of buttercups; and their big scarlet comrades flickering like flame among the flowers; bobolinks and bluebirds in the air, like winged cameos and sapphires, glittering and twittering and singing; and over all the great white sails of clouds drifting dreamily over the blue,—if your life has lost something, or you are yearning for the unattained, perhaps unattainable; if you are touched by memories of the past and thrilled by hopes of coming days; if you have love for the old and dreams of the new, you will enjoy Riley.

- then

Open a volume. Here are songs of the tender and true, — of homely, holy things; songs that rekindle the ashes on the hearth, and paint upon the canvas of happy reverie the fadeless faces of all the dear and dead and dreamed of; songs of the days that are gone and the ways that you went, - of childhood and boyhood and manhood.

Oh, sweet minstrel! sing on! Sing the dreamer home, back along the weary winding ways he trod since boyhood's days, back by the fishing-streams that whisper through the meadows of remembered Junes; sing him back barefoot and whistling by the cloverfringed pathways of the pasture lands at twilight; sing him back to mother's knee, her happy smile, and lullaby of love,-all the old songs of the heart and of home and of kindred, the nights of happy dreams, the days of happier realities.

DANIEL J. COSGRO.

No man can adequately conceive the ocean. His grandest conception will be only a dim image of a small part of it. Expression is not the manifestation of the ocean, nor even the man's conception of the ocean; it is the manifestation of the effort of the man to grasp the ocean. If any one in reading, "Roll on, thou deep and dark blue ocean, roll,” endeavors to represent the literal waves or expanse of the sea, he becomes ridiculous. By this mode the mind is placed in an imitative and artificial attitude. All that can be revealed by true expression is the effort of the soul to comprehend the majesty and grandeur of the scene before it, the stir of the soul in response to the great movement of force without.

SIXTEEN

NOTES AND COMMENTS.

IXTEEN years ago this summer the death of Professor MONROE caused the discontinuance of the School of Oratory, and cast a shadow over the work of Vocal Expression, in relation to education. Of the eventful history of these sixteen years it is not necessary to speak. Several private schools were formed that have lived and made money upon his name, and upon the reputation of the school. One, which professed to carry the name of the old school, has been twice sold practically to the highest bidder.

One morning, during the last spring of the school, after Professor MONROE had been sick for some days, he came into the rooms, and in beginning the lesson with the advanced class, said, “I had a strange dream during my sickness. I thought I came over to the school, and found you all in the darkness. I said, 'Ladies and gentlemen, why do you not have some light?' I looked over into the centre of the room, and saw Mr. Curry trying to fix up a kerosene lamp." I have never forgotten the look he directed across the class to me as he said, "I know not the meaning of this; but be sure you have the true light, and no temporary expedients in all your work."

The darkness fell. My efforts to strike a light have been poor enough, but they have been honest, sincere, unselfish. To the effort I have given my all. Whatever of strength, whatever of ability I may have possessed, whatever of time or opportunity has come to me by night or day, have been given to this cause. I have found what the old kerosene lamp meant.

The

During these sixteen years I have faced five thousand or more students of every degree of culture, with every form of need. difficulties which have been met have been blessings in disguise. The School of Expression has taught caution, patience, and perseverance. It has been carried on quietly, unostentatiously. During these years it has slowly evolved more adequate methods for improving speech; for these were incomplete and chaotic at the death of Professor MONROE. All the methods in the world have been investigated, and the problem in all its aspects studied, and methods and means adapted. About seventy distinct and separate courses have been given. The

time has now come for an advance.

During all these years this

periodical has been planned as a means of advancing the cause.

The longer we wait for some things, the less we are prepared to do them. Generally we do our best work by obeying our first intuition. Therefore this little periodical is launched, with the hope that it may find a welcome harbor with those who consider their work an art and not a trade; who believe in the spoken word as a means of developing imagination, artistic and literary taste; who feel that one of the most important aims in education is to improve the voices of our teachers and preachers; who believe in higher possibilities for dramatic art; and who believe, in these our modern days, in developing a higher appreciation of art and literature.

All friends of the spoken word, all who believe in advance, are invited to the convention July fifth and sixth, when the various advances along every line in connection with the School of Expression will be considered.

It may be a matter of regret that in this first number, with one exception, the harsh scratch of only one pen is felt and heard ; but this will not be so long. Articles upon various subjects are being prepared by many; and others are requested from all lovers of the cause.

Mrs. ANNA BARIGHT CURRY will begin a course of practical lessons in Literature and Expression in the next number. Other courses will also be given. Suggestions are requested from readers of the quarterly as to subjects they desire to have discussed.

Several young artists from different States have organized the ART LEAGUE OF THE SOUTH. Their plans are being carefully formed, and deserve confidence. Many would be surprised to know how many of our leading artists in New York are Southerners. All artists who were born in the South are requested to send name and suggestions to some one of those who have been appointed in the different States. The names of the Committee are Miss Marie Letitia Ingram, Henderson, Ky.; Miss Julia M. Crowell, Manchester (near Atlanta), Ga.; Miss Marie R. Trevilian, Williamsburg, Va.; Miss Annie R. Forney, Jacksonville, Ala.

So it is Sir HENRY IRVING! The School of Expression respectfully offers its congratulations to him who remembered it in the days of its infancy. Americans pretend to sneer (in print or public) at all titles. It is the English method of honoring genius and noble endeavor in the cause of science and art. England has honored art and herself in

knighting Henry Irving.

Miss GERTRUDE SMITH, Class of '89, author of "The Rousing of Mrs. Potter," has gone to Scotland for the summer. Copeland and Day will publish in the autumn her new book, "The Arabella and Araminta Stories.'

Miss CAROLYN B. FOYE, '94, has been engaged as reader by two of the leading Bureaus of Boston, for next season.

Miss HELEN M. COLE, Class of '90, returns this month from a year spent in Europe. She has taken special courses in Literature and English in the University of Edinburgh, under Professor Masson, and received prizes in two courses. She is expected at the Summer School.

Miss AZUBAH J. Latham, A.B., of the Class of '90, one of the teachers in the summer term this year, gave a subscription course of Expressive Readings in Columbus, Ohio, during the past winter.

Prof. WELLINGTON A. PUTNAM is at Lima, N. Y. He will be one of the assistants this summer.

Miss MARTEA G. POWELL is in Europe, studying with Mr. Shakespeare. She will assist in Vocal Training in the School of Expression next year. Miss SARAH L. BEHм and Miss FROST, teacher in Hardin College, have also gone to Europe for the summer.

Mr. SAMUEL J. YOUNG, Class of '94, has been dramatic critic on the "Richmond Times" during the past year.

She will be an

Miss MARY E. REDINGTON, Class of '93, has returned to the Agricultural College, Kingston, R. I., as instructor. assistant in the Summer School this year.

Miss MARGARET MULLANEY, one of the assistants of the School,

is substituting at Worcester Academy at present.

the School next autumn.

She will return to

458 BOYLSTON STREET, BOSTON, MASS.

Summer Term, July 5th to August 10th.

Annual Session, October 2d.

Its work is definite and progressive. — Training of voice and body by systematic programmes of exercises, each step a distinctive advance.

Its methods are thorough.

deepest needs are met.

- Faults are eradicated by removal of causes. The

Its training is harmonious. — Development of voice, body, and mind; education of the whole man.

It makes students simple and natural. - No artificial systems or rules. Every student becomes more himself. Development and growth, not aggregation or affectation.

Its courses are scientific and systematic. All the methods of the world have been investigated and adapted. Work for all professions using the voice, and for culture. Over seventy distinct courses (see Catalogue, pp. 11-15).

Its results are artistic and literary. Direct study of nature, and all forms of literature and art in relation to expression. Students give an average of twelve public, besides many private, recitals each year. No hackneyed pieces allowed.

For sixteen years the school has led every advance in the spoken word. It has stood for progress, simplicity, and good taste; for the development of the imagination, and a higher appreciation of literature and art; for thorough scientific and artistic methods of developing delivery; for extemporaneous speaking and educational dramatic training; for the practical study of literature through the vocal expression; for the spoken word as an agent of education.

"I caught a little of the enthusiasm of the School of Expression; I thought the recital showed the fine principles of your teaching and the excellent discipline and training. There can be no doubt about the classic and philosophic principles of your work . . . . You are on fundamental principles, I believe, and every year demonstrates this conviction. You must obtain proper recognition some time. I went to Copley Square and the new Public Library from the recital. I did not find myself in a different atmosphere; all was on a high plane,- Trinity, the Public Library, and the School of Expression are alike lofty, impassioned, inspiring."— Private letter from a prominent clergyman, April 24, 1895, on the "Stevenson Recital."

"The work was of such a high order that it demanded the highest praise. . . Each pupil retained his or her individuality, and yet there was a certain ripeness of attainment which I know from experience is the result of the best training. It was a delightful surprise to me to find that the teaching which you have put forth in your book (The Province of Expression) is so thoroughly caught up by your pupils, and I send this letter from the conviction that it is my duty to express to you the great pleasure and satisfaction which your entertainment gave us."— Private letter from the literary editor of one of the foremost Boston Dailies, May 7, 1895, on the "Trilby Recital."

For catalogues or further information, address S. S. CURRY, Ph.D., Boylston Street, corner of Berkeley, Boston, Mass.