FIRST POSITION OF THE LEFT FOOT. Similar to first position of right foot. SECOND POSITION OF THE LEFT FOOT. Corresponds to second position of right foot. These are the most natural positions which an orator, who aims at effect, can assume. The learner will do well to perfect himself in them, so that without effort, or affectation, he will seem to fall into them as easily as he gives utterance to his words. ERRORS TO BE AVOIDED. Do not support the weight of the body on both feet equally. When so supported it is not easy to change the position. Do not throw the weight of the body on the ball of the foot. It should rest on the heel. Do not place the feet too close. By so doing the position is rendered less firm. Do not separate the feet too much. If so separated an awkward, swaggering position results. Do not point the toes forward in a straight line. Do not bend the leg supporting the body, or do not keep the free one straight and stiff. The changes of position admissible are ADVANCING AND RETIRING. First. The speaker must advance or retire by a step of moderate length. Secondly. The change must commence with the free foot. Thirdly. The outward direction of the toes must be preserved during the changes. Fourthly. The following order in changing is to be observed: The advance from first position of either foot is made by passing into first position of opposite foot; the advance from second position is made by passing into first position of same foot. Retiring from first position of either foot is only passing into second position of same foot; retiring from second position is passing into second position of opposite foot. ERRORS OF POSITION. Moving to the right or left in a straight line. Attempting to change position by moving the foot supporting the body. Advancing with the toes pointing straight forward. THE HEAD AND BODY. Though the orator resorts not to the tricks of the stage for the management of the head and body, yet there are actions suitable to both, which he will be wise to study. The head should be erect, but not stiff. The body should be upright, with the face and breast turned towards the audience; the shoulders not shrugged up. There should be a corresponding movement between the body and the motions of the arm. ERRORS TO BE AVOIDED. Do not keep the body in a stiff position. It should be held in an easy attitude, ready at a moment's notice to follow the motion of the arm. Do not hold up or draw back the head too much. Such positions indicate pride or carelessness. Do not incline the head towards the shoulder. Do not move the head unless in unison with the arm. Do not turn your side towards the audience. Do not bend the body forward too much. Do not swagger, or incline from side to side. Do not shrug the shoulders. This last is a fault that cannot be too much condemned. OF THE COUNTENANCE. The index on the dial plate shows not more plainly the hour, than does the eye the thought passing in the mind. This may be affirmed of the countenance in general, as of the eye in particular. One well versed in the expression of the face says, "When any passion is called into action, such passion is depicted by the motion of the muscles, and these motions are accompanied by a strong palpitation of the heart. If the countenance be tranquil, it always denotes tranquillity in the region of the breast and of the heart." Again, "Hence, it appears that the orator who would move others must appear to be moved himself; that is, he must express his emotions in his countenance and by his manner; otherwise his language will be contradicted by his looks, and his audience will be more inclined to believe them, which are the natural and sure indications of the inward mind, than his words which may easily be feigned and may differ much from his real sentiments." None will deny that the eye speaks more truly than the tongue; that the forehead denotes calmness, or trouble; the lowering brow, indignation; the tell-tale cheek, shame or fear; and the expressive lip, scorn. It has been well observed that, “The parts of the human face the most movable and the most expressive, are the inner extremities of the eye-brow, and the angle of the mouth, and these are precisely the parts of the face which in brutes have the least expression; for the brutes have o eye-brows, and no power of elevating or depressing the angle of the mouth. It is in these features therefore that we should expect to find the muscles of expression peculiar to man." Having thus shown all that the eyes and countenance are capable of, it remains but to guard against the following faults:-Staring, or fixing the eyes upon vacancy; or upon an individual; or foolishly turning them down. Weeping, unless upon occasions worthy of tears. If the speaker really feels the loss of some dear friend, or mourns some public calamity, 'twill be next to impossible to refrain from tears. He will melt into tears, and cause his audience, out of pure sympathy, to mingle theirs with his. They will "weep with those that weep." Well the ancient orators understood the use of tears. The world-renowned John Bright, when addressing an immense audience upon the merits of his deceased friend and fellow-laborer, Richard Cobden, gave vent to his pent-up feelings in a shower of tears. Not one in the immense crowd but was moved with this tribute of affection from the brave and fearless champion of liberty throughout the world. Enough has been said of the tears of sympathy. It remains but to warn the young aspirant against those of hypocrisy. Frowning, staring, smiling unmeaningly, pushing out, or biting the lips, are faults the orator must avoid. THE HAND AND FINGERS Play a very important part in Gesture. Indeed many wants and thoughts can be expressed more forcibly by their aid than by words. We denote grief by placing the hand over the eyes. Truth, or emotion is expressed by placing the hand on the breast. Reflection by placing the finger on the chin. Silence is expressed by putting the fore-finger on the lips. Such gestures are to be used sparingly, and appropriately; always bearing in mind that the action is to be suited to the word. Bear also in mind that every motion of the arm is to be made gracefully, without effort, or jerking about. The following faults need but to be noticed to be avoided: Cleaving the air with the hand, or forming it into a scoop; nervous twitchings of the fingers, or crossing them; clasping the hands, or placing the palm of one on that of the other. These, with similar childish gestures, cannot be too strongly condemned. ACTION OF THE ARM. The appropriate action of the arm is one of the most important aids to oratory. The following hints will be found most useful:—In all actions of the arm the speaker is to aim at freedom; that is, an entire absence of stiffness, or angularity. Every movement should seem to come from the shoulder; the elbow should not originate such movement. EXAMPLES. PRINCE HENRY'S ADDRESS TO THE CROWN. SHAKESPEARE. This piece affords a fine example of mingled dignity and pathos. No; I will sit and watch here by the king. O polish'd perturbation! golden care! That scalds with safety. By his gates of breath Did he suspire, that light and weightless down Perforce must move.-My gracious lord! my father! . 43 |