are not so much addressed to the listener as to herself, as she tries to remember, and she would show this by action. Every subtle change in thought and feeling is indicated by a decided expression in the face. In her efforts to remember, she would possibly turn away from him at first with a bewildered look, then she might turn toward him again, as she asked him the question; but if she asked this of herself, her head would remain turned away. When she decides with a bow of the head that it is Greek, note how her face would light up and possibly intimate confidence that she was right. At the close of the poem, notice the tender mischief of her glance when she refers to "somebody I know" who is "deserving of a prize." The monologue is full of the subtlest variations of point of view and thought, and these variations call for a constant play of feature. The struggle for an idea must be frankly disclosed. An interruption, a thought broken on account of a sudden leap of the mind, must be interpreted faithfully by the eyes, the face, the walk, or the body, in union with vocal expression. In the soliloquy of the "Spanish Cloister" (p. 58), for example, notice how the whole face, head, and body of the speaker recoil at the very start on discovering Brother Lawrence in the garden. Notice, too, the fiendish delight as he sees the accident, "There his lily snaps!" How sarcastic is his reference to the actions of Brother Lawrence, who, unconscious that any one is looking at him, seems to stop and shake his head in a way that leads the speaker to infer that a "myrtle-bush wants trimming:" but instantly, with a sneer he adds, "Oh, that rose has prior claims." Such sarcastic variations occur all through the monologue. "How go on your flowers?" is given with gleeful expectancy, and he notes with cruel joy the disappointment of Brother Lawrence when looking to find one "double," and chuckles to himself "Strange!--And I, too, at such trouble, Keep them close-nipped on the sly!" Note, too, the difference in facial action when the speaker is observing Brother Lawrence and when conjuring up schemes to send this good man "Off to hell, a Manichee." Another point to be noted in the study of the monologue is the giving of quotations. These, of course, are an echo of what the hearer has said, and must be rendered with care. Look again at Browning's "A Tale," and note "cicada," which is quoted. This is followed by an interrogation, and refers to the listener's humorously sarcastic question regarding the scientific aspects of her subject. She echoes it, of course, with her own feeling of surprise, and the exclamation "Pooh!" silences him so that she may go on with her story. Notice how necessary action is here to enable the reader to interpret the meaning of this to the audience.