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and ingenious as the idea is of establishing a certain fixed system of gesticulation, it can hardly do more than impart to the practically uninstructed a mechanical stiffness and a studied, constrained, and artificial manner, instead of an easy, graceful, yet powerful action and expression. Mr. Sheridan, no mean authority, appears to be of this opinion also, for he says, regarding those who advocate instruction of this nature, "They who judge in this manner have not sufficiently considered the nature of the subject, and therefore attribute more power to precept alone than it is possessed of.” The fact is, that practical rules differ much from those that are merely speculative; nor will informing the understanding in some cases produce by any means a perfect execution, without other assistance. Can any one be taught to sing or to dance without the aid of masters, and patterns for imitation ?

The most, therefore, that can be done without this aid is to afford such plain directions, and general information with regard to the art, as, being easily comprehended, may be useful to the student, and come within the range of his own application to private practice.

The first thing to be considered, and one of infinite importance, both to the orator or reciter, since much value must ever be attached to first impressions, is the manner in which he presents himself before the assembly it is his purpose to address. This, of course, depends in some manner on the nature of his subject, and in this the aspect or countenance of the speaker bears no inconsiderable part. Thus, for instance, a sedate expression at once implies a mature consideration of the argument about to be advanced, and communicates insensibly an idea of its importance. And on the contrary, a cheerful air raises the expectation of being entertained with a pleasant and agreeable discourse. But above all, a wandering look, an air of levity, or a haughty, supercilious manner, which either fails to excite respect or else begets distaste, must be carefully avoided. Nor at the same time is a dejected appearance pleasing, unless the subject to be delivered is of a melancholy

nature.

In the case of addressing a large assembly, if the speaker desires to be heard perfectly from the opening of his oration, he should by

no means begin at once, but having settled himself quietly and composedly in his position, with a steady and respectful look, suffer himself to take a survey of his auditory. This begets silence, and prepares them to become attentive. With regard to the extemporaneous speaker, it has the advantage of allowing him to collect his thoughts, to frame his first sentence, and sometimes to subdue that flurry of spirits which few who speak in public are entirely free from in the opening of an address. It should not be preserved too long, nor, on the contrary, be continually shifting, so as to beget a feeling of uneasiness, such as often arises from the fidgety shifting from one foot to the other (a fault very common with some speakers). But, fronting the audience, avoiding altogether a sidelong attitude, let the feet be firmly planted, yet not close together, but with one advanced, the body resting on the other, erect, not too stiff, but easily and flexibly adapting itself to the motion of the head and hands; avoiding, however, anything approaching to a wavering motion, such as we are told by Cicero a Roman orator called Curio was addicted to, and for which he became the subject of a friend's joke, who once asked, “Who is that talking out of a boat?"

A judicious management of the eyes, in awakening and insuring a continued attention, also deserves notice. They should be neither wandering nor altogether fixed or staring, but generally gentle and moderate in their motions, and directed in turn to different portions of the audience, as if engaging each in common dis

course.

In considering the movements of the arms and hands it should be well understood that, to insure a graceful action, all angularity must be strictly avoided; and, therefore, this rule cannot be too carefully impressed upon the mind, viz.: That all motion must proceed from the shoulder, and not from the extremity of the fingers, and that the elbow should never be suffered to incline to the body; nor should the hands assume a rigid and constrained appearance in the disposition of the fingers, by being held open and flat, as if about to administer a sound "box on the ear," or spread abroad like a bunch of radishes, or crookedly contracted like the claws of a crab: but moderately opened, let the index, or first

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finger, lightly press the middle one, the other two inclining gently inward towards the palm. This must, of course, be understood as referring to the hands in a state of repose; and when used in a temperate and unimpassioned address they contribute to that simplicity and grace—and, at the same time, dignity—that should at all times characterize the movements and bearing of the orator. Under the influence of the passions, indeed, they assume other forms; and most infinite is their use and variety: "Greater, indeed," as Quintilian justly observes, “than can well be expressed, for they are almost equal to our words. Do not we desire with them, promise, call, dismiss, threaten, beseech, detest, fear, inquire, deny? Do not they express joy, sorrow, doubt, confusion, penitence, measure, plenty, number, and time? Do not they excite, restrain, prove, admire, and shame? That in so great a variety of speech among all nations and countries, this seems to me the common language of mankind." The ancients, however, differed greatly from us with respect to the use of both hands, confining their action— or, at least, their principal action—to the right; and it is not difficult to understand how this might be, when we consider the peculiar nature of their dress. A glance at a Greek or Roman statue, attired in the chlamys or toga, at once illustrates this. The left arm being occupied in sustaining the folds of the drapery, could not well be used conveniently, or without derangement of its disposition, though it is certainly difficult to conceive how, thus limited to the use of one hand for their chief expression, the forcible passages and animated sentiments in those orations of theirs which have been preserved to us, could have been delivered. Be this as it may, the modern orator is under no such restriction; and it is not only proper but needful that either hand occasionally should be used indiscriminately, as the principal gesture, or the position of the person addressed, may require; and sometimes distinctively the left hand alternates its office with the right. With us the corresponding hand and foot are advanced; and here again we differ from the ancients, Quintilian affirming as a rule that it should be the reverse, while we only make such a position exceptional. As a general direction to be borne in mind—and the exceptions to it are few indeed-all straight lines in the movements

of both hands and arms are to be avoided. Hogarth has laid it down as an axiom that the "Line of Beauty" is a flowing curve; and though this cannot be adapted to the whole system of action, the principle may be safely made the general basis for its theory to rest upon.

Rarely-very rarely indeed-should the hands be raised above the eyes or extended beyond the range of vision, the action of the right generally commencing on the left side and terminating on the right side; and, vice versâ, the same rule applies to the movement of the left hand. The stroke which marks the emphatic word must descend on that word alone at the instant of its utterance. The movement of the arm and hand also should be sustained and suspended through the duration of a passage, and terminate precisely with it and we may very well conceive this timing of the gesture to be the probable if not the actual meaning of Shakspeare when, in his direction to the players, he says, "Suit the action to the word—the word to the action;" for it can hardly be believed that he alluded to descriptive or appropriate action simply, such as raising the hand when appealing to heaven, or sinking it when speaking of the earth. And, in mentioning Shakspeare, it will scarcely be necessary to remind the student of his remarks concerning sawing the air, which is nothing more than the incessant repetition of the obnoxious straight-lined description of action before noticed.

Having spoken of the indiscriminate use of both hands, it is proper to add that neither should be used invariably alone.

Nothing can appear more ungraceful, not to say ridiculous, than to see one hand (either the right or left) constantly in motion, while the other hangs uselessly by the side, as if it had no sympathy in the discourse, or that the one-handed orator was afflicted with a partial paralysis. The fact is, that either hand should accommodate itself to and support the action of the other. The principal, which is called the Dominant, from the position of the orator as respects the side to which he directs his attention, having the greatest extension and elevation, being always supported or seconded by the Subjective hand, which is held somewhat below it, and approximately nearer to the body. For the separate or com

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bined action of the hands, thus positioned as the nature of the subject may demand, it is utterly impossible to lay down any specific rules; and here it is that plates and diagrams must fail in describing the transitions that are constantly occurring, creating to the uninitiated "confusion worse confounded,"-resulting in a pedantic, affected, and unnatural gesture, without meaning, force, or grace. In demonstrating, appealing, and on some other special occasions, the hands may be moved forward almost on a level; but when no active movement is required, they should be raised, in general as high as the breast, or sometimes a little below it, easily curved, but on no account are they to be suffered to fall down lifelessly by the side.

It should be perfectly understood, that no art depends so much on constant and almost unremitting practice as elocution, and the appropriate gesture that should attend it. Neither grace nor facility can possibly be otherwise attained; theory alone is worse than useless, and even the best instructions must, without it, entirely and invariably fail. The best mentor that a young orator or reciter can appeal to, in this indispensable private practice, is the lookingglass. Much, however, has been said in way of dissent from this opinion, but certainly without mature consideration of the subject.

It has been objected, for instance, that an earnest speaker must, from the impulse of nature, use appropriate action; but if we grant this, it by no means follows that it will be graceful, and it is the combination of the natural with the graceful that alone makes the perfect orator.

Besides, are there no Bad Habits to be corrected? We daily see that such have been contracted by men who enjoy a reputation as speakers, yet doubtless they are influenced by the impulses of nature; among which habits we may mention a few, and then judge whether they are appropriate: such, for instance, as nodding with the head, pocketing the hands, trifling with the dress, placing the arms a-kimbo, tucking them behind, ducking the body or jerking it, leaning on table, crossing the legs, standing sideways or with the feet together, fixing the eyes on the ceiling or opposite wall, exaggeration of action or constant repetition of it. Many more might be instanced, but these will serve for the present purpose, as they cannot have escaped the

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