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1. Lamentation for the loss of sight,
2. L'Allegro, or the merry man,
3. On the pursuits of mankind,
4. Adam and Eve's morning hymn,
5. Parting of Hector and Andromache,
6. Facetious history of John Gilpin,
5. Caius Marius to the Romans,
6. Publius Scipio to the Roman army,
7. Hannibal to the Carthagenian army,
8. Adherbal to the Roman senators,
1. Romulus to the people of Rome, after building
2. Hannibal to Scipio Africanus,
4. Castelhene's reproof of Cleon's flattery to
10. Junius Brutus over the dead body of Lucretia, Hooke, 288
11. Demosthenes to the Athenians,
12. Jupiter to the inferior deities,
14. Moloch to the infernal powers,
15. Speech of Belial, advising peace,
2. Lady Townly and lady Grace,
7. Sir Charles and Lady Racket, Three Weeks after Marriage, 316
5. Lovegold and Lappet,
1. Hamlet's advice to the players,
2. Douglass' account of himself,
Tragedy of Cato,
4. Sempronius' speech for war,
6. Hotspur's account of the fop,
1 Henry the IV,
soliloquy on the contents of a letter, ibid
8. Othello's apology for his marriage,
9. Henry IV's soliloquy on sleep,
11. Soliloquy of Hamlet's uncle on
12. Soliloquy of Hamlet on death,
13. Falstaff's encomiums on sack,
14. Prologue to the tragedy of Cato,
15. Cato's soliloquy on the immortality
Shakespeare's Henry V.
19. Soliloquy of Dick the apprentice, Farce the apprentice, 335
20. Cassius instigating Brutus to join the
Conspiracy against Cæsar, Tragedy of Julius Cæsar, 336
21. Brutus' harangue on the death of Cæsar,
22. Antony's oration over Cæsar's body,
23. Falstaff's soliloquy on honour,
24. Part of Richard III's soliloquy the
25. The world compared to a stage,
ELEMENTS OF GESTURE.
On the Speaking of Speeches at Schools.
LOCUTION has, for some years past, been an ohIject of attention in the most respectable schools in this country. A laudable ambition of instructing youth, in the pronunciation and delivery of their native language, has made English speeches a very conspicuous part of those exhibitions of oratory, which do our seminaries of learning 80 much credit.
This attention to English pronunciatiou, has induced several ingenious men to compile exercises in elocution, for the use of schools, which have answered very useful purposes: But none so far as I have seen, have attempted to give us a regular system of gesture, suited to the wants and capacities of School-boys. Mr. Burgh, in his art of Speaking, has given us a system of the passions; and has shown us how they appear in the countenance, and operate on the body; but this system, however useful to people of riper years, is too delicate and complicated to be taught in schools. Indeed the exact adaptation, of the action to the word, and the word to the action, as Shakespeare calls it, is the most difficult part of delivery, and therefore, can never be taught perfectly to children; to say nothing of distracting their attention with two very difficult things, at the same time. But that boys should stand motionless, while they are pronounc ing the most impassionate language, is extremely absurd and unnatural; and that they should sprawl into an awkward, ungain, and desultory action, is still more offensive and disgusting. What then remains, but that such a general style of action be adopted, as shall be easily conceived and easily executed; which, though not expressive of any particular passion, shall not be inconsistent with the expression of any passion; which shall always keep the body in a graceful position, and shall so vary its motions, at proper intervals, ss to see the subject operating on the speaker, and not the
speaker on the subject. This, it will be confessed, is a great desideratum; and an attempt to this, is the principal object of the present publication.
The difficulty of describing action by words, will be allowed by every one; and if we were rever to give any instructions, but such as should completely answer our wishes, this difficulty would be a good reason for not attempting to give any description of it. But there are many degrees between conveying a precise idea of a thing, and no idea at all. Besides, in this part of delivery, instruction may be conveyed by the eye; and this organ is a much more rapid vehicle of knowledge than the ear. This vehicle is addressed on the present occasion; and plates, representing the attitudes which are described, are annexed to the several descriptions, which it is not doubted will greatly facilitate the reader's conception.
Plate I. represents the attitude in which a boy should always place himself, when he begins to speak. He should rest the whole weight of his body on the right leg; the other just touching the ground, at the distance at which it would naturally fall, if lifted up to shew that the body does not bear upon it. The knees should be straight, and braced, and the body, though perfectly straight, not perpendicular, but inclining as far to the right as a firm position on the right leg will permit. The right arm must then be held out, with the palm open, the fingers straight and close, the thumb almost as distant from them as it will go; and the flat of the hand neither horizontal nor vertical, but exactly between both. The position of the arm, perhaps, will be best described, by supposing an oblong hollow square formed by the measure of four arms, as in Plate I. where the arm, in its true position, forms the diagonal of such an imaginary figure. So that, if lines were drawn at right angles. from the shoulder, extending downwards, forwards, and sideways, the arm will form an angle of forty five degrees every way.
When the pupil has pronounced one sentence in the posi tion thus described, the hand, as if lifeless, must drop down to the side, the very moment the last accented word is pro nounced; and the body, without altering the place of the feet, poize itself on the left leg, while the left hand raises itself, into exactly the same position as the right was before, and continues in this position till the end of the next sentence, when it drops down on the side as if dead; and the