22 1 a soul-bory four Tuyan, as 1 1am sody") "ané s mused a specul body, Grada itu wyd vn why was then a a vol-body"; but it is mailed just Madar 21, 24 that there as a soul connected with the veena po dan rang after death. Otherwise what what a man profzed, if he shall gan the whole with, wat sna i a own soul? or what shall a man give in exchange for his If there passages taken together, and others ke Thach, halk to mean that there is a soul or an emotive tendency Whhh, kz, kom wat in mathon either with the reactive (VEÙMA) or this instinctive (húmory tendency, then the philosophical theory implied In Dark qilamania contesponds exactly with what is said of the emotive tendawcy in the soul in this work. Possibly, too, theologians might derive a exyysation of value from the fact that the duyn is the only mental element represented in the Scriptures as in danger of being lost. The яvɛʊua and

making a physical explanation, says that "the muscles that move the chest, larynx, and vocal cords, contracting like other muscles in proportion to the intensity of the the 6ua appear to be always kept, but the question seems to be asked: What would either be without the yʊxỳ, the seat of those emotions, from which man derives both the pleasures of existence and the power of balancing and harmonizing the tendencies of his nature toward “rationality," "thought," "the ideal," on the one hand; and toward “body," ""embodiment," "form," on the other?

The classification of modes of expression given here, will be recognized also as resembling, with some differences, those of the system of Delsarte, as represented both by L'Abbé Delaumosne in his printed work, and by pupils of the French elecutionist in this country. Delaumosne traces expression to eccentric, concentric, and normal motion, corresponding respectively to the sensitive, intellectual, and moral states of the mind. For normal motion, or the effects of it, Moses True Brown, in his lectures before the Boston School of Oratory, substitutes the word poise, an admirable term, which I have found full of suggestions, as I have other ideas of this lecturer; and he describes the states of the mind by using the terms vital, mental, and emotional. In the present work, an attempt has been made for the first time to analyze the tendencies of expression for the purpose of showing the relation between them and the effects of poetry. But, in connection with this, will be found also the first complete classification of these tendencies, as manifested in discoursive and dramatic elocution, through the elements of duration, force, pitch, and quality. As for the theory underlying these classifications, the acceptance of which, however, is not necessary to the acceptance of the classes themselves, it differs from the others mentioned, mainly, in recognizing, as a basis for æsthetic methods of expression, only two primary forms of motion, or of mental tendencies corresponding to them; and in considering the third as the resultant of these two. In this regard, this theory is sustained by the divisions into the subjective, the objective, and the relations between them, which underlie the entire philosophic systems both of Schelling and Hegel. Herbert Spencer, moreover, in his "Principles of Pyschology," while maintaining that "no definite separation can be effected between the phenomena of mind and those of vitality in general," also tries to "find a true generalization of mental phenomena by comparing them with the lower vital phenomena." Of course, it would follow from this, that there are certain mental tendencies allied to the vital nature, and others allied to what is higher than it; the former of which, being first manifested in instinct, may very properly be termed, as in this work, in

feelings; every different contraction of these muscles involving, as it does, a different adjustment of the vocal organs; every different adjustment of the vocal organs causing a change in the sound emitted;-it follows that variations of voice are the physiological results of variation of feeling; it follows that each inflection or modulation is the natural outcome of some passing emotion or sensation; and it follows that the explanation of all kinds of vocal expression must be sought in this general relation between mental and muscular excitements." Thus the philosophy of evolution confirms in a general way the conclusions, with reference to the developments of verbal sounds, that have been drawn here. The emotive element, representing the "relation between mental and muscular excitements," or, to put it in our own language, between the reflective and instinctive tendencies, using and blending the results of the former as manifested in imitative words, and of the latter as manifested in words formed from ejaculations, gives us the intonations of consecutive speech. On the representative character of these, aside from that of verbal significance, are based the principles of elocution, and on these last, as we shall find, are based the principles of poetry, so far as this is dependent on elements of sound.

stinctive, while the latter is a more full and complex development of that "reflex action," to use the words of Spencer, "in which we see the incipient differentiation of the psychical (or reflective) from the physical life." He also says that "the same progress which gives origin to memory and reason simultaneously gives origin to feeling," by which he must mean that the emotive nature has that in it which corresponds to the lowest as well as the highest states of conscious intelligence. He adds, too, that "so long as the actions are perfectly automatic, feeling does not exist," by which he seems to indicate that, in his opinion, will and feeling are related, as has been intimated here. Notice also in the main text the quotations from Spencer with reference to the subject immediately before us.

CHAPTER II.

CONVERSATION, DISCOURSE, ELOCUTION, AND VERSIFI

CATION.

Representative Character of Intonations-Every Man has a Rhythm and a Tune of his Own-Physiological Reason for this-Cultivated by Public Speaking-Recitative, and the Origin of Poetic and Musical MelodyPoetry, Song, Dance, all connected; but not developed from each Other -Poetic Pause and Accent are developed only from Speech-Pause the Source of Verse-Breathing and the Line-Hebrew Parallelism; Greek-The Casura-Accent, the Source of Rhythm and Tune-Feet: how produced in English; in the Classic Languages—Metrical Possibilities of English.

WE all must have noticed that a child too young to

talk, a foreigner using a language unknown to us, a friend speaking at such a distance from us that his words are indistinguishable, can all reveal to us, with a certain degree of definiteness, the general tenor of their thoughts. Their tones, aside from their words, enable us to understand such facts as whether they are hurried or at leisure, elated or depressed, in earnest or indifferent, pleased or angered. This is so because these facts are directly represented by their intonations. Developed with design, these may be made to resemble those of the foremost actors and orators. Hence the art of elocution. Developed without design, they instinctively come to imitate those of the people with whom one most associates. Scotchmen, Irishmen, Englishmen, and Americans can all be distinguished by the different ways in which they utter the same

phrases. No two of them will emphasize precisely alike a simple expression such as "I can't go there to-day."

Not only men of different nations can be distinguished thus, but even different individuals. Any one well known to us can be recognized in the dark by what we term his voice, by which we mean his method of using his voice; the way, peculiar to himself, of pausing at certain intervals and hurrying at others, of sliding his sounds up and down on certain syllables and phrases, and also, perhaps, of giving in certain places an unusual stress or quality of tone. All these methods impress his individuality on every thing that he has to say. If he becomes a public speaker, his peculiarities in these regards become still more marked. Unconsciously, if not consciously, he develops them so that, in his delivery, similar intonations recur with a certain degree of regularity; in other words, he comes to have what may be termed a rhythm and a tune of his own. The reason why he comes to have these is, undoubtedly, mainly physiological, as is intimated by Herbert Spencer in his "Essay on Style," and Grant Allen in his " Physiological Esthetics." It is owing to a natural tendency to economize labor. Just as the swing

ing of the hands enables one to walk more easily, so what may be termed the swinging of the tones enables one to talk more easily. So, also, as we shall find by-and-bye, do verse and measure, to which these intonations naturally lead. The two together separate the words and syllables, and make them accord with the natural actions of the lungs and throat.

But let us waive this thought, until we reach it in its proper place. Before the age of books those who prepared literature published it by repeating it in public. Every man who did this had, of course, his own peculiarities of