CHAPTER VII.

EMOTION.

Analysis. Emotion is connected with the intellectual and the volitional; symbolized by sensitive pantomimic conditions and resultant tone color; Normal feeling; Simple, healthy; Repose and elasticity. Pure quality secured by physical and vocal exercises, singing and chanting, reading musically. Enlarged feeling expressive of the grand, noble; Expansion of frame, depth and volume of tone, chest vibrations predominating; Expansive subjective paraphrase. Suppressed feeling, tenderness, weariness, secrecy, intensity; varying pantomimic conditions, aspirated quality; Best types are modifications of the normal; Oppressed or covered feeling expressing solemnity, awe, and the like; Practical forms, reverence, compassion, wonder, meditation; Bodily attitude tending toward recoil; Pectoral quality. Stern or severe feeling more or less abnormal; Pantomimic condition approaching antagonism; Tone tense; Paraphrased by interjected remarks and exclamation. Agitated feeling, merriment or grief; quiver of nerve, tremble of voice, "vibrato;" Spirit and method in the study of Emotionality.

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 formulation and discrimination are presupposed.

On the other hand, feeling, in most cases, tends directly toward action; it generally leads to, and justifies, some distinct form of volition.

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.

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Quality" of tone, in the general sense, is that characteristic which depends upon the degree of purity and volume, or of harshness, breathiness, or interruption of vibration. 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. purpose of analysis.

But we study them apart for the

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 particular kind of feeling it expresses.

It is not meant that there are six classes and no more, nor that these six are always clearly distinguished from each other; but that these give us sufficiently definite types for practical classification, just as in colors we recognize seven elemental kinds, or types, of which there may be an indefinite number of shades and combinations.

It is the province of Psychology rather than of Expression, to discuss the laws of reflex action by which varying types of feeling manifest themselves in corresponding physical states and instinctive actions.

We give here only a general classification of emotions, based on observation and consciousness, together with a brief description of their respective manifestations in body and voice.

I. NORMAL FEELING.

Under this term is comprehended all that belongs to the most healthy, undisturbed, well-balanced, comfortable and comfort-giving emotions.

It includes the emotions of the agreeable, the cheerful, the conciliating, the commendatory, or that which may be called simple, natural, or commonplace. This type of feeling lies nearest to the condition in which there is no marked emotion; and yet it must characterize a large portion of our daily speech and of public utterance.

Its

chief element is the natural pleasure felt in meeting another mind, and in communicating thought. This, of itself, gives a certain degree of animation and pleasure.

Repose and Elasticity in combination are the pantomimic expression of normal feeling. The attitude will usually be either that technically called "repose," or that of mild "animation." The general texture of the body will be that of moderate relaxation tempered with a certain buoyancy and readiness for prompt, easy action. As a rule, gesture will be used but slightly; the tendency will perhaps be toward the lighter types of demonstrative gesticulation, such as revealing, affirming, inquiring, supporting.

Pure Quality is the vocal exponent of normal feeling. This is the simplest musical vibration. It is full and resonant, but not necessarily loud. It is the result of the normal action of the vocal organs. Such action produces the maximum of elasticity, concentration, and resonance, with the minimum of muscular effort. It agrees with the laws of sound, producing a self-propagating, automatic tone-wave, unmodified by any additional breath and uninterrupted by muscular contraction.

The "pure tone" is more objective in its effect than is any other quality; that is, it transmits thought with the least suggestion of the personality of the speaker.

This quality of tone is to be secured :

(1) By proper physical and vocal exercises.

(2) By singing and chanting poetry and prose.

(3) By reading musically; that is, preserving the same kind of vibration as in singing, but adding clear articulation, and rhetorical groupings and inflections. "Musical" reading is not designed to induce droning or a "sing-song" style. It need not be monotonous. It

must be vibrant. The tone is to be placed in the front of the mouth. All parts of the vocal apparatus are to be flexible, elastic, vigorous, but perfectly easy in their action. The body must be kept in perfect poise, either in repose or in animation; and the whole being is to be animated, but restful.

II. ENLARGED, OR ELEVATED FEELING.

This class includes emotions roused by the contemplation of what is noble, grand, sublime, deeply serious, and earnest. It involves an expansion, an elevation, a broadening and intensifying of natural and wholesome emotions.

Its physical or bodily expression is an expansion and a fuller activity throughout the frame. The attitude will most naturally be that of animation, the entire body sympathizing with, and helping to produce, the sense of breadth, elevation, and enlargement.

Example. Aspire to a worthy ambition.

It is natural that such emotions should express themselves through a vocal action which perceptibly fills and thrills the entire extent of the air-chambers, and, sympathetically, the entire frame, with deep, voluminous, yet agreeable vibrations.

The Expanded Pure Tone, commonly called "orotund," is of this character. It is deeper and fuller than the simple pure tone. The lower chest vibration is a specially noticeable feature in it, giving a strong sense of heartiness, depth, earnestness, fullness of experience.

Begin practice with the simple pure tone, based upon