lips, as noted; they then move outwards to the position oblique, on the word fleeting.

(STANZA XII.) Third line. There is a suspending gesture on hands, which is the preparation for the subsequent gesture. It might have been omitted, as it is obviously implied, were it not thought proper to mark the word hands with some force; and, in this way, it obtains the distinction of gesture without extravagance or unnecessary waste of gesture. Were this preparatory gesture not marked, the hands would ascend, by a uniform motion, to rod, then make the stroke on empire, which would be feeble, and, if noted at large, would be thus:

a B shf st

Hands that the rod of empire might have sway'd.

Fourth line. The double sweep is here performed - first inwards, on ecstasy, and then outwards, on lyre.

(STANZA XIII.) The gesture on penury is a suspending one; its fourth and its fifth letter, rp, which express the manner of motion, being separated, in order to place them over their proper syllable. The notation, at large, would be as follows:

B vhf rt B vhf rp

Chill penury repressed, &c.

The first retracting, the last repressing; this, however, is understood from the nature of the emphatic gesture. Fourth line. The fourth small letter, c, over froze, signifies contracted. The gesture on current serves as a preparation for placing the hands on the breast. This gesture, Bnhf p, begins on genial, and the arms are stretched out, with some force, on current.

(STANZA XIV.) Third line. On the word flower, shf rt might be placed, as the preparation for the gesture on blush; but as the word does not require a strong emphasis, the notation is omitted; however, the gesture is implied. (See remarks on Stanza VII.) (STANZA XV.) Fourth line. When from the transverse position, c, the arms move directly to x, without noting the intermediate position, q, as here, on country's blood, the motion is understood to be rapid, and decisive, expressing vehemence or horror.

(STANZA XVI.) Second line. The gestures necessary to be marked, on this line, are four, of which the second, on pain, and the third, on ruin, are made by the momentary arrest of the hand, in its ascent to vef, on the first syllable of despise; rj, rejecting, on the last syllable, finishes the whole with the emphatic stroke. Thus sufficient discrimination is made, without falling into quaintness of gesture, or affectation. These small discriminating gestures, produced by a slight arrest of motion, and often by merely changing the posture of the hand, are more frequent, and more im portant to the orator, than the more showy gestures, and should be particularly attended to.

(STANZA XVII.) The last two lines have each a series of con. tinuous gestures.

From the preceding analysis and notation, it will be observed that the discriminating gestures are principally requisite for the reciting of this poem. The suspending and the emphatic are frequent; but the last seldom require to be strongly marked, as the general character of the sentiments is calm and tender. Of significant gestures there are very few. The first, marked Ls, listening, over curfew, is of this class, and perhaps a few others may also be reckoned to belong to it, as when the hand is laid on the breast; but there are not many more.

As these gestures may be varied, it may be said, infinitely, so there can be no fixed standard, as to the manner of delivering this, or any other poem, or oration, which should be considered exclusively appropriate. The sentiments require, indeed, to be delivered with suitable tones of voice, and expression of countenance; but great variety of gesture may be consistent with propriety, provided general rules are not violated: as, that decorum and simplicity be observed; that the transitions, connexions, the time of the gesture, and precision in the stroke, be attended to, and other obvious precautions, of general import, already sufficiently detailed. The notation will accommodate itself to every variety in the speaker's manner; and this must prove a recommendation to its use.

THE SPEECH OF BRUTUS ON THE DEATH OF CÆSAR.

B shf p

(SHAKSPEARE.)

vex sp

B nef

Romans, countrymen, and lovers! hear me for

sdf d

a R2

vef sp

assembly, any dear friend of Caesar's, to him

br-R

say that Brutus' love to Cæsar, was no less than

shf st

ief

n- veq

his. If, then, that friend demand why Brutus rose

B shf p

against Cæsar, this is my answer: not that I loved

nef- shf st

B veq w

Cæsar less, but that I loved Rome more.

shf p

you rather Cæsar were living, and die all slaves,

than that Cæsar were dead, and live all freemen?

sef

E -R

a R2

veg w

As Cæsar loved me, I weep for him; as he was for

tunate, I rejoice at it; as he was valiant, I honour

him; but, as he was ambitious, I slew him. There

are tears for his love, joy for his fortune, honour

for his valour, and death for his ambition. Who's

here so base that would be a bondman? If any,

speak; for him have I offended. Who's here so

phc

TR1 shf -n

rude that would not be a Roman? If any, speak;

Bohf sh

BR

veg w

him have I offended. I pause for a reply. None!

she sw

Then none have I offended. I have done no more

a R2

shf n

nef

by R

The

to Cæsar, than you should do to Brutus.

ihf n

question of his death is enrolled in the Capitol,

n

B

ihb

she

Fisheshb

Here comes his body, mourned by Mark

Antony, who, though he had no hand in his death,

shall receive the benefit of his dying,-a place in

B shc

the commonwealth; as which of you shall not?

B nef

BR

a R2

cef

With this, I depart that, as I slew my best

lover for the good of Rome, I have the same dagger

br st-R

a

B pef

for myself, when it shall please my country to

REMARKS ON THE NOTATION OF THE SPEECH OF BRUTUS.

I have introduced this speech, and noted it, for the purpose of showing that the gestures necessary for delivering it in the true spirit, are principally the suspending and the emphatic. These are suited to the vehemence of the speaker's manner, which seeks no ornament, but hastens to produce the main impression on his hearers, by the most direct method. An inspection of the notation will make his evident; for, even though the reader may wish to alter many

particular gestures which are here noted, he must change them for others of the same nature, if he would preserve the character of the speech. The suspending and the emphatic gestures must still abound, and he will find little opportunity for introducing the other descriptions, which are, in general, too tame for the abrupt and veherent style of this speech.

An

"Be silent that you may hear." On these words I have marked the gesture for the left hand, as well as that for the right, and also on the words, "have respect unto mine honour." This last is an auxiliary gesture, but of the vehement kind. The exordium of this singular oration ends at "better judge;" after which, the arms should fall to rest, and there should be a considerable pause. other division, which may be called the proposition, takes place at "live all freemen ;" another, the narration, at "death for his ambition," and that which may be called the pathetic, or appeal to the passions, finishes at "I pause for a reply.” The argument, or reasoning, ends at "suffered death;" and the peroration follows. I weep for him.” This is noted E-R, the right hand on the

66

eyes, the left at rest.

Him have I offended," noted on "him,” ihf rc, recoiling. In this action the finger is pointed suddenly, and scornfully; then immediately withdrawn.

Frequent changes in the positions of the feet indicate anxiety; they are, therefore, noted, in this speech.

"His body, mourned;" auxiliary gesture. When the right hand is brought up on "mourned," both hands become supine; and, on the next words, “by Mark Antony," they make the action of noting. At "Here comes," noted B, the speaker looks back; at "Mark Antony," noted F, he looks forward to those whom he addresses. It would be tedious to point out all the suspending ges tures, succeeded immediately by the emphatic, for they abound. In all the antitheses, which are numerous, the suspending will be found over the first member, and the emphatic over the last.

EXTRACT FROM YOUNG'S NIGHT THOUGHTS.

vef n F

B nef

The bell strikes one. We take no note of time

a R2