foot, the other being left to preserve the balance and move freely, or the weight of the body changed to rest upon it. The foot supporting the weight of the

body, is firmly planted.

The feet at

nearly right angles-so that lines passing lengthwise through them,

shall cross under the heel

of the foot least advanced

--(see Fig. 1.) A little practice will enable the learner without effort or affectation to assume this position easily as he gives utterance to his words. In advancing or retiring the speaker must make the change with the free foot, and by a step of moderate length.

POSITION OF THE HEAD.-The head should be in an erect, natural position, not stiff, as this in delivery contributes to the expression. The body should be upright with the face and breast turned toward the audience, the shoulders square, and not shrugged up. The learner should avoid inclining to

one side, as it expresses languor, if drop- Fig. 22.-DISDAIN. ped, humility; when turned upward, pride; when stiff, a lack of ease and self-possession.

THE COUNTENANCE.-As the eye is the light of the body, so in delivery they are the life of the expression, and none will deny that the eye speaks more truly than the tongue-this may also be affirmed of the countenance in general. The forehead denotes calmness or trouble, the lowering brow indignation, the tell-tale cheek shame or fear, and the expressive lip, scorn. One well versed in

the expression of the face says:

"When any passion is called into action, such passion is depicted by the motion of the muscles, and these motions are accompanied by a strong palpitation of the heart. If the countenance be tranquil, it always denotes tranquility in the region of the breast and of the heart." Again, " Hence it appears. that the orator who would move others must appear to be moved himself; that is, he must express his emotions in his countenance and by his manner, otherwise his lan

guage will be contradicted by his looks, and his audience will be more inclined to believe them, which are the natural and sure indications of the inward mind, than his words, which may easily be feigned, and may differ much from his real sentiments."

The speaker should avoid the following faults: Staring or fixing the eye upon vacancy, or upon an individual; or foolishly Fig. 23-APPEAL. turning them down; weeping-unless upon occasions worthy of tears. Frowning, smiling, unmeaningly pushing out, or biting the lips.

THE HANDS, FINGERS AND ARMS must not be overlooked, as they play an important part in Gesture; grief is denoted by placing the hands over the eyes. Truth or emotion is expressed by placing the hand on the breast. Reflection is shown by putting the finger on the chin. Silence by placing the forefinger on the lips. These gestures should be used sparingly and appropriately. Cleav.

ing the air with the hand or forming it into a scoop, nervous twitching of the fingers or crossing them, clasping the hands or placing the palm of one on that of the other, are serious faults that should be avoided; every motion of the arm should be made gracefully, every movement should seem to come from the shoulder; the elbow should not originate such movement.

HAMLET'S ADVICE TO THE PLAYERS contains in a nutshell all the golden rules of oratory. It cannot be too often read or too deeply pondered over. Every student should analyze this epitome of instruction and be delighted to notice that the great artist has prepared in a single page a concise summary of invaluable information. It is a good piece for recitation. Hamlet says:

"Speak the speech, I pray you, as I pronounced it to you; trippingly on the tongue; but if you mouth it, as many of our players do, I had as lief the town-crier spake my lines. Nor do not saw the air too much with your hand thus, but use all gently; for in the very torrent, tempest, and (as I may say), whirlwind of your passion, you must acquire and beget a temperance, that may give it smoothness. O, it offends me to the soul, to hear a robustious, periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings; who, for the most part, are capable of nothing but inexplicable dumb shows and noise. I would have such a fellow whipped for o'erdoing Termagant; it out-Herods Herod. Pray you, avoid it. Be not too tame, neither, but let your own discretion be your tutor. Suit the action to the word; the word to the action; with this special observance: That you o'erstep not the modesty of nature; for anything so over-dont is far from the purpose of playing; whose end, both at the first and now, was, and is, to hold, as t'were, the mirror up to

nature; to show virtue her own feature; scorn her own image; and the very age and body of the time his form and pressure. Now this, overdone or come tardy off, though it make the unskillful laugh, cannot but make the judicious grieve; the censure of which one, must, in your allowance, o'erweigh a whole theater of others. O, there be players, that I have seen play, and heard others praise and that highly (not to speak it profanely), that, neithei having the accent of Christian, nor the gift of Christian, pagan, or man, have so strutted and bellowed, that I have thought some of nature's journeymen had made men and not made them well; they imitated humanity so abominably."

EXPLANATIONS OF ILLUSTRATIONS.

Fig. 1.-POSITION.-Right foot advanced, the left supporting the body. The principal weight of the body rests. upon the foot that is deeply shaded. See Fig. 7.

Fig. 2.-POSITION.-The change from the first to the second position is made by stepping forward with the right foot; throwing the principal weight upon it, only that part of the left, which is shaded, resting upon the floor. This position is assumed in Earnest Appeal, Bold Assertion, and Impassioned Speech.

Fig. 3.-RIGHT HAND SUPINE.-The hand should be well opened; when partly closed the gesture is weakened. Fig. 4. THE INDEX FINGER.-Employed in Indication, Precision, etc.

Fig. 5.-CLENCHED HAND.-Used in Extreme Emphasis, Vehement Declaration, Desperate Resolve.

Fig. 6.--HAND CLASPED.-Appropriate in Supplication and Earnest Entreaty.

Fig. 7.-This gesture is employed in Emphatic, particular assertion.

Fig. 8.-This gesture is used in Concession, Submission and Humility.

Fig. 9. This gesture is used in Specific Reference, Emphatic Designation; the hand inverted is used in Reproach, Scorn, Contempt, etc.

Fig. 10.-GRIEF.-The right foot slightly advanced; the left arm dropped close to the side; right arm advanced a little to the front, both hands open, the palm of the right hand the palm downward; the head leaning forward; the eye directed downward, with lids drooping.

Fig. 11.-DISLIKE.-The right foot slightly advanced; the left knee slightly bent; the right arm almost falling straight, but a little advanced to the center of the figure; the left hand extends from the side; the hands open, the palms downward; the head a little drooped forward; the face turned toward the right shoulder.

Fig. 12.-INVOCATION.--Heels well together; form erect; arms fully extended; the right hand to a level with the face; the left arm so that the hand is below the waist; the head turned sideways as though admiring the elevated objects looked at.

Fig. 13.-PATRIOTISM.-The right foot a slight space in advance; the form elevated to full height; the right arm extended, the hand just raised to a level with the eyes; the left arm extended, so that the wrist is on a level with the waist; the hand open, the palm horizontal with the body.

Fig. 14.-CAUTION.-The right foot about an inch in advance; the legs close together; the form at ease; the right arm bent so that the back of the open fingers touches the lips; the left arm at the side, but slightly extended, partly forward, partly sideways; the hand open, the palm downward.

Fig. 15.-COURAGE.--The left foot a little in advance; the figure somewhat thrown back, so that the breast is well advanced; the arms fully extended; hands open; the right hand on a level with forehead; the left on a level with lower part of thigh; the right palm partly turned upward, the left partly down.

Fig. 16.-HATE.-The right foot advanced, so that its heel just precedes the left foot; the body slightly bent back; the face turned to the sky, the gaze directed upward, with a fierce expression; the eyes full of baleful light; the