er hand should they be much drawn down or depressed, because this occasions a stiffness in the neck and the whole body. The trunk ought to be kept easy and flexible, always suiting itself to the motions of the head and hands. The feet should continue steady, and not give the body a wavering and giddy motion, by frequently shifting; though some persons fall into that habit without moving their feet, yet giving to the body a rocking or rolling motion.

The countenance should correspond with the nature of the discourse; and when no particular emotion is expressed, a serious and manly look is always to be observed The eye should never be fixed entirely upon any one object, but move easily round the audience. In the motions made with the hands consists the principal part of gesture in speaking. It is natural that the right hand should be employed more frequently than the left. Warm emotions, expressions which couvey the idea of magnitude or extension, and all addresses to heaven, require the exercise of them both together. But whether a speaker gesticu late with one, or with both his hands, it is an invariable rule, that all his motions should be easy and unconstrained. Narrow and confined movements are always ungraceful; and consequently motions made with the hands, should proceed from the shoulder, not from the elbow, all jerks or twisting of the handsmust be carefully avoided; the fingers should not be kept perfectly straight, but with a little bend inwards, the fore-finger somewhat straighter than the rest, but never perfectly so, except when expressing scorn or contempt, when the other three fingers are shut: hence the expression" to point the finger of scorn," and the caution given to children not to point, as being unmannerly. The left hand should seldom be used. alone, unless it be to attend the motion of the head and eyes, in an address to the audience on the left side. The head should turn sometimes on one side and sometimes on the other, that the voice may be heard by the whole audience, and a regard paid to the several parts of it. It should always be on the same side

with the action of the hands and body, except when we express an abhorrence, or a refusal of any thingwhich is done by raising one hand and moving it slowly from the head with an open palm, till the arm is at its full extent in a horizontal line; at the same time turning away the head and face in an opposite direction.

When an address is to be delivered on a stage, the utmost attention is necessary to preserve gracefulness of attitude; the whole person being there exposed to the view of the audience. To walk on the stage well, is a very important and difficult province of oratory. The speaker should be careful not to remain long in one position. The right and left leg should alternately support the body, the other being somewhat advanced at some distance from the stationary leg, and resting upon the toe. This gives a considerable degree of earnestness to the speaker's manner. The stationary leg should always be on the same side with the arm which expresses the action. When both arms are extended either foot may be thus advanced, which will give variety of attitude; or, the body may rest equally upon both, In the reading or recitation of dialogue, the voice and manner must change alternately, and correspond throughout with the character of the person who is supposed to be speaking.

The proper attitude for a reader is to stand in an easy and erect posture with the book in the left hand, the left leg somewhat advanced, and the right arm gracefully suspended by his side; ready to enforce by some degree of action, any passage he may meet which may require it.

It is principally by the practice of speaking, that graceful action is acquired, the force of which is very great and most efficacious in the power of persuasion: for action is a kind of eloquence of the body, by which the mind abounding in the finest sentiments flows out upon the body, and impresses upon it a noble image of itself.

On the Reading or Recitation of different species of Prose and Poetry.

OF PROSE.

In the reading or recitation of every species of com position, expression constitutes its life and energy;and that cannot be given, without a perfect comprehension of the author's meaning, and at the same time such a degree of sensibility as to feel or awaken those passions which his sentiments are calculated to excite.

In Narration the field is very ample and diversified -from the calm recital of historical events, to the animated declaration of personal incident in all of which, the reader or speaker, to express himself justly, must express himself naturally. The spirit and energy of expression must be accommodated to the style of the author, and the importance of the incidents recorded.

With respect to the reading and recitation of dialogue, the field of action is as unbounded as the diversity of the human character, and the versatility of the human mind. It involves every possible gradation of intellect, from the uncouth and unlettered peasant, to the urbane, and polished courtier, and the refined and dignified gentleman. A correct reader of dialogue will regulate his emphasis and the tones of his voice by the nature of the subject and the character of the persons who are speaking; hence he will have a different modulation of voice for every speaker. To read a dialogue well, he must feel himself to be, and assume the peculiar expression of every speaker, who is introduced, whether of the serious or comic cast; otherwise, he will never attract attention, or excite emotion in the hearer. The dialogues in genteel comedy, as they exhibit polite conversation, or familiar and domestic scenes, require that calmness and native ease both of manner and of voice, which is suited to the peculiarity of existing character.

Soliloquy is a species of composition which requires peculiar attention and expression in the reading

or recitation of it. It is the language of a man talking to himself; or rather answering some question, or revolving and reasoning upon some proposition which has been presented to the mind. It must therefore be pronounced in a lower tone than colloquial language generally requires; with an appearance of profound reflection and of insensibility to surrounding objects.

The tone and manner in which addresses are to be delivered, must be accommodated to the nature of the subject, the time, place, and circumstances.

With respect to works of sentiment and imagination, the subject matter, the language, and the species of composition, must altogether direct the degree of expression to be imparted both in tone and gesture.

A periodical Essay in the Spectator, Rambler, or Guardian, would certainly not be communicated by a judicious reader with the same expression and force, as one of the pathetic effusions of Sterne, or the glowing and florid delineations of an Eastern tale.

OF POETRY.

Such is the sublimity and dignity of the epic Poem, that the manner of reading or reciting it should be accommodated thereto, varying the tones and expression with the changes of scenery and character, though always preserving a gravity and dignity of manner.

In the rehearsal of dramatic poetry, the reader must diversify not only his mode of reading or reciting in conformity to the subject, but also in conformity to the character. Thus the same narrative and description, if spoken by different personages, must be differently recited. So far as language and sentiment are concerned, the reader may, and it is requisite that he should, observe the distinction of situation and character. The same sentiments ought not only to be delivered differently by different personages, but to be delivered variously in various circumstances and situations.

The reading or recitation of the various lyrical compositions. must be regulated by, and accommodated to the subject they embrace, always endeavoring to im

bibe and express the spirit of the author, and strictly to observe that cadence, and those tones and inflexions of voice, which the particular construction of the verse requires.

Elegiac poetry should always be read or recited with gravity, solemnity, and even sometimes with that low and tremulous tone of voice which excessive grief occasions.

Pastoral poetry should be pronounced with a simplicity of manner, a softness of tone, and a serenity of countenance accommodated to the innocence and purity of pastoral life.

Didactic poems, should preserve a dignity in pronunciation suitable to the importance and usefulness of the subject, and should, at the same time, be expressed in so lively a manner, that the things described or inculcated may seem present to the reader's view.

In the reading of epistolary poems, an easy familiarity of manner, and an unaffected variety of tone, according to the change of subject, is to be observed.

The mode of reading or reciting descriptive poetry, should be calm, animated, or depressed, in conformity to the subject, and always aided with a little action, which, agreeably to the attitude already prescribed to a reader, will be chiefly with the right hand.

The measures in which poetical fables are written are various. Such also is the manner in which they and other allegorical writing should be read or recited, always observing a due accommodation of manner to the matter of which they are composed.

The manner of communicating satirical composition must partake of its nature and be sedate or lively as the subject requires, but always animated and sar

castic.

Epigram should be communicated in a lively, animated manner: and when containing any thing satirical, with an acute tone, and sarcastic look.

Epitaph whether serious or satirical, should always be read with a gravity, dignity, slowness and distinctness of articulation suited to its nature and application.