wahr 10-15-23 9233 FOREWORD Most people, even orators and actors, have peculiar conceptions, not to say misconceptions, of action as a language. One proof of this is found in the fact that the word "gesture," which names the least important of all phases of action, is the common name applied by most people to all the expressive movements, attitudes and bearings of the body. The ordinary person has about as clear an impression of what pantomimic expression means as the little girl who was asked to define the word chivalry" and said it was what she felt when she was cold. 66 To me action is man's first language and the one primarily concerned in the revelation of character. Action, however, is a subject as difficult to discuss as it is to understand. It can never be explained and taught as other subjects. John Stuart Mill said that one who knows but a single language is apt to take words for things. This principle applies more to the primary modes of man's expression, words, tones and action as different languages, than to Italian and French. If to think an idea in French as well as English frees a man from confusing an idea with its symbol and gives him a better understanding of truth, how much more will ability to realize the function of voice modulations and of the action of the body lead to a more adequate realization? Action as a language is more distinct in function and 5 meaning from words than English is from French, or French is from German. To be able to think the language of action prevents taking a mere word or symbol of an idea as a complete expression. If this be true, to understand pantomime is one of the important phases of education. Action, however, is totally neglected at the present time. One reason for this neglect is the difficulty of understanding the subject or of even realizing its point of view. It has been so long regarded as of no importance, as only a kind of decorative adjunct without meaning, that it is difficult to awaken people to think in action, or to recognize it as having a great function in the revelation of human experience. A realization of our action is necessarily a realization of the motives of our lives. It helps us to understand our fellow-men and to enter into sympathetic touch with them. Not without reason does action usually have dramatic as the qualifying adjective. In this little book I have endeavored to talk simply with the reader on something that has always been a necessary part of himself, something that he must practise every hour, not to say every moment of his life,-something we all practise, most of us thoughtlessly, even chaotically. Some readers may object to the disconnected character of the book, but right or wrong, the intention has been to drop only a hint here and there. The subject is too large for exhaustive treatment. The peculiar nature of the subject also prevents its adequate treatment in words. A mere intimation to stimulate observation of self and others seems almost the only method of discussing it. What is said in the book is less im portant than what it aims to lead the reader to find for himself. Verbal explanations of art must be given outside of its temple. Everyone one must go alone into the sacred threshold and catch a vision for himself. A teacher can only inspire and awaken expectations and point out the door. Criticisms of poetry are only valuable when on the poetic plane. Explanations of pictures or statues or music are helpful only when they indicate points of view. In the same way action as a language is so distinct from words that it can never be explained by mere writing. Has there ever been a phrase so pointed, so fine, as to translate a smile? One reason why action is such an important element in education is the fact that it gives the human mind such a different point of view. If we can understand the differences between our own primary languages, words, tones and action, we are prepared in almost the only way possible to appreciate the fact that every art is a language, a peculiar language which can never be translated into any other art. If an art does not say something that no other art can say it is not an art at all. A man of culture is a man who can read all of the artistic languages of his race. The reader may console himself that the book is not more broken. In writing it I tried to introduce certain hints that would spontaneously cause a smile in order that the reader might have an example involuntarily awakened for his observation. A friend of mine who looked over the copy protested that these humorous attempts were undignified so I have made many modifications. Seriously, the real continuity and theme of the book must be felt through observation of life. One of my friends wrote regarding my "Browning and the Dramatic Monologue":"Here is another book by Curry, explaining the obvious." If to him "Browning was as obvious as Mother Goose, what will he say if he happens to look through this? He will no doubt be reminded of Ben King's poem "Nothing to breathe but air, Nowhere to stand but on." One of Ben King's most intimate friends, who was with him when he wrote this said to him, "It is too silly to be anything but ridiculous.' Still, how many thousands have read the poem with delight. If the reader will not reject the book but begin a closer observation of self and others, perhaps he may catch a hint of something he has not thought of before, and may find a key to some of the peculiar movements in our time, and to a better understanding of himself. At any rate, it is an honest endeavor to furnish a key to self-study, self-control, and a help to a truer realization of the point of view of other people. These are most important factors in success. Moreover it is written to aid an undertaking, which to the writer is important. If, perchance, the fact that it is a gift to an institution be of interest to the reader he is asked not to skip the afterword. THE SMILE I OUR FIRST EXPRESSION 66 Turn, Fortune, turn thy wheel with smile or frown; With that wild wheel we go not up or down; Our hoard is little, but our hearts are great. "Smile and we smile, the lords of many lands Frown and we smile, the lords of our own hands; For man is man and master of his fate." From "Geraint and Enid Tennyson. A Black Forest tradition considers it a good omen if both father and mother are present when their child first smiles. According to Delsarte, a smile is the first conscious expression of a human. being. Some close observers tell us that the smile is also the last expression that is left upon the human countenance. Who has not heard, a few hours after death, someone remark, How pleasant the face looks!" 66 Even when death has been painful, after a few hours the contortions disappear, and the most important element of the smile is seen about the outer corners of the eyes. After about twentyfour hours the muscles begin to lose their activity, but the last expressive attitude to vanish is the primary element of a smile. |