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The sketch in Plate LXVIII. is taken from that scene in the comedy of the Dramatist in which Vapid, who had concealed himself under the sofa, overhears the conversation of Lord Scratch and Lady Waitfor't.

Vapid. Prologue or epilogue—I'm the man—I'll write

you both.

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ACCUSED person, utility derived from gesture by, 32.
Action; of the deportment of, as opposed to that of tranquillity,

56. Examples of internal activity, 57 to 66. Action in the
performance of a drama should be modified by the circum-
stance of its being written in verse or in prose, 324, 325. The
degree of action appropriate to a particular piece may be dif-
ferent in different nations, 325, 326. Inquiry how far the

sacred orator may make use of dramatic action, 328, 329.
Actor : broad and general basis on which he should

passions, 10, 11. Perfection more important to the actor than
to any other artist, 12. Why actors are more alive to criticism
than others, 13. Their indifference to the attainment of real
excellence accounted for, 13. The actor should seize all oc-
casions of observing nature, but should not shock by too coarse
an imitation, 14, 15. Art is a great assistant, but nature is
the very soul of an actor, 28. No rules nor imitation can
exempt an actor from the necessity of thinking for himself, 54.
He should study not only the expressions of the passions, but
also their effects on his own countenance, 71. Should resort
to both reflection and advice for improving himself, 193. Ought
to study his own part with a view to its connexion with the
others, 330—and in the study of each scene should never lose
sight of the general idea of his part, 332. Must not exhaust
his energies in the first scenes of his part, 332—this caution

however may be carried too far, 332.
Actresses cautioned against extravagant expression of the pas-

sions, 17. Remarks on some inconveniences in their present

dresses, 88.
Admiration, deportment expressive of different cases of, 72, 73,

Æneas, example from the story of, 129.
Æschylus was the next to Thespis in the progression of theatrical

costume, 360, 362.
Affections of the soul classed and explained, 68. Distinguished
into the pleasing, unpleasing, and mixed, 147, 148. Examina-
tion of the first kind, 148-of the second, 167 to 176. The
whole body ought to participate in the effects of every affec-
tion, 193—examples, 194. Cause of the great difference between
the province of the poet and that of the actor in representing
the true expression of the affections, 195, 196. Not the sub-
jects of discourse, but the sentiments with which we consider
them, are the appropriate objects of gesture, 209 to 211. The

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