In addition to this general analysis he may also ascertain the character of tone, the changes of tone, the position of the body, and the movement necessary to express the particular thought. What general quality of voice should be used to express the thought? Does the language suggest any exception to the general quality? What is the general pitch? And what are the exceptions to the general pitch? What is the prevailing force and what are the exceptions to the prevailing force? With reference to slides, do the positive or negative qualities of sentiment prevail? What attitude or position of body would best reflect the genera! thought, and what changes are demanded? What of the facial expression? Does the language suggest conversational, oratorical, or dramatic action?

Such analysis as this on the part of the student will lead to a prompt and appropriate association of voice and manner with the sentiment to be expressed.

NOTE. The student will constantly find difficulty in distinguishing the quality of the voice or the degree of pitch or force, or the shade of slide, or the particular action which the thought suggests. Sentiment is so subtle and its changes so imperceptible that it will be impossible to follow it by any order of reasoning. and he must be content with discovering the tendency of the thought with refer ence to the various mediums of expression.

REPOSE.

Our conceptions of God lead us to think of a being not idle, but one to whom labor is rest; so wise that He knows without exertion; so abundant in resources that the supply is ever equal to the demand. A noble conception of God has never created a being subject to excitement, or agitation, or one who could be moved or changed by the agitations of His creatures. He spake and it was brought forth. He speaks and it is done. He bids alike the storm or the calm. He commands the light or the darkness, and it obeys him.

Art is the effort of the creature to reproduce the work of

the Creator. When God made man, He breathed into him the breath of life, and in that breath of life was the breath or germ of divinity, and in proportion as man becomes infused with the divine breath, in proportion as he has much of God within him may he hope to breathe into his art divine breath, be it the marble, the canvas, the printed page, or the human voice; and no other power of art will so reflect divine power as repose. The highest power is mastery, and the highest mastery is self-mastery, and of self-mastery repose is the emblem. The orator, next to God himself, needs to possess the world, and to possess the world he must first possess himself, his hand, his foot, his eye, his breath, his body, his mind, his soul. Then, art shall have linked itself with divinity.

SELECTIONS FOR PRACTICE

HA

SANDALPHON.

AVE you read in the Talmud of old, In the Legends the Rabbins have told Of the limitless realms of the air; Have you read it-the marvelous story Of Sandalphon, the Angel of Glory, Sandalphon, the Angel of Prayer?

How, erect, at the outermost gates
Of the City Celestial he waits,

With his feet on the ladder of light,
That, crowded with angels unnumbered,
By Jacob was seen, as he slumbered
Alone in the desert at night?

The Angels of Wind and of Fire
Chant only one hymn, and expire

With the song's irresistible stress-
Expire in their rapture and wonder,
As harp-strings are broken asunder
By music they throb to express.

But serene in the rapturous throng,
Unmoved by the rush of the song,

With eyes unimpassioned and slow,
Among the dead angels, the deathless
Sandalphon stands listening, breathless,

To sounds that ascend from below: