right hand-the most favourable to grace and expression. And if from so humble a scene at the school, we may be permitted to raise our observations to the senate, it might be hinted, that gentlemen on each side of the house, while addressing the chair, can with grace and propriety only make use of one hand; namely, that which is next to the speaker; and it may be observed in passing, that to all the other advantages of speaking, which are supposed to belong to the one side of the house-may be addedthe graceful use of the right hand. The better to conceive the position of two speakers in a scene, a plate is given representing their respective attitudes; and it must be carefully noted, that when they are not speaking, the arms must hang in their natural places by their sides; unless what is spoken by one is of such importance, as to excite agitation and surprise in the other. But if we should be sparing of gesture at all times we should be more particularly so when we are not speaking. From what has been laid down it will evidently appear, how much more difficult and complicated is the action of a scene than that of a single speech; and, in teaching both to children, how necessary it is to adopt as simple and easy a method as possible. The easiest method of conveying instruction in this point, will be sufficiently difficult; and therefore, the avoiding of awkwardness and impropriety should be more the object of instruction, than the conveying of beauties. There are indeed some masters who are against teaching boys any action at all, and are for leaving them in this point entirely to nature. It is happy, however, they do not leave that action to nature which is acquired by dancing; the deportment of their pupils would soon convince them they were imposed on by the sound of words. Improved and beautiful nature is the object of the painter's pencil, the poet's pen, and the rhetorician's action, and not that sordid and common nature, which is perfectly rude and uncultivated. Nature directs us to art, and art selects and polishes the beauties of nature. It is not sufficient for an orator, says Quintillian, that he is a man: he must be an improved and cultivated man; he must be a man favoured by nature, and fashioned by art. But the necessity of adopting some method of teaching action, is too evident to need proof. Boys will infallibly contract some action; to require them to stand stock-still while they are speaking an impassioned speech, is not only exacting a very difficult task from them, but is in a great measure checking their natural exertions. If they are left to themselves, they will in all proba bility fall into very wild and ungraceful actions, which when once formed into a habit can scarcely ever be corrected: giving them therefore a general out-line of good action, must be of the utmost consequence to their progress and improvement in pronunciation. The great use therefore, of a system of action like the present, is that a boy will never be embarrassed for want of knowing what to do with his legs and arms: nor will he bestow that attention on his action, which ought to be directed to his pronunciation : he will always be in a position which will not disgrace his figure, and when this gesture is easy to him, it may serve as a groundwork to something more perfect: he may either, by his own genius or his master's instructions, build some other action upon it, which may in time give it additional force and variety. Thus, what seemed either unworthy the attention, or too difficult for the execution of others, the author of the present publication has ventured to attempt. A conviction of the necessity of teaching some system of action, and the abundant success of the present system in one of the most respectable academies near London, has determined me to publish it, for the use of such seminaries as make English pronunciation a part of their discipline. It may not be useless to observe, that boys should be classed in this, as in every other kind of instruction, according to their abilities. That a class should not consist of more than ten; that about eight or ten lines of some speech, should be read first by the teacher, then by the boy who reads best, and then by the rest in order, all having a book of the same kind: and all reading the same portion. This portion they must be ordered to get by heart against the next lesson; and then the first boy must speak it, standing at some distance before the rest, in the manner directed in the plates; the second boy must succeed him, and so on till they have all spoken. After which, another portion must be read to them, which they must read and speak in the same manner as before. When they have gone through a speech in this manner by portions, the two or three first boys may be ordered, against the next lesson, to speak the whole speech; the next lesson, two or three more, and so on to the rest. This will excite emulation, and give the teacher an opportunity of ranking them according to their merit. SECTION III. Rules for expressing, with Propriety, the principal Passions and Humours which occur in Reading or public Speaking. EVERY part of the human frame contributes to express the passions and emotions of the mind, and to shew, in general, its present state. The head is sometimes erected, sometimes hang down, sometimes drawn suddenly back with an air of disdain, sometimes shews by a nod, a particular person or object; gives assent, or denial, by different motions; 'threatens by one sort of movement, approves by another, and expresses suspicion by a third. The arms are sometimes both thrown out, sometimes the right alone. Sometimes they are lifted up as high as the face, to express wonder; sometimes held out before the breast, to shew fear; spread forth with the hands open, to express desire or affection; the hands clapped in surprise, and in sudden joy and grief; the right hand clenched, and the arms brandished, to threaten; the the two arms set akimbo, to look big, and express contempt or courage. With the hand, we solicite, we refuse, we promise, we threaten, we dismiss, we invite, we intreat, we express aversion, fear, doubting, denial, asking, affirmation, negation, joy, grief, confession, penitence. With the hands we describe, and point out all circumstances of time, place, and manner of what we relate; we excite the passions of others and soothe them: we approve and disapprove, permit or prohibit, admire or despise. The hands serve us instead of many sorts of words, and where the language of the tongue is unknown, that of the hands is understood, being universal, and common to all nations. The legs advanced, or retreat, to express desire, or aversion, love or hatred, courage or fear, and produce exultation, or leaping in sudden joy; and the stamping of the foot expresses earnestness, anger, and threatening. Especially the face, being furnished with a variety of muscles, does more in expressing the passions of the mind than the whole human frame besides. The change of colour (in white people). shews, by turns, anger, by redness, and sometimes by paleness, fear likewise by paleness, and shame by blushing. Every fea ture contributes its part. The mouth open, shews one state of the mind, shut another; the gnashing of the teeth another. The forehead smooth, eye-brows arched and easy, shew tranquillity or joy. Mirth opens the mouth towards the ears, crisps the nose, half-shuts the eyes, and sometimes fills them with tears. The front wrinkled into frowns and the eye-brows over hanging the eyes like clouds, fraught with tempest, shew a mind agitated with fury. Above all, the eye shews the very spirit in a visible form. In every different state of the mind, it assumes a different appearance. Joy brightens and opens it. Grief half closes, and drowns it in tears. Hatred and anger, flash from it like lightning. Love, darts from it in glances, like the orient beam. Jealousy, and squinting envy, dart their contageous blasts from the eye. And devotion raises it to the skies, as if the soul of the holy man were going to take its flight to heaven. The force of attitude and looks alone appears in a wonderous D d ly striking manner, in the works of the painter and statuary ; who have the delicate art of making the flat canvas and rocky marble utter every passion of the human mind, and touch the soul of the spectator, as if the picture, or statue, spoke the pathetic language of Shakespeare. It is no wonder, that masterly action, joined with a powerful elocution, should be irresistible. And the variety of expressions, by looks and gestures, is so great, that, as is well known, a whole play can be represented without a word spoken. The following are I believe the principal passions, humours, sentiments and intentions, which are to be expressed by speech and action. And I hope, it will be allowed by the reader, that it is nearly in the following manner, that nature expresses them. Tranquillity, or apathy, appears by the composure of the countenance, and general repose of the body and limbs, without the exertion of any one muscle. The countenance open; the forehead smooth; the eye-brows arched; the mouth just not shut; and the eyes passing with an easy motion from object to object, but not dwelling long upon any one. Cheerfulness, adds a smile, opening the mouth a little more. Mirth, or Laughter, opens the mouth still more towards the ears; crisps the nose, lessens the aperture of the eyes, and sometimes fills them with tears: shakes and convulses the whole frame; giving considerable pain, which occasions holding the sides. Raillery, in sport, without real animosity, puts on the aspect of cheerfulness. The tone of voice is sprightly. With contempt or disgust, is casts a look asquint, from time to time, at the object; and quits the cheerful aspect for one mixed between an affected grin and sourness. The upper lip is drawn up with an air of disdain. The arms are set akimbo on the hips; and the right hand now and then thrown out toward the object, as if one were going to strike another a slight back-handed blow. The pitch of the voice rather loud, the tone arch and sneering; the sentences short; the expressions satyrical with mock praise intermixed. There are instances of raillery in scripture itself, as 1 Kings xviii. Isa. xliv. It is not, therefore, beneath the dignity of the pulpit orator, occasionally to use it, in the cause of virtue, by exhibiting vice in a ludicrous appearance. Nor should I think raillery unworthy the attention of the lawyer; as it may occasionally come in, not unusefully, in his pleadings, as well as any other stroke of ornament, or entertainment. Buffoonery, assumes an arch, sly, leering gravity. Must not quit its serious aspect, though all should laugh to burst ribs of steel. This command of face is somewhat difficult; though not so hard, I should think, as to restrain the contrary sympathy, I mean of weeping with those who weep. Joy, when sudden and violent, expresses itself by clapping of hands, and exulting, or leaping. The eyes are opened wide; perhaps filled with tears; often raised to heaven, especially by devout persons. The countenance is smiling, not composedly, but with features aggravated. The voice rises from time to time, to very high notes. Delight, or pleasure, as when one is entertained, or ravished with music, painting, oratory, or any such elegancy, shews itself by the looks, gestures, and utterance of joy ; but moderated. Gravity, or seriousness, the mind fixed upon some important subject, draws down the eye-brows a little; casts down, or shuts, or raises the eyes to heaven; shuts the mouth, and pinches the lips close. The posture of the body and limbs is composed, and without much motion. The speech if any, slow and solemn; the tone unvarying. Inquiry into an obscure subject, fixes the body in one posture, the head stooping, and the eye pouring, the eye-brows drawn down. Attention to an esteemed, or superior character, has the same aspect, and requires silence; the eyes often cast down upon the ground sometimes fixed on the face of the speaker, but not too pertly. Modesty, or submission bends the body forward; levels the eyes to the breast, if not to the feet, of the superior character. The voice low, the tone submissive, and words few. Perplexity, or anxiety, which is always attended with some degree of fear and uneasiness, draws all the parts of the body together; gathers up the arms upon the breast, unless one hand covers the eyes, or rubs the forehead; draws down the eyebrows; hangs the head upon the breast; casts down the eyes, shuts and pinches the eye-lids close; shuts the mouth, and pinches the lips close, or bites them. Suddenly the whole body is vehemently agitated. The person walks about busily; stops abruptly. Then he talks to himself, or makes grimaces. If he speaks to another, his pauses are very long; the tone of his voice unvarying, and his sentences broken expressing half, and keeping in half of what arises in his mind. Vexation, occasioned by some real or imaginary misfortune, agitates the whole frame, and, besides expressing itself with looks, gestures, restlessness, and tone of perplexity, it adds complaint, fretting, and lamenting. Pity, a mixed passion of love and grief, looks down upon distress with lifted hands; eye-brows drawn down; mouth open; and features drawn together. Its expression, as to looks and gesture, is the same with those of suffering (see Suffering) but more moderate, as the painful feelings are only sympathetic, and therefore one remove, as it were, more distant from the soul, than what one feels in his own person. Grief, sudden and violent, expresses itself by beating the Lead; groveling on the ground; tearing of garments hair and |