Every knee was bended on that terrible night; but so emotional is the colored American that silence in a meeting of this kind is maintained with difficulty. A silence of two minutes elapsed followed by sobs and groans painful to listen to.
Although this topic will be discussed fully in a later chapter, two differential characteristics should be mentioned now. First, depression is a highly emotional state in which the sadness of the patient is as evident from his facial and vocal expression as from what he says, while these stupor reactions are by observation and confession states of indifference.
Most, if not all, the interjections are to be put to the credit of emotional expression, also, it may be, a number of linguistic elements expressing certain modalities, such as dubitative or potential forms, which may be interpreted as reflecting the emotional states of hesitation or doubt attenuated fear.
The habitual concealment of our feelings diminishing, as it must, in proportion as our feelings become such as do not demand concealment, we may conclude that the exhibition of them will become much more vivid than we now dare allow it to be; and this implies a more expressive emotional language.
But he was deeply attached to his daughter, and her magical change under the new and radiant revelation convinced him that she had now awakened to an emotional fulness of life which could only be the outward sign of love. That she was in love for the first time also seemed clear; but he would not give his consent until he had seen her lover and heard all there was to know about him.
What art would there have been without that Franciscan revival, or rather what emotional synthesis of life would art have had to record? This speculation has been dismissed as futile, because it is impossible to conceive that mankind could have gone on without some such enthusiastic return of faith in the goodness of things.
She, too, was aroused, but in her sneering visage was that which brought the actor abruptly out of his spell. She had emerged from the shadows noiselessly, and was leaning forward, her strong hands gripping the edge of the table littered with its many properties. Mrs. Phillips had played emotional scenes herself, but never with such melodramatic intensity as she now unconsciously displayed.
The emotional side is beyond the scope of teaching. You cannot teach people how to feel. All you can do is to surround them with the conditions calculated to stimulate any natural feeling they may possess. And this is done by familiarising students with the best works of art and nature. It is surprising how few art students have any idea of what it is that constitutes art.
George Sand has noted Chopin's emotional versatility in the matter of falling in and out of love. He could accomplish both of an evening and a crumpled roseleaf was sufficient cause to induce frowns and capricious flights decidedly a young man tres difficile. He played at the "Ressource" in November, 1829, the Variations, opus 2.
The feminine mind, with its quick intuitions and unsteady logic, may keep the intuitions and gain a firmness which makes it more than transiently stimulating. The emotional mind has its charm, especially if its emotions are favorable to ourselves.