B Physical and Mental Unison. SELECTIONS. BY GISELLE D'UNGER. THIRD AND LAST PAPER. EFORE attempting a selection, thorough analysis of its fitness as well as of its expressive value should be considered. To understand the latter, persistent drill upon the absolute value. of all words which form the current of speech is essential. Awe, love, hate, Awe, love, hate, beauty, God, secrecy, etc., have been used as typical of the qualities of the voice; therefore, analyze them separately, as to force, pitch, movement, stress, accent, emphasis, inflection, facial line, gesture, and position. Analyze them as combined with these particulars. In a short time, the discipline thus acquired will prove its worth, in that the reader will be enabled to classify at once words of similar import. In sentence or in phrase analysis, we refer to their relative value. An example will be found in "The Charge of the Light Brigade," as it is forceful, characteristic, and covers the ground of all the particulars above mentioned. One question should always precede the analysis of a selection: Is it historical or imaginative ? Picture the scene, place the characters, and then plunge in, determined to "do or die." What emotions do we find in Tennyson's poem? Horror, awe, courage, sorrow, apprehension, contempt, and admiration for the brave fellows who were the victims of a fatal blunder. Realistically historical, alas! not imaginative. Imaginative writing, n general, tends to a more delicate and graceful thought of life, wherein beauty dominates. There are notable excep tions, as in "Aux Italiens" and in "Lasca,"-two poems familiar to all. In "Lasca" the tragedy is swift and pitiless, bringing sorrow to the true-hearted and reckless cowboy; in "Aux Italiens," the heart-story throbs throughout; yet the listener would find it difficult to express an opinion as to which was the more fascinating of the two. The grief of the cowboy is no less poignant than that of the conventional English gentleman, who evidently prefers the artifice of nature to nature itself, for has he not consoled himself with the haughty marchioness? In "The Lotos-Eaters" and in "Drifting," dreamy and seductive, we find that which appeals strongly to the senses, wafting us to that intermediate plane neither of heaven nor of earth. Individuality is asserting itself at the present day, and the less hackneyed writings of an unknown or an unfamiliar writer greet us at every turn. When well read, they are a pleasure and an inspiration, for few can read Shakespeare to a general audience unless the accessories are present, and have him appreciated. The decadence of the drama and the superficial attitude that the public. maintains have resulted in a deplorable state of things. So long as the natural dialects of localities are given promiscuously and at inopportune moments, and while the public applaud the illiterate expression of a folk-lore which they would be horrified to use in their everyday life, so long will the advancement of elocution and the drama be retarded. Children are corrected for inaccurate expression as to grammar or otherwise, but are taught the folklore of a locality, which it may be well to preserve as a bit of local coloring, but which universities and schools are endeavoring to counteract daily. This apparent inconsistency is fatal to education. Preserve the local coloring by all means; write it, publish it and read it, judiciously-but do not teach it to children whose reason and judgment are still in abeyance. There are enough beautiful selections to choose from without drawing upon these contributions. It is not well for men to affect woman's mannerisms unless in impersonation; nor for a woman to recite "Roger and I," or "The Baby's Soliloquy," or similar incongruous selections. attributes, is necessary. It is not sufficient to accept Schiller's, or the popular verdict, of Elizabeth, for she was an intelligent woman, human, passionate, and craving sympathy, but goaded to desperation, hardened by the plots and the treachery surrounding her. See Ristori, in her marvelous portrayal of both characters, and you will understand how closely she is in touch with human nature. She never forgot that woman was a complex creation affected by the spirit of the age in which she lived. The great Siddons, as Lady Constance, stood in the wings, with her son Arthur, and heard the words which deprived her and the young heir of their rights. A mother's anguish could be depicted only by Upon our stage we have a few ex- one who followed the course of events cellent representatives, and many during the play, thought she, and, conscientious students, but the in- in consequence, she appeared regal, born germ of dramatic temperament, and gave the denunciatory lines with seeking expression spontaneously, is a power and a force never to 'be forpossessed by a limited number. If gotten. the establishing of schools of expression be encouraged, if greater knowledge be diffused relative to the whole gamut of human passions, if students be introduced to Euripides, Shakespeare, Molière, Dante, Schiller, and other great lights, from whom they can learn of humanity, its conditions, passions and qualities, will not a new school arise, a school in which appreciation will follow knowledge, and ambition follow appreciation? In memorizing, photograph the scene upon the brain and through repetition arouse the sluggish system to an appreciation of its meaning. Without natural enthusiasm the finest selection becomes a mere mechanism. An audience is reached through the magnetism of the earnest voice, the uplifted head, the sparkling eye, the grandeur of carriage and the perfect gesture. If one wishes to portray Marie Stuart and Elizabeth, a knowledge of history, religion, art, and woman's Rhythm is difficult to preserve in reciting, as it may become too metrical unless shaded to a fine degree. In "The Bells "-a most excellent practice-piece-a reader should be able to carry his audience at will, being the magician who calls up the winter scene of gaiety, the rapture and solemnity of marriage, the lusty fire-bells that proclaim discord and desolation throughout the land, and the death-knell of humanity. This gamut of emotions is beyond the ordinary reader, but constant drill upon this delightful poem will result in a fine piece of melodic mechanism. From the semi-tonic quality to the orotund, from the delicacy of youth to the strength of manhood, from nasal to liquid and to guttural intonation, rise and fall the chatter of children, the happiness of youth and the heart-throbs of humanity. It is sublime in its characteristics. We may well be proud of our poet. Descriptive poems usually please much better than those of greater delicacy and melodic measure. "What My Lover Said" has long been a favorite, and is capable, as indeed are many other familiar ones, of two conceptions,-archness or shyness may be used according to the temperament of the speaker. The introduction of monologues has been of great benefit to the reader, for it has given the opportunity for action that otherwise would have been incongruous. The one touch of nature that makes us all akin accounts for the success of the monologue. Action is second nature to an American, for the air breathes it and his individuality craves it. Thus, when he tells a story or an incident of travel, he acts it through a natural enjoyment of the situation. A few suggestions as to recent writings may interest the ambitious student. For general work, "Werner's Readings and Recitations" (sixteen numbers published) are well adapted, as they are well chosen and up to date; but there are many students who prefer selections not so familiar to the general public and not within the reach of all. The exclusive reader can be governed only by individual taste. Taste is, in reality, condensed experience, states an authority, and to this taste must the reader defer. Fiona MacLeod is a new writer, but she develops characteristics, in her short sketches, that are as original and strong as those of Olive Schreiner. In "The Sin-Eater and Other Stories," four pictures are given which are full of tone-color as well as of nature. The coloring is as varied as an artist could make it, and enables the reader to throw his emotions into a delicacy or a strength of move which electrifies the simple words and forms a picture which will remain indelibly impressed upon the imaginative nerve-centres of the brain. Colors worthy of Raphael, Corot, Turner, Manet, and other great artists, are revealed to one who reads and analyzes intelligently, as the tonecoloring of tragedy varies from inky black to lurid crimson and yellow; while the contrast to more buoyant and humorous situations may be reckoned as the emotions convey them, in white, pink, azure, or gray. True culture comes from within and may often be hidden under a rough exterior. It is the unison of physical and mental culture, acquired through the great interpreter, sympathy, that has produced the finest exponents of dramatic expression. I mean by that, natural expression that which is best in humanity. manity. "The Lost Joy " of Olive Schreiner embodies sympathy, the chord that links the real with the ideal. This The conscious utterance of thought by speech or by action to any end is art. In the drama there is a wide scope to be considered, for, too often, the best is not always wanted. is exemplified in the present day, when a total disregard of the unities and beauties of nature is observed in the methods of some of our best novelists, playwrights, managers, and actors. Life, the everyday emotions of humanity, the endeavor to bring into touch the real and the ideal, should govern all who seek to elevate the community. This should be accepted as a duty imposed lovingly upon each individual. Until artificiality is subordinated to nature, we can not advance spiritually, hence, artistically. Nature first, art second, monetary considerations last of all. Severity is not represented in the sweetest melodies nor in the finest architecture, but simplicity and repose and consistency which imply sincerity of purpose. ACTION. In Amiel's Journal, we read that "it is by teaching that we teach our selves, by relating that we observe, by affirming that we examine, by showing that we look, by writing that we think, by pumping that we draw water into the well." It is not the purpose of these suggestions to formulate a new system of expression or to avoid ideas already familiar to the readers of WERNER'S MAGAZINE. If a concise statement of the wellknown principles of action, so ably demonstrated by the many distinguished contributors to this magazine during its long and progressive career, be again presented, the stream which pours into this well of thought, from whence we quaff monthly draughts of inspiration, aspiration, and knowledge, may still prove palatable to the taste. As some sort of action involuntarily accompanies the delivery of any and every state of mind, we are led to an appreciation of the principles of form as seen in nature. Curve, straight line, and angle, on examination reveal the beauty of nature, and to the union of these three principles are owing the perfected works of God and of man. The cathedral of nature, a mighty forest, impresses one with its solemnity and grandeur; the cathedral built by man is equally impressive, for it expresses the best thought of the age-each line, angle, and curve of matchless precision and beauty thrills the beholder's imagination according to his degree of emotion. "How deeply I feel the profound and terrible poetry of all this! How present and sensible to my inner sense is the unity of everything!" says Amiel. To cultivate grace and beauty of expression in the human frame requires an appreciation of the same principles. We know direction is high, middle, or low; that the eye. should follow as the thought directs; that the inclination of the body should also indicate the thought;-in other words, that unity should govern the expression of the thought, whether of voice and facial action, or of voice and position, or of all members necessary to express more emphatically the importance of the thought, idea, or feeling. Then can the student say with Horace: "Go, hunt the hare and tire yourself by riding an unbroken horse. Go, strike the yielding air with the quoit. Then, when the toil has beaten out of you your daintiness, when you are dry and empty, despise, if you can, plain food, and refuse to drink any mead unless made of the best wine and honey. . . . The height of the enjoyment is not in the savor that costs so dear, but in yourself." In out-ofdoor exercise did the Greek girls stretch their muscles and ply their limbs, as the light of intelligence grew in their large eyes; nor did they hesitate to strike the back with the sole of the foot, so supple and swiftfooted were they. But facial expression must be considered at present, and the general law governing melody or skips, slides and moves, may be touched upon. It has been previously suggested that a light, delicate inflection required upward facial lines, and the lower or positive inflection, downward lines. To acquire flexibility, gymnastic movements of the eyes, nose, brows, lids, forehead, mouth, etc., are absolutely essential. To the orator as well as to the actor, thorough control of the head, eyes, nose, and lips accentuates the thought he conveys to the expectant and critical audience. Pause, the silent advocate, pleads more strongly if the facial line be maintained. The windows of the soul, the eyes, reflect the speaker's words more emphatically than the tongue; hence, it is to poise of head, to flexibility of those organs which are the last to succumb to the great Destroyer, that minute and careful outline should be given. In gesture or movements of the arms and the hands, we find various states of feeling expressed, as congenial, emphatic, aversive, concentrative, descriptive, designative, impersonative. In congenial gesture we recognize the character of the idea as corresponding with pure tone in an unexcited or an excited condition, and in the curve principle demanded. In emphatic gesture, we observe the use of the straight line and the angle as the thought may be forcible or abrupt. Aversive gestures usually demand the same as the emphatic, unless used in a playful sense. Concentrative gestures, always toward the body, are composed of the same three principles, as a rule, but they are exceptional or are expressed by the thought. Designative gesture, if emphatic in thought, necessitates the use of straight line and angle; if light, it demands the curve. The descriptive, used mechanically, embodies all these principles and, as its name indicates, it describes object, forms, etc. Impersonative gesture is used to imitate the action of another person. It will be observed that a few general laws govern gesture: (1) The character of the idea represents the gesture. (2) The length of gesture is in proportion to the length of the idea. (3) The degree of excitement demonstrates the rate of the movement. (4) The expression of gesture accompanies the voice during pause and action. (5) Direction is according to the location of thought. (6) The same gesture is never used twice in the same phrase, unless in argumentation. These simple rules may be supplemented by the thought of importance which determines the use of one or both hands. As the palm of the hand should be oblique and curved in congenial thought, as being the most unobtrusive and graceful, so in emphatic thought, it should be oblique and straight or closed as in strong emphasis. Again do we return to the principle of three, when we note the preparatory, expressive and return movement in gesture. We observe that in the use of congenial, emphatic, and aversive gesture, we send the hand from the body; in concentrative, toward the body. A little practical analysis will enable the reader to verify this through everyday expressions. There are many interesting exercises for developing the fingers, hands, wrists, and arms, which are beautiful and graceful when rhythmically practiced. Lay aside the thought of grace and beauty which result from this practice as of main importance, and ponder upon the principles and laws of expression instead. Consider exalted ideas, strong and powerful, in contrast to delicate delineations, carrying them through a series of degrees of excitement, thus stimulating the brain while grace is being acquired unconsciously. At times the speaker is too lavish with gesture and bewilders the audience with a series of gyratory movements which are meaningless and absurd. The old story of the pupil whose hands were tied to prevent this painful spectacle will recur to you, and that only when the strong, impassioned feeling could be no longer contained, he burst his bonds. asunder. Reserve force is so essential to a speaker that it would appear needless to mention it, but so often is it lacking that no occasion should be omitted to impress its value upon the student. Spontaneity and vivacity are exhilarating, but until the climax of a great and beautiful thought is reached, much care should be exercised in using these desirable and attractive attributes. In more powerful expression the force should be reserved until, like a storm overleaping the bar |