instantly. Teach your eye to look ahead and grasp the meaning of the passage at a glance, and then the mind will constantly be in advance of the voice.

There is another form of emphasis, which, however, is not adapted for the school-room, but for advanced students. It is the emphasis of feeling. I will but refer to it. It gives a rare beauty to expression. Some of the methods of emphasis of feeling are: Emphasis by qualities of voice; by gesture; by look; by vocal exclamation; and many more equally potent.

The last point for consideration this morning is what is technically termed stress. It is the manner of giving various kinds of force to inflection on the emphatic words. It gives emotional or passional character to inflections. It will be naturally employed in all intense passages. It gives a percussive or thorough or tremulous or harsh or swelling effect to the voice. From the poem on the blackboard you will see the perfect relation between inflection, emphasis, and stress. [Here the professor exhibited on the board something that resembled a picture very much. It was a poem written in inflection, emphasis, and stress; and as the professor read the poem, it became perfectly evident that these marks were the vocal symbols of the various thoughts and feelings contained in the poem. The pleasure of the audience was manifested in loud applause.]

To tle teachers in the audience I would give four simple principles, to be observed in the schoolroom in the study of reading. There is no doubt of their proving very helpful to those who may use them, as I speak from certain knowledge of good results in the past:

First. A good position of the body.

Second. A good quality of voice, with inflections.

Third. A distinct articulation.

Fourth. Think and feel before speaking.

These are simple enough and within the grasp of a child of ordinary intelligence.

In conclusion, let me repeat that all the exercises exhibited on the board are simply means to an end. They bring the vocal organs into such a sinuous and pliable condition that they will lend themselves easily to the expression of any thought and feeling. If their purpose be perverted in making them an end instead of a means, you will limit your capabilities, narrow your conceptions, and render mechanical your power of vocal expression. They should

be your servants, not your masters.

In answer to Supervisor Kneeland, of Boston, the professor emphasized his previous statement that stress was inseparably connected with emphasis, in fact, was the manner of applying inflection upon emphasis. Emphasis was the language of emotion. Words express thought; inflection, the emotions.

Mrs. G. A. Walton, of Massachusetts, questioned whether inflection alone was a true exponent of the emotions, instancing where different meanings might be given to the same sentence, though the same inflec-1 tions were used.

The professor replied that inflection alone, without thought and feeling, was not all-sufficient; without them there can be no true and natural style.

LECTURE X.

MEANS AND METHODS IN ELEMENTARY PHYSICS.

B

BY PROF. I. J. OSBUN.

EFORE beginning to teach the experi

mental sciences, the teacher ought to realize that there is a science of experiment, per se.

Ingenuity in devising apparatus to illustrate the principles of natural philosophy and chemistry is by no means its fundamental principle, though I am inclined to think that many judge this to be the case. It is in reality a minor qualification. Skill in the use of apparatus, home-made or other, which enables the teacher to present in their most striking aspect the principles involved, is certainly to be desired, but it is far from being the most desirable power for which to seek. To be able to invent apparatus and to use it skilfully, and this alone, is to be able to present physics and chemistry as merely artificial, and not as natural sciences." I dare say that not a few persons who have been

taught natural philosophy by means of experiment would find, upon reflection, an impression that "if Atwood had not invented his machine, we had not known that falling bodies move with a varying velocity." As a matter of fact, we all know this so early and so well that we should call that boy stupid indeed who would stand under a tall appletree while another shook apples from its limbs; and we should say the same of the boy in the tree were he to let himself fall from one of the high branches, though he might drop without hurt from a branch near the ground, while an apple might fall from a limb a foot above the first boy's head and not cause pain. It is true the boy has never thought the matter over in the following

manner:

An apple falling upon my head gives pain by the force of its blow. The force of its blow is momentum. Now, the elements of momentum are velocity and weight. An apple falling from a low limb causes little pain. An apple falling from a high limb causes more pain, because of greater momentum. Since the apples may have the same weight, the increased momentum must be due to increased velocity. Therefore, an apple falling from a limb has a greater velocity the farther it falls.

If a teacher were at hand, he might lead the boy through this mental process. He should first direct the boy's powers of observation to those phenomena