The purpose, in this part of the study, is, directly to increase the receptive power of the reader. He must first receive and experience, before he can really communicate. An effective utterance of emotional passages can never be secured by merely vocalizing emotional words. Such mechanical practice would surely result, either in an affected sentimentality, or in a revulsion and reaction of feeling. When once the reader has command of the vocal media for expression, the vital thing-embracing nine-tenths of all the labor -is to deepen and vivify the impression of the thing to be said. In the matter of emotion, particularly, this will usually be done in silence; but, if done with any effect, there must be some method of procedure; and the foregoing hints at emotional paraphrasing are intended to suggest the best practical way of accomplishing this purpose.

Examples. We may suggest a somewhat wider range than the foregoing analysis has indicated. Selections for the cultivation of this property may be those expressing intense merriment, jollity, ridicule (when jocose), pity, extreme tenderness, pathos, grief, rage, weakness (as of old age or sickness), extreme hesitation, fright or self-consciousness.

In addition to the examples above given many others may be found in Hamlet, Macbeth, Merchant of Venice, Julius Cæsar; in many graphic descriptions, occasionally in orations, and not infrequently in natural, unconventional conversation.

Caution in regard to the study of emotion. -The student must not suppose that any of these emotional qualities may be mechanically produced, as stops are drawn on the organ; they must be, in every case, the outgrowth of two things:

I. The sensitive, sympathetic condition of the mind, appreciating and keenly realizing the emotional significance of the passage to be delivered; and,

2. A thoroughly trained and responsive physical frame.

Moreover, it is not supposed that these qualities in any satisfactory degree can be cultivated by mere printed prescription. They all must be heard to be appreciated or understood. Yet the hearing of examples, however good, without some rational principle of interpretation, will result only in imitation, which is of all things most disastrous to expression.

The purpose in giving the above analysis in the order in which it is here presented, namely, the mental condition before the physical means of expression, has been to prepare the mind rightly to measure the occasions for the use of these different qualities, and so to facilitate both the spirit of interpretation and the technical development; for, as already said, even the technique itself develops more rapidly under the guidance of an analytic and sympathetic insight.

There is a tendency in all young readers and speakers to overdo these emotional effects. Their value will depend upon their genuineness and refinement. During the

process of technical preparation there may sometimes be a degree of exaggeration in these tone qualities; but as soon as they are applied to the purposes of actual expression, they must be employed with prudence and moderation. They must be mixed, as an old painter declared his colors were mixed, "with brains." It is certain that the emotional properties constitute the life-like colors, the "tone," of most word pictures. The true reader or speaker will never seek highly impassioned extracts for the mere display of his vocal technique; but the faithful interpreter must not fail rightly to measure this element, which is so vital in a large proportion of spontaneous utterance.

PART III.

THE VOLITIONAL ELEMENT.

You now are mounted

Where powers are your retainers; and your words,
Domestics to you, serve your will as't please

Yourself pronounce their office.

-Henry the Eighth II., 4.

The expres

HERE we have to do with the will. sional analysis will concern itself with different volitional conditions or attitudes; all of these will be more or less dependent upon preceding or accompanying emotional conditions; and these in turn upon the intellectual measurements of facts, truths, and relations. Thus the deliberative and discriminative elements in the thoughts will lead to the emotional; the emotional will induce the volitional.

In energy the will of the speaker bears upon the will of the listener, the object being to secure a certain attitude or action of will in the person addressed.

Subjectively, then, energy as a mood of utterance is the speaker's purpose to demand attention, to enforce his ideas, and to produce conviction. Objectively, it is the property in the utterance which expresses this purpose.

or

Energy may be:

1. General, pervading the entire passage or division;

2. Special, appearing in particular words or phrases. In this division of the work we shall study chiefly the special applications of energy, though these cannot be wholly separated from the general. The subject with which we are directly concerned is the action of the will in different forms of volition.

The Energetic Paraphrase.-As in Emotion, we may here employ both the objective and the subjective method:

1. Stating circumstances, facts, and considerations which shall show the reasons for the particular form of energy employed; and which will be chiefly objective; and,

2. Interlining and interwording such amplifying phrases, clauses, or sentences as shall serve to express more fully the degree of intensity and the particular form which the energy takes; as abruptness, insistence, uplift, establishment, or violence. This latter will be more subjective in its nature.

As a rule, it will be better to make the objective first; or at least to allow the objective element to lead in the paraphrase. This method, which presents prominently the reasons for the action of the will before stimulating the passional element, will tend to rationalize the volition.

In any case it is understood, of course, that the expansion is only mental. Energy requires conciseness in verbal expression more than do the other moods; but in proportion to the condensation in the phraseol