ing _in_, the force
of the rough _u_ of _huff_ and _puff_, and the prolonged _o_ in
_blow_. The effect of walking is produced by the _p_ of "_Trip,
trap_," and of varied walking by the change of vowel from _[ui]_ to
_[ua]_. The action of "I have come to gobble you up," is emphasized
and made realistic by the _bb_ of _gobble_ and the _p_ of _up_.
Attention to the power of phonics to contribute to the emotional force
and to the strength of meaning in the tale, will reveal to the
story-teller many new beauties.

(2) Exercises in breathing. Training in breathing includes exercises
to secure the regulation of proper breathing during speech and to
point out the relation between breathing and voice expression. The
correct use of the voice includes also ability to place tone.--Find out
your natural tone and tell the story in that tone.--Many of the
effects of the voice need to be dealt with from the inside, not
externally. The use of the pause in story-telling is one of the
subtlest and most important elements that contribute to the final
effect. The proper placing of the pause will follow unconsciously as a
consequence when the structure of the story is realized in distinct
episodes and the proper emphasis given mentally to the most important
details of action, while less emphasis in thought is given to
subordinate parts. Therefore, the study of the pause must be made, not
artificially and externally, but internally through the elements of
the story which produce the pause. Tone-color, which is to ordinary
speech what melody is to music--those varied effects of intonation,
inflection, and modulation--is to be sought, not as a result from an
isolated study of technique, but from attention to those elements in
association with the complete realization of the life of the story.
Genuine feeling is worth more than mere isolated exercises to secure
modulation, and complete realization eliminates the necessity of
"pretending to be." The study of the fairy tale as literature, as has
been indicated in the chapter on "Principles of Selection," will
therefore be fundamental to the presentation of the tale. Entering
into the motives of the story gives action, entering into the thought
gives form, and entering into the feeling gives tone-color to the
voice. The sincere desire to share the thought will be the best aid to
bring expression.

(3) A knowledge of gesture. The teacher must understand the laws of
gesture. The body is one means