languid, but with an alarm in eye and motion; Scorn, by muscles languid and neglected, with a smile in the eye, to express the light, or a frown in the eye for the serious species; Jealousy, by muscles intense and look pensive, or the look intense and the muscles languid, interchangeably.

The most recent views of eminent psychologists strongly confirm Hill. The old theory of the emotions was, that a sight, a sound, an odor, a flavor, a contact, a thought, acted upon the emotions, and the emotions in turn acted upon body, features, and voice, producing the visible and audible signs of grief, joy, fear, anger, etc. The elocutionists who insist upon emotion as the spring and director of voice and action pin their faith to this psychology.

But the comparatively new James-Lange theory, already widely accepted, is at direct variance with the above doctrine. This theory states that the object, event, or thought affects the inner organs of the body; these affect aspect, action, and voice; and these again cause the emotion. That is, emotion is the end-the result of aspect and action, instead of being their cause. 'According to this theory,' says William James (Talks to Teachers on Psychology), 'our emotions are mainly due to those organic stirrings that are aroused in us in a reflex way by the stimulus of the exciting object or situation. An emotion of fear, for example, or surprise, is not a direct effect of the object's presence on the mind, but an effect of that still earlier effect, the bodily commotion which the object suddenly excites; so that, were this bodily commotion suppressed, we should not so much feel fear as call the situation fearful; we should not feel surprise, but coldly recognize that the object was indeed astonishing. One enthusiast has even gone so far as to say that when we feel sorry it is because we weep, when we feel afraid it is because we run away, and not conversely.'

If this view is sound, then to assume the physical and vocal attributes of an emotion is the direct and logical way of inducing it. If feeling is necessary, the summons is to be made through technic. Shakespeare put the case in a nutshell, when he made Hamlet say, 'Assume a virtue, if you have it not.' And in King Harry's speech at Harfleur, Shakespeare applies the principle in detail. To feel exalted martial courage and do great deeds, nobles and yeomen are urged to put on the look and bearing of heroes.

-imitate the action of the tiger;

Stiffen the sinews, summon up the blood,
Disguise fair nature with hard-favored rage;
Then lend the eye a terrible aspect;

Let it pry through the portage of the head
Like the brass cannon; let the brow o'erwhelm it
As fearfully as doth a galléd rock

O'erhang and jutty his confounded base,
Swilled with the wild and wasteful ocean.

Now set the teeth and stretch the nostril wide,
Hold hard the breath, and bend up every spirit
To his full height.

PITCH:

INFLECTION; MELODY.

PITCH.

Pitch is the distinction of sounds in acuteness and gravity. The Compass of the voice is the interval between its highest and lowest notes. The average compass ranges from an octave to an octave and a half. Occasional voices easily reach a compass of two octaves or more.

The untrained speaking voice, as a rule, employs but a fraction of its actual compass,-frequently not more than half an octave, in reading or in unexcited conversation.

The tendency of cultivation is, both to extend the compass and to employ at need the whole available range of pitch. THE ZONES, OR RANGES, OF PITCH.-The compass is technically divided into zones, or ranges, established by comparison with the conversational range.

The conversational zone, comprising a range of three or four musical tones, is called Middle Pitch; but, in a wellmanaged intonation, it is not located halfway between the highest and the lowest note, as its name suggests; but its upper border reaches, or nearly reaches, the halfway point: so that Middle Pitch means, the zone occupied by the three or four uppermost tones of the lower half of the compass.

As speech is, or should be, a solo performance, there is no occasion for the establishment of a concert pitch for the speaking voice. The whole compass of one voice may be high or low as compared with another, and the two voices

may be equally good or bad. Each individual voice has its own normal conversational range-its middle zone-and ear and voice culture in the realm of pitch should rest upon its accurate recognition.

High Pitch comprises two or three tones next above Middle, annexing at times the upper notes of Middle; and Very High Pitch, whatever range the voice may possess beyond the High zone.

Low Pitch joins the lower border of Middle, annexing on occasion its lower notes, and runs two or three tones below; and Very Low Pitch employs the remainder of the compass in the downward direction.

PITCH AND THE EMOTIONAL MOODS.-Seriousness, moderate animation, and tranquillity find their appropriate zone in the Middle Pitch. Brisk, gay, and joyous feeling, and excessive grief, complaint, pain, and fear, employ the whole range of Middle and High Pitch. Ecstasy, uncontrolled or hysterical feeling generally, employ chiefly High Pitch, with an occasional syllable, word, or group in the zone of Very High Pitch. Dignity, melancholy, grave authority, find their scope in the Middle and Low ranges. Awe, amazement, solemnity, gloom, horror, desponding grief, and despair have their natural home in the zones of Low and Very Low.

THE NATURAL LANGUAGE OF PITCH.-As stated already, page 123, the especial expressive office of Pitch is to convey the Mind's Motive, or Purpose. It does this through the medium of Inflection and Melody. The motive may be, and often is, quite apart from the verbal form or sentential structure from the ostensible meaning of the language. The words frequently mean, or look to mean, one thing, while the voice says that thing with a difference, or even contradicts it. Thus, the sentence, 'Did you do it?' spoken with moderate rising inflections and a rising melody, is a matter

of-fact question for information; but, with falling inflections and melody, it is a demand, or a challenge.

The study of Pitch, then, with reference to the speaking voice, presents two phases,

1. Inflection,

2. Melody.

INFLECTION.

Every syllable, in normal speech, is Inflected; that is, from radical to vanish, the voice constantly moves upward or downward in pitch. This is true, whether the syllable is long or short.

SLIDES AND WAVES.-When the inflection is single, or simple, when the change of pitch is in one direction only,it is called a Slide: a Rising, or Upward, Slide, if the change is from lower to higher; and a Falling, or Downward, Slide, if the change is from higher to lower.

Frequently, however, the inflection changes its direction once, twice, or even oftener, in the utterance of a syllable; in which case it is called a Wave (Rush), or Circumflex (Walker).

SINGLE, DOUBLE, AND CONTINUED WAVES.-A wave that changes direction once is called a Single Wave; if it changes twice, it is called a Double Wave; if more than twice, a Continued Wave.

The pitch movements before, between, and after the turning-points are called the Constituents of the wave.

EQUAL AND UNEQUAL, FALLING AND RISING WAVES.— When the constituents have the same interval, the wave is called Equal; when they differ in extent, the wave is Unequal. A wave ending with a falling constituent is called a Falling, or Direct, Wave; one ending with a rising constituent is called a Rising, or Inverted, Wave. This last definition does not