Notice the long pauses, the intense strokes of the voice, and the decided changes of pitch harmoniously accentuated, which are employed to indicate the depth of passion in rendering "In a Year" (p. 201). Pauses are of special importance in a monologue. This woman shows by long pauses and abrupt changes her struggle to comprehend the real meaning of the coldness of the man whom she loves,--to whom she has given all. The touch and the changes of pitch show the abruptness and the intensity of her passion. The careful student will further perceive an inflection in conversation, or change of pitch, during the utterance of the central vowel of each word, and a longer inflection in the word standing for a central idea. Inflections show the relations of ideas to each other, the logical method, the relative value of centres of attention, and the like. Marked changes of topics, for example, will be indicated by a long inflection upon the key-word. In rendering Browning's "One Way of Love," the word "rose" in the first line is given saliency. It is the centre of his first effort. Note the long pause followed by decided rising inflections on the words: "She will not turn aside?..." succeeded by a pause with a firm fall,-- "Alas! Let them lie...." In the second stanza, note the falling inflection upon "lute," which introduces a new theme, a new endeavor to win her love. Then follows another disappointment with suspensive or rising inflections denoting surprise with agitation, and then new realization ONE WAY OF LOVE All June I bound the rose in sheaves. Now, rose by rose, I strip the leaves And strow them where Pauline may pass. She will not turn aside? Alas! Let them lie. Suppose they die? The chance was they might take her eye. How many a month I strove to suit These stubborn fingers to the lute! To-day I venture all I know. She will not hear my music? So! Break the string; fold music's wing: Suppose Pauline had bade me sing! My whole life long I learn'd to love. This hour my utmost art I prove And speak my passion--heaven or hell? She will not give me heaven? 'Tis well! Lose who may--I still can say, Those who win heaven, bless'd are they! of failure with a falling inflection indicating submission. The same is true of the word "love" in the last stanza which brings one to the climax of the poem. This has a long, firm falling inflection. Note the suspensive intense rise upon "heaven" and the falling on "hell." The question: "She will not give me heaven?..." reiterates the earlier questions, only with greater grief and intensity. The character of his "love," which a poor reader may slight, neglect, or wholly pervert, must suggest the nobility of the man, and the last words must reveal his intensity, tenderness, and, especially, his self-control and hopeful dignity.