The Summer Term for 1895 will open at 458 Boylston Street, Boston, with a Conference, July 5th and 6th, and will continue to August 10th. There will be ten hours daily, with beginning and advanced work on Vocal Training, Vocal Expression, Pantomimic Training and Harmonic Gymnastics, Pantomimic Expression, Swedish Gymnastics, Literature and Expression, Shakespeare, Methods of teaching Expression, Bell's Visible Speech. Classes divided into sections for individual attention and training. Special Courses for Clergymen, Teachers, Professors of Elocution, and Public Readers. The assistant teachers will be Prof. WELLINGTON A. PUTNAM, Miss HELEN M. COLE, Miss AZUBAH J. LATHAM, A.B., and Miss MARY F. FREESTON. CONFERENCE UPON ADVANCED METHODS IN EXPRESSION ASSOCIATION HALL, 458 BOYLSTON STREET, July 5 and 6. PAPERS and discussions by the graduates of the School of Expression and foremost teachers in the country. Among the subjects for conference are: The Educational Value of Expression, Methods of Teaching Voice, Pantomine, Vocal Expression, and Gymnastics, etc., Education of Speakers, Training of Clergymen, Lecturers, Public Readers, Dramatic Training, Literature and Expression, Present and Future Conditions of the Work, The Needs of Colleges and Public Schools. A Question Box. An illustrated lecture on "The Relation of Expression to Art," two recitals, and an interpretative Bible Reading. No fees of any kind. All students, past, present, or prospective, all friends of the School of Expression, and all sympathetically interested in the advance of Vocal Art, are cordially invited to attend and participate in the exercises. Elective courses, from one to four hours a day, August 12th to 31st. Preliminary courses, August 5th to 12th. For further particulars, address the Instructor, S. S. Curry, Ph.D., 458 Boylston Street, Boston, Mass. VOCAL EXPRESSION AND THE STUDY OF LANGUAGES, THE EDUCATION OF THE PUBLIC READER, A PRACTICAL LESSON IN LITERATURE AND EXPRESSION, AN EVIL TENDENCY IN THE VOICES OF WOMEN, THE PERSONAL ELEMENT IN ART AND DELIVERY, IS TRAINING IN EXPRESSION "PRACTICAL"? EDITED BY 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. - Faults are eradicated by removal of causes. The deepest needs are met. Its training is harmonious. tion of the whole man. Development of voice, body, and mind; educa 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. MAN FORMS AND MODES OF EXPRESSION. AN can receive and give; and just as life depends upon the inspiration and expiration of air, so the life and growth of the mind depends upon the reception and the manifestation of truth. It was Carlyle who said, "All education is learning to read." The greatness of the mind is measured by its insight. Shakespeare was great because of his insight into character; Wordsworth was great in his imaginative insight into Nature, in his power to penetrate to the heart of Nature. The culture of any one is in proportion to his ability to read the languages of his kind. He must not only be able to read books, but to appreciate music, to feel the force of painting, and to realize the life and movement expressed in sculpture. All true education opens the eyes to the beauty and force, the meaning and message, of Nature and art. But Shakespeare was not only great in insight; he could express what he saw. Wordsworth's imagination could not only see the deepest beauty of Nature, but he could suggest, in simple words, the impression made upon his heart. It is impossible to develop deep insight without a study and use of expression. It is the law of the mind not only to receive but to give; and the power to receive grows with the struggle to express. Impression must not only precede and determine expression, but must be followed by expression. There is a modern tendency to neglect expression of all kinds. There are so many acts of expression that each line is left to some particular artist, to some specialist, and is too often looked upon as merely "professional," and not a part of education. Not only this, but the schools have considered it their chief duty to teach men information and how to find it. So many discoveries have been made in recent years that emphasis has been naturally placed upon the study of science. The closest observers of modern education, however, have come to realize that the artistic nature has not been sufficiently recognized. A mere acquisition of facts or information can never compensate for lack of power to render or to express. What are the elementary acts of expression? There are many, but these are the chief: to converse, to read aloud, to recite, to address an audience, to teach, to act, to write, to sing, to play on an instrument, to compose, to draw, to paint, to model as in clay, and to carve. Which of these has the greatest educational value ? Which can be universally used for the development of the mind? own. Any one of them may be used as a means, and a certain use or many of them should be practised by those who wish to develop the artistic nature to any high degree. All great artists have struggled to appreciate, if they have not practised, other arts beside their All the arts are one in aim and spirit; and he who practises one must study the others for the sake of finding the deep universal principle underlying all. He who works only in one art will become narrow, and will be governed by rules rather than by principles. Success in any art demands an understanding of the true artistic spirit and point of view. Mechanical art proceeds by rules; the noblest fine art proceeds by principles and laws. One who only paints or studies painting is apt to work by rule, and to |