The wealthy curled darlings of our nation,
Would ever have, to incur a general mock, '.
Run from her guardage to the sooty bosom
Of such a thing as thou: to fear, not to delight,
Judge me the world, if 'tis not gross in sense,
That thou hast practised on her with foul charms:
Abused her delicate youth with drugs or minerals,
That weaken'd motion: -I'll have it disputed on;
'Tis probable, and palpable to thinking.

I therefore apprehend and do attach thee,
For an abuser of the world, a practiser
Of arts inhibited and out of warrant :-
Lay hold upon him, if he do resist,
Subdue him at his peril.

In the above, the voice of the wrathful old man, Brabantio, breaks into a shrill tone between a shriek and a squeak, and affords an example of the Falsetto.

We conclude this chapter with another example of the Falsetto from King Lear:

Lear. It may be so, my lord-Hear, nature, hear:
Dear goddess, hear! Suspend thy purpose, if
Thou didst intend to make this creature fruitful!
Into her womb convey sterility!

Dry up in her the organs of increase:
And from her derogate body never spring
A babe to honor her! If she must teem,
Create her child of spleen; that it may live,
And be a thwart disnatured torment to her!
Let it stamp wrinkles in her brow of youth:
With cadent tears fret channels in her cheeks;
Turn all her mother's pains and benefits
To laughter and contempt; that she may feel
How sharper than a serpent's tooth it is
To have a thankless child!-Away, away!

GESTURES.

Ir is natural in speaking to make some motion with the hands and arms, and that the countenance should express our feelings. Some nations who are less cold and phlegmatic than ourselves, make a great deal of motion. They are, in every way, more demonstrative. Therefore, oratory

flourishes better among the French and other continental nations than it does with the English and Americans. We must endeavor to correct this fault, if we would excel in elocution; we must exhibit more life.

A curious example of the necessity of gestures took place in New York, at a genteel boarding house.

The host was a man of very calm exterior on all occasions. One day the house caught fire. The host saw the flames bursting out the rear windows. He entered the sitting room where the boarders were congregated, and, slowly rubbing one hand over the other, as was his usual custom when speaking, he made the remark that the house was on fire.

"Here's a chair, Mr. H

; take a seat," said one of the gentlemen, politely making room for him.

"The house is on fire," repeated Mr. H— without moving a muscle of his countenance, or stirring a limb, except to rub his hands slowly together.

"Yes, rather cool to-day-come to the fire," said one of the boarders, supposing that the host was making some remark about the weather.

"The house is on fire," answered Mr. Htone.

in the same

This was repeated five or six times before the boarders got at his meaning, because it was incredible, that a man would stand like a post in the middle of the floor, and speak in his usual tone of voice, without the least change of countenance, while his house was burning over his head.

Mr. H——— spoke plain English; but, as neither his voice, looks, nor gestures were suitable to his words, it took a considerable time to get at his meaning.

The primary, or involuntary stage of Gesture corresponds with the tones of the voice. It links itself by expressive symbols with the passions of the mind; such as the movement of the facial muscles, the changing of color, and gesticulations extending over the entire frame. Its secondary, or involuntary stage, induces various movements controlla

ble by the will. Such movements are influenced by example, and may become awkward, or otherwise, according to the model selected. We are creatures of imitation; hence the necessity of choosing graceful models. Pleasing gestures are as essential to the orator, as dexterity to the fencer; the latter appeals but to the eye, the former adds force to words which should carry conviction to the mind. Oratory, even the most finished, without appropriate gesture, loses half its charm. We are to develop our natural powers by careful cultivation. To this end the learner should study carefully, and put into practice, the instructions following for the management of the feet and legs, the head and body, the eyes and countenance, the hand and arm, all of which play an important part in the gestures of an orator.

THE FEET AND LOWER LIMBS.

Grace and dignity depend much on the position of the feet and lower limbs. Ease and elegance are combined by the weight of the body being supported on one leg, the other being left to preserve the balance, and move freely. This is the position observable in the best executed statues of antiquity. The foot supporting the body is firmly planted, the body is so erect that a perpendicular passing through the centre of the neck cuts the heel. There are four suitable positions. The conditions of all are:

Firstly. The feet are to be three or four inches apart. Secondly. The toes of each foot should be slightly turned

out.

Thirdly. The feet should be so placed that lines passing lengthwise through them, shall cross under the heel of the foot least advanced.

FIRST POSITION OF THE RIGHT FOOT.

The right foot is firmly planted, supporting the weight of the body. The left, nearly at right angles with it, rests on the ball of the great toe.

SECOND POSITION OF TIIE RIGHT FOOT.

The right is advanced, the weight of the body being on the left.

No. 3.-See Appendix.

H