Notes for a Future Paper
“Ripples of Curry’s Educational Philosophy: The Influence of S. S. Curry’s Writings on the Margaret Eaton School of Expression, Toronto.”
Presented by Dr. Patrick Bernard O’Neill
Fulbright Visiting Scholar, on December 1, 2004 at Curry College
I imagine that in most of your childhoods, you carried a large boulder to the edge of a pier and threw it into the water. A huge splash resulted, and this was followed by a series of ripples that emanated from the splash. Some 125 years ago, Anna Baright and Samuel Silas Curry threw such a boulder into the waters of Boston Harbour, and the resulting splash was the School of Elocution which became Curry College1. Although you saw the resulting splash as you stood on the pier, you eventually lost sight of the ripples that washed upon the distance shores. Today, I am going to speak about one of the small ripples that washed upon the shores of Lake Ontario, namely Emma Scott Raff, and how she brought the teachings of Anna Baright and Samuel Silas Curry to the Margaret Eaton School of Literature and Expression in Toronto, Canada.
Emma Scott, the daughter of a Methodist minister, was born in Waterdown, Ontario, and raised in Owen Sound2. She was schooled at the Owen Sound Collegiate Institute and received some education at Victoria College, the University of Toronto. At the same time, she studied art with George Reid at the Ontario School of Art3. She then taught art in Colorado, marrying William Bryant Raff in 1894 and giving birth to a daughter, Dorothy. On the death of her husband in 1897, she returned to Toronto to study with Harold Nelson Shaw, head of the Toronto Conservatory’s dramatic art department. She transferred to the Toronto College of Music when Shaw became its principal,4 and graduated in June 1899. The Conservatory stressed a “spiritual assimilation” of the text as integral to expression, and relied in its elocution courses on the text-books of Samuel Curry. The chronology of Raff’s early years is difficult to trace, but upon graduation she “took post graduate work at the Curry School of Expression in Boston and the Gower Street Academy in London,” and travelled to Greece.
These sketchy facts permit some reconstruction of the artistic training she received – unsystematic and eclectic, as was typical of women’s education of the day, but mildly bohemian for a Methodist. She chose widely among university classes in dramatic literature, philosophy and psychology, and recommended such a “pioneer” approach to education to her students, who might be stifled through a general course.5 The expressive and dramatic training she received from Shaw was a departure from the norms of the times, since he attempted to equip students for stage careers,6 and she may have received her especial enthusiasm for Shakespeare from Shaw, who went on to tour Shakespeare productions throughout Western Canada under the name of Harold Nelson.
To support her young daughter, Emma Scott Raff undertook the sort of literary and cultural piecework then common to women. The turn of the century found her teaching, both officially and through affiliation, at the Toronto Conservatory of Music and the Toronto College of Music, taking on private pupils, offering lectures on Ruskin and readings from Shakespeare. She also provided voice training to the theological class at Victoria College, and lived in the College’s Annesley Hall residence as its director of physical education for women. Encouraged by Victoria’s principal, the Rev. Nathaniel Burwash – a life-long friend of her father – Scott Raff opened a small studio of rooms over a bank at Yonge and Bloor streets in 1901 to teach elocution.
Little information is available for the first five years of the school’s incarnation, but what exists gives a picture of remarkable activity on the part of its founder. Her fledgling School of Literature and Expression maintained connections to Victoria College, sharing both students and services. School students used Victoria’s gymnasium and residence and co-ordinated their schedules with its Arts offerings, while Victoria women received elocutionary training at the School and participated in its discussion and dramatic groups. While similar to other schools of expression, the School differed in its self-construal as an academic institution. University connections were nurtured as an important testimony to the School’s seriousness of purpose, and Scott Raff’s eventual aim was to demand high-school completion of all her entrants and to provide training and diplomas for those seeking careers.
The early years of the School show Emma Scott Raff engaged with equal energy in other artistic activity. By 1903 she was also offering classes to the Women’s Literary Society at University College, which formed the nucleus of a new Women’s Dramatic Club. This organization was for a number of years the only theatrical group on the University of Toronto campus, more significantly, as Robert Scott wrote, “it was one of the first university organizations on the continent linking a formal drama course with theatrical activities.” 7 Originally formed to produce annual Shakespearean productions, and to present scenes and abridgements which took the form of “studies of dramatic art, without any stage scenery,” the students quickly branched out: in 1907 they performed W. S. Gilbert’s Pygmalion and Galatea with an original Greek dance to close the show8; in the next year they and the Women’s Literary Society followed Scott Raff’s interests with a year of Celtic readings and study, culminating in a production of William Butler Yeats’s The Hour Glass9. While her increasing duties at the School meant that Scott Raff’s involvement was at times intermittent, as late as 1919 she was directing the Club’s production of Barrie’s Quality Street10 . Her School experienced a similar expansion especially when the departure of H. N. Shaw deprived Toronto of a busy teacher, and by 1905 the small studio was unable to accommodate all the students wishing to enrol in the dramatic and physical culture courses and the equally popular discussion groups of Shakespeare and Browning.
Shakespeare was studied with the use of Edward Dowden’s texts. Books which Dowden believed were different from other criticisms in that they inquired about Shakespeare’s personality, “and to observe as far as is possible in its several stages the growth of his intellect and character from youth to full development as a man.” Browning was studied with the use of Samuel Curry’s Browning and the Dramatic Monologue11. Both Curry and Scott thought:
No one who intelligently reads Browning can fail to realize that he was a dramatic poet; in fact he was the first, if not the only, English dramatic poet of the nineteenth century. With his deep insight into the life of his age, as well as his grasp of character, he was the one master whose writing was needed for the drama of that century; . . . He was, however, so dramatic in his point of view that he could never be anything else than a dramatic poet. Hence, he was led to invent, or adopt, a dramatic form different from the play.12
The efforts of one student allowed for considerable expansion of the School. Margaret Beattie, who was raised in Woodstock (also in a Methodist family), displayed the traditional accomplishments in music, fancy needlework, riding, and winning ribbons for her bread at county fairs. But Margaret Beattie dreamed of becoming an actress, and developed a deadly skill as a mimic, a life-long love of poetry, and was noted for her characterizations from Shakespeare and Dickens. The exercise of her talents might have remained restricted had she not persuaded her husband – a young dry goods salesman named Timothy Eaton – to move their business to Toronto. There it prospered, and eventually became the largest Canadian mail-order catalogue business with stores in all the major Canadian cities from Halifax to Victoria. The ensuing leisure and money permitted Margaret Eaton to take lessons and form an amateur drama circle. Her aspirations reawakened she began to take classes in 1903 at the School. Most likely, Margaret Eaton was aware of Emma Scott Raff prior to 1903, but it is interesting to speculate that her decision to enrol in Scott’s School of Literature and Expression because of an advertisement that Scott placed in the Toronto Globe on 8 August 1903 that read:
Elocution, Physical Culture, Pedagogy, Literature. This Course embraces the University lecture topics and work in a well equipped gymnasium. For Calendar write: Emma Scott Raff, F.C.M. 13 , care of School of Expression, Pierce Building, Boston, U.S.A.
Note that Emma Scott Raff was spending the summer of 1903 at Curry’s school in Boston, perhaps seeking his advice on her own fledgling school.
When Margaret Eaton enrolled in Scott’s school, this marked the beginning of a life-long friendship strong enough to withstand philosophical – perhaps even temperamental – differences and a marked inequality in position. Occasional friction would be caused by Emma Scott Raff’s devotion to the drama as a form of expression, in contrast to Margaret Eaton’s interest in theatrical activity. In Imagination and Dramatic Instinct , Curry noted that in reading you must have a definite attitude toward each specific idea in turn14 , and goes on to discuss the differences between the actor and reader in regard to this:
The actor is confined chiefly to the attitude of a personator, but the reader or dramatic speaker has a greater number of attitudes and points of view. Hence, public reading and speaking demand thorough study of the principles involved in this aspect of assimilation. Every change in point of view and in the attitude of the man must be suggested. This cannot be given by objective scenery, as on the stage. There must be an appeal to imagination; hence, there must be a greater grasp of situations. He must suggest more points of view than the most difficult part in any drama. An actor may get along without dramatic instinct, but it is absolutely essential to the reader.15
Curry and Raff held that “A proper conception of dramatic instinct must be gained apart from the stage,” and that dramatic instinct should be trained “because it is the insight of one mind into another.” 16 Despite this difference of opinion as to the function of drama in the curriculum, Margaret Eaton became the chief student in the school and one of the most enthusiastic actors in the theatre productions undertaken by Emma Scott Raff. As noted in Margaret Eaton’s 1933 obituary:
The school became to her a sort of church. There she was able to bring to focus something which all her life had been a dream. She took part in many of the productions under the principalship of Mrs. [ . . . Raff] and an active interest in all the school’s activities, even to the designing of costumes. She found a fresh interest in Shakespeare from helping to act his plays.
Emma Scott Raff also appears to have had a high opinion of her patron’s dramatic powers: “If in early life she had studied dramatic art, I believe that she would have been a second Ellen Terry.” 17 Margaret Eaton’s contribution to the school was even more concrete than working on productions, for she persuaded her husband, Timothy Eaton, to spend $50,000 for the construction of proper facilities for the School, and she continued to pay its operating expenses (largely teacher’s salaries) from her own funds until the demise of the school.
Certainly by 1905, the School of Expression had outgrown the accommodation of the studio. It was reported that, after receiving pressure from his wife, Timothy Eaton turned to Emma Scott Raff and said: “Go to Toronto and get Dr. Burwash to go with you, and buy land for a school in which to incorporate your teaching.” 18 A newspaper reporter noted that this was a major accomplishment on the part of Margaret Eaton:
Reared in Methodism and founding a theatre was at least original. To persuade Timothy Eaton, all his life opposed to the stage, that it was his privilege not only to pay $50,000 cash down for such an institution, but to have his wife’s name advertised as it s founder – the Margaret Eaton School of Literature and Expression – must be set down as real diplomacy.19
Emma Scott Raff and Nathaniel Burwash chose a site on North Street (now Bay Street). The building was a copy of the legislative buildings in Athens, which in turn was a copy of the Parthenon. The name of the structure, Kalokaghon, or Greek Temple, and the classical façade caused the building to become popularly known as the Greek Temple. The building consisted of classrooms, a studio, and a theatre, of which one reviewer observed: “The Greek stage is rather a handicap in the presentation of modern plays. Having so much width and so little depth, it seems made for silhouettes and patterns rather than grouping.”20 Nevertheless, Toronto amateur groups readily sought permission to use the facility.
In 1908-09, the first full year of the Margaret Eaton School of Literature and Expression, the curriculum had taken on the contours it would hold for seventeen years. Emma Scott Raff is listed as teaching the art of expression, assisted by Gertrude Philip (a graduate of her earlier School of Expression) for voice culture, reading and interpretation, and by N. Topley Thomas (an alumna of Curry’s Boston School.) for “Theory of Expression” and “Dramatic Thinking.” Charlotte Ross undertook French and English rhetoric, literature and composition, while the versatile Florence Withrow, B.A., taught a wide variety of historical and mythological topics. There were also instructors in French, German, and Physical Education.
The ideal of the founders of the Margaret Eaton School was to “teach the vocal interpretation of literature.” It was argued, by Emma Scott Raff and by Samuel Curry that the word elocution had fallen into disrepute and had become associated with cheap display and superficial study. At the Margaret Eaton School and Curry’s School of Elocution, instructors wished to teach a real voice culture, far removed from the affectation and superficiality of that which has proved unequal to modern demands. Both Schools were based on the philosophies of Ancient Greece, in which it was important to harmoniously develop the physical, mental, and moral aspects of a person. As Emma Scott Raff noted “We believe that head, hand and heart should be trained at the same time, and so are working for mental, moral, and physical strength.”21 However, while that was stated, the physical clearly took an inferior position as reflected in a statement such as: “the body, by a reverential, assiduous care, is made obedient to the mind.” Basically Raff was following Curry’s harmonic training to establish the fundamental conditions for a speaker: namely, to train the body, to train the mind, and to train the voice.
As a private school, Emma Scott Raff, had the opportunity to develop an innovative curriculum in elocution, drama, and physical education that Nathaniel Burwash described “as twenty years ahead of the time.” The School emphasized individualized instruction, and as Raff noted “was concerned with the development of individual personality,” and provided students with individual attention and personal lessons. This faith in the individual followed Curry’s emphasis on the uniqueness and worth of the individual. He once said that if two pupils are alike, one of them is no good. The program and courses in Expression, included Voice Culture, Public Speaking, Studio Recital, Make-up, and Corrective Work. Voice Culture was advertised in the Calendars from 1908 to 1924, as follows:
The voice, the greatest instrument of expression, is generally the most neglected. Correct breathing is fundamental, whether for speech or song. Our method places all activity at the diaphragm and leaves the throat passive and relaxed. No one who has mastered this method will have speaker’s sore throat. After the technical drill, voice placing, vocal process in exercise, the voice becomes responsive to feeling, and timbre (or tone color), is the result.22
This description could have been written by Samuel Curry, himself.
Until 1913, Emma Scott Raff also provided voice training to the theological class at Victoria College, and lived in the College’s Annesley Hall residence as its director of physical education for women. When the College decided to create the faculty position of “Instructor of Elocution,” it chose to appoint a male professor, W. H. Greaves, and not Raff. As a result, Scott Raff resigned her position at the College, which prompted Margaret Eaton to resign from the College’s Board of Governors. It also led the two women to decide that the Margaret Eaton School should become exclusively a school for women.
The most often used text books throughout the career of the School were those written by Samuel Silas Curry. In all, ten of his fourteen books were used between 1907 and 1926. Curry noted that the principle endeavour in preparing his Classic Selections
has been to select such extracts as will be best adapted to develop the essential qualities of the voice, to furnish the greatest variety of examples for the illustration of the various steps in vocal expression, and at the same time to secure selections from the greatest number of the best authors, and the most varied forms of literature.23
Curry’s selections came from one hundred and four different authors. The authors were typically Eighteenth and Nineteenth century English writers with one or two Americans.
In Curry’s Foundations of Expression , a book which sold over 250,000 copies by its thirty-second printing in 1930, he stated the concern he had with “the superficial views of delivery so prevalent at the present time;” also a concern of the Margaret Eaton School. Curry goes on to clarify his approach, arguing that “every abnormal action or condition has its cause in the mind.” In describing the Nature of Expression, he writes
as the bobolinks song is the outflow of a full heart; so all expression obeys the same law; it comes FROM WITHIN OUTWARD, from the centre to the surface, from a hidden source to outward manifestation. . . . Every action of face or hand, every modulation of voice, is simply an outward effect of an inward condition.24
This is what Emma Scott Raff believed as well:
In the great struggle of our active life, our best is called forth, and as it is called forth it at once finds expression in attitude, in countenance, and in spoken word or act.
In Little Classics for Oral English, Lessons in Vocal Expression, and in Vocal and Literary Interpretation of the Bible , Curry reinforced this position that the “underlying principle is that thinking and feeling cause voice modulation; that expression is an outward manifestation of mental activity,” “involving the whole man.”25
Curry, in his Imagination and Dramatic Instinct, suggested that “The imagination should be trained, because the whole man should be trained, because it is the fountain-head of all noble feeling, and upon its discipline depend any true education of the emotions.”26 While in Spoken English , he argues that
During recent years greater interest than ever before has been awakened to the importance of Written English. Spoken English, however, for the most part, is still either entirely neglected or else taught by mechanical, imitative, and artificial methods.27
A sentiment that the Calendars of the Margaret Eaton School agree
The prevailing method of education today cultivates written rather than vocal expression. This we regard as a very serious defect.
The central themes in Curry’s books certainly reflect the ideas at the Margaret Eaton School: in particular, the threefold nature of a person and the importance of proper elocution.
The Margaret Eaton School expanded during and immediately after World War I, by taking over the expression and dramatic department of the Toronto Conservatory of Music, and by opening a residence for its students. The major change, however, was the acquisition by the T. Eaton Company of the former Y.M.C.A. building that was equipped with a gymnasium and swimming pool. The facility was to be used by Eaton’s employees in the evenings; however, during the day, it was available to the staff and students of the Margaret Eaton School. Although Emma Scott Raff was pleased with the increase in student enrolments and the expansion to the part-time and extension programmes, she was not pleased with the changing emphasis within the school. She thought that during the war years the students now only wanted to be prepared “in the shortest possible time to earn our bread,’ and that “almost all who came to us, like the Romans of old, wanted only physical development.”28
In 1922, the City of Toronto gave notice that it planned to widen North Street by fourteen feet, and that the building would be torn down in 1925. Emma Scott Raff wanted a commitment to build a new school, but, since the estimate for a new facility was $200,000, the Eatons were unwilling to undertake such a venture. Now 83 years of age, Mrs. Margaret Eaton was leaving the decisions regarding the School to her son, R. Y. Eaton, who was concerned that Emma Scott Raff’s philosophical commitments were over-riding the School’s financial directorship. By this time, Mrs. Eaton had personally advanced $62,341 of her own money to operate the school. As a result, the Eaton management indicated not only an unwillingness to underwrite a new building, but also an unwillingness to continue financing the School. This initiated a controversy that culminated in the enforced resignation of Emma Scott Raff in 1923. The School continued for one year under the temporary principalship of Charlotte Ross. Then, when the city’s expropriation of the North Street site for its road-widening programme happened, the School moved to the Yonge Street annex, the former Y.M.C.A. building. There was one more year of ambitious dramatic work under Bertram Forsyth and Dixon Wagner before the Margaret Eaton School was restructured as a programme primarily in physical education. It remained an important centre for women’s athletic activity until 1941, when it merged with the University of Toronto and became the University’s first School of Physical and Health Education.
The School’s history written by Dorothy Jackson concentrates on its later development as a centre for women’s sports, dance, and physical education. Indeed, this was an important part of the School’s history, and it added an important element to the Canadian educational system. At the beginning of the twentieth century, physical education became an essential part of the curriculum of every school and college. The rapidly increasing interest in the establishment of playgrounds and recreation centres throughout the country created a strong demand for trained instructors and workers. The Margaret Eaton School helped to provide this demand, and enabled a number of young women to take advantage of the need for teachers and supervisors of physical education in all its phases.29 Not only was the School the first to provide these innovative programs in physical education, it was also responsive to change. For example, when sportswomen increased their multi-sport participation in the Twenties and Thirties, the Margaret Eaton School was at the fore front of implementing these changes.
Although the Physical Education department of the Margaret Eaton School has received the most attention from historians, the School existed primarily as a dramatic and literary academy for the first twenty-five of its more than forty years of existence, and it attempted to offer the full-time women students training in the dramatic arts and an arts education equal to a university’s. Its discussion groups and public lectures provided both cultural uplift and challenge; the School undertook considerable outreach work, and, at its peak, more than a thousand students enrolled annually for part-time instruction. Consideration of the full scope of the School’s activities helps to provide a sense of its aesthetic, artistic and educational mission and its role in creating the preconditions for both the actors and audiences of the little theatre movement. Its contributions to the latter were both material and philosophical. For many years the School’s recital hall, the Greek Theatre, provided a base for Toronto groups, and many of the future participants in both the Hart House Troupe and the Dominion Drama Festival were trained either through the School or in its Associate Players. More abstractly, the School’s activities helped to generate that sense of the “modern” through which the production of the little theatre movement would be produced and received. (Intrinsic to this modernization was the assertion and creation of women’s place in the theatrical world, at a time when their participation was often discouraged and even denounced). Two recent authors, Anton Wagner and Richard Plant, contend that the little theatre movement in Canada began with Emma Scott Raff’s theatre work in Toronto, and not with the male dominated Arts and Letters Club. The School provided plays not accessible to Canadians, specifically the poetic dramas of the Irish playwrights, such as William Butler Yeats and Lady Gregory. Emma Scott Raff believed these writers would provide a model for theatre-minded Canadians eager to establish a national, theatre movement. Her contribution to Canadian theatre was acknowledged in her 1940 obituary:
She was the first publicly to read the new plays being published in Ireland by Yeats, Synge, Gregory and others, but she went to Ireland to meet the authors and see the plays done at the Abbey Theatre in Dublin. The first Irish plays produced in Canada were produced in the Margaret Eaton Theatre from 1908 onward. . . . She introduced St. John Irvin, Masefield and many other new playwrights and poets to Toronto audiences. Many famous actors, lecturers and writers were guest speakers at the Margaret Eaton School. Among these were Yeats, Sir Johnstone Forbes Robertson, Mr.Willard, Earl Grey, Governor-General of Canada, . . . Sir Frank Benson, Ben Greet, Edith Wynne Matheson, Rann Kennedy, Lillian Braithwaite, and many others.30
Although the contributions of the Margaret Eaton School to the fields of physical education and dramatic arts have been documented, the School was also important because it provided an advanced curriculum of education for women. The School prepared many teachers, and its graduates found positions throughout Canada in private schools and Y.W.C.A.s. Unfortunately, the School’s importance as a training ground for teachers was muted by Ontario’s accrediting policy. This policy prevented the School’s graduates from teaching in the public schools without going to the Ontario College of Education, even though the Margaret Eaton School offered a more comprehensive training program than the Ontario College of Education. The daily work-load of the School was demanding, but prepared the students well for the positions that the students found themselves in upon graduation, such as teaching in private schools, colleges and universities, directing Y.W.C.A.’s, running summer camps, and so forth. The philosophy of education of Curry and Raff undoubtedly had a special impact on the expensive, exclusive, private girls’ schools of Toronto – such as Brankston Hall, Havergal, Bishop Strachan School, and Crofton House, all of which employed Margaret Eaton School graduates. There deserves to be a study to determine the impact the teachings of Emma Scott Raff, and the writings of Samuel Curry, had upon the young women who became the leaders of Canada’s society throughout the middle decades of the twentieth century.
Although I have only discussed but one ripple that emanated from the work of Anna Baright and Samuel S. Curry, Emma Scott Raff, it was not the only ripple. Reflections of Curry’s work can be found in such fundamental speech texts as Lew Sarrett and Trufant Foster’s Basic Principles of Speech (1946), and Woolbert’s Fundamental’s of Speech (1927), and also in the field of oral interpretation in W. Maxfield Parrish’s Reading Aloud (1936), and in two works by Curry graduates, Gertrude Johnson, Interpretive Reading (1942), Jane Herendeen, Speech Quality and Interpretation (1940). These and other ripples are also in need of examination.
Thank you.
__________
1 The school was founded in 1879 by Anna Baright (who was later joined and married by the school’s namesake, Samuel Silas Curry, in 1882). It was originally called the School of Elocution.
2 “Canadian Women in the Public Eye: Mrs. G. G. Nasmith,” Saturday Night , 11 September 1920, 26.
3 Henry James Morgan, The Canadian Men and Women of the Time: A Handbook of Canadian Biography of Living Characters , 2nd Edition. Toronto: Briggs, 1912. Morgan states that Emma Scott attended Victoria College and the University of Toronto, but records do not indicate that she was registered at either institution.
4 Toronto College Calendar, 104.
5 “Canadian Women”, 26.
6 Robert Barry Scott , “A Study of Amateur Theatre in Toronto: 1900-1930,”(Dissertation: University of New Brunswick, 1966), 37.
7 Scott, 1968, 68.
8 Torontonensis 1908, 329.
9 Scott 1968, 120.
10 Varsity, 17 March 1919.
11 Samuel S. Curry, Browning and the Dramatic Monologue . Boston: Expression Company, 1908.
12 Browning , 10.
13 Fellow of the College of Music.
14 Imagination and Dramatic Instinct , 245.
15 Imagination and Dramatic Instinct , 255-256.
16 Samuel S. Curry, Imagination and Dramatic Instinct , (Boston: The Expression Company, 1896), 10.
17 Quoted on the death of Margaret Eaton in the Toronto Globe, 20 March 1933.
18 1918-1919 Calendar , 7.
19 “Mrs. Timothy Eaton Passes at Oakville,” The Toronto Daily Star , 20 March 1933.
20 Unattributed clipping, 19 December 1924. Theatre Collection, Central Reference Library, Metropolitan Toronto Public Library.
21 Emma Scott Raff, “The Margaret Eaton School of Expression, Toronto,” in The Establishment of Schools and Colleges in Ontario, 1792-1910 , J. Gorge Hodgins, Ed. Toronto: Cameron, 1910, II, 251.
22 Calendar, 1908-1909; to Calendar, 1924-1925 .
23 Samuel S. Curry, Classic Selections , (Boston: The Expression Company, 1888.)
24 Samuel S. Curry, Foundations of Expression , (Boston: The Expression Company, 1907), 3-5, 10.
25 Samuel S. Curry, Little Classics for Oral English, (Boston: The Expression Company, 1912), 3; Samuel S. Curry, Lessons in Vocal Expression: Course 1, (Boston: The Expression Company), v; and Samuel S. Curry, Vocal and Literary Interpretation of the Bible , (London: Macmillan Company, 1903), ix-x.
26 Samuel S. Curry, Imagination and Dramatic Instinct , (Boston: The Expression Company, 1896), 8.
27 Samuel S. Curry, Spoken English , (Boston: The Expression Company, 1913), ?
28 Calendar , 1920-21, 6.
29 Dorothy N. R. Jackson, A Brief History of Three Schools. The School of Expression. The Margaret Eaton School of Literature and Expression. The Margaret Eaton School 1901-1941 . n.p. n.p. [1953.] 12.
30 Toronto Telegram , 17 February 1940.