60. Mood Language consists;

First. In the attitudes or postures of the body.

Thus, we have; the attitude of defiance or defiant posture; the attitude of suppliance or suppliant posture; a haughty attitude or posture; a submissive attitude or posture. "The one took the attitude of offense, the other the attitude of defense."

NOTE I. The skill of the Statuary is shown; first, by the accuracy with which he can give to a block of marble the form and the features of a human body in their just proportions; second, in the accuracy, by which the attitude or posture of the statue and the expression of the face, are made to express the passion or the emotion intended. The success of the Statuary in giving the proper expression to the statue is the higher part of his art, and the exponent of his genius. So, in paintings and drawings, higher credit is given for correctness in attitude or posture than for correctness in delineation.

Second. In motions of the body and parts thereof.

NOTE II. Movements of the head and arms are called Gestures; those of the muscles of the face and movements of the hands are called Gesticulations.

Third. In the tones of the voice. These, by their variations in pitch, in stress or force, in quantity, and in quality, may be made to express all the ordinary moods or feelings, the passions, and the emotions, which accompany our thoughts.

NOTE III. The three kinds of Mood Language, enumerated above, may be used simply as expressions of moods or feelings and not in connection with the expression of any thought whatever. They are used by children before they have learned the use of thought language.

The speaker, while uttering a thought, may express the mood or feeling belonging to the thought, by attitudes of the body and, also, by tones of the voice; while, the reader is limited to the tones of the voice only. The Elocutionist may appear either as a speaker or as a reader. The writer can show the moods or feelings belonging to his thought, in two ways; first, by the position of the words in the sentence; for examples of which, see Interrogatory, Exclamative, Imperative, and Declarative sentences; second, by the mood or mode of the verb, which

see.

NOTE IV. Every thought is joined to some feeling or emotion, hence we have good speaking and good reading whenever a feeling and its thought are properly shown and expressed. That is, good speaking and good reading are the union of Emotional and Thought Language; hence, the utmost care should be taken to preserve the proper use of the Emotional, while the pupil is learning to read the Thought Language. By neglecting to do this, pupils acquire bad habits, such as drawling, reading in low, monotonous tones, or loud, harsh tones, screeching, snuffling, etc., too often allowed during the exercise called reading. In most cases, these bad habits cling to pupils through life,

or if corrected at all, require years for their correction. The habitual reading of the school-room should be good reading or the proper joining of Emotional and Thought Language.

NOTE V. No necessity exists for giving special instructions for the use of Mood in connection with Thought Language in this Work, since these may be found in each of the different Series of Reading Books now before the public and, also, in various Works on Elocution by Authors, who are Elocutionists themselves. In addition to these, the student should study such Works as "Rush on the Human Voice," "Ruskin on Art," etc., etc.

Thought or Sentential Language.

61. The word, sentential, means belonging to that which thinks, acts, perceives.

THOUGHT or SENTENTIAL Language is the language used in thinking; and, also, in communicating thoughts.

62. NOMENCLATURE. The Names or Terms, used in Thought Language, are Narrator, Narration, Narratee, Synthesis, and Analysis.

63. The word, narrator,1 means one who tells.

The NARRATOR is the speaker or writer who expresses the thought.

NOTE I. The Narrator, as a speaker, may be known by several names; as, talker, lecturer, orator, preacher, teacher, etc. As, a writer is known as an author, essayist, composer, etc.

64. A NARRATION' is that which is spoken or written by the Narrator, as the means of communicating the thought.

65. The NARRATEE' is the hearer or reader who receives the Narration for the purpose of learning or finding the thought.

66. The word, synthesis,2 means the action of putting together. SYNTHESIS is the operation of putting parts or elements together to form a unit.

As, when we form ideas into groups, or into simple thoughts; and, again, form simple into compound thoughts.

1 NARRATOR. or, the office of; (a)t, one who; narr, tells, describes; (a)tion, state of, office of; (a)tee, one to whom.

SYNTHESIS. is, condition of: eset, one who; th, arranges, creates, guides; syn -sun, together; plural, syntheses. See Dict., thesis, hypothesis, parenthesis,

etc.

67. The word, analysis,1 means the action of taking apart. ANALYSIS is the operation of separating the unit into its parts or elements.

As, when we separate compound thoughts into simple thoughts; and, again, when we separate a group into ideas.

68. ANALYSES are of two kinds; General, and Special.

69. The word, general,' means belonging to a class or kind.

A GENERAL Analysis is the process of separating the unit into its immediate elements; each of these into its immediate elements; and so on, to the ultimate elements; or, as far as the occasion requires. (See 90, first example, General Analysis.)

70. The word, special,3 means belonging to each one of a kind or class. A SPECIAL Analysis is the process of describing each part with reference to the whole or unit.

71. THE USES OF THOUGHT LANGUAGE. Thought Language is used in three ways; of which, the first is called the Logical Use or the Logic; the second, the Rhetorical Use or the Rhetoric, the third, the Grammatical Use or the Grammar of Thought Language.

The following comparison will aid the learner in obtaining a general idea of the nature and relations of the above-named uses, and thus facilitate his progress. It should be read very attentively.

In Chapter I., Language is presented as the medium through which we consider or view our thoughts with the "mind's eye;" as, a window is the medium through which we view objects with our real eyes.

As there are three ways, in which we may use a window, so there are three ways, in which we may use Thought Language;

First. To view a landscape lying on the other side of the window. In doing this, we may be so much occupied with the landscape, as to be almost, or even quite unconscious of the window, through which we are looking. In the same manner, we may use the language as a medium, through which to consider the thought contained in it, and at the same time to be almost, or even quite unconscious of the language itself. This corresponds to the Logical Use of Sentential Language.

Second. We may view the landscape and the window in their mutual relations; as, first, to see how much and what landscape may be seen through the whole window; second, to see what part of the landscape may be seen through each pane of glass; third, to see what parts of the landscape, seen through each pane, are seen through the different parts of that pane. In this case, we consider both the landscape and the window, and each helps to define the parts of the other, and the relations of these parts.

1 ANALYSIS. is,

plural, analyses.

8=t, -; lylu, loosen, separate; ana, back, apart;

2 GENERAL. al, belonging to; er, that which is; gen, nation, race. $ SPECIAL. (i)al,· -; spec, kind, individual.

So, we consider the thought and the language in their mutual relations; first, as to the kind of thought which is expressed by the language; second, as to what part of the thought each word helps to express; third, what is the use or office of each word in so helping. This corresponds to the Rhetorical Use of Sentential Language.

Third. We may look at the window itself, almost without regard to the landscape beyond it, and consider its position, size, and form; its fitness for the kind of building in which it is placed; the number of sashes, their forms, and the material of which they are made; the kind, shape, color, and size of the panes of glass, etc. So, we may look at Sentential Language, regarding it more than we do the thought. We may consider the number of sentences, their forms, how connected, the words composing the sentences and their meanings, fitness, and properties or accidents. This corresponds to the Grammatical Use of Sentential Language.

EXERCISE IV.

1. What is the difference between mood language and the language of feeling? Which is the stronger, the language of passion, or the language of emotion? In how many ways can you express mood language? Who taught you the use of mood language? What do you call the language of feeling, used by a hungry child? by a happy child? Why does a child cry when it is hungry? Is crying pleasant or unpleasant to the hearer? Is it wise that it is unpleasant? Why? By whom was crying made unpleasant to the ear? Are sharp sounds pleasant or unpleasant?

2. In the play-ground, do children use mood language correctly or incorrectly? From whom do we learn to use the language of feeling? Should harsh or smooth sounds be used to excite pleasant feelings? disagreeable feelings? Do brutes understand the difference between harsh tones and soft tones? If you wished to coax a dog to you, what kind of tones would you use? to drive a dog -? Do the tones of the voice form any part of mood

from you

language?