The production of the proper effect necessitates placing in the foreground, with full expression, what needs emphasis, and throwing back with monotony or acceleration parts that do not need emphasis. It requires slighting subordinate, unimportant parts, so that one point is made and one total impression given. This results in that flexibility and lightsomeness of the voice, which is one of the most important features in the telling of the tale. The study of technique, when controlled by these principles of vocal expression, is not opposed to the art of story-telling any more than the painter's knowledge of color is opposed to his art of painting. To obtain complete control of the voice as an instrument of the mind, there is necessary: (1) training of the voice; (2) exercises in breathing; (3) a knowledge of gesture; and (4) a power of personality. (1) Training of the voice. This training aims to secure freedom of tone, purity of tone, fullness of tone, variety of volume, and tone-color. It will include a study of phonetics to give correct pronunciation of sounds and a knowledge of their formation; freeing exercises to produce a jaw which is not set, an open throat, a mobile lip, and nimble tongue; and exercises to get rid of nasality or throatiness. The art of articulation adds to the richness of meaning, it is the connection between sound and sense. Open sounds are in harmony with joy, and very distinct emotional effects are produced by arrangements of consonants. The effect created by the use of the vowels and consonants in _The Spider and the Flea_ has already been referred to under "Setting." The open vowels of "Ón, little Drumikin! Tum-pä, tum-t[=oo]!" help to convey the impression of lightsome gaiety in _Lambikin_. The effect of power displayed by "Then I'll huff and I'll puff, and I'll blow your house in," is made largely by the sound of the consonants _ff_ and the _n_ in the concluding _in_, the force of the rough _u_ of _huff_ and _puff_, and the prolonged _o_ in _blow_. The effect of walking is produced by the _p_ of "_Trip, trap_," and of varied walking by the change of vowel from _[ui]_ to _[ua]_. The action of "I have come to gobble you up," is emphasized and made realistic by the _bb_ of _gobble_ and the _p_ of _up_. Attention to the power of phonics to contribute to the emotional force and to the strength of meaning in the tale, will reveal to the story-teller many new beauties.