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reference however to the action of the orator rather than the actor,—will be presented in the several sections of this chapter; while the attention of the learner is successively called to the Feet and Lower Limbs, the Head and Trunk, the Eyes and Countenance, the Hand, and the Arm.-Some of the elements appropriated only to epic or dramatic action, will be noticed in the Appendix.

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This will lead to a somewhat minute detail of particulars, with all of which however the learner should be made acquainted, that he may have a full knowledge of all the means which nature and the best usage have placed at his command, not only for the purpose of enforcing sentiment, but also for enabling him to give interesting variety to the action by which this is to be effected. And he may here be reminded, that oratory is no new art of mere modern invention; but that the principles which we present are the same with those which have come down over the lapse of more than two thousand years; and that the best models of excellence of our own time are those which approach nearest to the great masters of antiquity, whose writings and opinions have fortunately survived the wreck of much other matter. These principles then come to us with all the authority which time and experience can impart to them. Had we competent teachers in this department, and perfect models for the imitation of the young, the learner might aim directly at the acquisition of great excellence in oratory. As it is, his first object should be to free himself from bad habits, and from all artificial constraints, then to avoid faults, and thus indirectly by frequent and continued practice to acquire the beauties and the graces which will naturally engraff themselves on his delivery. To the accomplishment of this end, this Part of our work is directed.

SECTION II.

OF THE FEET AND LOWER LIMBS.

THE propriety of commencing this part of our subject with a consideration of the Feet and Lower Limbs will become obvious to the learner as we pass along. To the orator nothing is unimportant which contributes to the general impression he makes upon his audience; and this depends very materially on the dignity and grace of his movements. And what particularly concerns us to remark at this point is, that dignity and grace in the standing figure are known to depend on the positions of the lower limbs, which should be such as to give to the body both firmness of support and facility of movement. Mere firmness or stability can be secured, when combined with every degree of awkwardness; and rude strength most frequently perhaps supports the weight of the body equally on both feet. Firmness and grace however are combined, when the weight of the body is principally supported on one leg, and the other so placed as to preserve the balance of the body and keep it from tottering, at the same time that it is left free to move at will. Austin has remarked, that this is the position adopted in the Apollo, the Antinous, and in other beautiful and well-executed statues. In this position, the foot which supports the body is to be firmly planted, and the body so erect that a perpendicular line leț fall from the centre of the neck should pass through the heel of that foot. Either foot may thus support the body, and may be more or less advanced than the free foot; thus giving four positions which are the only ones suited to oratory. The conditions of all these are, first, that the feet are to be separated from each other only three or four inches;

secondly, that the toes of the foot which supports the body, as well as of the other, should be turned moderately outward; and thirdly, that the feet should be so placed, that lines passing lengthwise through the two feet, shall cross each other under the heel of the foot least advanced.

First Position of the Right Foot.

In this position, the right foot is firmly planted, and sustains the weight of the body. The left foot forms nearly a right angle with the other, and rests only on the ball of the great toe. In the groundplan of this figure, the right foot which rests firmly on the ground is deeply shaded; the part of the left which

Fig. 1.

touches the ground is shaded lightly. (See Fig. 1.)

Second Position of the Right Foot.

In this position also, the right foot is advanced, while the weight of the body is on the left.-In the plan therefore, the left foot is deeply shaded; and the right, though it rests upon the ground throughout its whole extent, is shaded more faintly. In this position, the angle which the feet make with each other is but about 75 degrees. (See Fig. 2.)

First Position of the Left Foot.

Fig. 2.

This is in all respects analogous to the first position of the right foot. The plan presents that position reversed. (See Fig. 3.)

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Second Position of the Left Foot.

This position likewise is in all respects analogous to the corresponding position of the right foot, as Fig. 4 will show.

These are believed to be the most natural and easy positions which the speaker can assume; and yet when first attempted they may seem to require an effort. The learner will soon however find himself perfectly at ease in them, and familiarity will secure their adoption as a matter of habit. With this familiarity, all attention to studied precision or measured exactness should be laid aside. Affectation and grace can never exist together. Though the sustaining foot is to be planted firmly, and the knee of that leg straightened, yet there should be no contraction or rigidity of muscle; and the other foot and limb must be kept relaxed.

An observance of the foregoing rules will do much to guard the learner against a variety of errors; some of the most common of which we shall here notice.

Errors in the Position of the Feet.

1. The sustaining of

Fig. 5.

Fig. 6.

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the weight of the body on both feet equally.This is objectionable

mainly, as rendering changes of position inconvenient. (See Figs.

5, 6.)

2. The throwing of the weight of the body forward upon the ball

of the foot, instead of having it rest upon the heel.—This has less of firmness and less of dignity than the erect attitude.

3. The placing of the feet too close together.-This diminishes the base of support; thus rendering the position less stable, and of course restricting the free use of the arms in gesture. (See Fig. 7.)

Fig. 7.

Fig. 8.

Fig. 9.

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