are treated in Chapters XX. and XXI. of the author's "The Representative Significance of Form."

One thought more, however, may be in place before closing this chapter. Some reader may be prompted to ask whether the distinctions between the epic,the realistic, and the dramatic that have been made are really necessary; whether they have any practical bearing. The answer to this is that everything has a practical bearing in art which tends to cause a product to convey an impression of unity, in accordance with the principles to be brought out in Chapter XIV. An art-product that is neither distinctly epic, realistic, nor dramatic is lacking in definiteness of effect-not in definiteness of thought, which is not always desirable (see page 115). Any lack of definiteness of effect is usually felt to be inartistic. Wholly satisfactory results can be attained by the artist in only the degree in which, throughout his work, he confines himself to one of the three general methods of presentation that have here been differentiated.

CHAPTER XII.

REPRESENTATION IN THE ELEMENTS OF FORM IN THE ARTS OF SOUND.

Recapitulation-Necessity of Studying the Elements of Representation

Especially as Produced through the Vocal Organs and Hands-In the Arts of Elocution and Gesture-Meanings of the Elements of Sound in Elocution-Duration Representing Mental Measurement in Music-In Poetry-Force Representing Mental Energy in MusicIn Poetry-Pitch Representing Mental Aim or Motive-Directions of Pitch in Elocution-Principle Further Illustrated-Different Meanings of the Same Phraseology when Differently Intoned—The Same Principle Fulfilled in Music-In Modern Melodies -Other IllustrationsIn Poetry-Illustrations-Quality Representing Mental Feelings-In Elocution-Analogies in Nature-in Music-In Imitative MusicDifferent Qualities in Music-In Poetry; Imitative Effects-Associative Effects.

HAVING considered the general form of mental conception naturally represented in each art, and the effect in each of representing different degrees of balance between that which is due to subconscious and to conscious mental action, we are now prepared to confine our attention to form. In doing this, it will be logical to start with that which is most internal in the form, and to end with that which is most external; in other words, to notice, first, the representative contents of the form, and, later, the representing composition.

As we have discovered, art is the representation of a man's thoughts and emotions through a use of the phenomena of

nature. What is to be said in this chapter has been suggested by the very evident fact that no representation of this kind would be possible unless the elements of which each art is composed were themselves representative both of mind, on the one hand, and of material nature upon the other; nor unless they were representative of these in a way so unmistakable that ordinary consideration could recognise the fact. What are these elements, and of what may they be said to be representative? Let us answer these questions.

In doing so, let us start by recalling the statement made in Chapter I., namely, that all forms of expression possible to art of the highest rank are developments of a man's use, for this purpose, of his vocal organs and of his hands. This statement at once suggests an inquiry into the methods through which vocal organs and hands can be made to express, or represent, thoughts and emotions. Evidently, only after we have ascertained this, can we be prepared to understand how the same can be expressed in the arts developed from these methods.

It is not necessary to argue that the best way of carrying on the inquiry just indicated is to go at once to the arts of elocution and of gesture. In the former, special study has been made of expression through the use of the vocal organs, and in the latter of the same through the use of the hands, primarily, and, secondarily, of the whole body.

In its use of the vocal organs, elocution has the power of producing, through the intonation of words, irrespective of their articulation, an almost endless variety of effects; and the argument is logically irresistible that these effects are the same in kind as are those of music and poetry. What, then, are the elements of elocutionary effect? We

shall find four of these. They can all be perceived by emphasising strongly the first syllables of barbarous, murmuring, tartarize, Singsing, or papa, or by emphasising a word like go in the sentence"I will go if so." In giving the emphasis, it will be noticed that the emphatic syllables and the word go are made to differ from that which accompanies them first, in duration: they are sounded in longer time; second, in force: they are sounded with more energy; third, in pitch; they are sounded on a key which, if used in music, would be relatively higher or lower in the musical scale; fourth, in quality: they are sounded with more fulness or thinness of tone. Simply by increasing the degree in which any of these elements enter into ordinary accentuation, we can increase the degree of emphasis represented by them.

What do these elements represent?-and, first, what does duration represent? What is indicated by fast time, and by slow time? Evidently these, respectively, imitate effects in nature that move rapidly and slowly. In addition to this, by way of association, rapidity is indicative of moods that are joyous or mirthful; or, as applied to special thoughts or feelings, of such as seem deserving of only brief consideration because they are light or trifling. Slowness, on the contrary, is indicative of grave and serious moods, of thoughts and feelings worthy of long consideration; therefore, of moods of dignity and importance. In other words, duration represents the mental estimate, or degree of valuation. What has been said hardly needs. illustration. Every one can recall the general difference in rapidity between ordinary dance-music, as it is termed, and church music; or between a hornpipe and a hymn; and he knows, too, that this difference is determined not alone by the necessity of conforming the music to actual outward

movements, as in the dance, but also by the fact that the dance and the hornpipe represent, by way of association, joyous, mirthful, light, trifling moods, and that the church music and the hymn represent the opposite.

Precisely the same principles are fulfilled in poetry. The following represents a galloping movement :

I sprang to the stirrup, and Joris, and he;

I galloped, Dirck galloped, we galloped all three.

How They Brought the Good News: Browning.

And the following a painfully slow movement:

First march the heavy mules securely slow;

O'er hills, o'er dales, o'er crags, o'er rocks they go.

This indicates a joyous, light mood:

Pope's Tr. of the Iliad.

My eyes, how I love you,
You sweet little dove you,
There's no one above you,
Most beautiful Kitty.

Kitty: Anon.

And this a matter of seriousness and importance:
Where through the long-drawn aisle and fretted vault

The pealing anthem swells the note of praise.

Elegy in a Country Church - Yard: Gray.

Passing on now to force, there is no difficulty in determining what it means, through observing the manifestations of it in nature. Great force, of course, represents that which, in nature, has a loud sound, or is so vast in size that its sound, if produced, would be expected to be loud; and slight force indicates that which has a soft sound, or is so small that its sound, if produced, would be expected to be soft. Besides this, great force, involving loudness of tone, indicates great energy, either of body or of mind; as in expressions of earnestness, strength, selfassertion, vehemence. For an analogous reason, slight