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perance discolours and distorts it; ill-nature wrinkles it; envy and malice deform it; voluptuousness bloats it; ill-health and sorrow affect it perceptibly. We look to the mouth for its perfect articulations, which delight the eye as well as the ear.

The lower lip is the active organ; the opening of the mouth puts all the other organs in a state of readiness for effort (Fig. 48).

77. COMPRESSED

78. OPEN

79. FOR MIRTH

80. FOR RAGE

Fig. 48.

.It indicates decision of character, resolution of purpose.

Vacancy, idiotcy.

...... The angles are drawn upwards and backwards, exposing the teeth, and violently opened also for contempt or fear. .Downwards and backwards, unevenly showing canine teeth; the same in different degrees for peevishness, discontent, jealousy, and fear.

81. FOR DEVOTION ...Lips slightly parted.

We listen and hear, as it were, by the mouth.

FREQUENCY, MODERATION, AND INTER

MISSION OF GESTURE.

The foregoing classifications supply the requirements of every oration, and any part of it, by application of their combinations; they are the component parts of every style, in the language of expression, whether tame or vehement, ardent or indifferent, cold or pathetic. These motions should all be practised slowly, never suddenly precipitated to the required position by the shortest course, but in a sort of waving line returning upon itself. Very great care must be observed to avoid pedantry in colloquial actions, although the aesthetics of the day are eminently and acutely pedantic.

Suspending gestures are of more general importance to painters, as they give the preparatory suggestions of the emphatic stroke or significant action, and indicate with subtle interest the principal motions.

Legs, body, arms, and head must work together, every muscle must co-operate, to prevent a puppet-like, absurd performance. You must not represent drunkenness in your legs or head alone; every part must co-operate, even to your mouth, nostrils, brows, and eyes. All strong emotions require this harmony, this "breaking-up" disposition of the frame.

Reserve your gesture for the force and ornament of such passages as require to be rendered with brilliancy

or prominence. Absolute intermission of gesture is frequently advantageous and necessary, especially at the commencement, or when an argument is nearly concluded, or to relieve the monotony of demonstration ; regard it as a peppery condiment, and do not use too much, or you will spoil the flavour and ruin the food

THE GESTURES OF PUBLIC SPEAKING.

Clergymen, barristers, lecturers, and public speakers generally must be governed by the different circumstances in which they are placed, and employ "discriminating" gestures with simplicity and precision, avoiding the character and parade of graces and transitions, which belong to the theatrical. They should be semi-colloquial in style and emphatic only when suited to the manner and matter. Even then gesture should not be too strongly significant and emphatic, or surprising in attitudes, but employed with manly

decorum.

Everybody representing characters drawn from any of the classes I have mentioned should understand and faithfully reproduce them. We do not expect to see in the pulpit or in our courts of law the infinite, multitudinous gestures of the theatre. We are a

grave people," and would be shocked to see the real serious business of life so illustrated.

CONCLUDING REMARKS.

Now, if you put all that has been said together, and practise to make a good and complete picture, stamped with the mark of your own individuality, you will be fuily rewarded. You must act with perfect ease, not only in appearance, but within yourself; make yourself acquainted with the methods and principles of those who have preceded you, in order to master the requirements of your art. Never imitate without understanding, and understanding can only be accomplished by study and effort.

Again we warn the student against redundancy or the ridiculous practice of suiting the action to every word. You must remember there is always what the French call "le mot de valeur "-the significant word -in a speech or scene with which the most decisive gesture must accord. Remember, also, that gesture is rendered insignificant by frequency. Learn to "think before you act," and act reposefully. Figures les choses, after the manner of the French textbook, "Diseur et Comédien," with raison d'être. The perfect knowledge of stage effect (l'art de la mise-en-scène) that cultivation gives will tell you where to make your effects, and the cream of your training, as it were, should be reserved for those effects. We are told that Madame Arnould Plessy only gives five principal gestures in three plays.

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