Evolution of Expression, vol 1 | Page 4

teaching which does not involve growing, and growing in the way intended by nature. The teacher must be something more than a critic. The critic establishes criteria, protects the public, and, in a measure, educates the public taste. When he is able to teach others how to reach true criteria he becomes a teacher. Until he can do this he has no place in the class room.
It will be observed that the four volumes of the "Evolution of Expression" recognize the four general stages of man's development: Volume I., representing the period when the individual is engrossed with subjects or objects as a Whole, and his passion for life is expressed through rude energy, size--the Colossal; Volume II., when he delights in so presenting The Parts to which he has been attracted, as to make them Effective in attracting the attention of others; Volume III., when his appreciation of the use or Service of the Parts carries him beyond the melodramatic to the Realistic; and Volume IV., in which his dawning perception of that higher service resulting from the truthful Relationship of the Parts leads him beyond realism to idealism, the Suggestive.
In choosing the selections for this and the accompanying volumes, the aim has been to preserve the natural oneness between the study of literature and that of expression, and to encourage the appreciation of this unity in the minds of teacher and student. It may be said that the greatest of the world's literature was written for the ear, not for the eye, and its noblest influence is felt only when it is adequately voiced by an intelligent and sympathetic reader. It is the object of these volumes to foster in the student a keener and deeper appreciation of the truth and beauty of great prose and verse, and at the same time to enrich his own and other lives by cultivating the power of expressing the glories which are opened to his vision.
The arrangement of the selections is for the purpose of teaching the art of reading according to the steps of natural evolution hinted at in the foregoing pages, and in a way which experience has found most prolific in practical results.
While no effort has been made to search for novelties, great care has been taken to secure selections which, while of pure literary merit, are especially adapted for drill in the several steps of progress in reading. The power developed in the student through carefully directed drill on these selections will enable him to illuminate whatever other literature he may care to interpret. The arrangement of the selections in small divisions or paragraphs has been made for convenience in the work of the class room.
The "Evolution of Expression" does not offer art criteria by which the work of an orator is to be measured; it presents rather a system of education by which one may attain the plane of art in expression. The teacher or student who desires a formulation of laws which afford a standard of art criticism is referred to the four volumes of "The Perfective Laws of Art," the text-book succeeding the "Evolution of Expression."
The author wishes to express his sincere gratitude to George N. Morang & Co., to Bobbs-Merrill Company, and to Houghton, Mifflin & Co., for their courtesy in allowing him to reprint in this volume selections from their publications.

THE WHOLE.
THE COLOSSAL PERIOD.
The body is one and hath many members, and all the members of that one body, being many, are one body.--ST. PAUL.
How good is man's life, the mere living! How fit to employ All the heart and the soul and the senses forever in joy!
--BROWNING.
CHAPTER I.
ANIMATION.
(NOTE.--Let the teacher and student remember that the headings of the chapters name effects rather than causes, signs rather than things signified. They are not, therefore, objects of thought for the student while practising; they are finger points for the teacher; the criteria by which he measures his pupil's development.)
Reading is a communication of thought; a transference of ideas from one mind to other minds so as to influence their thinking in a definite manner. The process is distinctively communicative, involving two parties, speaker and audience, equally indispensable. As well might the student of manual training attempt his work without materials, to paint without paper or canvas, carve without wood or stone, model without clay, as the student of expression to read or speak without an audience. For this reason in all his private practice as well as class drill, the student should hold in mind an audience to whom he directs his attention. The office of the teacher is to hold constantly before the pupil these two mental concepts, his thought and his audience, or his thought in relation to his audience. The pupil must be taught to respond to the author's thought