This is the beginning of all gospels,--that the kingdom of heaven is at hand just where _we_ are. It is just as near us as our work is, for the gate of heaven for each soul lies in the endeavor to do that work perfectly.

But to bend this talk back to the word with which we started: will this striving for perfection in the little thing give "culture"?

Have you ever watched such striving in operation? Have you never met humble men and women who read little, who knew little, yet who had a certain fascination as of fineness lurking about them? Know them, and you are likely to find them persons who have put so much thought and honesty and conscientious trying into their common work--it may be sweeping rooms, or planing boards, or painting walls--have put their ideals so long, so constantly, so lovingly into that common work of theirs, that finally these qualities have come to permeate not their work only, but so much of their being that they are fine-fibred within, even if on the outside the rough bark clings. Without being schooled, they are apt to instinctively detect a sham,--one test of culture. Without haunting the drawing-rooms, they are likely to have manners of quaint grace and graciousness,--another test of culture. Without the singing-lessons, their tones are apt to be gentle,--another test of culture. Without knowing anything about Art, so called, they know and love the best in _one_ thing,--are artists in their own little specialty of work. They make good company, these men and women,--why? Because, not having been able to realize their Ideal, they have idealized their Real, and thus in the depths of their nature have won true "culture."

You know all beat.i.tudes are based on something hard to do or to be.

"Blessed are the meek": is it easy to be meek? "Blessed are the pure in heart": is that so very easy? "Blessed are they who mourn."

"Blessed are they who hunger and thirst--who _starve_--after righteousness." So this new beat.i.tude by its hardness only falls into line with all the rest. A third time and heartily I say it,--"Blessed be Drudgery!" For thrice it blesses us: it gives us the fundamental qualities of manhood and womanhood; it gives us success in the thing we have to do; and it makes us, if we choose, artists,--artists within, whatever our outward work may be.

_Blessed be Drudgery_,--the secret of all culture!

And now, as a final step in this preliminary study, a step which shall again give practice in both forms of expression, you are to choose from your vital interests one concerning which you hold intense convictions.

First you are to set forth these convictions in the strongest piece of persuasive prose you can command: this is work for your study. Second, you are to summon all your vocal resources, and, with the one idea of persuading us of the truth of your convictions, make to us for them a direct appeal: this work is for the cla.s.s-room. So shall we have combined the preliminary study in vocal expression of _direct appeal_ with the preliminary study in verbal expression of _persuasion_.

FIRST STUDY

TO ESTABLISH VITALITY IN THINKING

Among the axioms of our subject-matter already formulated stands this one: reading aloud is thinking aloud. If reading aloud is thinking aloud the quality of the reading will depend, of course, upon the quality of the thinking. But while clear thinking does not a.s.sure lucid reading (since there are other elements in the problem), the converse is true, that good reading implies clear thinking. For it is impossible to read convincingly unless one is thinking vitally, which brings us to the object of this study: _To Establish Vitality in Thinking._

Do you know what it means to think vitally in reading? It means a concentration of your mind upon the thought before you until you, yourself, seem to be thinking that thought for the first time,--until you seem to be bringing forth a thought of your own conception instead of rethinking the conception of another's mind. Is this a familiar experience? It must become one if you are to become a true interpreter.

For the true interpreter is first of all the keen thinker.

We do not say of the great actor, after a performance of Hamlet, "He played Hamlet wonderfully!" We say, rather, "He was Hamlet." The great actor creates the part he plays each time he plays it. He creates the part by living the part. Even in the same way the great interpreter creates the thought he voices through a concentration of mind which appropriates the thought and makes it his own to voice.

We have said that the greatest need of the human heart is for self-expression. To satisfy the heart that act of expression must be a creative act. True interpretation is creative expression. The fundamental step toward creative expression is complete possession of the thought to be expressed. Complete possession depends upon your power to concentrate your mind upon a thought until it is your own. The first step in interpretation is to establish vitality in thinking.

The new arithmetic trains the mind to see the relation behind the mathematical statement of the relation. The child who "says his tables"

to-day is not repeating by rote words and figures, he is realizing vital relations, he is developing a sense of proportion, he is learning to think vitally. The old method in arithmetic left the statement "two times one is two" a cold mathematical fact; the new method makes it a key to living relations. One in the "tables" of the child in mathematics to-day stands for a definite object, and the statement "two times one is two" is an interesting and significant fact. The statement through imaginative thinking, which is vital thinking, may be invested with personal significance and become a personally interesting fact. Try it!

Say your "tables of one" up to ten times one is ten, _thinking vitally_, which means getting behind the statement of the relation to the relation itself, behind the sign to the thing signified. Let your "one" stand each time for something you desire--as a small boy might desire pieces of candy, or a miser "pieces of eight"; now think vitally in this way and say, "Ten times one is ten!" What has happened to the mathematical fact? It has become a living expression!

This might be called _interpreting_ our mathematics. Why not? That is the surest way to master them! It is the surest way to mastery of any subject, of any art, of Life itself. It is the only real way. But we have leaped from the part to the whole, from the study of a detail to an application of the law governing the whole subject. Back we must go to our special point. If we can turn the statement of a cold mathematical fact into the expression of a living vital relation by thinking vitally, so investing the fact with personal significance and making it our own, what can we not do with the more easily appropriated thought which poets and philosophers and play-writers have given us, and with which rests our especial concern as interpreters? Let us see what we can do! But first there is one other point to be considered in this question of _vital thinking_. We have spoken of one aspect of the process of the mind in thinking,--the _concentration_ upon an idea until it is one's own. But there is the pa.s.sing of the mind from idea to idea to be noted.

This phase the psychologists name "transition." This alternate concentration and transition const.i.tutes the "pulsing of the mind" in reading, which Doctor Curry discusses so vitally in his _Lessons in Vocal Expression_. Now transition is an inevitable result of concentration and follows it as naturally as expiration follows inspiration. This being true, we need only note, in our study of the process of the mind in reading aloud, the question of transition, letting it follow naturally the fundamental act of concentration which is our chief concern. If the intense concentration is accomplished the clean transition will follow. In choosing material which shall require for adequate interpretation this intense concentration of the mind, we find our source, of course, to be the literature of thought rather than the literature of feeling. The literary form which seems to furnish the best examples for our purpose at this point is the essay where the appeal is, primarily, at least, an intellectual appeal. For my own suggestive a.n.a.lysis and for our preliminary study in vital thinking I have chosen paragraphs from Emerson's essays because Emerson's almost every paragraph is an essay in miniature. The story is told of the gentle seer that once in the midst of a lecture he dropped all the pages of his ma.n.u.script over the front of the pulpit. The incident disturbed his auditors greatly until they saw Mr. Emerson gather up the leaves and without any effort at rearrangement in the old order begin to read as though nothing had happened. Every sentence was almost equally pertinent to the main theme, and suffered not from a new juxtaposition. So in printing extracts from this source we feel no sense of incompleteness.

SUGGESTIVE a.n.a.lYSIS

Let us read this pa.s.sage from Emerson's _Experience_:

To finish the moment, to find the journey's end in every step of the road, to live the greatest number of good hours, is wisdom. It is not the part of men, but of fanatics--or of mathematicians, if you will--to say that, the shortness of life considered, it is not worth caring whether for so short a duration we were sprawling in want or sitting high. Since our office is with moments, let us husband them. Five minutes of to-day are worth as much to me as five minutes in the next millennium. Let us be poised, and wise, and our own, to-day. I settle myself ever the firmer in the creed that we should not postpone and refer and wish, but do broad justice where we are, by whomsoever we deal with, accepting our actual companions and circ.u.mstances, however humble or odious, as the mystic officials to whom the universe has delegated its whole pleasure for us.

If you do not think your way through this paragraph clearly, concisely, logically, intensely, when you read it aloud your voice will betray you.

In what way? Your tone will lack resonance, your speech will lack precision, your pitch will be monotonous, your touch will be uncertain, your inflections will be indefinite. Your reading will be unconvincing, because it will fail in lucidity and variety. In approaching this pa.s.sage let us study first the question of proper emphasis. What is emphasis? The dictionaries tell us that, in delivery, it is a special stress of the voice on a given word. But we must use it in a broader sense than this. To emphasize a word is not merely to put a special stress of the voice upon that word. Such an attack might only make the word conspicuous and so defeat the aim of true emphasis. True emphasis is the art of voicing the words in a phrase so that they shall a.s.sume a right relation to one another and, so related, best suggest the thought of which they are the symbols. I do not emphasize one word in a phrase and not the others. I simply vary my stress upon each word, in order to gain the proper perspective for the whole sentence. Just so, in a picture, I make one object stand out, and others fall into the background, by drawing or painting them in proper relation to one another. I may use any or all of the "elements of vocal expression" to give that proper relation of values to the words in a single phrase. I may pause, change my pitch, vary my inflection, and alter my tone-color, in order to give a single word its full value. Let us try experiments in emphasis with some isolated sentences before a.n.a.lyzing the longer pa.s.sage. Here is one of Robert Louis Stevenson's beautifully wrought periods:

"Every man has a sane spot somewhere."

Let us vary, vocally, the relative values of the words in this sentence, and study the effect upon the character of the thought. Let us look upon the statement as a theme for discussion. With a pause before the second word, "man," a lift of the voice on that word, a whimsical turn of the tone, and a significant inflection, we may convert an innocent statement of fact into an incendiary question for debate on the comparative sanity of the s.e.xes. A plea for endless faith and charity becomes a back-handed criticism of women. Now let us read the sentence, giving it its true meaning. "Every man has a sane spot somewhere." Let your voice make of the statement a plea, by dwelling a bit on the first word and again on the last word. Hyphenate the first two words (they really stand for one idea). Compound also the words "sane" and "spot." Lift them as a single word above the rest of the sentence. Now put "somewhere" a little higher still above the level of the rest of the sentence. So, only, have we the true import of this group of words:

some

where.

sane-spot

Every-

man has a

a.n.a.lyze the rest of these sentences from Stevenson in the same way, and experiment with them vocally.

That is never a bad wind that blows where we want to go.

For truth that is suppressed by friends is the readiest weapon of the enemy.

Some strand of our own misdoing is involved in every quarrel.

Drama is the poetry of conduct, romance the poetry of circ.u.mstance.

You cannot run away from a weakness; you must sometime fight it out or perish; and if that be so, why not now, and where you stand?

An aim in life is the only fortune worth the finding; and it is not to be found in foreign lands, but in the heart itself.

The world was not made for us; it was made for ten hundred millions of me, all different from each other and from us; there's no royal road, we just have to sclamber and tumble.

Now, once more, and this time with detailed a.n.a.lysis, let us study the pa.s.sage from _Experience_. Let us first consider for a moment some of the words which make this pa.s.sage powerful: _finish_, _journey's-end_, _good hours_, _wisdom_, _fanatics_, _mathematicians_, _sprawling-in-want_, _sitting-high_, _firmer_, _poised_, _postpone_, _justice_, _humble_, _odious_, _mystic_, _pleasure_. When spoken with a keen sense of its inherent meaning, with full appreciation of its form, and with delight in molding it, how efficient each one of these words becomes! When shall we, as a people, learn reverence for the words which make up our language--reverence that shall make us ashamed to mangle words, offering as our excuse that we are "Westerners" or "Southerners"

or from New York or New England or Indiana. The clear-cut thought calls for the clean-cut speech. Let us say these words over and over until they a.s.sume full value. And now we pa.s.s from words to groups of words.

The mind and the tone must move progressively through the first three phrases which make up this first sentence: "To finish the moment, to find the journey's end in every step of the road, to live the greatest number of good hours, is wisdom." The phrases must be held together by an almost imperceptible suspension and upward reach of the voice at the end of each group of words, and yet each phrase must be allowed to be momentarily complete. Read the sentence, making each phrase a conclusion, and then again letting each phrase look forward to the next.

Each phrase is really a substantive, looking forward to its predicate through a second substantive which is a little more vital than the first, and again through a third substantive which is a little more vital than either of the other two. Bring this out in reading the sentence. The next sentence depends for its significance upon your contrasting inflections of the three words "men," "fanatics," and "mathematicians"; and again upon your sympathetic inflection of "sprawling-in-want" and "sitting-high." "It is not the part of men, but of fanatics--or of mathematicians, if you will--to say that, the shortness of life considered, it is not worth caring whether for so short a duration we were sprawling in want or sitting high." In your utterance of these words can you make "men" MEN, and "fanatics"

_fanatics_, and consign "mathematicians" to the cold corner of human affairs designed for them? Can you so inflect "sprawling in want" and "sitting high" as to suggest a swamp and a mountain-top, or a frog and an angel? Let your voice leap from the swamp to the mountain-top. Let it climb. Now comes the swift, concise, admonitory sentence: "Since our office is with moments, let us husband them." Pause before you speak the word "husband," and _husband_ it. "Five minutes of to-day are worth as much to me as five minutes in the next millennium." Make "five minutes of to-day" one word, and accent the last syllable, thus: five-minutes-of-_to-day_. Let the tone r.e.t.a.r.d and take its time on the last seven words. Now poise your tone for the next sentence. "Let us be poised, and wise, and our own, to-day." The paragraph closes with a more complex statement of the theme. Let your voice search out the meaning.

Let it settle down into the conclusion, and utter it convincingly. Give a definite touch to the words which I shall put in italics. "I settle myself ever _firmer_ in the _creed_ that we should not _postpone_ and _refer_ and _wish_, but do _broad-justice_ where we _are_, by _whomsoever_ we deal with, accepting our _actual_ companions and circ.u.mstances, however _humble_ or _odious_, as the _mystic officials_ to whom the _universe_ has dedicated its _whole pleasure_ for _us_."

a.n.a.lyze vocally the following paragraph:

There is a time in every man's education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given to him to till. The power which resides in him is new in nature, and none but he knows what that is which he can do, nor does he know until he has tried.... What I must do is all that concerns me, not what the people think. This rule, equally arduous in actual and in intellectual life, may serve for the whole distinction between greatness and meanness. It is the harder because you will always find those who think they know what is your duty better than you know it. It is easy in the world to live after the world's opinion; it is easy in solitude to live after our own; but the great man is he who in the midst of the crowd keeps with perfect sweetness the independence of solitude.--_Self-Reliance._

SELECTIONS FOR INTERPRETATION

By choosing as further material for vocal interpretation selections which shall also be good examples for examination as to their literary construction, we shall serve the double purpose of adapting our studies in vocal interpretation to the uses of English composition.

The following selections are to be: first, read aloud (in cla.s.s); second, examined as to their literary construction (in cla.s.s); third, a.n.a.lyzed and reported upon as specimens of exposition and argumentation (in the study).

Exposition is an explanation, a setting forth, or an expounding. It is an attempt to render something plain, an effort to convey to the reader a train of thought which represents the conclusions of the writer upon a subject. The writer, it is at once evident, must be acquainted with the subject with which he deals. He is presuming to teach, and must be in a position which justifies him in so doing.

He is prepared to write an exposition only when he is able, in regard to the topic in hand, to take frankly and unreservedly the att.i.tude of a teacher.

A teacher must have many good gifts and graces; and whoever else may fail to be well acquainted with a given lesson, he must have mastered it thoroughly. To teach he must first know. Whoever has taught understands how completely different is the att.i.tude of the teacher from that of the pupil. While the pupil is hardly expected to be able to do more than reasonably well to understand the subject in hand, the teacher must be able to explain, to justify, to make clear relations, and to impart the whole matter. The pupil is excused with a sort of hearsay knowledge, but the teacher must have a vital experience of what he teaches. Especially must he be able to comprehend and to represent a subject as a whole. He is responsible for the student's being able in turn to co-ordinate facts and theories so as to produce unity; and it is therefore essential that he himself have power to hold and to make clear a continuous train of thought.