Evolution of Expression.

Volume 2--Revised.

by Charles Wesley Emerson.

THE PARTS.

THE ATTRACTIVE OR MELODRAMATIC PERIOD.

Love took up the harp of life and smote on all the chords with might, Smote the chord of Self, that, trembling, pa.s.sed in music out of sight.

TENNYSON.

The power to detach, and to magnify by detaching, is the essence of rhetoric in the hands of the orator and the poet. This rhetoric, or power to fix the momentary eminence of an object, so remarkable in Burke, in Byron, in Carlyle--depends upon the depth of the artist's insight of that object he contemplates.

EMERSON.

For use of selections in this volume especial thanks are tendered Houghton, Mifflin & Co., Frederic Lawrence Knowles, Horace Traubel, Secretary Walt Whitman Fellowship, and J. T. Trowbridge.

CHAPTER I.

SLIDE.

Thus far in the student's development, his mind has dealt chiefly with each subject as a _Whole_. Now he begins to find a new interest in showing his hearers that the discourse is made up of a series of definite _Parts_. He takes delight in fixing their attention upon each part in succession.

As in crossing a brook on stones, a person poises for a moment, first on one stone, then on another, so the speaker balances the minds of his hearers, first on one thought, then another, poising for a moment on each distinct point before leaving it for the next. The teacher should now lead the pupil to attract attention to separate parts as _wholes_.

We are entering the melodramatic stage, where abandon to each part is as necessary as it was in the beginning to the spirit of the whole. The pupil must see the parts and give them to others at any cost.

In the history of art this step is marked by the grotesque; the pupil should be encouraged to stand out the points of thought boldly, regardless of artistic effect. This step is of vital importance in all future development, and unless emphasized now, will require constant effort hereafter.

Sharp contrasts are brought strongly to bear in presenting vividly and distinctly separate points of thought. As the pupil earnestly strives to impress each point of thought, in all its new interest, his voice becomes more decidedly modulated, rising and falling in distinct intervals. Thought of each part as a whole and by contrast, together with the desire to impart it, is reported in varied inflections which add a new charm to expression. Through slides the voice of the speaker may be said to express the tune of the thought.

a.n.a.lysis. Example: "Tact and Talent." (Page 13.)

_Unit, or Whole:_ A comparison of Tact and Talent.

_Parts_: (_a_) The characteristics of Tact.

_Sub-parts_: 1. Tact is infinitely resourceful. Paragraph 1, etc.

2. Tact is the power which achieves results. Paragraph 2, etc.

(Other "sub-parts" may be enumerated.) (_b_) The characteristics of Talent.

(A number of "sub-parts" are embodied.)

The teacher should view the work of the pupil with special reference to the parts of this selection, leading him to impress these parts, or successive points of thought, upon his audience. The continued ant.i.thesis makes this selection a good one for the purpose; parts that are set in contrast easily engage the attention.

CHAPTER II.

VITAL SLIDE.

As the mind of the pupil separates each thought from the other main thoughts of the discourse, and holds it before the minds of his hearers, he finds it more and more attractive. His endeavor to interest others deepens his own interest, and the slides in his voice report this increased concentration, in increased vitality. The pupil seeing the spirit and life of the whole in each _vital part_, or part vital to the life of the unit, desires to make each part live as a whole in the minds of the listeners. He no longer touches it with uncertain stroke; the slide has become a Vital Slide.

a.n.a.lysis. Example: "The Rising of 1776." (Page 35.)

_Unit, or Whole_: A pastor of early Revolutionary times who makes his Sunday sermon an appeal for freedom.

_Parts_: (_a_) The spirit of the times. Stanza 1.

(_b_) The church and the people. Stanzas 2 and 3.

(_c_) The pastor and his appeal. Stanzas 4, 5, 6 and part of 9.

(_d_) The effect of the appeal. Stanzas 7, 8 and 9.

Let the student's earnest endeavor be to interest his audience in these essential parts. The words which especially reveal these vital parts of the selection will be given with no uncertain stroke. If the interest of both speaker and listener is fully aroused, the slide has become a vital one. Remember always that the desired effect in the voice results from the mental concept; it is not developed mechanically, but grows out of thought.

CHAPTER III.

SLIDE IN VOLUME.

As the mind of the student continues to dwell upon the parts of the subject as separate and distinct wholes, there is gradually developed within him an appreciation of the value of each part. Out of the effort to make each thought live in the minds of the hearers is born the desire to reveal the value of that thought. This desire is reported in the voice through Slide in Volume.

The significance of the term Volume has been explained in an earlier chapter. The valuable parts that the speaker presents are expressed through inflections that suggest breadth and freedom. Each part is felt to have a value of its own, intellectual, moral, esthetic, or spiritual.

Freedom of will is expressed in the voice by slide in volume, for the speaker, convinced of the truth of his thought, is learning obedience to it, and obedience is always the way to freedom.

It must be remembered that the intellect determines the value of the parts. It is true that the discernment is sharpened by the sensibility; but the feelings, unguided by the thought, may be misleading. Feeling is dangerous unless controlled by thought. All sentiment must be directed to the audience "thought foremost"--the thought itself must induce the feeling.

a.n.a.lysis. Example: "The Bells." (Page 82.)

_Unit of thought_: Varied bells, expressing varied emotion.

_Parts_: (_a_) The tinkling bells of Merriment. Stanza 1.

(_b_) The mellow bells of Love. Stanza 2.

(_c_) The clanging bells of Terror. Stanza 3.

(_d_) The tolling bells of Menace. Stanza 4.

This poem is well adapted to develop power in emphasizing parts: the several parts are very distinctly differentiated, as the student must reveal through the rendering. He should strive to reveal them as graphically as the author has set them forth. Moreover, he should endeavor to make their value felt. In doing this, he will perceive the varying scale of values; some of the bells reflect great value, others less.