are the natural signs of such passions, the orator should endeavour to conform to them.

But as the eyes are most active and significant, it is the advice of Cicero that the greatest care should be taken in their management. And he gives this reason for it. "Because other parts of the countenance have but few motions; whereas all the passions of the soul are expressed in the eyes, by so many different actions; which cannot possibly be represented by any gestures of the body, if the eyes are kept in a fixed posture." Common experience does in a great measure confirm the truth of this observation. We readily guess at a person's intention, or how he is affected to us by his eyes. And any sudden change or emotion of the mind is presently followed by an alteration in the look.

In speaking, therefore, upon pleasant and delightful subjects, the eyes are brisk and cheerful; as, on the contrary, they sink and are languid in delivering any thing melancholy and sorrowful. This is so agreeable to nature, that before a person speaks, we are prepared with the expectation of one or the other from his different aspect. So likewise in anger, a certain vehemence and intenseness appears in the eyes, which, for want of proper words to express it by, we endeavour to represent by metaphors taken from fire, the most violent and rapid element; and say in such cases, the eyes sparkle, burn, or are inflamed. In expressions of hatred or detestation, it is natural to alter the looks, either by turning the eyes aside, or downwards.

Indeed, the eyes are sometimes turned downwards upon other occasions, as to express modesty. And if at any time a particular object be addressed, whatever it be, the eyes should be turned that way. And therefore Philostratus very deservedly ridicules a certain rhetorician as guilty of solecism in gesture, who, upon saying, O Jupiter! turned his eyes downwards; and when he said, O Earth! looked upward. A staring look has the appearance of giddiness and want of thought and to contract the eyes gives suspicion of

craft

craft and design. A fixed look may be occasioned from intenseness of thought; but at the same time shows a disregard to the audience; and a too quick and wandering motion of the eyes denotes levity and wantonness. A gentle and moderate motion of the eyes is, therefore, in common, most suitable; always directed to some of the audience, and gradually turning from side to side with an air of respect and modesty, and looking them decently in the face, as in common discourse. Such a behaviour will of course draw attention.

As to the other parts of the body distinct from the head, the shoulders ought not to be elevated; for this is not only in itself indecent; but it likewise contracts the neck, and hinders the proper motion of the head. Nor, on the other hand, should they be drawn down and depressed; because this occasions a stiffness both to the neck and the whole body. Their natural posture therefore is best, as being most easy and graceful. To shrug the shoulders has an abject and servile air; and frequently to heave them upwards and downwards is a very disagreeable sight. A continued motion of the arms any way, is by all means to be avoided. Their action should generally be very moderate, and follow that of the hands; unless in very pathetic expressions, where it may be proper to give them a more lively spring.

Now, all bodily motion is either upward or down ward, to the right or left, forward or backward, or else circular. The hands are employed by the orator in all these except the last. And as they ought to correspond with our expressions, so they ought to begin and end with them. In admiration, and addresses to Heaven, they must be elevated, but never raised above the eyes; and in speaking of things below us, they are directed downwards. Side motion should generally begin from the left, and terminate gently on the right. In demonstrating, addressing, and on several other occasions, they are moved forward; and in threatening, sometimes

sometimes thrown back. But when the orator speaks of himself, his right hand should be gently laid on his breast.

The left hand should seldom move alone, but accommodate itself to the motions of the right. In motions to the left side, the right hand should not be carried beyond the left shoulder. In promises, and expressions of compliment, the motion of the hands should be gentle and slow; but in exhortations and applause, more swift. The hands should generally be open; but in expressions of compunction and anger, they may be closed. All finical and trifling actions of the fingers ought to be avoided; nor should they be stretched out and expanded in a stiff and rigid posture, but kept easy and pliable.

The gestures we have hitherto discoursed of, are such as naturally accompany our expressions. And we believe those we have mentioned, if duly attended to, will be found sufficient to answer all the purposes of our modern pronunciation. The other sort of gestures above mentioned are such as arise from imitation; as where the orator describes some action, or personates another speaking. But here great care is to be taken not to overact his part by running into any ludicrous or theatrical mimicry. It is sufficient for him to represent things of this nature, as may best convey the image of them in a lively manner to the minds of the hearers; without any such changes either of his actions or voice as are not suitable to his own character.

SOME PARTICULAR RULES FOR THE VOICE AND GESTURE.

WE shall begin with the parts of a discourse, and treat of thein in their natural order. And here the view and design of the speaker in each of them will easily help us to see the proper manner of pronuncia

i

ation. Let us suppose then a person presenting him self before an assembly, in order to make a discourse to them. It cannot be decent immediately to begin to speak so soon as ever he makes his appearance. He will first settle himself, compose his countenance, and take a respectful view of his audience. This prepares them for silence and attention.

Persons commonly form some opinion of a speaker from their first view of him, which prejudices them either in his favour or otherwise, as to what he says afterwards. A grave and sedate aspect inclines them to think him serious; that he had considered his subject, and may have something to offer worth their attention. A haughty and forbidding air occasions istaste, as it looks like disrespect. A wandering, giddy countenance argues levity. A dejected drooping appearance is apt to raise contempt, unless where the subject is melancholy. And a cheerful aspect is a proper prelude to a pleasant and agreeable argument.

To speak low at first has the appearance of modesty, and is best for the voice; which, by rising gradually, will with more ease be carried to any pitch that may be afterwards necessary, without straining it. However, some variation of the voice is always proper to give it harmony. Nay, and sometimes it is not im proper for an orator to set out with a considerable degree of warmth. We have some few instances of this in Cicero; as in his oration for Roscius Amerinus, where the heinousness of the charge could not but excite his indignation against the accusers. And so likewise, in that against Piso, and the two first against Catiline, which begin in the same manner, from the resentment he had conceived against their persons and conduct.

In the narration, the voice ought to be raised to somewhat a higher pitch. Matters of fact should be related in a very plain and distinct manner, with a proper stress and emphasis laid upon each circumstance, accompanied with a suitable address and motions of the body to engage the attention of the hearers. For there is a certain

grace in telling a story, by which those who are masters of it seldom fail to recommend themselves in conversation.

The proposition, or subject of the discourse should be delivered with a very clear and audible voice. For if this be not plainly heard, all that follows in proof of it cannot be well understood. And for the same reason, if it be divided into several parts or branches, they should each be expressed very deliberately and distinctly. But as the design here is only information. there can be little room for gesture.

The confirmation admits of great variety both of the voice and gesture. In reasoning, the voice is quick and pungent, and should be enforced with suitable actions. And as descriptions likewise have often a place here, in painting out the images of things, the orator should so endeavour to adapt both his voice, and the motions of his body, particularly the turn of his eyes, and action of his hands, as may best help the imagination of his hearers. Where he introduces another son speaking, or addresses an absent person, it should be with some degree of imitation. And in dialogue, the voice should alter with the parts. When he diverts from his subject by any digression, his voice should be lively and cheerful; since that is rather designed for entertainment than instruction.

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In confutation, the arguments of the adverse party ought first to be repeated in a plain and distinct manner, that the speaker may not seem to conceal, or avoid the force of them. Unless they appear trifling and unworthy of a serious answer; and then a facetious manner, both of expression and gesture, may be the most proper way to confute them. For, to attempt to answer, in a grave and serious manner, what is in itself empty and ludicrous, is apt to create a suspicion of its having more in it than it really has.

But caution should be used not to represent any argument of weight in a ludicrous way, lest by so doing the speaker should more expose himself than his adver

sary.