
PREFATORY NOTE
Note 1, Page 21.
Note 2, Page 47.
Note 3, Page 50.
Note 4, Page 64.
Note 5, Page 83.
Note 6, Page 99.
Note 7, Page 101.
Note 8, Page 114.
Note 9, Page 121.
In this thoughtful essay the author argues that the art of reading aloud is far more than a technical skill; it is a bridge between the mind and the deeper, non‑intellectual currents that give literature its power. By linking vocal discipline with what he calls ‘spiritual education’—the emotional, intuitive, and sympathetic aspects of the self—he shows how a well‑trained voice can unlock subtle nuances that silent reading often misses. The piece draws on historic examples, from Coleridge to modern elocutionists, to illustrate how even brilliant writers can fall short when their speech organs are out of tune.
The writer proposes a balanced approach: rigorous, intelligent training of the speech mechanism paired with cultivation of the reader’s inner sensibility. He contends that without this dual development, the best intellectual comprehension remains mute, while pure vocal drills without feeling produce hollow performance. The essay invites anyone who loves literature to consider how attention to tone, breath, and intent can transform reading into a living, expressive encounter.
Language
en
Duration
~2 hours (134K characters)
Publisher of text edition
Project Gutenberg
Credits
Produced by Bryan Ness and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/Canadian Libraries)
Release date
Jul 15, 2010
Rights
Public domain in the USA.

1828–1911
A pioneering literature professor at Cornell, he helped shape the study of English in American universities and became known for bringing poetry to life through expressive reading. His books and lectures on Shakespeare, Browning, and other major writers made him a respected guide for generations of students.
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