with the sun shining through the chinks of it. A few great drops came pattering down, and then in a moment the steady swish of a brisk shower, with the dripping and the dropping of the leaves. A. CONAN DOYLE.

'Tis night upon the lake. Our bed of boughs
Is built where, high above, the pine tree soughs.
'Tis still-and yet what woody noises loom
Against the background of the silent gloom!
One well might hear the opening of a flower
If day were hushed as this. A mimic shower
Just shaken from a branch, how large it sounded,
As 'gainst our canvas roof its three drops bounded!
Across the rumpling waves the hoot-owl's bark
Tolls forth the midnight hour upon the dark.
What mellow booming from the hills doth come?-
The mountain quarry strikes its mighty drum.

RICHARD WATSON GILDER: The Voice of the Pine. Reprinted by permission of Houghton Mifflin Co.

Last night I dreamed a dream of you. I thought you came
And caught my hands in yours and said my name
Over and over, till my soul was stirred

With that fine ecstacy that some wild bird
May know when first he feels the blossoming
And the keen rapture of the glad new spring.
Almost to-day I fear to meet your eyes
Lest I should find them suddenly grown wise

With knowledge of my heart; almost I fear

To touch your hand lest you should come too near And startled, dazed by some fierce inner light,

We both should cry, "I dreamed a dream last night!"

THEODOSIA GARRISON: Illumination.

Reprinted by permission of Mitchell Kennerley.

Oh, say, Jim Crow,

Why is it you always go
With a gloomy coat of black
The year long on your back?
Why don't you change its hue,
At least for a day or two,
To red or green or blue?
And why do you always wear

Such a sober, sombre air,
As glum as the face of Care?
I wait for your reply,

And into the peaceful pause

There comes your curious, croaking cry,—

"Oh, because! 'cause! 'cause!"

CLINTON SCOLLARD: Jim Crow from "The Lyric Bough." Reprinted by permission of the author and Messrs. Sherman, French and Co.

The barge she sat in, like a burnished throne,
Burn'd on the water; the poop was beaten gold;

Purple the sails, and so perfumed that

The winds were love-sick with them; the oars were silver
Which to the tune of flutes kept stroke and made

The water which they beat to follow faster,

As amorous of their strokes. For her own person,
It beggar'd all description: she did lie

In her pavilion, cloth-of-gold of tissue,
O'er-picturing that Venus where we see
The fancy outwork nature: on each side her
Stood pretty dimpled boys, like smiling Cupids,
With divers-colored fans, whose wind did seem
To glow the delicate cheeks which they did cool,
And what they undid did.

WILLIAM SHAKESPEARE: Antony and Cleopatra.

PAUSES

How Pauses are Related to Time.-Pauses have a marked effect upon time in reading or speaking. Frequent and long pauses retard the time, while few and short pauses accelerate the time. Pauses are not mere silence, but are instants when the thought of one group of words is carried over to that of another group, showing the relation between them. No mechanical process of stopping at punctuation marks, or following the old rule of counting four at a period, two at a semi-colon and one at a comma, will fill pauses with meaning. Pauses should come naturally from a reader's or speaker's effort to express thought clearly and impressively.

Rhetorical Pauses.-Pauses are related to emphasis, because a pause before or after an idea, or in both places is frequently the best way of emphasizing it. Such pauses as are made for the sake of emphasis or clearness and do not coincide with any marks of punctuation, are called rhetorical pauses.

Practice the following examples, giving the clearest possible grouping of thought. Notice what use you make of the rhetorical pause.

He finds his house in ruins, his farm devastated, his slaves free, his stock killed, his barn empty, his trade destroyed, his money worthless; his social system, feudal in its magnificence, swept away; his people without law or legal status; his comrades slain, and the burdens of others heavy upon his shoulders.

HENRY W. GRADY: The New South. Reprinted by permission of E. D. Shurter.

True hope is swift, and flies with swallow's wings;
Kings it makes gods, and meaner creatures kings.
SHAKESPEARE.

With no friend but his sword, and no fortune but his talents, he (Napoleon) rushed into the lists where rank, and wealth, and genius had arrayed themselves and competition fled from him as from the glance of destiny. He knew no motive but interest-he acknowledged no criterion but success-he worshipped no God but ambition, and with an Eastern devotion he knelt at the shrine of his idolatry.

CHARLES PHILLIPS.

One who never turned his back but marched breast forward,
Never doubted clouds would break,
Never dreamed, though right were worsted, wrong would triumph,
Held we fall to rise, are baffled to fight better, sleep to wake.
ROBERT BROWNING: Asolando.

Great news this for that fierce old country, whose trade for a generation had been war, her exports archers and her imports prisoners.

A. CONAN DOYLE.

His words are bonds, his oaths are oracles,
His love sincere, his thoughts immaculate,
His tears pure messengers sent from his heart,
His heart as far from fraud as heaven from earth.

WILLIAM SHAKESPEARE: Two Gentlemen of Verona.

A fair and luminous mind creates a body after its own image. With health and a soul, nor man nor woman can be other than beautiful, whatever the features. The most potent charm is that of expression. As the moonlight clothes the rugged and jagged mountains so a noble mind transfigures its vesture.

BISHOP JOHN L. SPALDING: Opportunity. Reprinted by permission of A. C. McClurg and Company.

He was a worshipper of liberty, a friend of the oppressed. A thousand times I have heard him quote these words: "For Justice all place a temple, and all seasons, summer." He believed that happiness was the only good, reason the only torch, justice the only worship, humanity the only religion, and love the only priest. He added to the sum of human joy; and were every one to whom he did some loving service to bring a blossom to his grave, he would sleep to-night beneath a wilderness of flowers.

ROBERT G. INGERSOLL: At His Brother's Grave. Reprinted by permission of C. P. Farrell.

On the following day the attack was made, but it was unsuccessful. The whole state was now alarmed, and all the frontier settlers left alive had flocked to the larger and more protected towns. It had also developed during the day that there was a pretty large party of Sioux who were ready to surrender, thereby showing that they had not been party to the massacre nor indorsed the hasty action of the tribe.

C. ALEXANDER EASTMAN: Old Indian Days.

Reprinted by permission of Doubleday Page & Co.

To recreate in your own brain the imagery of a poem is to become in some degree a poet yourself.

BLISS PERRY.

O thou king, the Most High God gave Nebuchadnezzar thy father the kingdom, and greatness, and glory, and majesty: and because of the greatness that he gave him, all the peoples, nations, and languages trembled and feared before him: whom he would he slew,

and whom he would he kept alive; and whom he would he raised up, and whom he would he put down.

DANIEL, V 18-19.

Be calm in arguing, for fierceness makes error a fault and truth discourtesy. GEORGE HERBERT.

PITCH

Variety of Pitch in the Speaking Voice. The average compass of the human voice in reading or speaking is more than an octave, yet we think little of pitches of the voice except in singing. We are more conscious of pitch when listening to a voice that is abnormally high, low or monotonous, than when hearing a voice with good range. Saying a sentence and then humming it, will convince any one that wonderful changes in pitch are constantly used in reading and speaking. Notice the changes in pitch in these lines from Browning's Hervé Riel.

"Here's the English at our heels; would you have them take in tow All that's left us of the fleet, linked together stern and bow, For prize to Plymouth Sound?"

The Melody of Sentences.-The changes in pitch used in a sentence, make the melody of that sentence; and the melody varies with the thought that is conveyed. If John Doe meets two classmates who have attended a literary society meeting, and inquires, "Did you have a good debate to-day, boys?", one might say, "I think so,” indicating frankly that, in his opinion, it was a good debate, the other might say, "I think so," virtually saying, it was fair, but uninteresting and an awful bore. The words are the same in both instances, but the melody in each case tells the boy's real thought. So in reading, different people will give about the same melody to a sentence, if they apprehend the same