4. SECOND ATTITUDE The Second Attitude is based upon the Second Position. The lines and angles are practically the same, though the feet are more widely separated, as seen in the accompanying figures. There are two divisions, the Second Attitude, Forward, and the Second Attitude, Backward. (1) Second Attitude, Forward. In this attitude the body is inclined forward, the knee is slightly bent, the forward foot is placed about twice its length in front of the back foot and receives the greater part of the weight of the body (see Figs. 26 and 27). Both feet are planted firmly upon the floor, and the back foot receives varying proportions of the weight. The angle 90° FIG. 26. between the feet is ap- SECOND ATTITUDE RIGHT, FORWARD proximately 90°, varying somewhat with the length of the step and the distribution of the weight. The farther forward the weight is shifted the more the heel of the back foot will be drawn in and the greater will be the angle, as shown in the dotted lines representing the back foot. In the Second Attitude either foot may be advanced: if the right, it is called the Second Attitude Right, Forward; if the left, the Second Attitude Left, Forward. These two parts of the Second Attitude are used interchangeably in speaking and 90° FIG. 27. SECOND ATTITUDE Left, FORWARD are the natural expression of great vitality, defiance, violent denunciation, execration, malevolence, aggression, menace, attack. No better illustration of this attitude may be found than in the aggressive lunges of the fencer in his bouts with the rapier. On account of the character of the sentiments which require this attitude it naturally falls to the Vital division of the Triune Nature. Sentences illustrating the Second Attitude, Forward. NOTE. In the following sentences the unusual vitality and aggressiveness give opportunity for the use of the Second Attitude, Forward. a. How now! a rat? Dead for a ducat! Dead!—Shakespeare. b. Lay on, Macduff! and damned be he that first cries, Hold! enough! C. Shakespeare. O, pardon me, thou bleeding piece of earth, That I am meek and gentle with these butchers! That ever lived in the tide of times. Woe to the hard that shed this costly blood! -Shakespeare. (2) Second Attitude, Backward. In this attitude the back knee is slightly bent, the weight is thrown back and rests chiefly on the left leg and foot (see Figs. 28 and 29). As shown in these figures the angle between the feet varies from 90° to 125°— more than in any other position or attitude. As in dicated by the dotted lines the forward foot varies in position according to the distribution of the weight of the body. The more the weight is shifted to the back foot the greater the angle. In the Second Attitude, Backward, either foot may be advanced if the right, it is called the Second Attitude Right, Backward; if the left, the Second Attitude Left, Backward. The two parts of this attitude are complementary to each other and are used interchangeably in expression according to the location of 90°-125° 35° FIG. 28. SECOND ATTITUDE the object which inspires the feeling. As we have already seen, the Forward Attitude is used in aggressiveness, menace, defiance, and attack; the Backward Attitude, on the contrary, is used in defense, timidity, shrinking, fear, dread, amazement, terror, horror, and cowardice. While the Forward Attitude is used by the fencer in his lunges or the broadswordsman in his attacks, the Backward Attitude is necessary in defense in parrying the thrusts of his adversary or in shielding his body from the heavy blows. In expression the torso, the arms, and the head must sustain sympathetic relation and move in harmony with the action of the lower limbs. 35° 90°-125° FIG. 29. SECOND ATTITUDE In contrast with the Forward Attitude, which is Vital in relation to the Triune Nature, the Backward Attitude is Emotive and defensive in character and expression. It goes without saying that in practice the student should fully realize the thought or emotion implied in the various attitudes used. Sentences illustrating the Second Attitude, Backward. NOTE. In the following short passages illustrating this principle the surprise, disgust, and horror shown in the words may well be expressed in the receding movement of the Second Attitude, Backward. a. Angels! and ministers of grace, defend us! — Shakespeare. b. O judgment! thou art fled to brutish beasts, and men have lost their reason. -Shakespeare. c. Oh, horrible! horrible! most horrible! d. 'Hereafter!' Ay, — hereafter! Shakespeare. A whip to keep a coward to his track! Come from the grave to-morrow with that story And I may take some softer path to glory. — Willis. SECTION VII. TECHNIQUE OF ACTION That the student may have ample practice in Action we here give a series of exercises in technique. They are given, not for physical culture, but for their expressional value. To this end the student should keep in mind the thought or feeling implied in the various movements. I. EXERCISES FOR FREEDOM OF GESTURE (1) Finger Movement. Clasp the right hand with the left thumb and finger. Relax the fingers of the right until they form an easy curve. Open and close them alternately several times to the accompaniment of music or counting. Let the forefinger lead in moving out, the little finger in moving in. Exercise the left hand; then both together. (2) Wrist Movement. Grasp the right wrist with the left thumb and finger. Draw in the hand from the wrist, partly closing the fingers as in exercise (1). Open and close alternately, keeping time to music or counting. Exercise the left wrist; then both alternately. (3) Elbow Movement. Support the right elbow with the left hand. Draw in the forearm with the hand and fingers relaxed as in exercise (2). Open and close the arm to accurate time. The strokes of the elbow, the wrist, and the fingers should be simultaneous. To break the straight line there should be a slight curve at the elbow, a slight depression at the wrist, and a slight curve in the fingers. (4) Feather Movements. a. Vertical Movement. Extend the arms parallel, full length, diagonally downward. With hands hanging loosely let the wrists lead up and down several times through an arc of about 90 degrees. Let the hands float after the wrists, the palms being turned in on the upward and out on the downward move ment. |