principle. It is, moreover, a use of paraphrasing that appeals to the consciousness of most thoughtful people. We may legitimately borrow the suggestion from the twin art of musical expression. Let us take an example.

The Golden Legend, by Longfellow, affords a good case. simple story in its plot.

It is a

A prince is stricken with a dread disease, which is pronounced "not to be cured, yet not incurable." . .

...

"The only remedy that remains,

Is the blood that flows from a maiden's veins,

Who of her own free will shall die,

And give her life as the price of yours."

In a pious peasant's home in the forest, whither the prince has betaken himself to suffer in seclusion, is found a maiden so self-forgetful and so generous that she is willing to give her life for that of the prince.

Such is the prose of the pretty story; such is the bare situation, which is not even fact. And yet there is a fact, or rather a truth, in this; for self-denial, the willingness to die for others, is not a legend or a myth.

And so the poet, with a deeper insight than that of a mere storyteller, puts into Elsie's mouth that wondrous prayer, beginning:

"My Redeemer and my Lord."

The poet has carried the germinal idea of self-denial through one stage of its development. It is now the office of the musician to carry forward the development through another stage.

Dudley Buck employed selections from this Golden Legend as the text of a cantata which is full of musical gems.

In this prayer of Elsie's, Buck discovered the separate yet blending moods of reverence, simplicity, humility, longing, and earnest entreaty. These moods or phases of the thought he has embodied in a beautiful tone-paraphrase, translating and amplifying Longfellow's thought in Elsie's prayer. The pleading is expressed in long, high notes with crescendo and diminuendo, and, usually, with descending cadence, the natural symbol of the soul's reach and aspiration. In shorter, broken phrases is expressed the eager, almost panting desire to be like Him who gave His life for all; while the allusion to His "bleeding wounds" is made in a changed theme, wherein the upper voices give a gently undulating melody, and an inner voice gives a trembling agitated motion

suggesting a quivering thrill, portraying the emotion of a soul deeply stirred by the pathos of the scene. The tenor in the accompaniment gives the effect of a tremulous feeling, showing intense agitation.

"Scourged and mocked and crucified"

a

is given by the hard and usually unmelodic interval of the augmented second, followed by a long, high note with a descending octave, wail of sympathetic anguish :

"And in the grave hast thou been buried."

Two simple chords,

a hush; and the singer's voice descends in

gentle, mellow cadence, the language of reverent pity.

Then comes, in another key, a simple, almost childlike melody accompanying the words:

"If my feeble prayer can reach Thee."

This grows fuller, bolder, with the return of the pleading element, which culminates in the intense desire :

"Let me, bleeding as thou bleedest,

Die, if dying I can give

Life to one who asks to live,

And more nearly, dying thus, resemble Thee."

With these last words the song subsides into a fully prepared, complete cadence, giving that sense of repose and satisfaction which portrays an earnest soul at perfect peace.

When one has absorbed the fuller expansion of the scene in Buck's setting of it, he sees no longer a sick prince and a sentimental girl. What if the story, but a myth at first, does lose its tragedy, and end in common love-tale fashion? It is not the fate of the girl Elsie that has grown upon you, but the sense of faith, humility, power, self-denial, strong spiritual aspiration, which are ever the veriest of all true things. It is this interior meaning which is brought out through the medium of tone. It is not too much to claim that an artistic literary rendition of Longfellow's lines might become possible through a mental absorption a subjective expansion — quite similar to that given by the musical interpretation. The fact that the musical rendering is more definite and tangible makes it one of the most helpful means of realizing the essentially identical end in case of a vocal artist who attempts the equally subtle and practically more useful task of interpretation through speech.

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The student will find illustrations of similar tone-paraphrasing in many songs, especially those of the romantic school. Good examples are: "The Two Grenadiers," by Schumann; "The Wanderer" and "The Linden Tree," by Schubert; "Bid me to Live," by Hatton; A Name in the Sand," by Tours; "The Creole Lover's Song," by Buck; and very many cases of recitative, the form of musical composition in which song and speech come perhaps the nearest together.

CHAPTER III.

TYPES OF UTTERANCE.

Analysis. Purpose is the basis of classification. The Formulative type is concerned with perception, and is manifested by composure and ease in action, and by the tone element of time. The Discriminative addresses the reasoning powers, showing relations of thought, and is revealed by antithetic gesture and by inflection. The Emotional addresses the sensibilities, and is manifested by sensitive changes in movement and tension, and by tone-color. The Volitional addresses the will, seeking to dominate, and is symbolized by force or pressure in the action and in the tone. Final purpose dominates the article as a whole; Special purpose, the paragraph or sentence. The Special determines the momentary utterance, but is influenced by the general. Sequence of dominant moods is usually observed in well-ordered speech, especially in oratory. The usual order is the same as here given, illustrated by Mark Antony's funeral oration.

As we have already seen, there are two departments in the study of vocal expression, the psychical and the physical. The logical order is, first, the thought viewed in the light of the purpose for which it is to be communicated; then, the means of accomplishing that purpose; the processes of thinking or conceiving first, afterward expression in tone and action.

Purpose is made the basis of classification, analysis, and practical study, because it is regarded as the regulating principle in all communication. By "type of utterance" is meant, on the part of the speaker, the purpose to pro

duce a given effect in the mind of the listener. In the utterance itself it is that property which expresses this purpose. The special business of criticism upon delivery is to point out the agreement or disagreement between the thought as conceived and the thought as expressed.

CLASSIFICATION WITH REFERENCE TO PURPOSE IN

UTTERANCE.

1. The Formulative Type, addressing the faculties of perception, and aiming primarily to present thought-units discretively, not in connections or relations.

Composure, ease, and firmness are the general properties of action expressing formulation. They express selfpossession, with a readiness to open and unfold ideas. The gestures are less frequent, less varied, less intense, than in other types of utterance. Gestures most natural for this type are those which indicate, open, reveal, present. They are unimpassioned, simple, and small. In the limited use of gesture which is appropriate to the formulative type, the position of the body becomes specially important. This should, as a rule, be reposeful, or moderately animated.

The tone element which is the special symbol of formulation is Time, measured both in rate of movement and in the grouping of elements.

2. The Discriminative Type, addressing the reasoning powers, and aiming to show relations of thought. This type deals with parts, as formulation deals with wholes.

Discriminative gesture usually consists in opposition or contrast of movement. This is the natural symbol of antithesis, which underlies most discriminative utterance.