for Scandal,
167; Scenes from School for Scandal, 237;
transition from, 189.
SILENCE AS A MEANS OF EMPHASIS,
209-210; importance of, 62.
Silent Reading, 70.
SIMMONS, B., Cape Ushant, 92.
SIMPLICITY, 80-86; contrasted with ani-
mation, 87; destroyed by poor literature,
83; test of greatness, shown by greatness,
80-81; sincerity basis of, 81.
Sing-song, nature of, 99.
Sir Galahad, lines from, 18.
Sister, To My, Wordsworth, 43.
Skylark, Wordsworth, 94; Moir, 187.
SOLILOQUY, 159-165.
Solitude, De Quincy, 179.
Sorrow, requires touch, 106.
SOUTHWELL, ROBERT, lines from, 172.
SPEAKING EXTEMPORANEOUS, 269-271; natu-
ralness of, 250-253; needed by all, 269.
Speech and Song, differ in touch, 103.
Speech to the Players, from Shakespeare,
224.
SPENCER, HERBERT, definition of cadence,
169; on economy,
88.
Sphynx, Kinglake, 92; lines on Emerson, 18.
Spontaneity, how developed, 40; and con-
sciousness, 39-40; nature of, 37; not dex-
terity, 45; not impulsiveness, 39; of
thinking illustrated, 78.
Staginess, 100.
Star of my Country, Wordsworth, 96.
STERNE, LAWRENCE, Paragraph from, 69.
STEVENSON, R. L. Where Go the Boats?
STRAIGHTNESS OF INFLECTION, 188-
Story-tellers, sequence of ideas, 144; good,
rare, 268.
Story Telling, 24; develops conversation,
266.
Style, how developed, 89.
SUBORDINATION, 206–208.
SWINBURNE, To the Storm Wind, 91.
Tables Turned, Wordsworth, 126.
TAYLOR, SIR HENRY, Song, 286.
TAYLOR, TOM, 'Twixt Axe and Crown, 302.
Teachers, Instructions to, 7-9; requisites
of, 276.
Tediousness, nature of, 65.
TENNYSON, ALFRED, Crossing the Bar, 216;
A Farewell, 80; from Sir Galahad, 18;
The Sailor Boy, 91; from Ulysses, 101;
The Voyage, 34; Roll On, 287; lines from,
30, 33, 72.
TEXTURE AND TONE COLOR, 218–221.
Thinking, effect of, upon words, 76; ele-
ments of, 18; kinds of, 27; progression of,
60; shown by change of pitch, 202, 203;
in soliloquy, 159–160.
TONE COLOR, 218-220; use of, 219; ex-
tracts for, 221, 283-287.
TOUCH, 102-106; and Texture, 105; and
Stress, 104; varieties of, 105; extracts for,
106-108.
Webster, Daniel, inflections of, 194; Use of
his eye, 71; Use of pause, 74; Paragraph
from, 257.
Wendell Phillips, Curtis, 248.
Westminster, Addison, 175.
Where Go the Boats? Stevenson, 25.
What is Time? 215.
WHITE, BLANCO, Night and Death, 72.
WHITMAN, WALT, My Captain, 217.
WHITTIER, JOHN G., Barbara Frietchie,
295; Pictures from, 32, 107; lines from
Wind on Marsh, 49; lines from, 203.
Wish, A, Rogers, 167.
WORDSWORTH, WILLIAM, To the Cuckoo, 10;
The Daisy, 22; Expostulation and Reply.
126; from To My Sister, 43; from Ode to
Duty, 182; River Duddon, 259; from The
Reaper, 32, 33; from Skylark, 90; To the
Skylark, 94; The Tables Turned, 126;
Yarrow Unvisited, 148; Yarrow Visited,
149; Picture from, 83; Star of My
Country, 96.
Wordsworth, simplicity of, 82.
Wreck of the Hesperus, 296.
Wreck, The, Irving, 138.
Yarrow Unvisited, 148.
Yarrow Visited, 149.
|