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side, without the slightest degree of stiffness at any time. The stroke of gesture, too, must be well timed.

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In lifting the arm, the elbow should move first. and be kept constantly outwards from the body; the hand should not be bent at the wrist, but kept in a line with the lower arm; and the thumb should preserve its natural distance from the fingers. This preparation for an emphatic stroke, should always begin in due time, the arm gradually ascending with the current of pronunciation, till, at the moment the action is wanted, the hand is brought down with a sudden spring." *

The Rhetorical style of delivery is that which belongs principally to pulpit oratory.

The Epic or Tragic gesture requires every natural and acquired power of the speaker. The different qualities which constitute the perfection of gesture, together with their opposite defects, are

1. Magnifience opposed to dryness, shortness, and

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8. Precision opposed to uncertainty, indecision, and incorrectness.

Epic gesture demands all these qualities in perfection. The compositions requiring this style in their delivery, are tragedy, epic poetry, lyric odes, and sublime description.

Great care should be taken to guard against attempting to introduce the full license of theatrical action into any species of rhetorical delivery. The charge sometimes made against public speakers, of being theatrical in their gesture, probably arises more from some unsuitableness in the matter to their manner, than from anything of uncommon majesty, boldness, or grace in their action. Affectation altogether defeats the objects of the orator, by disgusting his audience; extravagance renders him ridiculous; and weakness gives him over to contempt. He loses all influence with his audience who appears to have lost himself, for the power of self-government is indispensable to those who would. govern the opinions of others.

OF THE FEET AND LOWER LIMBS.

Upon the proper stability and firmness of the feet and lower limbs, depend all the formations, attitudes, positions, and gestures of the body.

In order, then, to give the body a firm and graceful appearance in speaking, it must be observed, that a position in which the two feet rest with equal weight upon the ground, whether the knees be braced or not, ought never to occur, unless in comic or grotesque kind of action. The body, for the most part, should resemble, in its attitude, the statue of the Apollo Belvidere, or the Antinous. It should be so balanced, that the whole weight may be on one foot, and in such a manner that a perpendicular line passing from the hole or well of the neck, through the centre of gravity of the body, may pass through the heel of the foot upon which the weight of the body rests. The opposite foot, not supporting any weight but its own, merely touches the ground lightly, and sometimes with only the ball of the great toe. It is thus enabled to change its position at pleasure, both with ease and grace. Never, whilst speaking, either in the Rhetorical or Epic style, must the weight of the body be allowed to fall on both feet at once. Neither must one position be preserved too long, nor transition be made too frequently; but a pleasing variety should take place, suited to the accompanying gesture of the hands; which, in their turn, are directed in their movements by the sentiments conveyed, or the situation of the place.

The gesture of the right hand should be used when the left foot is advanced, and that of the left

hand when the right foot is advanced, so that the foot and hand of the same side of the body may seldom be brought forward simultaneously.

The following are the different positions of the feet, symbolically expressed :

:-

R.--1. The first position of the right foot.
R.-2. The second position of the right foot.
L.-1. The first position of the left foot.
L-2. The second position of the left foot.

In the first position here noted, the right foot advances before the left, about the breadth of the narrowest part of the foot, the lines passing through the centres of the feet, from toe to heel, forming an angle of about 75 degrees. This angle is so formed as to be nearly bisected by a line drawn to the vertex from the eye of the person addressed. It will have to keep its relative value as often as the feet are shifted from their position. The principal weight of the body is here sustained by the left foot.

In the second position, the right foot slides forward to the distance of about half the length of the foot, and receives the principal weight of the body. The left foot only keeps its balance by resting the ball of the great toe lightly on the ground; its heel is raised, and turns slightly inwards to that of the right. Sometimes a greater portion of the foot may rest upon the ground, but

the heel must always be raised. The angle formed

by the line of direction through the two feet is, in this position, nearly equal to a right angle or 90 degrees.

The first position of the left foot in all respects corresponds to the first of the right-the left foot being in front, and the principal weight of the body on the right.

The second position of the left foot resembles the second position of the right-the left is in front, and the weight on the same.

Besides these four positions, there are two others, called positions in front and are thus noted :— F. R.-Right position in front.

F. L.-Left position in front.

In these two positions, the heels are placed more closely together than in the other positions, and the body is alternately supported on either foot, the toes of the opposite foot lightly touching the ground. The angle thus formed is somewhat greater than a right angle.

These last two positions are used when persons are addressed alternately on either side of the speaker. They are not graceful, however, and are condemned by Quintilian. These six positions of the feet are supposed to be in what is called the moderate state. They may also be formed in the extended state, which is done by lengthening the distance between the heels. They will then be marked thus:—

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