Read Ebook: Evolution of Expression — Volume 1 by Emerson Charles Wesley

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ANALYSIS.

The basis of intelligent vocal interpretation of literature is careful analysis. One cannot express shades of meaning that are not in the mind; until one clearly perceives the motives and relationships of the selection, he cannot reflect them to others. Too much cannot be said upon the importance of thorough thought and study of a selection previous to any effort toward expression. It is needless to explain that one cannot give what he does not possess; and it is equally self-evident that one gains by giving. Long and thoughtful quiescent concentration should precede the concentration of mind while speaking. The author's words are like a gold mine which must be searched by thorough digging for the nuggets of thought beneath. The pupil must live with his author, see through his eyes, think with his intellect, feel with his heart, and choose with his will, picturing to himself every scene, putting himself in the place of every character described.

Like every organism every true work of art has organic unity; it represents a unit of thought, the WHOLE, made up of essential PARTS. Each part is a part of the whole, because in its own way it reflects the whole. The perfect unity of an organism or of a work of art results from the service rendered by each part to every other part.

Here, then, is the logical order of analysis: first, the WHOLE or unit of thought; second, the PARTS; third, the SERVICE, OR THE USE OF THE PARTS; fourth, the RELATIONSHIP OF THE PARTS which is the highest service and results in revelation. In determining this higher service we are reconstructing our whole from the unit of the selection to the revelation of truth resulting from the relationship of parts; the analysis must culminate in synthesis, else it would defeat its purpose. The end of literature, as in other forms of art, is revelation. The end of analysis is to lead to the perception of this revelation. In the earlier stages of development the pupil's attention should not be directed toward minute analysis. At this period his mind is engrossed with the principal thought or unit of the composition,--the dominant theme which is developed in every organic literary composition. Let his mind rest upon this until he lives in the spirit of the theme through a passion for reflecting it to others.

Inasmuch as an attempt to define always limits, it is a question how far it will be profitable to formulate definite statements of the whole, parts, etc. Written expression, as well as oral, is individual. Each pupil may have a different formulation. Inasmuch, however, as every author is possessed by a definite purpose, we may suggest, for the guidance of the student, a tentative analysis of a selection which may aid him in reflecting its truth to an audience.

It is hoped that this brief study of one selection from each chapter may be acceptable as a working basis, a hint of the logical method of procedure rather than an arbitrary model. The elaboration of these principles is without limit and must be left to the teacher. It is the purpose here to give only simple statements intended to be suggestive rather than final.

Example: "The Cheerful Locksmith."

The Unit, or Whole for working basis: The character of the Cheerful Locksmith.

The Parts:

The sound he makes. Paragraphs 1, 2, 3, 7.

His personal appearance. Paragraph 4.

The appearance of objects around him. Paragraphs 5, 6.

The Service of the Parts:

Serves the Whole by engaging the interest at once in the Cheerful Locksmith, whom it introduces, and whose nature it reflects.

Serves by presenting a definite picture of him, radiating cheer.

Serves by revealing further his cheerful personality through its effect upon surrounding objects.

The Relationship of the Parts:

Foreshadows and .

Fulfils the expectation awakened in and helps to prepare the mind for .

Is a natural outgrowth from and .

Synthesis:

The revelation of truth through these relationships gives us a "New Whole" which maybe stated thus: The spirit of cheerfulness, radiating from the Locksmith's personality and expressed through his work, is reflected by all around him.

The above analysis is suggested as a guide for study. A tentative analysis of each selection might be offered here; but it is better that the student develop his own powers of discrimination by doing this preliminary work himself, directed, as far as necessary, by the teacher. However, it is not essential that a formal analysis of every selection be made; indeed, as has been already implied, minute analysis may even defeat the end of these opening chapters. The question of formal analysis may be left to the discretion of the teacher, who must determine how far it serves his purpose in each individual instance.

The immediate aim of drill on "The Cheerful Locksmith" should be a hearty response to the spirit of the Whole, however much beyond that may be achieved. The student must be inspired by an ardent desire to awaken the interest of his audience in "The Cheerful Locksmith," as does one who through introductory remarks presents the "speaker of the evening."

It is to be thoughtfully noted that all the selections in this and the three succeeding chapters have been chosen for their easy adaptability to use in the first natural period of art-- expression, the Colossal period. They are selections with an easily distinguishable theme. Throughout these chapters the mind of the student should be engaged with the motif of the selection as it first catches the mind. Nothing in later study can make up for the loss of the first glow, the undefined answering response to the animating spirit of a writer's message. His differentiated meanings, his elaborations of theme for the purpose of increased force, intensity or suggestion are but useless lumber to a mind that has not throbbed in sympathy, scarce knowing why. It is just here that almost all teaching in both literature and its expression fails; there is not enough browsing--knee-deep, waist- deep,--for the pure joy of it.

SMOOTHNESS.

At first, the student may find it difficult to concentrate the minds of his hearers upon his theme steadily and continuously. His ability to do this may come spasmodically. This irregular mental activity reports itself in unevenness of delivery; life appears in gleams not in steady shining. But with continued effort to concentrate other minds upon his subject, this unevenness gives place to ease in delivery, to smoothness of voice. Continuity of thought impels smoothness of expression. When a thought is held steadily in the mind of the pupil, together with a dominating purpose to communicate that thought to others, the tones of his voice become evenly sustained and smooth.

Smoothness may be said to result from a sense of oneness with the audience. So long as there is a gulf between the speaker and audience, there is conscious and apparent effort in the address. It is a growing love, a vital sympathy with the audience that manifests itself in smoothness.

This second step grows in natural sequence out of the first. Out of the abundance of life comes sweetness. In all the successive steps of the pupil's evolution, he is constantly to add, never to discard or lay aside any power previously gained. Rather than outgrow it, he will grow in it. All that he will outgrow will be his faults, his mannerisms, his limitations. As he gains freedom, transcending limitations, his mannerisms will fall away from him; he need never be made conscious that he has had them.

Analysis. Example, "The Village Preacher." The Unit, or Working Whole: A village preacher who radiates the spirit of love.

The student's endeavor must be to reflect continuously the overflowing love of the preacher's nature, which blessed all with whom he came in contact. The audience should feel the presence of the great-hearted man throughout the reading of the entire selection, even when he is not described. For instance, he may be foreshadowed in the introduction.

VOLUME.

Out of the effort toward continued concentration is born the perception of values. Dwelling upon the thought and striving to hold it steadily in the minds of those who listen, the pupil begins to perceive its greater value, and to realize that the expression of this value will aid him in holding the attention of his audience. His will becomes more definitely aroused. Feeling his new power, he should be inspired to direct it definitely toward his hearers. This new element of will directed through the perception of value expresses itself in the added quality called volume of voice.

Here, as everywhere, the discernment of the teacher must be relied upon to detect the difference between true and mechanical expression. Failure on the part of the pupil to perceive what is desired may lead him to offer, as a counterfeit of volume, force or loudness. Volume of voice, free from both, is the expression of the growing appreciation of values.

Analysis. Example: "Spartacus to the Gladiators."

The Unit, or Whole: The personality of Spartacus revealed through his effort to inspire his fellows with the spirit of liberty.

The theme which Spartacus presents is of universal value--the spirit of liberty, dear to all mankind. This value must be realized by the student, who must make the effort of Spartacus his own effort, throughout the entire selection. The value of the theme must be behind every spoken word, felt, if not uttered.

FORMING THE ELEMENTS.

Careless enunciation, which so mars the beauty of a speaker's discourse, is usually due to careless thinking. Clear speaking comes from clear thinking. Exceptional cases of long confirmed bad habits, faultily trained ears, or defects in the vocal apparatus, sometimes make technical drill to meet individual cases, a necessary supplement to the persistent practice in earnest revelation of thought. But in ordinary cases the speaker's endeavor to impress his hearers with the parts which make up his discourse will result, in due time, in accurate, distinct articulation. With continued practice this perfection of speech will become habitual. Spirit moulds form; this law cannot be overemphasized. In this new stage of the pupil's development, as always, the desired result proceeds as an effect from an inner psychological cause; it is a natural and spontaneous outgrowth, rather than a dull and lifeless form.

Analysis. Example: "The Song of the Rain." UNIT, OR WHOLE: The beneficence of rain after a drought. Here the student should hold the attention of the audience upon the distinct features of the picture presented. He should make his hearers see and enjoy the rain and appreciate the response of nature and of people to its refreshing influence.

ANIMATION.

THE TEA-KETTLE AND THE CRICKET.

This end attained, the kettle, being dead beat, boiled over, and was taken off the fire.

CHARLES DICKENS.

THE PIED PIPER OF HAMELIN.

At last the people in a body To the Town Hall came flocking; "Tis clear," cried they, "our Mayor's a noddy; And as for our Corporation,--shocking To think we buy gowns lined with ermine For dolts that can't or won't determine What's best to rid us of our vermin! You hope, because you're old and obese, To find in the furry, civic robe ease? Rouse up, sirs! Give your brains a racking, To find the remedy we're lacking, Or, sure as fate, we'll send you packing!"

At this the Mayor and Corporation Quaked with a mighty consternation. An hour they sat in council.

At length the Mayor broke silence: "For a guilder I'd my ermine gown sell; I wish I were a mile hence. It's easy to bid one rack one's brain, I'm sure my poor head aches again, I scratched it so, and all in vain. Oh, for a trap, a trap, a trap!" Just as he said this, what should hap At the chamber door but a gentle tap. "Bless us!" cried the Mayor, "what's that? Anything like the sound of a rat Makes my heart go pit-a-pat."

"Come in," the Mayor cried, looking bigger; And in did come the strangest figure; His queer long coat from heels to head Was half of yellow and half of red. And he himself was tall and thin, With sharp blue eyes, each like a pin, And light, loose hair, yet swarthy skin-- No tuft on cheek, nor beard on chin, But lips where smiles went out and in, There was no guessing his kith or kin; And nobody could enough admire The tall man and his quaint attire.

"And I chiefly use my charm On creatures that do people harm,-- The mole, and toad, and newt, and viper,-- And people call me the Pied Piper; Yet," said he, "poor Piper as I am, In Tartary I freed the Cham Last June from his huge swarm of gnats; I eased in Asia the Nizam Of a monstrous brood of vampire-bats; And, as for what your brain bewilders, If I can rid your town of rats, Will you give me a thousand guilders?" "One? fifty thousand!" was the exclamation Of the astonished Mayor and corporation.

Into the street the piper stept, Smiling first a little smile, As if he knew what magic slept In his quiet pipe the while; And ere three shrill notes the pipe uttered, You heard as if an army muttered; And the muttering grew to a grumbling, And the grumbling grew to a mighty rumbling, And out of the houses the rats came tumbling,-- Great rats, small rats, lean rats, brawny rats, Brown rats, black rats, gray rats, tawny rats, Grave old plodders, gay young friskers, Fathers, mothers, uncles, cousins, Families by tens and dozens, Brothers, sisters, husbands, wives,-- Followed the piper for their lives. From street to street he piped advancing, And step for step they followed dancing, Until they came to the river Weser, Wherein all plunged and perished.

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