through intonation will greatly assist in interpreting spoken thought, and in reading character. The discriminative properties of intonation are the nicest indications of a cultured mind. The following passages are specially favorable for discriminative analysis: John ix. I Cor. xv. 35-54. Hamlet, Act 1, Scene 1, lines 1-60. PART II. THE EMOTIONAL ELEMENT. He only is advancing in life whose heart is getting softer, whose blood warmer, whose brain quicker, whose spirit is entering into living peace.-Ruskin. Definition of Emotion in Expression.-Emotion, as a mood of utterance, is directly concerned with the sensibilities. Subjectively, it is the speaker's purpose to reveal his feeling, or to allow the feeling to manifest itself, in regard to the subject of discourse; and to awaken similar feeling in his hearers. We must distinguish between the final, and the momentary purpose, as it regards emotion. The final purpose has reference to the mood, or state of mind, to which the speaker wishes to bring his listeners, as the result of the entire communication. The momentary purpose has to do either with the means to that end, or with incidental or parenthetical thought. The final purpose may dominate the whole speech, greatly modifying the feelings in the incidental and intermediate matter; or it may, at first, be completely covered and concealed. Cases in which the final purpose dominates the whole perceptibly, are such as the following: "How They Brought the Good News from Ghent," by Browning; "Lochinvar," by Scott; Lincoln's Dedication Speech at Gettysburg; Webster's speech on the White Murder Case; and Blaine's Eulogy on Garfield. Examples of temporary concealment are: Antony's Funeral Eulogy; Portia's Court Room Speech; Wendell Phillips' lecture on "Idols." In practical study we must inquire as to both the final purpose and the momentary. The latter will, of course, be subservient to the former, and will be modified by it; yet we must often lose sight, temporarily, of the final aim, and give ourselves up for the moment to the passing thought or feeling. Nothing is more subtile, more varied in its combinations, more difficult to trace and analyze, than the element of emotion in expression; yet nothing else gives to delivery such color, warmth, reality, and effectiveness. We must, therefore, attempt to survey at least the leading lines of feeling and their means of expression, respectively. First, however, we must notice some of the relations of Emotion, and consider the general means for its expression. We shall then be prepared to take up the leading classes of feeling as related to utterance, devoting to each a separate chapter. Relations of Emotion.-Of necessity many elements enter into the full measurement of emotion, because emotion itself is complex, and is dependent upon many conditions and relations. The cause of the feeling must usually be apparent, and especially must the relations of ideas, out of which the feeling grows, be obvious. Hence, the elements of deliberation and discrimination are presupposed. On the other hand, feeling, in most cases, acts directly upon the will; it generally leads to, and justifies, some distinct form of energy. Emotion thus stands logically between the intellectual and the volitional; it is induced by perception of facts and relations, and it leads to the commitment of the will to some definite state or action. Means of Expression.-The expression of emotion cannot be fully given until all the elements of thought and utterance have been analyzed. We may, however, note here its two principal features, which are bodily bearing and tone-color, or quality. All emotional states are most directly symbolized by the general condition of the body; including, (a) The bearing; (b) The attitude; (c) The "texture"-or degree of contraction or relaxation in the muscles; and, (d) Specific action, or gesticulation. It must be remembered, in the discussion of all the types of emotion, that these general physical conditions, which are called "pantomimic expression," naturally precede and induce the corresponding tone-quality, which becomes the vocal expression of the emotion. The characteristic element in the vocal expression of emotion is "quality," or "color," of tone. Whatever other elements may be present or absent, if the thought is prevailingly emotional, this tone-element must characterize the expression. A distinction must be made between "quality" and "property." The latter is a generic term; the former, specific. "Property" as here used, means any essential attribute of tone,-that which inheres in it of necessity; that without which the tone could not exist. Thus the properties of tone are time, pitch, quality, or “color," and force. "Quality" in tone is that characteristic which depends. upon the degree of purity and volume, or of harshness, breathiness, or interruption of vibration. In every case it should agree with the general condition of the body; and usually is directly induced by such condition. The bearing, muscular texture, government of breath, gesticulation, facial expression,-in short, the whole pantomimic manifestation of the mind's attitude and action, have very much to do with the distinctive qualities of the voice. Practically, we never study tonequalities apart from these analogous elements in pantomimic expression. For the purpose of the present analysis, however, we shall speak of the tone-qualities. by themselves. We recognize six distinct qualities, which fit approximately, and under the modifications above named, as many distinct classes of emotions. Each of these we shall give in connection with the feeling it expresses. particular kind of |