| The first excerpt represents the past or something you must release, and is drawn from Frances Waldeaux by Rebecca Davis: fit to bring him up. Sit down and let me tell you
all about it."
They sat on the steps, talking in a low tone. Frances
cried, but Lisa's eyes were quite dry and bright. She
rose at last.
"You see, there will be no woman to care for him, if you
do not. There he is with Colette." She ran down, took
the baby from the bonne, and laid him in Frances's
arms.
Mrs. Waldeaux looked down at him. "George's son," she
whispered, "George's boy!"
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The second excerpt represents the present or the deciding factor of the moment, and is drawn from Expression of Emotion in Man and Animals by Charles Darwin: general law that a feeling is a stimulus to muscular action."
It may be admitted that the voice is affected through this law;
but the explanation appears to me too general and vague to throw much
light on the various differences, with the exception of that of loudness,
between ordinary speech and emotional speech, or singing.
[1] See the evidence on this head in my `Variation of Animals
and Plants under Domestication,' vol. i. p. 27. On the cooing
of pigeons, vol. i. pp. 154, 155.
[2] `Essays, Scientific, Political, and Speculative,' 1858.
`The Origin and Function of Music,' p. 359.
This remark holds good, whether we believe that the various
Expression of Emotion in Man and Animals |
The third excerpt represents the future or something you must embrace, and is drawn from The Soul of the Far East by Percival Lowell: Portraits of people, pictures of places, he does not know, and yet
which purport to be his! And I venture to believe that to more than
one of us the exquisite pathos of the Bride of Lammermoor is gone
when Lucia warbles her woes, be it never so entrancingly, to an
admiring house. It almost seems as if the garish publicity of using
her name for operatic title were a special intervention of the Muse,
that we might the less connect song with story,--two sensations
that, like two lights, destroy one another by mutual interference.
Against this preference shown the sketch it may be urged that to
appreciate such suggestions presupposes as much art in the public as
in the painter. But the ability to appreciate a thing when
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