It is impossible to indicate in words all the mental and emotional actions, or the modulations of the voice necessary to express them. The more complex the imaginative conditions, the more all these modulations are combined. Notice that change of movement, of key, and also of tone-color combine to express extreme changes in situation, feeling, or direction of attention. When there is a very strong emphatic inflection, there is usually an emphatic pause after it. Wherever there is a long pause there is always a salient change of pitch or some variation in the expression to justify it. After an emphatic pause when words are closely connected, there is always a decided subordination, and thus a whole sentence, or, by a series of such changes, an entire poem, is given unity of atmosphere, coloring, and form. No rules can be laid down for such artistic rendering; for the higher the poetry and the deeper the feeling, the less applicable is any so-called rule. Only the deepest principles can be of lasting use. Take, for example, Browning's epilogue to "The Two Poets of Croisic," printed also by him in his book of selections under the title of "A Tale:" A TALE What a pretty tale you told me Once upon a time --Said you found it somewhere (scold me!) Was it prose or was it rhyme, Greek or Latin? Greek, you said, While your shoulder propped my head. Anyhow there's no forgetting This much if no more, That a poet (pray, no petting!) Yes, a bard, sir, famed of yore, Went where suchlike used to go, Singing for a prize, you know. Well, he had to sing, nor merely Sing but play the lyre; Playing was important clearly Quite as singing: I desire, Sir, you keep the fact in mind For a purpose that's behind. There stood he, while deep attention Held the judges round, --Judges able, I should mention, To detect the slightest sound Sung or played amiss: such ears Had old judges, it appears! None the less he sang out boldly, Played in time and tune, Till the judges, weighing coldly Each note's worth, seemed, late or soon, Sure to smile "In vain one tries Picking faults out: take the prize!" When, a mischief! Were they seven Strings the lyre possessed? Oh, and afterwards eleven, Thank you! Well, sir,--who had guessed Such ill luck in store?--it happed One of those same seven strings snapped. All was lost, then! No! a cricket (What "cicada"? Pooh!) --Some mad thing that left its thicket For mere love of music--flew With its little heart on fire, Lighted on the crippled lyre. So that when (Ah joy!) our singer For his truant string Feels with disconcerted finger, What does cricket else but fling Fiery heart forth, sound the note Wanted by the throbbing throat?