same; then both. Now clench the fists tightly, and press them under the arm-pits, throwing the chest as well forward as possible, shoulders down and back, head erect; thrust the fists down the sides, and return, six times, with the utmost energy. Now, keeping the head, shoulders and chest still the same, extend the hands forward, palms open and facing, bring both back as far as the bones and muscles of the shoulders will admit, without bending arms at elbows. Now thrust the body to the right, knees and feet firm, and strike the left side with open palms, vigorously; repeat, with body to the left. Now, with arms akimbo, thrust the right foot forward (kicking) with energy, six times; left, same. Now place the clenched fists in the small of the back, with great force; throw the whole body backwards, feet and knees firm, filling the lungs to the utmost, and uttering, as you go over, the alphabetical element, “a," then long "o," then long "e." If these movements have been made with great energy and precision, the blood is circulating freely, and the whole body is aglow; and you are ready now for vocal exercises.

Notice that the exercises include about one hundred and ten movements, and may be made in about five minutes, when understood; and they are so varied as to call into use almost every muscle of the body.

They should be repeated daily, with increasing energy.

HOW TO SIT.

In reading, speaking, or singing, the student should sit erect, with both feet resting upon the floor; head up, so as to use the whole trunk in respiration. To rise in concert and in order, a class should bring the right foot back, advance left three or four inches, and when up, rest the principal weight of the body upon the right foot. This will place the whole class in first position.

RHETORICAL GESTURE.

GESTURE is the various positions and movements of the body, or of its different parts, employed in vocal delivery; for it embraces that part of language which is addressed to the eye, as distinguished from the voice, which is addressed to the ear. Graceful and appropriate gesture renders intonation much more pleasing and effective.

The first movement of gesture generally corresponds to the natural tones of the voice, and are the voluntary visible symbols of expression, produced by the stronger passions of the mind. These are: 1. The motions of the muscles of the face. 2. The change of the color of the countenance. 3. The expressiveness of the eyes. 4. Some sudden

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instinctive movements, extending to different parts, and sometimes to the whole of the body. These are the results of the sympathy existing between the action of the mind and the different parts of the body; and more or less of them are always manifested by every one who, when speaking, FEELS what he says.

From this, then, it will appear that Gesture is but an accompaniment of vocal intonation, and, for the most part, the natural result of an efficient execution of the elements of expression in a good delivery.

As the feet and lower limbs seem to be the foundation, we shall begin by giving their different positions. The student should be careful to keep the body erect.

A good voice depends upon it. An instrument, to produce a good tone, must be kept in tune.

The practice of Position and Gesture will prove a valuable aid in physical culture, and in acquiring a graceful address.

FIRST POSITION.

THIRD POSITION, OR FIRST
SECONDARY.

We have but two Primary positions of the feet, in speaking:

First-The body rests on the right foot, the left a little advanced, left knee bent.

Second The body rests on the left foot, right a little advanced, right knee bent.

We have two other positions, which are called Secondary. They are assumed in argument, appeal, or persuasion. The first secondary position is taken from the first primary, by advancing the unoccupied foot, and resting the body upon it, leaning forward, the right foot brought to its support.

SECOND POSITION.

FOURTH POSITION, OR
SECOND SECONDARY.

The second secondary position is the same as the first, the body resting upon the right foot.

In assuming these positions, all movements should be made with the utmost simplicity, avoiding “the stage strut and parade of the dancing master."

Advance, retire, or change, with ease, except when the action demands energy, or marked decision. Adopt such positions only as consist of manly and simple grace, and change as the sentiment or subject changes, or as you direct attention to different parts of the audience. Avoid moving about, or "weaving," or moving the feet or hands while speaking. All action should be graceful in mechanism, and definite in expressive

ness.

Either arm may move with grace to the extent of half a circle, vertically or horizontally. The extremities of the semi-circle, the middle, and a point intermediate to the middle and each extreme, give five elevations and five transverse directions-in all twenty-five points-for gesture with either arm, thus:

X

N.R.

THAYER BROS

VERTICAL SEMI-CIRCLE. -z, zenith; e, elevated; h, horizontal; d, downwards; n.r., nadir or rest. TRANSVERSE SEMI-CIRCLE. -c, across the body; f, forwards; q, oblique; x, extended; b, backwards.

Motions towards the body indicate self-esteem, egotism, or invitation; from the body, command or repulsion; expanding gestures express liberality, distribution, acquiescence, or candor; contracting gestures, frugality, reserve, or collection; rising motions express suspension, climax, or appeal; falling motions, completion, declaration, or response; a sudden stop expresses doubt, meditation, or listening; a sudden movement, decision or discovery; a broad and sweeping range of gesture illustrates a general statement, or expresses boldness, freedom, and self

possession; a limited range denotes diffidence or constraint, or illustrates a subordinate point; rigidity of the muscles indicates firmness, strength, or effort; laxity denotes languor or weakness; slow motions are expressive of gentleness, caution, deliberation, etc.; and quick motions, of harshness, temerity, etc.

RELATIVE POSITIONS OF THE HAND AND ARM IN MOTION.

The speaker should present himself to the audience with modesty, and without any show of self-consequence; and, at the same time, he should avoid obsequiousness, and every thing opposed to true dignity and selfrespect. His countenance should be composed; he should feel the importance of the subject and of the occasion. He should not stare, nor hasten too much to begin. Be deliberate and calm, and be in possession of your self-possession.

POSTURES OF THE HANDS AND FINGERS.

The prevention of awkwardness, and a security of expressiveness and grace, may greatly depend on the natural and agreeable positions of the hands and fingers. Every one knows that we can, with the hand, call or dismiss, invite or repel, threaten or supplicate, ask or deny, encourage or discourage, show joy or sorrow, detestation or fear, admiration or respect, and how much farther their power of expression may be extended, is difficult to say.

The palm up generally indicates elevated sentiments; palm down, the The other expressions will be governed by feeling.

reverse.

Fig. 1.

He may now, with a suitable deliberation, and with a step of moderate firmness and length, take his position with his face directed to the audience. A bow, being the most marked and appropriate symbol of respect, should be made on the last step going to his place upon the platform. The final bow, on leaving the stage, may be made on the left foot second, if it be suitable.

In making a graceful bow, there should be a gentle bend of the whole body; the centre of gravity should be kept near the heel of the advanced foot, so as not to throw the weight of the body on the ball of it; the eyes should not be permitted to fall below the person addressed; and the arms should lightly move forward, and a little inward, as they naturally do when the body is bent, but without any apparent voluntary effort. (See Fig. 1.)