work given in this volume may be quite well done in twelve to fourteen weeks of daily work.

The best place for this study, is, perhaps, in the second year of the college course. It is also well adapted to the first year of a theological course. In the latter case the illustrative material will be more largely drawn from the Bible, which affords the richest and most varied examples of literary expression.

It will be found that a review of these principles at a later point, and especially in connection with private lessons, will often yield to the individual student even more of suggestiveness and help than have been found in the term of study.

While, then, it is not for a moment supposed that this analytic study of expression will produce the artistic results aimed at in the personal criticism and the more synthetic method of private lessons, it is yet believed that the treatment of the subject herein attempted may secure the twofold object of general discipline and immediate practical utility, in connection with the related subjects of rhetoric and literature.

It is not to be thought that the work here outlined must be wholly theoretical. The fact that some one element of expression is the special object of illustration in any given lesson makes the drill only the more intensive. It is especially recommended that each topic treated in the text be thus made the basis of practical drill in expression, both by reading and by declaiming

or reciting short extracts. These extracts should be taken either from entire articles or from long selections that have been analyzed by the class, or else from sources perfectly familiar to all. Otherwise there will be no good basis for interpretation or for criticism.

For those who desire to become speakers rather than readers, distinctively oratorical passages should largely be chosen. Extempore speaking also should accompany each step.

This does not profess to be a special treatise on vocal culture. That subject, however, has not been neglected. The Appendix on Vocal Technique is thought to give as minute and extended directions as will be practical to the ordinary non-professional student. These exercises need, of course, to be abundantly illustrated, and thoroughly enforced by constant and protracted drill. Most of the passages quoted throughout the book, in illustration of rhetorical principles, may also be used to enforce the elements of vocal culture.

Parts of the chapter on Vocal Technique may be studied before taking up the work as a whole, in order to secure a better basis for drill in voice culture. In that case it should be carefully reviewed when reached in its connection; and the parts that were at first omitted should now be thoroughly studied, that the student may see the true relations between the physical and the psychical. Vocal culture is introduced after expressional

analysis, in the systematic treatment of expression, for a definite reason. It is believed that the physical side of the work can be studied most profitably after the psychical.

This is not a work on orthoëpy. The elements of the language are supposed to have been mastered, so far as a student in college needs them; and for the use of teachers there are abundant and valuable works on this subject.

Gesture is not fully treated here. Others have developed, and are developing, that department of the work. Assuming some technical practice on the basis of other text-books, or of instruction accompanied by living example, this book contents itself with the discussion of Descriptive Gesture given in Part II.

On some points fuller explanations have been given, and additional ideas suggested in notes appended to the chapters. Some of these may, at the discretion of the teacher, be used in connection with the main text.

In the preparation of such a work many sources of help and inspiration must be acknowledged. The author desires to make special mention of two of his teachers: the late Madame Seiler, whose personal instruction in the singing voice has been of the greatest assistance in formulating the technique of speech; and Professor S. S. Curry, Ph.D., of the School of Expression, Boston, whose class-room expositions of the Delsarte philosophy are very helpful, especially in applying the principles of panto

mimic training to rhetorical delivery. Mention should also be made of Professor G. L. Raymond's work, entitled The Orator's Manual.

The chief inspiration, however, has been drawn from those for whom, especially, this work has been undertaken. The author's students have been his best critics and most efficient helpers. He deems it only just to mention among these Rev. C. K. Swartz and Professor R. H. Stetson, whose thorough scientific, philosophical, and literary training, together with their especial interest in this subject of study, qualified them to render most valuable assistance by their sympathetic suggestions and, in some cases, careful and detailed criticism. To these gentlemen the author's thanks are sincerely and affectionately returned.

It is not supposed that the present edition is free from defects, nor is it thought that the subject has here attained a complete and symmetrical, or even a wholly selfconsistent, development. The last word on this broad and deep theme of expression will never be uttered. It is hoped, however, that there is here presented a rational, comprehensible, and fairly consistent method of expressional analysis, which may serve to stimulate more successful study in this most fruitful field.

July, 1897.

W. B. C.

PREFACE TO PART II.

IN the preparation of the following pages I have endeavored to render the usual introduction unnecessary. There remains, therefore, only to acknowledge a debt of which for many years I have desired to make public acknowledgment.

To Mr. Alfred Ayres, whose bold attacks upon affectation and artificiality have accomplished more good than, I fear, he will ever receive credit for, I wish to express the deepest gratitude. His writings came to me at a time when I needed them most; and while we may differ in some details, I yet feel that to him I can look as to the source of my artistic inspiration.

The works of Professor George Lansing Raymond, of Princeton University, have been frequently drawn upon in these pages. Professor Raymond deserves the gratitude of all students of expression, and I take advantage of this opportunity to express my indebtedness to him.

To Dr. Richard Green Moulton, of the University of Chicago, I owe a greater debt than I can repay. The inspiration I have derived from his books, classes, and kindly advice is such that without it I doubt that my share of this work could ever have been written.

THE UNIVERSITY OF CHICAGO.

S. H. C.