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Show FOREWORD iv as well as oral interpretation. The thesis in Part Two is that the "what"; that method and content are one; that vocal and bodily exercises should be separated from the teaching of interpretation; and that the ability to trans late the dead printed page into life must be developed through the "how" should not be divorced from the There natural, psychological impulses of normal communication. fore, there is no need for the student to master an exposition of the physiology of voice, rules and exercises for quality, force, pitch, definite time, and their subdivisions; rather is there a need for motivated steps whereby students may learn the specific problems of speech as exactly and as progressively as they attain any other scholastic discipline. Such procedure should effect a personal, vital, permanent development and growth in the student. It is most important that every teacher of this subject should believe that interpretation is a vital force in the educational pro citizens with gram; that students who really live literature become of true the that enlightenment and, feeling, gospel higher ideals; can be through living by vicariously, attained, hence, right living our literary heritage. In arriving at the principles enunciated in these pages, the author owes most to the precepts and ideals of Alfred Ayres, and to the development of his ideals and precepts by Professor S. H. Clark of the University of Chicago. To many others who have written on speech from Aristotle to Woolbert, the author is also indebted. When 'Orner smote 'is bloomin' lyre, He'd 'eard men sing by land and sea; And what he thought 'e might require, 'E went an' took-the same as me! The market-girls an' fishermen, The shepherds an' the sailors, too, They "eard old songs turn up again, But kep' it quiet-same as you! They knew 'e stole; 'e knew they knowed; They didn't tell, nor make a fuss, But winked at 'Orner down the road, An' 'e winked back-the same as us! |
