Evolution of Expression, Volume 2—Revised
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Emerson Charles Wesley. Evolution of Expression, Volume 2—Revised
THE PARTS. THE ATTRACTIVE OR MELODRAMATIC PERIOD
CHAPTER I. SLIDE
CHAPTER II. VITAL SLIDE
CHAPTER III. SLIDE IN VOLUME
CHAPTER IV. FORMING PICTURES
CHAPTER I. SLIDE
TACT AND TALENT
SHYLOCK TO ANTONIO
THE CYNIC
GOOD BY, PROUD WORLD
THE DESTRUCTION OF SENNACHERIB
UNWRITTEN MUSIC
LAUS MORTIS
TAXATION OF THE COLONIES
MY HEART LEAPS UP
AS YOU LIKE IT
CHAPTER II. VITAL SLIDE
THE RISING IN 1776
THE TENT-SCENE BETWEEN BRUTUS AND CASSIUS
THE FORGING OF THE ANCHOR
SUPPOSED SPEECH OF JOHN ADAMS
LIFE AND SONG
GATHERING SONG OF DONALD THE BLACK
NUTTING
THE DODSON FAMILY
AFTER THE MARCH RAIN
CHAPTER III. SLIDE IN VOLUME
FIRST BATTLES OF THE REVOLUTION
THE ANTIQUITY OF FREEDOM
NATIONAL BANKRUPTCY
THE LANTERN BEARERS
TARPEIA
THE BELLS
THE TEMPERANCE QUESTION
SHERIDAN'S RIDE
TO A PUPIL
CHAPTER IV. FORMING PICTURES
THE PICKWICKIANS ON ICE
THE REALM OF FANCY
THE BATTLE OF NASEBY
THE GLORIES OF MORNING
THE CHAMBERED NAUTILUS
AUTUMN
MIDSUMMER
THE KITTEN AND FALLING LEAVES
SUMMER STORM
JAQUES' SEVEN AGES OF MAN
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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.
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Ros. [Aside to Celia.] I will speak to him like a saucy lackey and under that habit play the knave with him. Do you hear, forester?
Orl. Very well: what would you?
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