Imatges de pàgina
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CHAPTER XXIII.

ILLUSTRATIONS.

Observations on the gesture suited to the recitation of descriptive poetry -Part of Gray's Elegy in a country churchyard with the notation. Observations on it-The speech of Brutus on the death of Cæsar with the notation-Observations-Passage from Young's Night Thoughts with the notation-Observations-Additions to the synoptical table.

CHAPTER XXIII.

Illustrations.

HOWEVER OWEVER fully the method of notation of gesture has been already explained in detail, as it may possibly be rendered still more intelligible by additional illustrations, I here present the reader with three pieces of different characters noted in one manner in which they may be recited or delivered: and have annexed observations at large upon every passage which appears to require explanation.

In order to render every circumstance the more clearly intelligible, I have marked the notation more minutely, than necessary for general use. For general use it is sufficient to note the most prominent and important circumstances, leaving the filling up to the judgment of the speaker, and even to accident; which method, whilst it furnishes, as it were, certain landmarks, and supplies confidence, gives also the character of greater freedom to the speaker. The teachers of music proceed somewhat in the same manner. At the beginning of their lessons they write down every most minute particular, and mark the fingering of every note; but as the scholar advances, they pass over what is obvious, and mark the difficult passages only, and when he is far advanced, they supply only the more brilliant ornaments and cadenzas. In the use of our species of

notation, we may proceed through similar gradations; and I hope on this account my diligence in the explanation of the first rudiments of a new art will not be thought too minute and tedious.

I have chosen to illustrate this art, first by a simple fable, aided both by engraved figures and notation. A descriptive poem, such as that which here follows, appears to be the next exercise in progressive facility: because the delineations of natural description suggest a variety of gestures, the propriety of which is easily conceived. And I have chosen a serious poem of this kind, because the changes of gesture are made slowly, and are therefore more suitable for practice and experiment.

In the recitation of descriptions of any kind, the speaker must, in imagination, have the picture placed before his eyes, and each object must be disposed in the same order, as if actually painted. If this imaginary picture in the speaker's mind be faulty in the composition, confused, or ill grouped, his gesture will confound rather than illustrate; but if it be well conceived, and well disposed in all its parts, the speaker will seem to give it the interests of life by his skilful gesture and recitation; and the imagination of the hearer will be charmed and enlightened, so that he will seem almost actually to contemplate all that the speaker describes.

Impassioned compositions delivered with proper feeling and expression open in like manner to the view of the learer the internal operations of the speaker's mind, a contemplation still

more interesting than any scenes of external nature which can be presented in description.

If upon trial and consideration, the gestures marked on any of the following pieces should appear too nurnerous, they may be omitted; or if they appear in any instances incorrect, they may be altered at pleasure.

As in writing, even an appropriate term must not be used too frequently, so in this art, the same gesture, however expres sive, must not be too often repeated. Variety is graceful, and requires that both similar words and similar gestures should be separated by those which are diverse.

In action it is a general rule that each new idea requires a new gesture. But important ideas only require distinguished gesture. For these last, therefore, should be reserved the species of gestures named emphatical; for the former, which are the most numerous, the discriminating will be sufficient. As to frequency, the propriety of gesture will be found to depend on the deliberation and expression of the feelings of the speaker. If the feelings are not alive, and if the lines are not delivered with due deliberation, the gestures will appear too numerous and overcharged in all cases. In the following illustrations they may seem also to have this fault from this circumstance, that it is the object here to exhibit at large the greater part of their minute connections and transitions. A little attention however will shew that much has been still left to be supplied by the judgment of the reader.

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