R. 1. x. R. 2. x. L. 1. x. L. 2. x. F. R. x. F.L.x. The two last, however, could seldom be used.

We have thus formed twelve distinct positions of the feet, six in the moderate, and six in the extended state. The body, in all these postures, must remain æquo pectore, or square to the audience, so that a line drawn from the person addressed, may fall at right angles to another line drawn through the speaker's shoulders. All are, however, subject to great variety; for, in changing the positions of the feet, the person may either

A frequent change of posture is not advisable, as it is indicative of anxiety and instability; but if a change is required, the general rule for the time of change is that it should take place after the first gesture or preparation of the changing hand, and coincide with the second or finishing gesture. The changing foot is the one upon which the weight of the body does not rest.

If more steps than one are to be expressed, the number may be noted in a parenthesis, after the

letter which marks the step, and then the position follows which finishes the movement. Thus :—

a (2) R 2—means advance two steps to the second position of the right foot.

r (3) R 1—means retire three steps to the first position of the right foot.

In advancing and traversing, each step finishes on the second position of the advancing foot; and in retiring from the first position, the step finishes on the first of the contrary foot, but from the second it finishes on the first of the same. In crossing from the first position, the foot passes before and finishes on the second position; and from the second position it passes behind the planted foot, and finishes on the first.

The steps from the two positions of the left are similar.

In the gesture of kneeling, the feet are intimately concerned. This gesture is performed usually on one knee only; and if the actor fronts his audience directly, it does not signify which knee is bent on the ground. But if he turns sideways to them, as he would in addressing another person in the dialogue, the knee that touches the ground must be in front the other knee being bent to a full right angle or more, with the foot flat on the ground; whilst the other foot touches the ground obliquely with the toes.

Walking the stage must be done with measured steps and slow, unless passion or violent emotions, excited by the piece enacted, require it otherwise.

OF THE ARMS.

For the convenience of understanding the system of notation adopted in these pages, the following explanation is necessary.

Let the speaker, standing in one of the positions already mentioned, imagine himself to be placed upright in the centre of a sphere or globe, so that the centre of his breast may correspond with its centre. Let this sphere be divided horizontally, so as to cut through the middle of the speaker's breast, and let this be termed the Horizontal plane. Let another plane parallel to this, a little above the speaker's head, be formed and termed the Elevated; and a third, parallel to the two former (formed as low down as the hand of the speaker can conveniently reach, without stooping), the Downward. We shall thus have three great planes, the horizontal, the elevated, and the downward.

Let two other planes or circles be now made, whose line of direction shall cut the horizontal plane at right angles; one, so as to divide the body into two equal parts and be in a line with the speaker and person addressed, and the other passing in a line with the speaker's shoulders. Two more planes or circles, then, cutting the horizontal ones between the perpendiculars last mentioned, and distant be

tween them at an angle of about forty-five degrees, will complete the figure. These last four planes or circles we shall, for convenience sake, call directions.

The direction of the oblique circle on the speaker's left hand will be termed across, with respect to his right hand; oblique with respect to his left. The same may be said of the direction of the circle on his right hand. The direction of the circle (which divides the body) will be termed forward, the next oblique, the next extended (in a line with the shoulders), and the last backwards, being in the same line with the left oblique or the right across. We shall thus have five directions for the right hand, and, of course, as many for the left, making ten in all. They are thus noted :—

By means of these directions, combined with the three great planes, fifteen distinct gestures of the arms may be formed, thus :

By means of these combinations, we obtain fortyfive different gestures or positions of the arm; because each of these fifteen may be formed with either the right arm, the left, or with both. And these forty-five positions, considered with reference to the moderate extension of the arm, its full extension, or its contraction (-c), will make in all 135 positions; i. e., 45 × 3 = 135.

To these 135 positions, may be added the two directions, pointing to the Zenith (Z) and Nadir (N), with the left or right hand; rest from gesture, when the arms hang loosely at the side, noted (R); the right or left arm akimbo, noted (K); the folding or encumbering of the arms (FL), and the ges ture of repose, when the elbows are nearly resting