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In changing the positions of the feet, the motions should be made with the utmost simplicity, and free from the parade and sweep of dancing. All changes, except where particular energy requires the speaker to stamp, start back, or advance with marked decision, should be made almost imperceptibly. The changes should not be too frequent: frequent change gives the idea of anxiety and instability, which are unfavourable

to an orator.

The several acts resulting from the changes in the positions of the feet, are, advancing (noted a); retiring (r); traversing (tr.); starting (s. or st.); stamping (sp.), &c.

If more steps than one are to be expressed (as in the business of the theatre) the number may be introduced in a parenthesis. after the letter marking the step, and then the position follows which finishes the movement; thus, a (2) R. 2, means, advance two steps to the second position of the right foot. In private declamations, or recitations on a platform, or rostrum, these figures are not necessary, as a single step, in advancing or retiring, is sufficient.*

Changes of position, or steps, are considered to be made only by the foot on which the body is not supported, for that alone is free. Should it be required to move the foot which supports the body (suppose the left, in the first position of the right, Fig. 15), two mo

I have frequently seen college students take three steps to the right, then three to the left, then three again to the right, and so on, till they had changed their position fifteen times during the de livery of a discourse which did not occupy them more than ten minutes. And I have known a clergyman to traverse the whole length of his pulpit twenty-three times during the delivery of a sermon. Such erratic movements in a public speaker are undignified: they betray a want of judgment, and are exceedingly annoying to an audience. An orator should "keep in his place:" he should perform all the movements of his feet within the limits of thirty-six inches square, and not be continually running about the room as if labouring under the effects of nitrous oxide.

tions are necessary; in the first the position must be changed to R. 2. (Fig. 16), so as to throw the weight of the body on the right foot, then the left may be moved as required.

a.R.2

According to this principle, it will be found that from each original position four steps may be made. (See Fig. 21 and 22.) The plan of the steps, in the original position, is in the centre, and drawn larger; the plan of the steps, made from that original position, is represented smaller. The line of motions of the feet, is repre

C.R.2

T.L.1

R.1

tr.R. 2

21

a.L. 2

sented by a line of dots, nearly of the same form which each foot should trace; the line of the free, or firstmoving foot, is marked with a star. In the figures, it will be observed, that from each position four steps may be made the speaker may advance, retire, traverse, and cross. In advancing and traversing, each step finishes on the second position of the advancing foot; and, in retiring from the first position, the step finishes on the first position of the contrary foot; but, in retiring from the second position, it finishes on the first

tr. R.1

CR.1

I.R.1

22

position of the same foot. In crossing from the first position, the free foot passes before the other, and finishes on the second position; but, in crossing from the second position, it passes behind the planted foot, and finishes on the first position.

The steps from the two positions of the left foot are similar to those of the right, and do not require to be explained by another figure.

CHAPTER IV.

THE POSITIONS, MOTIONS, AND ELEVATIONS OF THE ARMS.

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Fig. 23 represents a person standing with his arms hanging unconstrained. Now, if from this position the arm be raised as high as it can be, as in Fig. 24, the extremity of the fingers will describe, in the vertical direction, a semicircle, which, in the figure, is marked at five points, R, d, h, e, Z, at intervals of forty-five degrees. If, in the transverse direction, the arm be extended across the body, as far as convenience will permit, and then swept horizontally round, and outwards, the extremity of the fingers will describe a semicircle, which, in Fig. 25, is also

23

R

24

marked at five points, c, f, q, x, b, at intervals of forty

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lique circles, ZbRqZ, and Zc RbZ (crossing the right and primary circle at an angle of forty-five degrees), the horizontal circle b h cfqhb (the plane of which passes through the projecting point), and the two smaller circles be qfceb, and bd cf qd b, parallel to it, above and below, at the distance of forty-five degrees. The human figure is so placed within this sphere, that the internal central point between the shoulders, is the centre of the sphere. The postures and motions of the arms are referred to, and determined by, the points at which the circles intersect each other.* The circle marked q, for the right arm, becomes c for the left, and the contrary. According to this scheme, the postures of the arms are determined, and noted as follows:

First, in the Vertical Direction.

When the arm hangs down, at rest, Fig. 23, it is noted

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d.

When directed downwards, within forty-five degrees of the nadir, Fig. 27 to 31, it is noted When directed towards the horizon, Fig. 32 to 36 h. When elevated forty-five degrees above the horizon, Fig. 37 to 41

When pointing to the zenith, Fig. 24

Second, in the Transverse Direction.

When the arm is extended as far as convenient, across the body, say forty-five degrees from the right circle, Zƒ R, Fig. 27, 32, 37, it is noted

When extended in the plane of the right circle, or directly forward, Fig. 28, 33, 38

When directed forty-five degrees obliquely from this position, Fig. 29, 34, 39

When in the plane of the primary circle, Fig. 30, 35, 40

e.

Z.

C.

f.

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x.

In speaking of angles and elevations, determined by degrees, mathematical precision is not intended, and is not necessary: it is sufficient for the present purpose that the position described should be nearly in the angle or direction mentioned.

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