voice in variety of pitch, quality, and power is also a very large factor
in the illumination of the pause. The pause, as a mere interruption of
sound, has little significance, but the relations that the different
sounds bear to each other lend significance to the pause. A pause should
always suggest an orbit of thought. These characteristics of expression
can be made effective only by the practice of concentration in the mind
itself upon the thoughts to be suggested. Nevertheless, the quick
responsiveness of one's sensibilities in the expression of the various
qualities developed by the cultivation of the voice greatly facilitates
the manifestation of the thought itself.

All selections of a high order have relation to rhythm in their
composition, and that style of movement in the composition should find its
ready response in the organism of the speaker or reciter. It should be
remembered that the sense of rhythm may be misapplied, as may any other
element, by allowing the mind to go off into the sensation of "jingle"
without reference to its expression of the thought or its relation to the
thought. But if the sense of rhythm is duly developed, and then this
sensibility, as well as all others, is surrendered to the service of the
thought, it furnishes an element of beauty which cannot easily be
dispensed with. The reason we associate rhythm with the significance of
time is that rhythm is a measurer of time.

In connection with this step the practice of melodies is useful, if one
has musical taste. Simple, familiar melodies are best--such as "The Last
Rose of Summer," "Annie Laurie," "Flow Gently, Sweet Afton," etc., etc.
The importance of rhythm is well expressed by Emerson, who said that the
rhythm of Shakespeare's verse was always the outcome of the thought.

The term "ellipse" has been sometimes used to express the implied action