This important law has been overlooked both in action and in vocal expression. It is not quite the same as Delsarte's law: "Stability is characteristic of the centre; flexibility, of the surface." While this is true, the necessary co-ordination of the transcendence of stability of attitude over motion is also a necessary law of all expression. Before trying to lay down any general law regarding metre as a mode of expression, let us examine a few monologues in various feet. Notice the use of the trochee to express the loving entreaty in "A Woman's Last Word" (p. 6). To give this a careless rendering with its metric movement confused, as is often done, totally perverts its meaning and spirit. The accent on the initial word of the line gives an intensity of feeling with tender persuasiveness. This accent must be strong and vigorous, followed by a most delicate touch upon the following syllables:-- "Be a god, and hold me With a charm! Be a man, and fold me With thine arm!" One who has little sense of metre should try to read this poem in some different foot. He will soon become conscious of the discord. When once he catches the spirit of the poem with his own voice, he will experience a satisfaction and confidence in his rhythmic instinct, and in his voice as its agent, that will enable him to render the poem with power. Note in this poem also the shortness of the lines, which express the abrupt outbursts of intense feeling. The fact that every other line ends upon an accented syllable adds intensity, sincerity, and earnestness to the tender appeal. The delicate beauty of the rhymes also aids in idealizing the speaker's character. The whole form is beautifully adapted to express her endeavor to lift her husband out of his suspicious and ignoble jealousy to a higher plane. Browning's "In a Year" has seemingly the same foot and the same length of line as "A Woman's Last Word," but how different its effect! "In a Year" is made up of bursts of passion from an overburdened heart. It seems more subjective or more of a soliloquy. There is not the same direct appeal to another, but no print can give the difference between the emotional movement of the two poems. In both, the trochaic foot and the very short line indicate abrupt outpouring of feeling. Compare these two poems carefully. What is the significance of the form given them by Browning, the metre, the length of line, and the stanzas? Why are the stanzas of "In a Year" longer than those of "A Woman's Last Word"? What is the effect of the difference in rhyme of these two poems? Does one detect any difference in the metric movement? IN A YEAR Never any more, While I live, Need I hope to see his face As before. Once his love grown chill, Mine may strive: Bitterly we re-embrace, Single still.