the mouth opens still wider. still wider. And if the mystery

which converts surprise into amazement and wonder remain unsolved, until the thinking faculties recover from the first blow of surprise, then fear enters into amazement and wonder, and forces the individual to thoughts of personal safety, and at once there comes a contraction between the eyebrows perpendicular to the lines made by surprise.

Terror increases the action of all of the gesticulations above described, and makes the whole muscular system of the face and throat more tensive, so that control of the voice is lost; and if there be any vocal effort it will result in a shriek.

Horror, while it distends the eyes, inflates the nostrils and drops the lower jaw, paralyzes and relaxes the entire muscular system, shaking it as with an ague. The voice may be a spasmodic whisper, or it may be a bellow; and the tongue, lips, and lower jaw refuse to perform the office of articulation. The effort to speak in extreme horror, produces only an aspiration, or an assumed howl that would be entirely undistinguish

able even among one's most intimate acquaint

ances.

Hatred, which is chronic anger, or anger that has been carried long enough to have in it a mental determination to seek revenge, sets the jaws firmly, compresses the lips and draws down the corners of the mouth and, through the thin lips, and wide rather than round opening of the mouth, the voice resembles the snarling of the dog or the low growl of the lion.

A very fine illustration of hatred, pure and simple, may be found in the concluding lines of Shylock's last speech to Solanio and Salarino, a conclusion which is a most natural result of the indignation and anger that he had nursed for years against the man who had called him "cutthroat, dog," and had spit upon his "Jewish gabardine❞—the man who had loaned out moneys gratis, and had brought down the rates of interest in Venice. He says:

"If a Jew wrong a Christian, what is his humility? revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? why, revenge."

It is not claimed that this analysis of the factors of expression is perfect; but if it be clear enough and sufficiently amplified to assist the student of dramatic art in his search for truth, then it will have done a positive good. And even if there should be in the obscurity of these examples and illustrations, only enough light to make him desire more, the work will not be a failure.

Laughter

F the object of language is to express our

IF

thoughts and sensations, then we may call laughter a part of our language; and as it possesses the advantage of being intelligible to all peoples, we may call laughter a part of the natural language of expression.

Of all expressions, laughter, generally the outcome of pleasing sensations, is the most impulsive and the most exhausting. Laughter is so entirely impulsive that it breaks forth at times when our reason tells us to suppress it; and, on the other hand, when reason would call in its aid, either for the purpose of concealing the true state of our own feelings, or for the purpose of arousing cheerfulness in others, it positively.refuses to

obey the deliberating power.

And yet, like every

emotion of the human mind, laughter is susceptible to analysis, that is, resolution into its several factors; and, per consequence, to study; and through study it is subjected to and directed by the will power.

The first impression from this subject as a study is that the variety of laughs must be innumerable, and the forms so fleeting as to be inapprehensible. But when we reflect that every laugh, whether pleasant or disagreeable, must be made up of the radical or vanish of one or more of the tonic elements of the language, we shall have a basis for study which may lead to the conclusion that even a laugh with its quick movements and volatile sounds is not beyond the reach of observation and comparison.

Let us consider the laugh analytically and then synthetically. If we can discover what a laugh is made up of, with practice we ought to be able to put it together.

Every laugh must have utterance to be presented; it must have vocality or sound of some