Too much can hardly be said of the importance of going thoroughly over the matter to be presented, making a clear analysis of all scenery, characters and feeling hidden under the lines. When this is once properly done, we have a key to gesture, voice, inflection and the elements of modulation. In this analysis may be found a way to avoid a common fault unnatural expression. Analysis is often the most difficult part of the study. While some selections require careful study to bring out the subtle meaning, others are simple and easily disposed of.

FINDING THE UNITY.

Following are some homely illustrations so simplified as to assist the youngest to gain a clear and certain understanding of what we mean by Unity, for this is the starting point.

By Unity of a study we mean the Central Idea. It may be some object, a person, an emotion, a passion or some subjective feeling. A whole poem may have been written to bring out one sentence, or one idea.

As a selection of the Unity is the center of the study, and all harmony of arrangement of subordinate ideas depends upon it, let us use the simplest illustration possible to explain our meaning of this first step of analysis.

Here is a large pink rose we wish to place in a bouquet where it will be brought out to the best advantage. This rose is our unity. We easily decide that it should occupy the central position in our bouquet. Now follows that which is more difficult, for we have much liberty in our selection of something to place with this rose to bring it out best. Surely it will never do to place it surrounded by other roses, or even with lilies, for such rival beauties will obscure the favorite. We must select something inferior to be the

background. We find too beside this contrast of superior with inferior, as to position, contrasts in color must next he thought about. The complimentary color of our pink rose is its own natural green leaves. There could be no mistake in using this background. Should we use flowers instead of leaves some inferior in size, white or cream may be used. A few pink rose buds may also be used as they will not assert themselves but lend themselves to the unity, the rose.

By position, by contrasting superior with inferior, by contrast in color we have brought out our rose. The artist may find much more than this to do, but let this simple analysis open the way for more complex work in the readings.

Let us next study a Selection with a single Character instead of a flower for our unity. "The Cheerful Locksmith" by Charles Dickens affords a simple, yet a useful study. Find the above study in " Studies in Rendering," under "Animation. In this study we readily select the cheerful Locksmith himself as the central subject for our attention. The study divides into two scenes, (though it might be given in one, depending on the view point. ) Scene I. is on the street, with workshop in sight. Scene II. is inside the workshop. We ourselves must be only an onlooker in both scenes. In the street we listen to the Locksmith; in the shop we see him. Picture the whole scene vividly, the locksmith and the interior of the shop. Bring out all the details, as the window, "the locks that hung around, "the cat; see however that nothing eclipses the Locksmith himself. Take advantage of " a gleam of sun shining through the unsashed window and checkering the dark workshop with a broad patch of light, fell full upon him as though attracted by his sunny heart." and make use of this high light and get the full artistic value.

Contrast the Locksmith's music with all the discordant

sounds, as the carts rumbling by, scolding, prison-door and jolting wagon, etc. Use all negative ideas as shade all cheerful, musical ideas as light, bringing out the contrast, with light more pronounced than darkness This may be done by speaking of the "tink, tink, tink," the music, and light as that of which we approve, while of the noise, the shade, the dark and disagreeable we disapprove. The light may be given on a touch of high pitch, the shade a slight degree of low pitch, a departure from the medium.

Make a careful study of the whole selection as if to illustrate it. See more than is mentioned in the selection, all details of the workshop, tools around, forge, anvil, the cat, most important of all, the man himself, his dress, and his facial expression. Do not be sparing of effort expended on this side of the study, all this gives to your expression a mental value of life and real interest. All this concentration of the mind on the scene and a participation in the spirit of it will give it such a value and an interest to the reader himself as will readily be imparted to the listener.

Paintings furnish excellent suggestions and helps for the reader or speaker. The student is asked to look over some helpful suggestions and to observe how the artist has made many things contribute to the central idea in one of the greatest of the world's paintings, "Christ Before Pilate."

This painting is great, not alone from the fact that it is supposed to have cost $120,000.00, but because it leaves a never-to-be-forgotten impression on the mind of him who stands before it with a responsive heart and mind. This painting is costly and famous because of the thought and feeling the artist has put into it.

Let the student observe how the artist has brought out the chief and central theme, Christ Before Pilate. As to importance Christ star ds first, Pilate second. Christ and Pilate are superior, all the other characters, inferior, lend

ing themselves to the unity. Great preeminence is given to the chief figure as it stands under the magnificent arch a little to the right of the center, with many long lines to add prominence. The second character, Pilate, has an exalted seat, the center of an inferior arch. Observe how the artist has made obscure the heads forming a background for the central head. Note the force of this. We can readily see in the painting how the artistic value would have been sacrificed had this background of inferior heads been made as large and clear cut as the central one. Other contrasts are marked. The robes of the central characters alone are white, in contrast with all the other robes. A great study is in the expression of the faces of the characters. The noble, kingly expression of the central character is sharply contrasted with much that is ignoble, pride, hatred, scorn and mockrey. perplexity on the face of Pilate is contrasted with the confidence and assurance of the accusers. Another contrast is between the Roman soldier with his spear and the man with fettered wrists. We have noted a few simple suggestions for the student of expression hoping they may be useful in the analysis of the readings.

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In Nebuchadnezzar's Dream, Daniel II, we find some points of similarity in the analysis to the painting we have above considered. We have two important characters, a few prominent characters, a crowd of people. The central theme however is neither the King nor Daniel, but the Dream.

We find the study divides into one important scene and several little scenes. Scene I. the King's bed chamber. The principal scene is in the throne room, where three acts take place the astrologers, before the King, sending out a decree to destroy the wise men; Daniel before the King; Daniel's second appearance before the King and the in

terpretation of the dream. Picture the whole scene vividly, The King may be seated a little at the right of the center, all ideas of the study are grouped about him. Daniel may stand on the left of the center, where he gives his speech as an oration. In telling the dream, near climax is reached on a stone was cut out without hands, ... and the stone that smote the image became a great mountain, and filled the whole earth. " The climax of the whole study comes near the last of the interpretation- "In the days of these Kings shall the God of heaven set up a kingdom which shall never be destroyed: . . . and it shall stand forever." The interpretation may be given as an explanation, with mental inflections, rising to a climax of fervor on the part about the kingdom, reaching highest point on- " it shall stand forever. "

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Bring out the side scenes, as the scene between Daniel and Arioch, another at Daniel's house when he tells his companions, then the night vision and Daniel's prayer and thanksgiving, a second scene between Daniel and Arioch, promotion of Daniel and companions at the close.

Work out a contrast between Daniel and the King,—' Daniel, always noble, while the King varies from perplexity in verse 3, angry threat in part of verse 5, angry accusation 5 and 9, furious command verse 12, awe and submission verse 47.

Contrast Daniel with magicians who boast then argue; Daniel humble, for he says: " this secret is not revealed to me for any wisdom I have more than any living.

Subjective studies, lyrics, psalms etc. are more difficult to analyze than the above numbers as the real heart of it lies hidden beneath the surface. It is often one mood, or one feeling. For example the Psalm XXIII is a song of trust. The love and trust is told over and over again in different ways, but never the occasion of sadness.