C--

Or by St. Paul, I'll strike thee to my foot,
And spurn upon thee, beggar, for thy boldness.

SHAKESPEARE, Richard III, i, 2.
-Unhand me, gentlemen ;-
By heaven, I'll make a ghost of him that lets me.

SHAKESPEARE, Hamlet, i, 4. 203. TRANQUILITY:

Colloquial. a-How tranquil everything is ! Not a ripple on the

water, no breeze, so still; I am going to lie down
and dream.

Classical.
6—How sweet the moonlight sleeps upon this bank.

Here will we and let the sounds of music
Creep in our ears; soft stillness and the night
Become the touches of sweet harmony.

SHAKESPEARE, Merchant of Venice, v, 1. 204. TRIUMPH:

Colloquial.
a—There, I told you my course would be approved.

Classical.
b-

It shall go hard,
But I will delve one yard below their mines,
And blow them at the moon.

SHAKESPEARE, Hamlet, iii, 4. 205. TRUST: (See Confidence.) 206. TYRANNY: (See Cruelty, Command.)

Colloquial.
-Make him do it; force him.
b-Do as you are bid and ask no questions.
C—You ask for rights here. I will answer you—you
shall have none; I'll see to that.

Classical.
d-I tell thee what, get thee to church o' Thursday,

Or lever after look me in the face.
Seak not, reply not, do not answer me.

SHAKESPEARE, Romeo and Juliet, iii, 5.

207. UPROAR: (See Excitement.)

Colloquial. a—It was pandemonium. No other word describes it.

The roaring, the shouting, the hooting, all in one tremendous uproar.

Classical.
6-

Now storming fury rose,
And clamor such as heard in heaven till now
Was never; arms on armor clashing bray'd
Horrible discord, and the madding wheels
Of brazen chariots raged: dire was the noise.

MILTON, Paradise Lost, Book VI. (_The owl shriek'd at thy birth, an evil sign;

The night-crow cried, forboding luckless time;
Dogs howl'd, and hideous tempests shook down trees;
The raven rook'd her on the chimney's top,
And chattering pies in dismal discords sung.

SHAKESPEARE, Henry VI, III, V, 6. 208. URGING: (See Appeal, Entreaty.)

Colloquial.
a-Go on, go on, go on.

Classical.
b-On, on, you noblest English.

SHAKESPEARE, Henry V, iii, 1. 209. VINDICATION:

Colloquial.
a—You have acted exactly as you should.

Classical.
b-You are right, justice, and you weigh this well;
Therefore still bear the balance and the sword.

SHAKESPEARE, Henry IV, II, v, 2. 210. WARNING: (See Threat.)

Colloquial.
a—You better go home or you'll catch it.
b—If you persist, I warn you, you are lost.

e

Beware, gentlemen, beware. I warn you, in less than a week they will be here.

Classical.
d-

But, hear you, leave behind
Your son, George Stanley : look your heart be firm,
Or else his head's assurance is but frail.

SHAKESPEARE, Richard III, iv, 4.
-Beware the Ides of March.

SHAKESPEARE, Julius Caesar, i, 2. 211. WELCOME: (See Delight.)

Colloquial. a—Why, how do you do? I am delighted to see you.

Classical. 6-A hundred thousand welcomes: I could weep, And I could laugh; I am light, and heavy; welcome.

SHAKESPEARE, Coriolanus, ii, 1. 212. WHISPERING:

Colloquial.
a-Sh! Don't stir; they'll hear you.

Classical.
b>Hark! Who lies i’ the second chamber?

SHAKESPEARE, Macbeth, ii, 1. 213. WOE: (See Grief.)

Colloquial.
a—Oh, gentlemen, it was piteous; the moans, the agoniz-
ing looks!

Classical.
6-0 piteous spectacle! O bloody times !

SHAKESPEARE, Henry VI, III, ii, 5. 214. WONDER: (See Amazement, Admiration.)

Colloquial.
a—Well, if that isn't wonderful !
b—It's marvelous! It's a miracle !

Classical.
(~0 day and night, but this is wondrous strange!

SHAKESPEARE, Hamlet, i, 5. DEVELOPING SPECIFIC POWERS OF PORTRAYAL.

Frequently it will be found that a student while effective in portraying one class of emotions is weak in another. To assist such student examples especially valuable for different classes of feelings are now given. As many tones are combinations of simple emotions in various proportions, the same example will be found sometimes under different heads.

1. To Develop Brightness, Animation, Vivacity. Practice Tone Drills Nos. 63, 106, 108, 128, 137; also Nos. 1, 5, 85, 88, 93, 94, 96, 147, 183, 207, 214.

2. To Develop Facility in the Expression of Admiration, Love, Affection and Kindred Feelings. Practice Tone Drills Nos. 1, 3, 5, 111, 132, 194; also Nos. 10, 18, 19 41b, 43, 53, 63, 84, 85, 102, 108a, 152, 190, 201.

3. To Develop Expression of Sympathy, Regret, Grief, Agony and the Like. Practice Tone Drills Nos. 8, 53, 110, 140, 145, 150, 181, 190; also Nos. 20, 66, 79, 80, 86, 90, 97, 101, 136, 163, 166, 186, 198, 213.

4. To Develop Expression of Assertion, Conviction, Intention, Determination and the Like. Practice Tone Drills Nos. 24, 55, 60, 64, 69, 164, 165; also Nos. 46, 48, 51, 61, 78, 91, 143, 152, 153, 156, 157, 159, 162, 167, 173, 193, 202, 206, 209, 210.

5. To Develop Expression of the Various Forms of Dissatisfaction and Dislike, Indignation, Aggrievance and Contempt. Practice Tone Drills Nos. 11, 27, 49, 54, 58, 118, 158, 176, 180, 184; also Nos. 7, 13, 26, 29, 31, 44, 46c, 59, 65, 71, 74, 77, 81, 91, 114, 122, 124, 134, 141, 142, 160, 170, 177, 182.

6. To Develop Expression of Emotions Demanding Perturbation, Excitement. Practice Tone Drills Nos. 88, 96a, 99, 191, 208; also Nos. 15, 52, 57, 80, 83, 85, 89, 91, 105, 113, 144, 187, 200, 207, 212. .

7. To Develop Expression of Entreaty From Request to Appeal. Practice Tone Drills Nos. 16, 42, 53, 86, 92, 149, 175.

8. To Develop Power in the Expression of Climax. Practice Tone Drills Nos. 24, 41, 45a, 64, 69a, 145, 208; also Nos. 22, 40, 60, 88, 89, 162a, 176b, 214b.

9. To Develop Expression of Awe, Solemnity, Dignity, , Sublimity. Practice Tone Drills 28, 30a, c, 48, 110, 181, 189, 194; also Nos. 55d, e, f, 56, 62, 70, 144, 163a, d, 171c.

FIVE TO TEN MINUTE GENERAL DRILL ON TONES.

10. Practice Tone Drills Nos. 1a, 5a, 8a, 11a, d, 16a, 19a, 21a, 22a, 24a, b, 26a, 28a, b, 35, 41a, b, 43a, 46a, b, c, 49a, 53a, 55b, 63a, b, 86a, 88a, b, 89a, b, 96a, b, 99a, 106a, 110, 126, 132a, b, 135, 137a, b, c, 140a, 150a, 158, 168a, 181, 182b, 190a, b, 191, 200a, 207, 208, 214a.

TEN TO TWENTY MINUTE GENERAL DRILL ON

TONES.

11. All of Five Minute Drill, as above, also Tone Drills Nos. 3, 5c, 7a, 13a, 15, 20a, 23c, 27, 32, 34a, 37a, 40, 41c, 42a, 47a, 48a, 51, 52, 54a, 57a, 59, 60a, 61a, 65a, 69a, 70, 80, 83b, 84, 91a, 92b, 93b, 97a, 101, 105, 114a, 116, 118, 121, 124a, 136a, 139b, 144, 148, 153, 157, 177, 180a, 187, 206a, 202a, 203a.

Note: In some instances Colloquial Drills only have been speci. fied. Where desired a Classical example under same Tone may be used.

TONE DRILLS FOR VOCAL DEVELOPMENT.

12. To Free the Vocal Muscles. Practice Tone Drills Nos. 8, 63, 86, 110, 128, 132, 137, 145, 166, 181, 194, 200, 207.

13. To Secure Flexibility. Practice Tone Drills Nos. 1, 5, 9, 16, 20, 25, 42, 47, 94, 106, 111, 126, 132, 141, 1690, 180, 182, 190, 201.