To appreciate its metre, one must so enter into the spirit of a poem that the metric movement is felt as a part of its expression. The nature of the feet chosen, the length of the lines,--everything connected with the form of a fine poem, is directly expressive. The sublimer the poem, the painting, or any work of art, the more will the smallest detail be consistent with the whole and a necessary part of the expression. Metre has been studied too much as a matter of print. Few recognize the fact that metre is necessarily a part of vocal rather than of verbal expression, and can only be suggested in print. Metre can be revealed only by the human voice. As a printed word is only a sign, so print can afford a hint only of the nature of metre. Its study, accordingly, must be associated with the living voice and the vocal interpretation of literature. The mastery of metre requires first of all a development of the sense of rhythm, a realization especially of the subjective aspects of rhythm, a consciousness of the rhythm of thinking and feeling and the power we have of controlling or accentuating this. There must be developed in addition a sense of form and a realization of the nature of all expression, and of the necessity that ideas and feelings be revealed through natural and objective means. Another step not to be despised is the training of the ear. At the basis of every specific problem of education will be found the necessary training of a sense. How can a painter be developed without education of the eye as well as control of the hand. So metre must be recognized by the ear before it can be revealed by the voice. Last of all, the imagination must recreate the poem and the reader must realize the specific language of every foot and feel its hidden meaning. All these aims will be developed, more or less together, and be in direct relation to all the elements of expression. Metre is a difficult subject in which to lay down general principles, lest they become artificial rules. Every poem that is really great shows something new in the way of combining imperfect feet, and the student must study the movement for himself. Many will be tempted to ask, "What has metre to do with the monologue?" It is true that metre belongs to all poetry, but the monologue has some specific and peculiar uses of metre, and, more than any other form of poetry except the poetic drama, demands the living voice. Hence a few suggestions are necessary at this point upon this much neglected and misconceived subject.