Read over again also "One Way of Love" (p. 150), and note that there are not merely changes in inflection in passing from the successive questions and from disappointment to acquiescence, but change also in the texture or tone-color of the voice. This contrast in tone-color becomes still more marked in the last stanza between the vigorous suspense and disappointment in "She will not give me heaven?..." and the heroic resignation of "'Tis well!" with a change of key still more marked. Between these clauses there is a long pause and an extreme change of pitch which are suggestive of the intensity of his sorrow as well as of the nobility and dignity of his character. He does not exclaim contemptuously, that "the grapes are green." Everywhere we find that changes in situation, dramatic points of view, imaginative relations, sympathetic attitudes of mind, or feeling resulting from whatever cause, are expressed by corresponding changes in the modulations of the texture or resonance of the tone, which may here be called tone-color. One of the most elemental characteristics of conversation is the flexible variation of the successive rhythmic pulsations, that is to say, the movement. This variation is especially necessary in all dramatic expression. One clause will move very slowly, and show deliberative thinking, importance, weight, a more dignified point of view or firm control; another will be given rapidly, as indicative of triviality, mere formality, uncontrollable excitement, lack of weight and sympathy, or of subordination and disparagement. A slow movement indicates what is weighty and important; a rapid one excitement or what is unimportant. These are the elements of naturalness or the expressive modulations of the voice in every-day conversation. For the rendering of no other form of literature is the study and mastery of these elements so necessary as in that of the monologue. Monologues are so infinitely varied in character, they reproduce so definitely all the elements of conversation, even requiring them to be accentuated; they embody such sudden transitions in thought and feeling, such contrasts in the attitude of the mind, that a thorough command of the voice is necessary for their interpretation. Not only must the modulations of the voice be studied to render the monologue, but a thorough study of the monologue becomes a great help in developing power in vocal expression. Because of the necessary accentuation of otherwise overlooked points in vocal expression, the orator or the teacher, the reader or the actor, can be led to understand and realize more adequately those expressive modulations upon the mastery of which all naturalness in speaking depends.