hand placed between the thumb and forefinger of the other, overlaps it-the two thumbs crossing one another.

B in. Both hands in-closed.--When the back part of one hand is enclosed or enfolded in the palm of the other.

B tc. Both hands touching.-When all the fingers of each hand mutually touch one another, without the palms being applied.

B wr. Both hands wringing. When the fingers are interlaced, elevated, and then depressed and separated at the wrists, without disengaging the fingers. Ben. Both hands enumerating.-When the index of the right hand is laid successively upon the index or the different fingers of the left. Sometimes the finger and thumb of the right hold the finger of the left. Sometimes, too, the palm of the right touches repeatedly that of the left.

IV. According to the parts of the body on which they are placed.

The notation B for both hands, when used, is placed first; the gesture of the hand is then marked in small letters; e. g., B s means Both hands supine.

Next comes the horizontal, elevated, or downward plane, also marked in small letters; e. g., B sh means Both hands supine horizontal. Then comes the direction, either across, forward, oblique, extended, or backward; e. g., B shf means Both hands supine horizontal forward. If the extended or contracted state is required, another small letter is added in the fourth place (that is, in the fourth place of small letters). Thus: B vhf-c means both hands vertical horizontal forward contracted; and, B phq x means Both hands prone horizontal oblique.extended. The sign of the left hand is a dash before the gesture; e.g., —shq means, left hand supine horizontal oblique.

The following gestures, of the hands and arms together, must be given apart from the main gesture, and be marked precisely over the word or syllable which is emphatic, or where the change or peculiarity of manner takes place.

noting
pushing
waving
flourishing
sweeping
springing
beckoning

repressing

striking recoiling shaking pressing.

G

OF THE HEAD,

"The head," says Quintilian, "must be held in an erect and natural position. For when hung down, it expresses humility, when turned upwards arrogance, when inclined to one side, languor; and when stiff and rigid, it indicates a degree of barbarity in the mind. Its movements should be suited to the character of the delivery, they should accord with the gesture, and fall in with the actions of the hands, and the motions of the body."

"The head is capable of many appropriate expressions. For, besides the motions, which by a nod signify assent, rejection, or approbation, there are other motions of the head known and common to all, which express modesty, doubt, admiration, and indignation. But, to use the gesture of the head alone, unaccompanied by any other gesture, even on the stage, is considered faulty. It is also a fault to shake or nod the head too frequently; but to toss it violently, or to agitate the hair, by rolling it about, is the action of a madman," The usual motions and positions of the head are as follows:

OF THE EYES.

"This, of all the organs," says Sheridan, "rightly called the window of the breast, contains the greatest variety, as well as distinction and force of characters. In rage it is inflamed, in fear it sickens; it sparkles in joy, in distress it is clouded. Nature has, indeed, annexed to the passion of grief a more forcible character than any other, that of tears, of all parts of language the most expressive."

With regard to the actor, the proper management of this organ produces more effect than any kind of gesture. Pride, humility, love, kindness, rage, resentment, cruelty, pity, and compassion, are distinctly visible in the eye.

The eyes should be directed to where the gesture points, generally speaking, but never at the gesture itself, unless the peculiarity of the piece requires it, as where Macbeth says, after the murder," This is a sorry sight," holding out his hands, and viewing the blood upon them. They should be averted, whenever there is occasion to condemn, refuse, or to require any object to be removed; on which occasions, we at the same moment, express aversion in our countenance and reject by our gesture as in the following line from King John:—

Out of my sight, and never see me more.

The following are the directions in which the eyes may look:

The sides should bear their part in the gesture. The motion also of the whole body contributes much to the effect, in delivery. "Let the gesture," says Cicero, "regulate itself by the movements of the whole trunk, and by the manly inflection of the sides,"

The gestures of the arms and hands are not, therefore, to proceed from the trunk as from a rigid log; but must be accompanied by the easy, yielding movement of the body. The shrugging of the shoulders must be avoided, except in force. Every part of the human frame contributes to express the passions and emotions of the mind, and to show, in general, its present state.

A few of the simple significant gestures are here enumerated,

THE HEAD AND FACE.

The hanging down of the head denotes shame and grief.

The holding of it up, pride or courage.

To nod forwards implies assent.

To toss the head back, dissent,