Terror, in danger; Embarrassment, Confusion, and Shame, in failure or defeat; Anguish, in pain; Contrition or Remorse, in conscious guilt; Agony and Despair, in utter ruin; Serenity, Tranquillity, and Peace, in conscious rectitude; Calmness and Composure, in selfcontrol; Sorrow and Gladness, in sympathy; Laughter, in mirth ; ` Caricature, in humor; Gloom, in melancholy.

Effects of Emotion.-Its aspects and its traits are as numerous as the ever-changing moods of the "many-sided mind;" and its power of expression ranges through all degrees of force, from the gentle half-whisper of confiding love, or the accents of a mother's tenderness, to the scream of madness and the burst of rage. It moves to deeds of gentleness and mercy, as consciously pleasing acts dictated by the principle of duty; and it prompts to the perpetration of crimes at the thought of which humanity shudders. In all circumstances it becomes an expressive language of indescribable power,--a power for the exercise of which man is laid under responsibleness the most appalling. Its genial effects carry man beyond the limits of his nature, and enable him to approximate to the benignity of an angel; and its malignant workings invest him with the character of a fiend.

Emotion, the Inspiration of Language.-Emotion, as the natural, involuntary, or irrepressible manifestation of feeling, is, in itself, the primary form as well as cause of expression. The writhings and the outcries of pain, the tears and the wailings of sorrow, the smiles and the sweet tones of pleasure, the leaping and the laughter of exuberant joy, the exultant attitudes and shouts of triumph, the frown, the harsh tone, and the blow of anger, are all a universally intelligible language. But emotion is also the power which gives life, and force, and effect to voluntary and deliberate utterance, not only in the tones of spoken language but in the burning words which the glowing heart prompts to the pen of the eloquent writer, and which, when read from the mouldering parchment or the crumbling tablet, ages after they were written, have still the power to stir men's blood, " as with the sound of a trumpet." It inspires the modern youth with the eloquence of Demosthenes, in the words with which he "fulmined over Greece;" it kindles the heart of the student in his "still removed place," with the fire and the shout and the fierceness of the battle scenes of Homer; it appalls him with the spectacle of the victims of inexorable fate, in the defiant appeals of the suffering Prometheus, as he writhes on his rock of torture,-in the superhuman agonies of the doomed Orestes,-in the wailings of the guiltless Edipus, when he is awakened to the complicated horrors which he has unwittingly drawn down upon himself and upon the very authors of his being.

It is the same expressive power, in its more genial forms, which lulis the youthful reader into the dreamy repose of the pastoral scenes of the eclogue, where

"Every shepherd tells his tale

Under the hawthorn in the dale."

It is the same power, in its ecstatic moods, which lights up the soul with the brilliant fire of the lyric ode, whose burning words have immortalized equally the bard and the hero of the antique world of gods and godlike men; and it is still the same magic power over sympathy which holds us entranced over "what, though rare, of later age," we feel to possess the same sway over the heart as that which was written of old for all time.

2. IMAGINATION: its Office in Expression.-Emotion endows man with the power of expression: his ability to give force and effect to expression, is as his capability of emotion; and the vividness of emotion is dependent on his susceptibility of feeling. But the utmost intensity of feeling might exist in internal consciousness merely; the most vehement excitement of emotion might find no definite or intelligible manifestation; it might be but the idiot's "sound and fury, signifying nothing;" the noblest sentiments of the human soul might find no adequate expression; were it not for the action of another faculty, that whose office it is to give form to the vague effects of feeling, to embody the evanescent phenomena of emotion, and to give to the abstractions of thought and the generalizations of sentiment a definite shape and the durability of a permanent record.

Consciousness and introversion might enable the individual man to hold communion with his own inner conditions of thought and feeling; and memory might enable him to recall them. But, as it is not given to man, by any act of mere direct introspection, to read the heart or mind of his fellow man, sympathetic and intelligent human intercommunication requires, as a condition, the aid of some power or faculty by which feeling may be distinctly manifested, not merely in its stronger and involuntary excitements, but also in its quietest moods, in its gentlest movements and most delicate effects. The communication of pure thought, apart entirely from excited emotion, is also a necessity of man's mental character and relations. Intellect, not less than feeling, has its claims on utterance, that the individual may become consciously a progressive being, and that mutual intelligence and benefit may be ensured to society. Some means, in a word, are needed to represent what is present to the mind, to suggest the idea or the thought which, by a law of his nature impelling him, man desires to communicate to his fellow being.

Analogy, the Medium of Expression.-Taught by a wisdom above his own, man finds, in the analogies of the outward universe, correspondences to his own inward states of thought and feeling. These analogous forms he refers to as interpreters, in his acts of expression; he transfers them, by a heaven-taught instinct, from their original places in the visible outward sphere to his own inner and invisible world of thought and feeling. These borrowed forms, addressing themselves to a common nature in common circumstances, become the suggestive language of emotion and intelligence between man and man; and, as intellectual skill and expertness are developed, these forms are at length multiplied and complicated so as to assume all the varied shapes of the current coin of speech, even in its most arbitrary modes;—just as, in the history of human intercourse, traffic, which commenced with the interchange and barter of commodities, gradually becomes a process of purchase and sale, by the adoption of convenient forms representing value and price.

Significance of the term "Imagination."-The power by which man recognizes the analogies of form presented in the external world, the power by which he represents these, the power by which he transfers these to his own internal world, and thus images, by analogy, his invisible, impalpable, feelings and conceptions; the power which thus embodies sentiment, and gives shape to language and all other modes of expression, is suggestively named "Imagination,"-the imaging faculty.

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The Sphere of Imagination.-The office of this faculty, as an expressive power, is one of vast extent and of immense value; and its domain, like that of emotion, is indefinite. Intellect, in its widest excursions and its highest aims, is definite and limited. Its outward sphere is that of sense, as comprehended by the understanding, and measured by the rule of judgment; its inner sphere is that of reason acting on data of definite thought, even in its purest abstractions and widest generalizations. Intellect, in its judicial and critical capacity, may justly assume the authority of deciding on the symmetry and proportion of expression as the form of thought. But it has no creative, no inventive power by which to call up form; it may interpret or explain feeling; but it can not, without the aid of imagination, embody it. Imagination extends its dominion alike over feeling and intellect: it possesses, exclusively, the power of investing them with form. As a sovereign in the vast world of analogy, it reaches, in one direction, to the farthest limits of the outward universe, wherever form exists, in conditions known or unknown; in another direction, it penetrates the deepest secrets of human feeling, and brings them up from their

darkest regions of half-unconscious being to the world of form and light, endues them with conscious life and speech, and sends them abroad as ministering angels of good or evil; in still another direction, it explores the ethereal world of thought, and, by its creative energy, gives imagery, and form, and recognized character to impalpable ideas, clothes the naked conceptions of intellect with the garb of symmetrical expression, forges the golden links of language for the continuous processes of reason, invests sentiment with the living majesty and power of utterance, and crowns the inspired productions of the artist and the poet with the consummate beauty of form and the music of immortal verse.

3. FANCY: its Effects on Expression.-This faculty, although it possesses a character so peculiarly marked by external tendencies, and proneness to a lower sphere of action than that of imagination, can hardly claim, with justice, the dignity of a separate and independent existence. The term "Fancy," (fantasy,) is, strictly speaking, but another name for imagination, when that faculty, as an expressive power, assumes, occasionally, a lower than its wonted office, and, not content with the creation of form, descends to the addition of minute detail, in the shape, or figure, or color of its embodiments. Fancy, considered as a separate faculty, may be regarded as the servant and laborer of imagination, employed to take charge of all the merely outward effects of expressive art, but whose ambition sometimes leads it to aim at higher offices than it is, in itself, competent to fill. Attempting the creation of visible beauty, it assumes the office of a presiding deity over the fleeting, fluctuating phenomena of fashion and other manifestations of arbitrary taste. Uniting itself with humor and burlesque, it displays the whole world of fantastic oddity, drollery, and grotesque effects, of every species. It handles, with peculiar skill, the pencil of the caricaturist, and delights, sometimes, in the most hideous exaggerations. It contrives, occasionally, to lay mischievous hands on Taste, and with perverting influence to make her play all manner of antics, quite unconscious, all the while, how infinitely absurd and ridiculous she is making herself appear. Hence the whole world of absurd form and combinations in modes of dress and decoration, in incongruous architecture, deformed sculpture, distorted drawing, tawdry coloring, paltry novel-writing, fugitive (and vagabond) verses, agonistic orations, and nondescript lectures.

Fancy, however, has also her own becoming and proper part to play, when, in strictest unison with true Taste, and in filial obedience to her parent, Imagination, she gives symmetry to our dwellings and to our garments, genuine grace to manners, true beauty to our gardens,

happy touches to the details of artistic execution, chaste style to writing, and manly plainness to speech.

4. IMITATION: its Tendencies.-The faculty of Imitation and the tendency to its exercise, which,—in the earlier stages of life, more particularly,―man possesses in common with many other of the animal tribes, form, in whatever regards expression, a peculiar source of power. It ensures, when judiciously developed, as a salutary instinct, all the advantages arising from native facility, as contrasted with the comparatively slow acquirements and laborious endeavors of mere artificial or mechanical training. The long non-age required for the comparatively slow development and maturing of the human being, implies a large dependence on the fostering care of parental guardianship and example; and the innate propensity to imitation, on the part of the child, coincides, in the effect of rendering more ample the opportunity of a long course of model training and practical lessons in the appropriate accomplishments of humanity. Among these, Speech, as the consummation of the expressive faculties, thus becomes the inheritance which one generation transmits to another,‚—a possession unconsciously acquired, although actually the result of long-continued training, and sometimes, of painful efforts in detail.

Drawing, as an Imitative Art.-The imitative tendency of the young, leading, as it does, to the perfecting of utterance, as an exercise in which practice begets skill, extends its influence, by the law of analogy, far and wide, over every branch of art which involves expression as a result. Nor is there one of all these branches which does not, by the habitual practice of it, under the same law, serve to discipline and perfect the power of expression in every other.

The feelings, the imagination, the conceptive power, the taste, and even the critical judgment of the young mind, are all called into as active exercise, in every earnest attempt to draw in outline, to shade, or to color the form of any external object, as in any endeavor to describe it by tongue or pen. Indeed, the extreme fixedness of attention demanded for exact and faithful delineation by the pencil, ensures a yet higher degree of mental activity, than does any other form of descriptive execution, and contributes more effectually to the development of graphic power of expression in language, than can any direct exercise in speech or writing; because the same powers are exerted in the one case as in the other, but with much more care and closeness of application.

Music, as an Imitative Art.-Another of the poetic and purely beneficent forms of the divinely implanted faculty of imitation, by which man attains the development of his powers of expression and