It is a striking suspension of the voice, to give effect to strong meaning and expression, or to mark expectation and uncertainty. A pause is often more eloquent than words.

The disregard of the common pauses of punctuation is one of the most common faults in reading, and none is more fatal to proper expression; but the management of the rhetorical pause is a matter of far greater delicacy, though it is rather rare in

Occurrence.

The length of the pause depends upon the rate of movement, the degree of emphasis, and the significancy intended; hence it is a matter entirely relative.

EXAMPLES OF THE RHETORICAL PAUSE.

But hush!... hark!... that deep sound breaks in once more, And nearer! . . . clearer! ... deadlier than before.

Arm, ARM ! . . . it is . . . it is the cannon's opening roar !

The elements of all gesture, oratorical and dramatic, are few and well defined. I know not why they have escaped being clearly pointed out, by those who have treated of the subject of Elocution.

They consist of a few definite positions of the arm, hand, and foot; which, in combination, make an endless variety, but taken singly, are reducible to a small number.

These are of two kinds, Oratorical and Dramatic. I proceed first to the analysis of oratorical gestures.

ACTION OF THE FEET.

Each foot is susceptible of or y four positions.* These are illustrated for the right foot, in Figures 1, 3, 5, 6. The left foot is susceptible of exactly the same corresponding positions.

In Fig. 1, the right foot i in poise, ready for motion: the heel points to the hollow of he left foot, and is two or three

Of course, I speak generally, and overlook slight variations.

inches from it; the knee is slightly bent; the body rests chiefly on the left foot, and the leg stands stiff in support. This alsc is the position in Figs. 2 and 4. This is position No. 1.

In Fig. 3, the right foot has been advanced straight forward one step; the left, having been brought forward two or three inches from its previous position, rests with the heel lifted about one inch. The relative position of the feet remain as before; but the weight of the body rests on the right foot. This is position No. 2.

In Fig. 5, the right foot is moved laterally forward one step; the left foot, slightly following as before, rests with the heel lifted. The weight of the body rests on the right foot. This is position No. 3.

In Fig. 6, the right foot is thrown back of the left, one step, and at right angles to it; the body is slightly inclined back, and rests chiefly upon the right foot. This is position No. 4.

Through these four positions, the left foot may also be passed; and this completes the action of the feet.

ACTION OF THE ARMS.

Each arm is susceptible of being put in six positions, which are illustrated for the right arm in the six Figures.

In the first Figure, the arm is brought forward, half way between the perpendicular and the horizontal position, before the right leg.

In Fig. 2, the arm is brought forward in a horizontal position on a level with the lower part of the chest.

In Fig. 3, the arm is raised in front above the level of the head.

In Fig. 4, the arm is brought out laterally at the same angle as in Fig 1.

In Fig. 5, the arm is brought up at the side, at the same angle as in Fig. 2.

In Fig. 6, the arm is brought up at the side, in the same angle as in Fig. 3.

Each of these positions may be designated by its Number, 1, 2, 3, 4, 5, or 6.

The eft arm, as well as both arms simultaneously, may be carried through the same six positions.

REMARKS ON THE GESTURE OF THE ARMS. - 1. The manner of bringing up the arm is a matter of great significancy, and sus ceptible of considerable variety; but, in general, the arm is always lifted above the place where it is designed to rest, and

then brought down to it, with more or less emphasis, according to the occasion.

2. The motion of the arm precedes, and is brought to an emphatic rest, precisely on the emphatic word.

3. In styles of speaking not very impassioned, the arm and hand move in curves; but in invective and powerful emotion they move in straight lines.

THE POSITION OF THE HANDS.

There are four positions of the hands, illustrated in Figs. 1, 3, 5, 6.

In Fig. 1, the palm is open and supine, the thumb turned out, and the fingers slightly relaxed. In Fig. 3, the palm is open and In Fig. 5, the hand is clenched. In Fig. 6, the hand points.

prone.

Each of these positions must be associated in the pupil's mind with its Number, 1, 2, 3, or 4.

DRAMATIC AND DESCRIPTIVE GESTURE.

Of these we shall distinguish and illustrate six, as being the most conspicuous and important, and embracing the genera range of this class of gesture and attitude.

Fig. 1, is expressive of grief, remorse, despair: the hand. are clasped and brought to the breast with a convulsive movement; the face looking down; the feet may be in either the first, second, or third attitude before described.

Fig. 2, is expressive of earnest entreaty, agonizing prayer, rapture the hands are clasped and brought convulsively to the breast near the chin; the face raised toward heaven; the feet may be in the first, second, third or fourth attitude.

Fig. 3, is expressive of fear, terror: the palms bent upon the wrist and turned outward as if to repel; the arms, partly and unequally flexed, stretch before the body; the face looking toward the object; the feet in the fourth position.

Fig 4, expresses disgust, aversion, horror: the arms placed before the body nearly as before; the face averted, the body somewhat thrown back; the feet in the fourth position.

Fig 5, expresses reference to self, to the heart, the feelings: the hand is brought to the region of the heart, in one of these positions 1st, the palm open, the fingers somewhat apart; 2d, the hands shut and brought so that the back of the thumb

touches the region of the heart; 3d, the hard shut, but the thumb, open and recurved, points to the heart.

Fig 6, expresses dignity, composure, self-confidance, pride: the arms are folded upon the breast; one hand above, the other below the forearm.

Each of these dramatic positions may be called for from the pupil by the several numbers, 1, 2, 3, 4, 5, 6.

It would be needless to attempt to mention or portray all the infinite varieties and shades of expression that may be conveyed by the motions and attitudes of the body. The above embraces all that is useful to which to direct the special attention of the student. Nature will do the rest when the occasion and the feeling call for it. Such natural gestures as the following need only to be mentioned to strike the intelligence at once: to clench the hair indicates desperation; to touch the forehead. reflection; to touch the nose. intelligence, cunning; to touch the chin, deliberation; to strike the breast, feeling, daring, &c.; to touch the pocket, self-interest; to slap the thigh, impatience; to shake the finger or fist, menace. anger, &c.

But the great mirror of expression is the face. There, in everchanging shades, thought, feeling, passion, are portrayed with a power beyond the reach of language: wrath storms in the corrugated brow and flashes lightning from the eye; love and tenderness thrill in the melting glance: suppressed passion labors in the expanded nostrils; scorn and disdain ride on the curled lip-but what, but the pencil of the skillful painter, can do justice in describing these things?

Let the student of oratory throw himself under the guidance of nature, in all the self-abandonment of genuine feeling, and all other tutelage will be superseded.

NOTE TO TEACHERS.-The subject of Gesture is often much neglected even by professed teachers of Elocution. This arises chiefly from the want of some simple and intelligible system of instruction.

I will give therefore, for the benefit of teachers, that mode of instruction which I have found most successful in impressing the elements of gesture on the minds of pupils. The whole secret lies in this-to analyze gesture into its elements, and teach these first ; then call attention to the various combinations. This has been done in the present work. It will be observed that each elementary gesture of the foot, arm and hand, has been designated by a number: thus the arm has 1, 2, 3, 4, 5, 6, positions; the hand, 1, 2, & 4; the foot, 1, 2, 3, 4.

Let the pupils become familiar with these first. Then calling up an individual, or a class, the teacher can prcduce an endless variety of attitude and gesture, by designa ing these numbers in various orders. My habit is to designate by the first number se position of the foot, (premising right or left); by the second number, the position of.. arm (right or left); and by the third, the hand.

y

Thus in the illustrations or oratorical gesture given in the plates, the first figure be described by the Nos. 1, 1, 1; the second, 1, 2, 1; the third, 2, 3, 2; the fourth, 1,4 1, fifth, 3, 5, 3; sixth, 4, 6, 4.

With regard to the dramatic gestures and attitudes, as there are only six principal ones varied chiefly by the attitude of the feet, I call out first the number that marks the position of the feet, and then the Nos. 1, 2, 3, 4, 5, or 6, which designate the dramati gestures in the order in which they are given in the plates.