nearest to us." The reason assigned for this by Mr. Walker is, that it is so much easier to raise the pitch than to bring it down, that the speaker will insensibly do this as he proceeds, and that however low the key may be in which he begins, he will be audible, provided he is articulate.

Who shall decide when doctors disagree ?" But as we see here that Mr. Sheridan expressly states that the key is not to be changed, and only increased in force or loudness, according to the theory at first laid down, it is to be feared that if the assembly be large, as Mr. Walker premises, that gentleman's speaker would not be heard by the remote part of the audience at all; while it must follow as a matter of course, that if the extreme portion of it be reached by the force, not pitch of the speaker, all within that range, as a natural consequence, must participate in the delivery of his discourse.

Few voices, however, are so perfect as not to require some sort of education in order to enable them to compass with facility an extensive range into either the higher or lower keys, and on extraordinary occasions it may even be necessary to touch on the extremes of either. This can only be effected by practice. Therefore, as in the directions concerning articulation we stated that by reading slowly and pronouncing every syllable clearly and distinctly in the middle tone, that particular pitch would be greatly strengthened, we venture to recommend that the self-same process be diligently and perseveringly applied in the same manner to the other two-viz., without reference to the sense of the passages to be read, but to the sound, and the compass and power of the voice in the higher and lower portions of its register will be much extended. The student should, in addition to this exercise, carefully select and read aloud such scenes or passages as require these particular pitches, and adapt them accordingly; and more especially those in which the particular passion they indicate appears to intensify or culminate, so as to go through all the gradations of either, without abruptly eaping, as it were, from one pitch to another.

CHAPTER VI.

ON GESTURE.

UNDER this head is included the whole deportment of the body, in order that it may be justly adapted to the nature and emotions of the subject pronounced. The disposition of the limbs, the movements of the hands, the carriage of the head, and even the movements of the eyes and direction and expression of the countenance altogether. For every passion, emotion, or sentiment, has some attitude, look, or movement peculiar to itself; any incongruity. therefore, either by vague, awkward, or unsuitable and inconsistent gesture, not only frustrates the intention of the speaker, but in many instances becomes ridiculous and absurd; for the object of public speaking is either to instruct, to please, or to persuade: and how can either of these objects be attained if the orator be devoid of propriety, force, or grace?

Cicero calls action "the language of the body," and further observes, "It is action alone that governs in speaking, without which the best orator is of no value, and is often defeated by one in other respects much his inferior." And, indeed, the orators of Greece and Rome appear to have attached the utmost importance to this particular department of elocution; for not only were they accustomed to employ persons whom they called "phonasci," whose office was to teach the modulations of the voice, but also others for special instruction as to voice and gesture combined; the latter being generally eminent and experienced actors selected from their theatres; and in fact, by this practical method it was that they attained that high degree of excellence of which we have so many records. Nor indeed can the higher graces of ornamental delivery be communicated by the unassisted medium of written precept and mere theoretic rules.

This has been the attempt of many works on this subject, but it is to be feared with little or no success, amongst the best of which, perhaps, may be reckoned Austin's "Chironomia," the author in that work, endeavouring, by means of plates and diagrams of various kinds, to illustrate the theory of action; but undoubtedly clever

and ingenious as the idea is of establishing a certain fixed system of gesticulation, it can hardly do more than impart to the practically uninstructed a mechanical stiffness and a studied, constrained, and artificial manner, instead of an easy, graceful, yet powerful action and expression. Mr. Sheridan, no mean authority, appears to be of this opinion also, for he says, regarding those who advocate instruction of this nature, "They who judge in this manner have not sufficiently considered the nature of the subject, and therefore attribute more power to precept alone than it is possessed of." The fact is, that practical rules differ much from those that are merely speculative; nor will informing the understanding in some cases produce by any means a perfect execution, without other assistance. Can any one be taught to sing or to dance without the aid of masters, and patterns for imitation ?

The most, therefore, that can be done without this aid is to afford such plain directions, and general information with regard to the art, as, being easily comprehended, may be useful to the student, and come within the range of his own application to private practice.

The first thing to be considered, and one of infinite importance, both to the orator or reciter, since much value must ever be attached to first impressions, is the manner in which he presents himself before the assembly it is his purpose to address. This, of course, depends in some manner on the nature of his subject, and in this the aspect or countenance of the speaker bears no inconsiderable part. Thus, for instance, a sedate expression at once implies a mature consideration of the argument about to be advanced, and communicates insensibly an idea of its importance. And on the contrary, a cheerful air raises the expectation of being entertained with a pleasant and agreeable discourse. But above all, a wandering look, an air of levity, or a haughty, supercilious manner, which either fails to excite respect or else begets distaste, must be carefully avoided. Nor at the same time is a dejected appearance pleasing, unless the subject to be delivered is of a melancholy

nature.

In the case of addressing a large assembly, if the speaker desires to be heard perfectly from the opening of his oration, he should by

no means begin at once, but having settled himself quietly and composedly in his position, with a steady and respectful look, suffer himself to take a survey of his auditory. This begets silence, and prepares them to become attentive. With regard to the extemporaneous speaker, it has the advantage of allowing him. to collect his thoughts, to frame his first sentence, and sometimes to subdue that flurry of spirits which few who speak in public are entirely free from in the opening of an address. It should not be preserved too long, nor, on the contrary, be continually shifting, so as to beget a feeling of uneasiness, such as often arises from the fidgety shifting from one foot to the other (a fault very common with some speakers). But, fronting the audience, avoiding altogether a sidelong attitude, let the feet be firmly planted, yet not close together, but with one advanced, the body resting on the other, erect, not too stiff, but easily and flexibly adapting itself to the motion of the head and hands; avoiding, however, anything approaching to a wavering motion, such as we are told by Cicero a Roman orator called Curio was addicted to, and for which he became the subject of a friend's joke, who once asked, "Who is that talking out of a boat?"

A judicious management of the eyes, in awakening and insuring a continued attention, also deserves notice. They should be neither wandering nor altogether fixed or staring, but generally gentle and moderate in their motions, and directed in turn to different portions of the audience, as if engaging each in common dis

course.

In considering the movements of the arms and hands it should be well understood that, to insure a graceful action, all angularity must be strictly avoided; and, therefore, this rule cannot be too carefully impressed upon the mind, viz.: That all motion must proceed from the shoulder, and not from the extremity of the fingers, and that the elbow should never be suffered to incline to the body; nor should the hands assume a rigid and constrained appearance in the disposition of the fingers, by being held open and flat, as if about to administer a sound "box on the ear," or spread abroad like a bunch of radishes, or crookedly contracted like the claws of a crab: but moderately opened, let the index, or first

finger, lightly press the middle one, the other two inclining gently inward towards the palm. This must, of course, be understood as referring to the hands in a state of repose; and when used in a temperate and unimpassioned address they contribute to that simplicity and grace—and, at the same time, dignity-that should at all times characterize the movements and bearing of the orator. Under the influence of the passions, indeed, they assume other forms; and most infinite is their use and variety: "Greater, indeed," as Quintilian justly observes, “than can well be expressed, for they are almost equal to our words. Do not we desire with them, promise, call, dismiss, threaten, beseech, detest, fear, inquire, deny? Do not they express joy, sorrow, doubt, confusion, penitence, measure, plenty, number, and time? Do not they excite, restrain, prove, admire, and shame? That in so great a variety of speech among all nations and countries, this seems to me the common language of mankind." The ancients, however, differed greatly from us with respect to the use of both hands, confining their action— or, at least, their principal action-to the right; and it is not difficult to understand how this might be, when we consider the peculiar nature of their dress. A glance at a Greek or Roman statue, attired in the chlamys or toga, at once illustrates this. The left arm being occupied in sustaining the folds of the drapery, could not well be used conveniently, or without derangement of its disposition, though it is certainly difficult to conceive how, thus limited to the use of one hand for their chief expression, the forcible passages and animated sentiments in those orations of theirs which have been preserved to us, could have been delivered. Be this as it may, the modern orator is under no such restriction; and it is not only proper but needful that either hand occasionally should be used indiscriminately, as the principal gesture, or the position of the person addressed, may require; and sometimes distinctively the left hand alternates its office with the right. With us the corresponding hand and foot are advanced; and here agair we differ from the ancients, Quintilian affirming as a rule that it should be the reverse, while we only make such a position excep tional. As a general direction to be borne in mind—and the exceptions to it are few indeed--all straight lines in the movements