consciously as a consequence when the structure of the story is realized in distinct episodes and the proper emphasis given mentally to the most important details of action, while less emphasis in thought is given to subordinate parts. Therefore, the study of the pause must be made, not artificially and externally, but internally through the elements of the story which produce the pause. Tone-color, which is to ordinary speech what melody is to music—those varied effects of intonation, inflection, and modulation—is to be sought, not as a result from an isolated study of technique, but from attention to those elements in association with the complete realization of the life of the story. Genuine feeling is worth more than mere isolated exercises to secure modulation, and complete realization eliminates the necessity of "pretending to be." The study of the fairy tale as literature, as has been indicated in the chapter on "Principles of Selection," will therefore be fundamental to the presentation of the tale. Entering into the motives of the story gives action, entering into the thought gives form, and entering into the feeling gives tone-color to the voice. The sincere desire to share the thought will be the best aid to bring expression.
(3) A knowledge of gesture. The teacher must understand the laws of gesture. The body is one means of the mind's expression. There is the eloquence of gesture and of pose. The simplest laws of gesture may be stated:—
