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How to Add Ten Years to your Life and to Double Its Satisfactions
by S. S. Curry
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In such an excited frame of mind, with the nerves wrought up at the thought of the day's work and with all these discordant pictures thronging into our consciousness, sleep becomes impossible.

Sometimes one is too weary to go to sleep, or sinks into a deep slumber which is not normal. The taking of breath is short and the giving up of the breath more sudden. This sleep will not be refreshing. Nine times out of ten such a one will wake up in the morning feeling more weary than when he lay down at night. Of course, if a man could sleep for an unusual number of hours, nature might in time restore him. The excitement of our civilization prevents normal conditions and therefore we must aid nature. Man must understand the laws of life and so use them as to find rest properly.

We need harmony in our thoughts, to let them dwell on what is sacred and beautiful that our sleep may be normal and that we may enter into the world of slumber with sympathetic conditions.

We must, also, laughingly throw off negative thoughts and feelings and allow expansion and stretching to equalize the circulation. All the vital functions must be harmonized. As we perform these exercises once more we find various congestions that have resulted from the one-sidedness of our day's work,—congestions around the throat, parts of the body are weary, constricted, and cramped. By stretching ourselves we can harmoniously adjust the activities of our breathing and circulation. All parts can be restored to harmony and we can rest properly.

After all, what is rest? It is not a mere slumping into inactivity. It is allowing the involuntary rhythm of our being, the sympathetic co-ordination of all the forces of our body to act normally. The rhythm of our volitional activities must be given up to the rhythm of the unconscious and involuntary life.

Before this rhythm can reign we must remove all constrictions from any part of the body.

After taking these exercises we should feel the sympathetic enjoyment of all the cells of our bodies, then sleep will be refreshing, the rhythm of breathing will be normal and the circulation and vital processes will proceed easily and rhythmically.

What are the differences in the practicing of exercises in the morning and evening?

In the first place the exercises in the evening should be more steady, more regular, more harmonious, slower and more rhythmic. Every exercise must soothe the excited nerves, the agitated brain, and the weary respiratory muscles, the heart, and all the circulatory system.

Release needs to be especially emphasized. After every stretch, for example, every part of the body must be relaxed. The reaction will take more time on account of the greater activity through the day. We should, therefore, take especial pains to accentuate the recovery or recoil of the muscles into sympathetic passivity and rest.

The object is now not to stimulate as much as in the morning, but to allay all excitement, harmonize the co-ordination of all parts, remove all local activities in the different parts of the body, establish centrality of the vital functioning and the diffusion of blood and feeling into every part.

It is well to practice the exercises on a hard floor before getting into bed.

The more violent exercises should of course be omitted unless there has been a one-sided position during the day. For example, standing exercises will be beneficial for a person who has been sitting all day. We must practice intelligently, and carefully apply such exercises as are needed. Harmony means the removing of constrictions and over-activity in certain parts which one finds upon exercising. These often need to be vigorously exercised so as to restore the harmonious condition.

On lying down on the floor feel in stretching as if the body weighed a ton,—feel the weight of the arms, legs and head.

Often we lie down but soon the excitement of a thought brings us to our feet before we know it. Eliminate all such exciting ideas, then let the stretch reach every part. Let it be slow and steady and let the release be gradual. There should be a complete rest for quite a little period before the next activity. Other things being equal, the activity should be less than one-third of the surrender not only in time but in attention.

Just before going to sleep it is well to practice a few stretches and to give full expansion to the chest and to take a few deep breaths slowly and rhythmically so as to establish a vigorous and normal rhythm, equalize circulation and bring all parts into harmonious freedom.

In order to emphasize the rhythm in our evening exercises we should accentuate and prolong especially the passive rest between the movements. We should not only more gradually give up the actions of the movements, accentuating the static and eccentric contraction, but we should also feel more sense of surrender at the end of each movement. That is, we should feel a sense of weight and of rest at the end of each action, breathing easily, steadily and freely, all the time.

The time of this rest at the end of the exercising should be prolonged more and more especially after we are in bed and have felt the satisfactory feeling all through the body of harmonious diffusion of energy and the removal of constrictions.

This sense of satisfaction through all the body is fundamental and necessary in order to bring healthful and normal sleep.

The harmonious extension of all parts of the body should be emphasized. All stretches are truly conducive to sleep. They allow life to permeate through the whole body. The exercises, before going to sleep, should be less rigorous unless there are constrictions and these should be removed by simultaneous and sympathetic co-ordination of all parts of the body rather than by vigorous movements.

After any local movement the stretch should be renewed and the affirmation made of some thoughtful and beautiful idea—as love, joy, peace. It will be surprising how quickly help will come and weariness disappear. The entire body, in every cell, will be soothed and enjoy sweet repose.

The affirmation of confidence, love, trust, and peace should follow as well as precede the evening exercises. We should make the going to sleep a sacred part of our lives. In giving up our consciousness we should be sure to surrender it to the positive forces of the universe. This is not an idle dream, nor a mere mystical fancy. Even from a psychological point of view the emotion with which we go to sleep is apt to remain with us and get in its good or evil work in the unconscious, involuntary metabolism that takes place in all the cells. We must lie down to rest in peace.

"Dr. Thomas Hyslop, of the West Riding Asylum in England," according to Professor James in "Memories and Portraits," "said last year to the British Medical Association that the best sleep-producing agent which his practice had revealed to him, was prayer. I say this," he added [I am sorry to say here that I must quote from memory], "purely as a medical man. The exercise of prayer, in those who habitually exert it, must be regarded by us doctors as the most adequate and normal of all pacifiers of the mind and calmers of the nerves.

"But in few of us are functions not tied up by the exercise of other functions. Relatively few medical and scientific men, I fancy, can pray. Few can carry on any living commerce with God. Yet many of us are well aware of how much freer and abler our lives would be, were such important forms of energizing not sealed up by the critical atmosphere in which we have been reared. There are in everyone potential forms of activity that actually are shunted out from use. Part of the imperfect vitality under which we labor can thus be easily explained."

Have a few simple sentences full of thanksgiving, of peace and rest. The best are found in the Bible. The words to Moses, "My presence shall go with thee and I will give thee rest," may be given and repeated many times with a realization of their deep meaning and a personal application to the individual.

Not only repeat phrases, lines, and verses, full of beautiful thought, but change these into your own words. Learn to articulate your own convictions and apply them to your own needs,—even paraphrase, for example, such a phrase as "He restoreth my soul" in the twenty-third Psalm. For the word "soul" we can substitute anything according to the specific needs of the hour. We should, however, use nothing that is not in accordance with universal love and the highest spiritual ideals of man and of our conceptions of the universe. We must always remember that truth is universal.

We can change "soul" also to "health," "strength" or "life," to "joy," to "success," to "confidence," to the body or any part of the body which may seem to be afflicted.

There are in this Psalm other good affirmations on going to sleep. Take individual clauses and repeat them many times, such as "I will fear no evil, for Thou art with me."

One of the best affirmations is found in the first of the twenty-seventh Psalm. "The Lord is my light and my salvation. Whom shall I fear? The Lord is the strength of my life. Of whom [or of what] shall I be afraid? One thing have I asked of the Lord, that will I seek after, that I may dwell in the house of the Lord [in a consciousness of His presence] all the days of my life, to behold the beauty of the Lord, and to enquire in his temple [to commune with Him in the sacred temple of my own soul].

"Thou wilt keep him in perfect peace whose mind is stayed on Thee."

Everyone should find his own, should find it in his experience, find it by personal investigation and study of the Bible and through spiritual realization.

We should live in peace with all men, be able to rejoice evermore, "to pray without ceasing"; that is, we should always be in an attitude to receive that which is good and never admit that which is negative;—hate, antagonism or fear,—but we should welcome love and that which we know expresses the "Infinite Presence." Antagonism, hate, discords prevent us from living our hundred years. "Certain classes of men shall not live out half their days."

The last moment before going to sleep should be one of peaceful rest. Say "Not my will but Thine" and give up everything to the Infinite and Eternal.

My own best help is thanksgiving and praise. When I cannot give up the thoughts and conflicts of the day, I can bring my whole being into reposeful rhythm best by expressing thanks that I can be awake and that I have shared in the life of a day. I praise the Infinite Presence that I can know beauty when I see it, that I can understand truth and know that two times three are not seven and that I can participate in the goodness of the universe. Then, before I know it, I have laid aside the conflicts of the day and have passed into peaceful and harmonious rest.

This method of thanksgiving especially applies to those times when I wake up in the middle of the night.

* * * * *

Returning to Pippa, we find her retirement to her own room and her method of going to sleep no less suggestive as an example than her awakening.

She met the first wakening moment with joy and praise as she resolutely put aside the dark thought of her life and went singing all through the day with the same spirit of thanksgiving and love for all mankind.

Now she comes back to her room weary and discouraged, as we nearly all do. She knows nothing of what her songs have accomplished, nothing of the wonderful influence that has been exercised. In her disheartened moment she sees the sunset in the dark cloud and thinking over the day she would like to know what she really has done.

Yet she checks herself and returns to her morning hymn and keeps her faith and trust. "Results belong to the Master, Thou hast no need to measure them." She becomes very humble, willing, and submissive to the hard task of the morrow. Little she dreams of the revelation that will come of the secrets of her own life and family.

"We know not what we shall be." Each of us at the close of life lies down without realizing our relation to the Infinite, without realizing that we are children and heirs. Blessed is he who feels that his hymn is also "True in some sense or other," that life is true and that each one performs some work and it is not for us to say whether it is great or small. They who wrought but one hour received the same wages as they who wrought the whole day.

Deeply symbolical, allegorical, and typical in the poetic sense of human life is Pippa's closing thought as she lies down to sleep.

"Oh what a drear dark close to my poor day! How could that red sun drop in that black cloud? Ah, Pippa, morning's rule is moved away, Dispensed with, never more to be allowed! Day's turn is over, now arrives the night's. Oh, lark, be day's apostle To mavis, merle and throstle, Bid them their betters jostle From day and its delights! But at night, brother howlet, over the woods, Toll the world to thy chantry; Sing to the bats' sleek sisterhoods Full complines with gallantry; Then, owls and bats, Cowls and twats, Monks and nuns, in a cloister's moods, Adjourn to the oak-stump pantry!

Now, one thing I should like to really know: How near I ever might approach all these I only fancied being, this long day: —Approach, I mean, so as to touch them, so As to ... in some way ... move them—if you please, Do good or evil to them some slight way. For instance, if I wind Silk to-morrow, my silk may bind And border Ottima's cloak's hem. Ah, me, and my important part with them, This morning's hymn half promised when I rose! True in some sense or other, I suppose.

God bless me! I can pray no more to-night. No doubt, some way or other, hymns say right.

All service ranks the same with God, With God, whose puppets, best and worst: Are we; there is no last nor first." [She sleeps]

* * * * *

The Morning League of the School of Expression

is a band of the students, graduates and friends of the School of Expression who are trying to keep their faces toward the morning.

If you wish to join, when you wake GET UP OUT OF THE RIGHT SIDE OF THE BED, that is, stretch, expand, breathe deeply and laugh. Fill with joyous thoughts and their active expressions the first minutes of the day.

Note the effect, and consider yourself initiated.

Try as far as possible EVERY DAY to realize the League's

UNFOLDMENT SUGGESTIONS

1. SMILE whenever tempted to frown; look for and enjoy the best around you.

2. THINK, feel or realize something in the direction of your ideals and, in some way, unite your ideals with your every-day work and play.

3. SEE, hear or read, i. e., receive an impression from something beautiful in nature, art, music, poetry, literature or the lives of your fellow-men.

4. EXPRESS the best that is in you and awaken others to express the best in them.

5. SERVE some fellow being by listening, by kind look, tone, word or deed.

6. SHARE in some of the great movements for the betterment of the race.

That is, use your principles of expression to help in such movements as:

1. Expression in Life (text book, "The Smile"); 2. Expression and Health (text book, "How to Add Ten Years to Your Life"); 3. Expression and Education in the Nursery; Mothers' Clubs; 4. Voice in the Home; 5. Reading in the Public Schools; 6. Speaking in High Schools and Colleges; 7. Speaking Clubs; 8. Browning Clubs (text book, "Browning and the Dramatic Monologue"); 9. Dramatic Clubs; 10. Religious Societies; 11. Boy Scouts; 12. Campfire Girls; 13. Peace Movements; 14. Women's Clubs; and Suffrage Organizations; 15. Reforms; 16. Teachers' Clubs; 17. School of Expression Summer Terms; 18. Preparation for the School of Expression; 19. Home Studies; 20. Advanced Steps of the School of Expression.

Send your name and address with ten nominations for members with $1.50 for the two League text books, "The Smile" and "How to Add Ten Years to Your Life," and you will be recorded a member. One set of books will do for a family, other books at teachers' or introductory prices. There are no fees. The entire net returns from the League books will be devoted to the endowment of the School of Expression, the Home of the League.

Write frankly and freely asking any counsel, and making any suggestions to the President of the League.

Dr. S. S. CURRY, 307 Pierce Bldg. Copley Square, Boston, Mass.

* * * * *

MORNING LEAGUE QUESTIONS FOR REPORT

Text-books—"The Smile" and "How to Add Ten Years to Your Life"

After a week's exercise for a few minutes either on waking up or on retiring, write out a report of your experiences or answer the following questions. It is not necessary to repeat the questions, simply use figures. These questions follow the first series, published at the close of "The Smile."

22. Do you practice the exercises on waking in the morning?

23. What exercises do you usually take? How long?

24. What are some of the effects of these exercises?

25. How many times do you repeat each exercise?

26. Do you practice exercises in dual, triple, or quadruple rhythm?

27. Can you keep your chest expanded and laugh at the same time?

28. Can you keep your chest fully expanded and pivot the torso?

29. Do you feel great satisfaction after stretching?

30. What constrictions or congestions have you found?

a. In the region of the stomach b. Chest c. Neck d. Face e. Scalp f. Back

31. Do you find any special weaknesses?

32. Do you walk with expanded chest?

33. Do you walk rhythmically?

34. Can you keep your chest well expanded during the stretch?

35. Do you practice exercises standing at an open doorway?

36. Have you a pole from which you swing in your closet?

37. Do you sleep well?

38. What exercises do you take on retiring?

39. Do you relax completely in the middle of the day?

40. What chaotic movements have you discovered in your standing? In sitting? In walking? In lying down?

41. Do you breathe through your nose or through your mouth, especially when asleep?

42. Do you sleep with your windows wide open?

43. Can you laugh out a tone?

44. Taking a full breath and laughing, do your feel your throat passive?

45. Can you co-ordinate an open throat and active retention of breath in laughing out a tone?

46. After walking a short distance do you feel exhilaration or depression?

47. Do you use soft gentle tones in every day conversation?

48. When talking to someone who speaks in a high pitch can you act in the opposite way, and speak in your softest tones?

49. Can you make tone as easily as you smile?

For other questions, see "The Smile."

Province Of Expression. Principles and method of developing delivery. An Introduction to the study of the natural languages, and their relation to art and development. By S. S. Curry, Ph.D., Litt.D. $1.50; to teachers, $1.20, postpaid.

Your volume is to me a very wonderful book,—it is so deeply philosophic, and so exhaustive of all aspects of the subject.... No one can read your book without at least gaining a high ideal of the study of expression. You have laid a deep and strong foundation for a scientific system. And now we wait for the superstructure.—Professor Alexander Melville Bell.

It is a most valuable book, and ought to be instrumental in doing much good.—Professor J. W. Churchill, D.D.

A book of rare significance and value, not only to teachers of the vocal arts, but also to all students of fundamental pedagogical principle. In its field I know of no work presenting in an equally happy combination philosophic insight, scientific breadth, moral loftiness of tone, and literary felicity of exposition.—William F. Warren, D.D., LL.D., of Boston University.

Lessons in Vocal Expression. The expressive modulations of the voice developed by studying and training the voice and mind in relation to each other. Eighty-six definite problems and progressive steps. By S. S. Curry, Ph.D., Litt.D. $1.25; to teachers, $1.10, postpaid.

It ought to do away with the artificial and mechanical styles of teaching.—Henry W. Smith, A.M., Professor of Elocution, Princeton University.

Through the use of your text-book on vocal expression, I have had the past term much better results and more manifest interest on the subject than ever before.—A. H. Merrill, A.M., late Professor of Elocution, Vanderbilt University.

The subject is handled in a new and original manner, and cannot fail to revolutionize the old elocutionary ideas.—Mail and Empire, Toronto.

It is capital, good sense, and real instruction.—W. E. Huntington, LL.D., Ex-President of Boston University.

Imagination and Dramatic Instinct. Function of the imagination and assimilation in the vocal interpretation of literature and speaking. By S. S. Curry, Litt.D. $1.50; to teachers, $1.20, postpaid.

Dr. Curry well calls the attention of speakers to the processes of thinking in the modulation of the voice. Every one will be benefited by reading his volumes.... Too much stress can hardly be laid on the author's ground principle, that where a method aims to regulate the modulation of the voice by rules, then inconsistencies and lack of organic coherence begin to take the place of that sense of life which lies at the heart of every true product of art. On the contrary, where vocal expression is studied as a manifestation of the processes of thinking, there results the truer energy of the student's powers and the more natural unity of the complex elements of his expression.—Dr. Lyman Abbott, in The Outlook.

Address: Book Dept., School of Expression, 306 Pierce Bldg., Copley Square, Boston, Mass.

Mind and Voice. Principles underlying all phases of Vocal Training. The psychological and physiological conditions of tone production and scientific and artistic methods of developing them. A work of vital importance to every one interested in improving the qualities of the voice and in correcting slovenly speech. 456 pages. By S. S. Curry, Litt. D. $1.50, postpaid. To teachers, $1.25, postpaid.

It is indeed a masterly and stimulating work.—Amos R. Wells, Editor Christian World.

It is a book that will be of immense help to teachers and preachers, and to others who are using their vocal organs continuously. As an educational work on an important theme, the book has a unique value.—Book News Monthly.

There is pleasure and profit in reading what he says.—Evening Post (Chicago).

Fills a real need in the heart and library of every true teacher and student of the development of natural vocal expression.—Western Recorder (Louisville).

Get it and study it and you will never regret it.—Christian Union Herald (Pittsburg).

Foundation of Expression. Fundamentals of a psychological method of training voice, body, and mind and of teaching speaking and reading. 236 problems; 411 choice passages. A thorough and practical text-book for school and college, and for private study. By S. S. Curry, Litt. D. $1.25; to teachers, $1.10, postpaid.

It means the opening of a new door to me by the master of the garden.—Frank Putnam.

Mastery of the subject and wealth of illustration are manifest in all your treatment of the subject. Should prove a treasure to any man who cares for effective public speaking.—Professor L. O. Brastow, Yale.

Adds materially to the author's former contributions to this science and art, to which he is devoting his life most zealously.—Journal of Education.

May be read with profit by all who love literature.—Denis A. McCarthy, Sacred Heart Review.

It gets at the heart of the subject and is the most practical and clearest book on the important steps in expression that I have ever read.—Edith W. Moses.

How splendid it is; it is at once practical in its simplicity and helpfulness and inspiring. Every teacher ought to be grateful for it.—Jane Herendeen, Teacher of Expression in Jamaica Normal School, N. Y.

Best, most complete, and up-to-date.—Alfred Jenkins Shriver, LL.B., Baltimore.

Public speakers and especially the young men and women in high schools, academies, and colleges will find here one of the most helpful and suggestive books by one of the greatest living teachers of the subject, that was ever presented to the public.—John Marshall Barker, Ph.D., Professor in Boston University.

Address: Book Dept., School of Expression, 306 Pierce Bldg., Copley Square, Boston, Mass.

Browning and the Dramatic Monologue. Nature and peculiarities of Browning's poetry. How to understand Browning. The principles involved in rendering the monologue. An introduction to Browning, and to dramatic platform art. By S. S. Curry, Litt. D., $1.25; to teachers, $1.10, postpaid.

It seems to me to attack the central difficulty in understanding and reading Robert Browning's poetry.... It opens a wide door to the greatest poetry of the modern age.—The Rev. John R. Gow, President of the Boston Browning Society.

A book which sheds an entirely new light on Browning and should be read by every student of the great master; indeed, everyone who would be well informed should read this book, which will interest any lover of literature.—Journal of Education.

Spoken English. A method of co-ordinating impression and expression in reading, conversation, and speaking. It contains suggestions on the importance of observation and adequate impression, and nature study, as a basis to adequate expression. The steps are carefully arranged for the awakening of the imagination and dramatic instinct, right feeling, and natural, spontaneous expression. 320 pages. By S. S. Curry, Litt. D., Ph.D. Price, $1.25; to teachers, $1.10, postpaid.

Every page had something that caught my attention. You certainly have grasped the great principle of vocal expression.—Edwin Markham.

Those who aim at excelling in public utterance and address may well possess themselves of this work.—Journal of Education.

The specialist in reading will wish to add it to his book-shelf for permanent reference.—Normal Instructor.

A masterly presentation of ideas and expression as applied in a wide range of excellent selections.—The World's Chronicle.

Little Classics for Oral English. A companion to Spoken English. The problems correspond by sections with Spoken English. The books may be used together or separately. The problems are arranged in the form of questions which the student can answer properly only by rightly rendering the passages. It is a laboratory method for spoken English, to be used by the first year students in High School or the last years of the Grammar School. 384 pages. By S. S. Curry, Litt. D. Price, $1.25; to teachers, $1.10, postpaid.

I am using Little Classics for Oral English in two classes and believe it is the most satisfactory text that I have used. The students seem to be able to get easily the principles from your questions and problems.—Elva M. Forncrook, St. Nor. Sch., Kalamazoo, Mich.

A fine collection of fine things especially suited to young people. Every teacher of reading and English in our secondary schools ought to have the book.—Prof. Lee Emerson Bassett, Leland Stanford University, Cal.

Address: Book Dept., School of Expression, 306 Pierce Bldg., Copley Square, Boston, Mass.

* * * * *

What Students and Graduates Think of the School of Expression

"We know that there is something BIG here. If only we can get it out to the world."—Caroline A. Hardwick (Philosophic Diploma), Instructor in Reading and Speaking, Wellesley College.

"At no other institution is it possible to secure the training one secures at the School of Expression. It is far broader than a mere training for speaking. It is a fundamental training for life."—Florence E. Lutz (Philosophic Diploma), Instructor in Pantomime, New York City.

"The School of Expression taught me how to LIVE. I think its training of the personality is its greatest work."—F. M. Sargent (Dramatic Artist's Diploma).

"I feel deeply indebted to the School for some of the best and most lasting inspiration I have received for my own work as a teacher of my fellow-men."—Luella Clay Carson, Pres. of Mills College.

"The success I have attained in my profession as a reader, I owe directly to the advanced methods of the School of Expression."—Caroline Foye Flanders (Artistic Diploma), Public Reader, Manchester, N. H.

"The School of Expression of Boston is the most thorough and best in the country. It is different from all other schools. I wish I could talk to any who intend taking a course of study.—I would say, Go to the School of Expression and if there is anything in you, they will bring it out; they will teach you to know yourself; they will show you what you are in comparison with what you may become, and they will begin with the cause and start from the bottom."—Hamilton Colman, Member Richard Mansfield Co.

"When I was your student you held before me intellectual and ethical ideals which I am still trying to realize."—Charles L. White, D.D., Ex-President Colby College.

"The same principles of education which have installed manual training in public schools are even more applicable to the training of men's souls to rational self-expression. Dr. Curry will some day be recognized to have been an educational philosopher for having championed principles no less true of the spoken word than of every form of creative self-expression."—Dean Shailer Mathews, University of Chicago.

"The whole world ought to learn about the School of Expression and your discoveries."—Rev. J. Stanley Durkee (Speaker's Diploma), Boston.

* * * * *

BOOKS BY S. S. CURRY, Ph.D., Litt.D.

More than any man of recent years, Dr. Curry has represented sane and scientific methods in training the Speaking Voice.—Dr. Shailer Mathews, University of Chicago.

Of eminent value.—Dr. Lyman Abbott.

Books so much needed by the world and which will not be written unless you write them.—Rev. C. H. Strong, Rector St. John's Church, Savannah.

Foundations Of Expression. A psychological method of developing reading and speaking. 236 practical problems. 411 choice passages adapted to classes in reading and speaking. $1.25; to teachers, $1.10, postpaid.

Lessons in Vocal Expression. The expressive modulations of the voice developed by studying and training the voice and mind in relation to each other. Definite problems and progressive steps. $1.25; to teachers, $1.10, postpaid.

Imagination and Dramatic Instinct. Function of imagination and assimilation in the vocal interpretation of literature and speaking. $1.50; to teachers, $1.20, postpaid.

Mind and Voice. Principles and Methods in Vocal Training. 456 pp. $1.50; to teachers, $1.20 postpaid.

Browning and the Dramatic Monologue. Nature and peculiarities of Browning's poetry. Principles involved in rendering the monologue. Introduction to Browning, and to dramatic platform art. $1.25; to teachers, $1.10, postpaid.

Province Of Expression. Principles and Methods of developing delivery. An introduction to the study of natural languages, and their relation to art and development. $1.50; to teachers $1.20, postpaid.

Vocal and Literary Interpretation of the Bible. Introduction by Prof. Francis G. Peabody, D. D., of Harvard University. $1.50; students' edition, $0.60, postpaid.

Classics for Vocal Expression. Gems from the best authors for voice and interpretation. In use in the foremost schools and colleges. $1.25; to teachers, $1.10, postpaid.

Spoken English. A psychological method of developing reading, conversation and speaking. A book for junior students or teachers. 320 pages. $1.25; to teachers, $1.10, postpaid.

Little Classics for Oral English. Companion to Spoken English. Introductory questions and topics. May be used with Spoken English or separately. Questions and topics correspond. Fresh and beautiful selections from best authors. 384 pages. $1.25; to teachers, $1.10, postpaid.

The Smile. Introduction to action through an example. $1.00. To members of The Morning League, $0.75, postpaid.

How to Add Ten Years to Your Life. Nature of training with short, practical program. $1.00. To members of The Morning League, $0.75, postpaid.

Write to Dr. Curry about the Morning League; Summer Terms; Home Studies; School of Expression; new books, or for advice regarding your life work. Address: Book Department, School of Expression, 308 Pierce Bldg., Copley Square, Boston, Mass.

THE END

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