tender. Of significant gestures there are very few. The first marked Ls, listening, over" curfew" is of this class, and perhaps a few others may also be reckoned to belong to it, as when the hand is laid on the breast; but there are not many more.

As these gestures may be varied, it may be said, infinitely, so there can be no fixed standard, as to the manner of delivering this or any other poem or oration, which should be considered exclusively appropriate. The sentiments require indeed to be delivered with suitable tones of voice, and expression of countenance; but great variety of gesture may consist with propriety provided general rules are not violated: as, that decorum and simplicity be observed, that the transitions, connections, the time of, and precision in the stroke of the gesture be attended to, and other obvious precautions of general import already sufficiently detailed. The notation will accommodate itself to every variety in the speaker's manner, and this must prove a recommendation to its use.

THE SPEECH OF BRUTUS ON THE DEATH OF CÆSAR. Julius Cæsar, Act 3. S. 2.

Romans, countrymen, and lovers! hear me for my cause;

a R 2

pef-phx

phf st-R

rRI

B shf p

br-R

and be silent that you may hear: believe me for mine honour;

br. pr.-veq sp

a R 2

B shf n

and have respect unto mine honour, that you may believe : D Bpef

B nhx

B vef sp

censure me in your wisdom; and awake your senses, that you

r Ri

X

If there be any in this assembly, any

a R 2

sdf d

vef sp

br-R

dear friend of Cæsar's, to him I say, that Brutus' love to Cæsar

shf st

r R 1

was no less than his. If then that friend demand, why Brutus

B shf p

q

rose against Cæsar, this is my answer,-Not that I loved

veq w

br

r L 1
veq-vhq

him; as he was fortunate, I rejoice at it: as he was valiant, I

B sdf d

cef

chf st

D

honour him: but as he was ambitious, I slew him: There are

tears for his love; joy for his fortune; honour for his valour;

-P ohc and death for his ambition. Who's here so base, that would

be a bond-man? If any, speak; for him have I offended.

phc

X

shf

Who's here so rude, that would not be a Roman? If any,

r R 1

n

vef sp→→→

speak;

B vhf p

for him have I offended. Who's here so vile, that will

B veq w

rot love his country? If any, speak;

for him have I offended.

I have done no more to Cæsar, than you shall do to Brutus.

The question of his death is enrolled in the Capitol: his glory

not extenuated, wherein he was worthy; nor his offences

phf st

enforced, for which he suffered death.

Here comes his body, mourned by Mark Antony: who,

though he had no hand in his death, shall receive the benefit of

q

X

his dying, a place in the commonwealth, as which of you shall

r R 1

cef

a R 2

not? With this I depart; that, as I slew my best lover for the

B shf n

good of Rome, I have the same dagger for myself, when it

B pef shall please my country to need

r R 1

OBSERVATIONS.

Both Warburton and Steevens in their observations on this speech condemn it as artificial, and abounding in forced antitheses. I cannot subscribe to the united opinion of these learned commentators, but look upon it as characteristic, and manly; and distinguished by touching boldly and briefly on the circumstances, which must be conceived to have agitated the mind of Brutus on the occasion. It appears to me not less worthy of its great author, than the inimitable and subtile eloquence of Antony, with which it is evidently contrasted. At all events, it suits my present purpose better than any other passage, which I can recollect. I have introduced this speech, and noted it for the purpose of supporting what I have advanced, page 393, which is, that the gestures necessary for delivering it in the true spirit, are those principally, which I have named suspended and emphatical: an inspection of the notation will make this evident; for even although the reader may wish to alter many particular gestures, which are here noted, he must

change them for others of the same nature, if he would preserve the character of the speech. The suspended and emphatical gestures must still abound, and he will find little opportunity for introducing the other descriptions, which are in general too tame for the abrupt and vehement style of this speech. Near the close indeed he becomes submissive, but the last sentence ends with the same vehemence as the beginning..

"Be silent that you may hear;" on these words I have marked the gesture for both left and right hand, as also on the words" have respect unto mine honour;" this last is an auxiliary gesture, but of the vehement kind. The exordium of this singular oration ends at "better judge." After which the arms should fall to rest, and there should be a considerable pause, as marked by the double perpendicular lines. Another division, which may be called the proposition, takes place at "live all freemen;" another, the narration, at "death for his ambition." And that which may be called the pathetic, or appeal to the passions, finishes at," I pause for a reply." The argument or reasoning ends at "suffered death." And the peroration follows.

"I

eyes,

weep for him;" this is noted E-R. the right hand on the the left at rest.

"Him have I offended," noted on "him" ihf rc, recoiling: in this action the finger is pointed suddenly and scornfully, and is then immediately withdrawn. See p. 344.

Frequent changes in the positions of the feet indicate anxiety, as observed, p. 303, and are therefore noted in this speech.

"His body mourned," auxiliary gesture: when the right hand is brought up on "mourned," both hands become supine; and on the next words, "Mark Antony, they make the action of noting. At the beginning at B, the speaker looks back; at F, "before Mark Antony," he looks forwards to those whom he addresses. It would be tedious to point out all the suspended · gestures, succeeded immediately by the emphatical, for they abound. In all the antheses, which are numerous, the suspended will be found over the first member, and the emphatical over the last.

The method of notation, as may be clearly seen, requires for each gesture not more than five symbolic letters, sometimes fewer; and the use of these letters has a farther advantage, which is, that each suggests an appropriate term, of which it is either the commencing or a distinguished letter: so that the most complicated gestures, represented by five symbolic letters, can also be enounced in four words, or even fewer. A teacher may therefore equally use his pen or words for conveying his instructions and whatsoever he delivers in this way will be

both short and precise.

Mere symbols not capable of being enounced in words, however they might suffice to convey information to the eye, would not be attended with equal advantage, as the symbolic letters, and the language belonging to them. It is admitted that every gesture is capable of being accurately described in common language, but the description of any single gesture requires a multitude of ordinary words; so, that such language is not convenient, and therefore seldom used, must be allowed on the evidence of fact. Language, as is well observed by the ingenious author of the Epea Pleroenta, requires,