Such expressive modulations of the voice as inflections are developed in the child before words. Hence, vocal expression can never be acquired from mechanical rules or by imitation. As the monologue reveals primarily the thinking and feeling of a living character, it affords a very important means of studying vocal expression. In all dramatic work there is a temptation to assume merely outward bearings and characteristics, attitudes, and tones without making the character think. The monologue is a direct revelation of the mind and can be interpreted only by naturally expressing the thought. The interpreter of the monologue must reveal the point of view of his character, and must show the awakening or arrival of every idea. All changes in point of view, the simplest transitions in feeling and impressions produced by an idea, must be suggested. The mental life, in short, must be genuinely and definitely revealed by the actions of voice and body. The first sign or expression of life is rhythm. All life begins and ends in rhythm, and accordingly, rhythm is the basis of all naturalness. In vocal expression the rhythmic process of thinking, the successive focussing and leaping of the mind from idea to idea, must be revealed by the rhythmic alternation in speech of pause and touch. Without these, genuine thinking cannot be expressed in speaking. The pause indicates the stay of attention; the touch locates or affirms the centre of concentration. The mind receives an impression in silence, and speech follows as a natural result. The interpretation of a poem or any work of literature demands an intensifying of the processes of thinking, and the pause and touch constitute the language by which this increase of thinking is expressed. A language is always necessary to the completion or, at least, to the accentuation of, any mental action. The impression received from each successive idea must be so vivid as to dominate the rhythm of breathing, and the expansion and other actions of the body. The progressive movement of mind from idea to idea implies consequent variation and discrimination more or less vigorous. This is revealed by change of pitch in passing from idea to idea or phrase to phrase, and the extent of this variation is due, as a rule, to the degree of discrimination in thinking. In the employment of these three modulations, pause, touch, and change of pitch, each implies the others. The degree of change in pitch and the vigor of touch justify the length of pause. Lengthening the pause without increasing the touch suggests tameness, sluggishness, or dullness of thought.