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what is needed is to read it several times, to mark out exactly the stages of story told, and the gradual rising of emotion and excitement up to the highest point, which is, as usual, near the end but not at the end. The end sinks back to something like calm. It would take too long to analyse a particular Messenger's speech paragraph by paragraph, and the printed page cannot, of course, illustrate the constant varieties of tension, of pace and of emphasis that are needed. But I find the following notes for the guidance of an actor opposite the Messenger's Speech in an old copy of my Hippolytus. Opposite the first lines comes, "Quiet, slow, simple." Then "quicker." "Big" (at "O Zeus . . . hated me.") Then "Drop tension: story." "Pause: more interest." "Mystery." "Awe; rising excitement." "Excitement well controlled." "Steady excitement; steady; swifter." "Up: excitement rising." "Up; but still controlled." "Up; full steam; let it go." "Highest point." "Down to quiet." "Mystery." "Pause." "End steady: with emotion." These notes have, of course, no authority: as they stand they are due partly to my own conjecture, partly to observation of a remarkable performance.