to mechanical manipulation instead of modulation or to perfunctory pronunciation instead of genuine assimilation. In the practice of such transitions there should be a review of all preceding steps (or rather an application of everything that has been learned), and there should be definite attention to every phase of expression.

THE LITTLE GIRL AS NURSE

When Florence Nightingale was a little girl in England there lived near her village an old shepherd named Roger, who had a favorite sheep-dog called Cap. One day while Florence was out riding with a friend, she saw Roger tending his sheep. But Cap was not with him, and the sheep were running about in all directions. Florence and her friend, noticing the absence of the dog, stopped to ask the shepherd what had become of him.

66 Oh," he replied, " Cap will never be of any more use to me. I fear that he must be killed."

"Killed!" said Florence. "Oh, Roger, how wicked you are to say so! What has poor old Cap done?"

"He has done nothing," replied Roger; "but a cruel boy threw a stone at him yesterday, and broke one of his legs." And the old shepherd wiped away the tears which filled his eyes. "Poor Cap!" he said, “he was as knowing as a human being."

Florence and her friend rode on to the shepherd's cottage, and went in to see the poor dog. When the little girl called him "Cap, good old Cap," he began to wag his tail. Then he crawled from under the table, and lay down at her feet. She patted his rough head, and talked to him while her friend examined the injured leg.

It was badly swollen, and it hurt very much to have it touched; but, though he moaned with pain, he licked the hands that were hurting him, for he knew that the girls were trying to help him.

"It's only a bad bruise; no bones are broken," said Florence's friend. "Rest is all Cap needs; he will soon be well again." "I am so glad," said Florence. "But can we do nothing for him? He seems to be suffering great pain."

"Plenty of hot water to bathe his leg would both ease the pain and help to cure him quickly.”

Florence kindled a fire, heated some water, and began to bathe the poor dog's leg. It was not long before he seemed to suffer less, and he tried to show his thanks by his looks and by wagging his tail,

On their way back they met the old shepherd coming slowly homeward.

"Oh, Roger!" cried Florence, "you are not to lose poor old Cap. We have discovered that his leg is not broken, after all.” "Well, I am very glad to hear it," said the old man. "Many thanks to you for going to see him."

The next morning Florence was up early to bathe Cap's leg, and she found it much better. The next day she bathed it once more, and in two or three days the dog was able to look after the flock again.

This event happened many years ago, and that good-hearted little girl grew up to be the kindest and noblest of women. She spent her youth in learning how to nurse the sick, and how to manage hospitals.

During the Crimean war she went out at the head of a band of trained nurses to take care of the wounded soldiers, who were suffering much for want of proper care. She soon had ten thousand sick men to look after and could scarcely find time for rest or sleep.

Since that time she has done much to improve hospitals. Indeed, her whole life was nobly spent in helping the sick, and especially the sick poor.

Render some story, "The Little Girl as Nurse," for instance, which is an account of Florence Nightingale and her first experience in nursing. Notice the changes, the contrasts, from speech to speech, or from speech to description, and from description to quotation. See everything, experience everything as if you were present. Long pauses are needed that you may get into sympathy with the story and live it before you tell it.

In many things we all stumble. If any man stumbleth not in word, the same is a perfect man, and able also to bridle the whole body.

Now if we put bits in the horses' mouths, that they may obey us, we turn about their whole body also. Behold also the ships, which though they are so great, and driven of fierce winds, yet are they turned about with a very small rudder, whithersoever the steersman willeth. Even so the tongue is a little member, and boasteth great things. Behold, how great a forest is kindled by how small a fire. And the tongue is a fire; a world of iniquity among our members is the tongue, that defileth the whole body,

and setteth on fire the wheel of nature, and it is set on fire by hell.

For every kind of beasts, and of birds, and of creeping things, and of things in the sea, is tamed, and hath been tamed of mankind. But the tongue can no man tame, it is a restless evil, full of deadly poison; Therewith bless we God, even the Father: and therewith curse we men, who are made after the likeness of God. Out of the same mouth proceedeth blessing and cursing. My brethren, these things ought not so to be.

XXXVI. MODULATIONS CAUSED BY EXPERIENCE

but this

A craven hung along the battle's edge,
And thought, "Had I a sword of keener steel-
That blue blade that the king's son bears, ·
Blunt thing!" he snapt and flung it from his hand,
And lowering crept away and left the field.
Then came the king's son, wounded, sore bestead,
And weaponless, and saw the broken sword,
Hilt-buried in the dry and trodden sand,
And ran and snatched it, and with battle-shout
Lifted afresh he hewed his enemy down,
And saved a great cause that heroic day.
"Opportunity."

Edward Rowland Sill

If you observe closely some decided transition in experience you find that many modulations of the voice unite in showing the change. Pause shows the need of attention and a change of conditions, change of pitch goes with all changes and indicates the divergence of impressions. Tone color reveals the change of situation, point of view or feeling. Aside from these there are two other voice modulations that have not as yet been discussed, intensity and movement.

Flashed all their sabres bare,
Flashed as they turned in air
Sabring the gunners there,
Charging an army, while

All the world wondered:

Plunged in the battery-smoke,
Right through the line they broke,
Cossack and Russian

Reeled from the sabre-stroke

Shattered and sundered.

Then they rode back, but not,
Not the six hundred.

Alfred Tennyson

"The Charge of the Light Brigade." In this stanza from "The Charge of the Light Brigade " note the domination of force and passion in the first ten lines, in the direct struggle of the battle. Then observe the extreme change in the last two lines. The pitch, the color and texture of the voice decidedly change but there are other elements that change; the amount of breath and especially the kind of control over the breath, the vigor of

the touch, the very texture of the muscles of the whole body. The rhythm, changing from a run to a stately tread, from quick spasmodic taking of breath and touch to a deeper, fuller, slower inspiration, becomes a dignified, weighty progression.

Intensity and movement are the most important of all the modulations of the voice, especially in the expression of feeling and in the degrees of assimilation. They are always found together, but it is important to distinguish them from each other and to define the functions of each.

What is meant by intensity? It is difficult to explain it. In one sense it is the opposite of weakness. If we give ourselves up to the first tendencies of many emotions weakness will be the result. For example, we are all tempted to express sorrow as weakness. In fact, the most difficult emotion to express is pathos. Observe, as you read this poem by Dobson and begin to sympathize with the violin player, and recognize that the little fellow is passing away, how much more deeply and fully you breathe. How vigorous do the touches become! Why? Because the feeling becomes gradually deeper, demands greater effort to control it. In proportion to the depth, dignity and control over