Evolution of Expression, Volume 2—Revised / A Compilation of Selections Illustrating the Four Stages of Development in Art As Applied to Oratory; Twenty-Eighth Edition

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HENRY WARD BEECHER
Evolution of Expression BY Charles Wesley Emerson Founder of Emerson College of Oratory A COMPILATION OF SELECTIONS ILLUSTRATING THE FOUR STAGES OF DEVELOPMENT IN ART AS APPLIED TO ORATORY In Four Volumes, with Key to each Chapter TWENTY-EIGHTH EDITION VOLUME II—REVISED
BOSTON : EMERSON COLLEGE OF ORATORY Publishing Department CHICKERING HALL, HUNTINGTON AVENUE 1915
Copyrighted by C. W. Emerson 1905 The Barta Press Boston
Love took up the harp of life and smote on all the chords with might, Smote the chord of Self, that, trembling, passed in music out of sight.
Tennyson.
The power to detach, and to magnify by detaching, is the essence of rhetoric in the hands of the orator and the poet. This rhetoric, or power to fix the momentary eminence of an object, so remarkable in Burke, in Byron, in Carlyle—depends upon the depth of the artist's insight of that object he contemplates.
Emerson.
For use of selections in this volume especial thanks are tendered Houghton, Mifflin & Co., Frederic Lawrence Knowles, Horace Traubel, Secretary Walt Whitman Fellowship, and J. T. Trowbridge.
Thus far in the student's development, his mind has dealt chiefly with each subject as a Whole . Now he begins to find a new interest in showing his hearers that the discourse is made up of a series of definite Parts . He takes delight in fixing their attention upon each part in succession.
As in crossing a brook on stones, a person poises for a moment, first on one stone, then on another, so the speaker balances the minds of his hearers, first on one thought, then another, poising for a moment on each distinct point before leaving it for the next. The teacher should now lead the pupil to attract attention to separate parts as wholes . We are entering the melodramatic stage, where abandon to each part is as necessary as it was in the beginning to the spirit of the whole. The pupil must see the parts and give them to others at any cost.