Maury's, Abbé, opinion of English eloquence, 179.

Metastasio admirable in every poetical expression, though restricted in the use of language,

244.

Miser and Plutus noted and illustrated, 369-observations on it, 371, 372.

Modes, the several of public speaking, 188.

Modesty becoming particularly at the exordium, 93-especially required in a sacred

orator, 95.

Modulation of the voice, 61.

Moderation in the rate of utterance, APP. VI. 1. 375.

in the use of gesture, 433.

Moine, la, and his son, celebrated by Lucas, APP. VI. l. 285.
Monotony of gesture, n. 3, 454.

Motion, its gracefulness depends much on the facility with which it may be varied, 295.
Mouth, its graces and importance, 121-subject to irremediable injury and alteration,
122-disadvantage of an ungracious, 123-persons celebrated for the graces of, 124—
probity of, from Cresollius, n. 53, 126-altered by moral habits, 127-Lavater's
theory of the alterations of, 129.

Mute arts suit him who has not a sound voice, APP. VI. 1. 340.

Mute exercise of the voice, illustrated by a story from Plutarch, n. 15, 75-recommended,
APP. II.

N

Notation of gesture, the want of, a probable cause for the neglect of gesture, 271-opinion
of modern authors as to the possibility of supplying this want, n. 1, 271-the want of
it operates more against the orator than against the player, 272-notation of ancient
systems of gesture accommodated chiefly to the music of the dramas, n. 5, 272—is
an accession to the means of communicating ideas by writing, 275-why so named,
276-its great advantage in abbreviating the tedious description of gesture in ordinary
language, 276—the painter likely to profit by it as well as the orator and actor, 278—
to be lamented that something similar was not applied to record the gesture of ancient
orators, 279-principal objects of it, 284.

Novels, reading of, 205-estimation of the uses and abuses of, 206.

Numerous gestures resulting from the systematic positions, 314 to 316.

Observations on the notation of Gray's Elegy-on that of Brutus's speech- on a passage
from Young's Night Thoughts, Chap. XXIII.

Observation of good speakers, the best means of instruction, APP. VI. 1. 278.

Opera, the serious compared with tragedy, 243-difficulties which oppose its perfection,
244-opinions of Algarotti upon it, 246-Ideal perfection of, 247-usual excellence
of, ib.-effect of fine acting, ib.-Dorat, his poem on, n. 16, 248.

Orator, ideal perfection of according to Cicero, Quintilian, and Tacitus, n 22, 23, p. 16,
and n. 24, 25, p. 17-should above all be a good man, n. 33, p. 22-an orator should

not mark out particular persons by his eyes, 105-observations of Cresollius on, n 26,

p. 103-cannot be without a sound voice, APP. VI. I. 315.

Orators, sacred, the paucity of accounted for, 232.

Oratory, talents for not confined to any particular people, 12-definition of 217.
Origin of this work, 281.

Palm, various manners of presenting, 338.

Р

Pantomime, Noverre's receipt for forming one, n. 4, p. 252.

Pantomimes, ancient, their art of gesture not a proper portion of the subject of this work,
251-modern, their expedients for expressing their ideas, n. 2, 3, 4, p. 252-ancient
had probably no extraordinary art of gesture unknown to moderns, 257-banished by
Augustus, 258-equalled by moderns in confidence, n. 15, ib.-eucouraged and imi-
tated by Caligula and Nero, 260-stories of, from Lucian, 261-the passion of the
Romans for them explained by Marmontel, n. 25, 262-Gibbon's account of the par-
tiality shewn to them, 263-the English partly borrowed from the Italian comedy.
Pantomimic gesture, how differing from oratorical, 252-art invented by Bathyllus of
Alexandria, 25.

Parts, the principal, of the body concerned in gesture, 294.

Pauses, 50-Mr. Sheridan's rules for verse pauses, 54-rhetorical, 52-their effects, 53.
Period of gesture, 394, 436.

Pean and Munio, APP. II. and p.73.

Phonasci, 23-account of, from Cresollius, APP. II.—abstained from certain meats, ib.—
used walking exercise, ib.-applied plates of lead to their breast, ib.-used a gargle
called Plasma, ib.

Pitch of the voice, p. 56.

Pitt, Mr. Lord Chesterfield attributes more to his delivery-than to his arguments, n. 7,
p. 508.

Players succeed in gesture better than orators, why, 273-their talents soon forgotten for
want of means to record them, 279-keep under their voice at rehearsals improperly,
n. 13, p. 73. See Actor.

Pollicem premere et vertere, n. 15, 333 and 337-various explanations of, App. V.
Portraits not adequate records of the manner of great players, 280.

Positions of the feet, gracefulness, depends on what, 295-their notation, 298 to 300-
observations on, n. 8, p. 297-what positions should be adopted by an orator, 301-
changes of their names and notation, 303-changes originate from the foot which is
free, 304-four steps from each, ib.

Positions of the arms, motions and elevations, 309-notation of, 311 to 313.

Practice of the voice, 73

Preachers, Addison's, Sheridan's, and Fordyce's observations on, 6, 7-observations of
Cicero applicable to, 103-preachers celebrated for their eloquence, 227-English,
their particular merits, 228-French compared with them, 229, 230.

Precision of gesture, and opposite imperfections, 457.

Prejudices against the cultivation of delivery, 5. 28-observations by Cresollius, n. 40,
p. 26.

Premeditated gestures to be moderated according to the feelings upon actual delivery, 444.
Preparation of gesture, 411.

Principal gesture when resigned to the left hand, 417.

Pronunciation, or action, 1-according to Quintilian, n. 1, 1-according to Cicero, n. 2, 3,
p. 1-in modern acceptation 45.

Propriety of gesture, 457,

Prosodia Rationalis of Steel has solved a difficult problem, n. 12, 275.

Public speakers among us, in manner nearly resemble Scaurus and Rutilius, mentioned by
Cicero, 141-of Great Britain, reasoners rather than orators, 218, 219.
Pulpit, its form objectionable, 233-proposed improvements, 234, 235.

Pylades and Bathyllus the pantomimes, 254.

Q

Quantity and quality of voice, 33-wherein it consists, 60-various qualities of, APP. I.
Quintilian has left a literary curiosity in his conjectures upon the gesture of Demosthenes
and Cicero, 283-his description of the power of the hands, 322-his precepts for
gesture, passim.

R

Rate or rapidity of utterance, 61, 62—of delivery unequal according to Fenelon, n. 23
26, p. 80.

Reading, silent and aloud, 189-divisions of, 190 to 195-frequent of the liturgy, its
effects, 196 care to be taken, ib.-of the Gospel, how to proceed in improvement of,
197-excuses for the imperfection of, in the church service, 198-rhetorical reading
where required, 200-compared in its advantages with delivery from memory, 201-
dramatic, ib. rarity of this talent in perfection, 203-of plays, by several persons,
204-of history, ib.-of novels, 205.

Reasoning, as contrasted with oratory, 218.

Recitation, practised by the ancients and taught their children, n. 25, p. 23-definition of,
and uses, 209-its different degrees, 210 divided from the gesture in the ancient
drama, 265.

Repetition of the same gestures, by whom made, 224.

Rest, when and in what manner the hands fall into this position, 426, 427.
Rhetoric division of, according to Alcuinus, n. 18, p. 13-according to Cicero, ib.-no
division of this art should be neglected, 13-estimation of it by Aristotle, n. 19, p. 14-
taught by the ancient grammarians, n. 28, p. 19-not to be rejected, though a dan-
gerous weapon, n. 19, p. 14.

Rhetorical delivery may be dispensed with, and when, 225-when most necessary, 224,
226-preachers celebrated for, 227-gesture, rhetorical, qualities of, 458.

Rhetoricians banished from Rome, n. 20, p. 14.

Right hand, see Hand.

Rules necessary, particularly at the commencement, 282-judicious observations on, from
Engel, n. 20, ib.

S

Saiyrus and Eunomius give advice to Demosthenes, n. 11, p. 3 and 4.

Sawing the air, what. 378.

Scaurus and Rutilius, their manner nearly like modern speakers, 141.

Series of toues in speaking, 77.

Sheridan's objections to the form of the pulpit, n 8, p. 255.

Siddons, Mrs. her fine action compared with Mr. Kemble's, 279-complex significant
gestures after her action, 495.

Sigh, when this expression may be used by an orator, n. 35, p. 109.

Significant gesture, APP. VI. 1. 53-treated of, by Engel, Sheridan, Walker, and others,
482-enumeration of a few, with relation to the principal parts of the body, 483,
484-division of, into four classes, 486-complex signiiicant gestures, 487 to 490-
from Engel, 490 to 493-from Mrs. Siddons 495.

Significant gestures the great ornament of dramatic exhibition, ib.-painters confine their
attention chiefly to the boldest, which are called attitudes, 497-very rarely to be
used by orators, 499.

Similarity of gestures affords opportunity of classification, 293.

Simplicity to be observed in positions and changes, 302—to be observed in transitions, 420–
S. of gesture and opposite imperfections, 455.

Speakers, the custom of the best modern not sufficient authority for action, 145-a public
speaker should be able to govern his feelings, 444.

Squinting, why distressing to behold, n. 23, p. 102.

Stars, marks of transition in notation, 371.

Stiffness of action, cause of, 451.

Stroke of the gesture, what, 377-disadvantage of omitting, 377-gives precision to ges-
ture, 378.

Style of speaking, general divisions of, require a different manner of gesture for each,
452-peculiar qualities of each style of gesture, 458, 459-analogy of the different
styles of gesture, to the flight of birds, 460,

Subordinate gesture analogous to accompaniment in music, 421.

Symbols for the voice, 367.

Symbolic letters, difficulty of adjusting, 357-their application, 360-alphabetical arrange-
ment of, 366-additions to be annexed to, 551.

Synoptical table of the arrangement of symbolic letters, 363.

System of gesture, some peculiar advantages of the present, 501.
Systematic positions of the arms, 311 to 313.

T

Table, alphabetical of symbolic letters, 366-synoptical of, 363.

Tears of an orator, 107-when allowable, 108-Aristotle's observations on those subject
to be so moved, 110-danger of their causing disgust, 112-tears of Demosthenes,

113.

Termination of gesture, 425-how made, and rules for it, 426-proper, often injured by
local situation, 427-when complete and when imperfect, 428.

Theatrical gesture invented by Eschylus, 253-how far to be taken as a model by a public
speaker, 461 to 464-opinion of Engel, n. 12, p. 461.

Time of gesture 379-according to Lucas, APP. VI. 1. 124.

Tones of the voice, 63-series of, in speaking, 77-necessary to the credibility of the
speaker, 92-observations on, from Cicero, n. 25, p. 80-simplicity of, recommended
by Lucas, APP. VI. 1. 418-vary according to occasion, ib. 441-suited to different
parts of the oration, ib. 455.

Tragedian, why so rare a perfect, 453.

Transition of gesture, 415-how regulated, 417-must be gradual from the calm to the
more vehement, 443.

U V

Vacancy, a peculiar expression of the eye, 105.

Variety of gesture, resulting from the systematic positions only, 314 to 316-Fenelon's
observations on, 443-variety of gesture and opposite imperfections, 454-produced
by the use of the left hand, 419.

Vociferation to be guarded against, APP. VI. 1. 367.

Voice, advantages of a powerful, 30, 31-quantity and quality of, 33, and APP. I.—
capable of improvement, 34-excessive attention of the Greeks to its improvement,
35-pitch of, how to regulate, 56, 57-how to change, 58-tones of, from Sheridan,
63, 64-from Herder, 65, 66-general precepts for, 6-preservation of, 70-im-
provement of, 72-management, 75-management from Lucas, APP. VI. 1. 354-
silent preparation of, story from Plutarch, 75-scale of tones in speaking, 77-variety
of, from Lucas, Arp. VI. 1. 402—variety, fine instance from Mr. Kemble, n. 22, 79—
observations of Cicero, Quintilian, and Fenelon, 80-estimation of its powers, 81—
symbols for, 367-observations by Lucas, APP. VI. 299—a sound one indispensable
to an orator, ib. 313-they who have not should instruct or turn their attention to
mute arts, ib.—cadence of, ib. 411—exercise of, important, and practised by Augustus,
ib. 487-things injurious and beneficial to, APP. II.

Ulysses, his modesty to be imitated by orators, 93, 94.

Universality of natural signs, 469, and n. 4, ib.
Utterance, rapidity and rate of, Henischius, APP. VII.