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 over act 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 them 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 pronunci 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 distaste, 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 improper 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 person 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. 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. sary. In the conclusion, both the voice and gesture should be brisk and sprightly; which may seem to arise from a sense of the speaker's opinion of the goodness of his cause, and that he has offered nothing but what is agreeable to reason and truth; as likewise from his assurance that the audience agree with him in the same sentiment. If an enumeration of the principal. arguments of the discourse be convenient, as it sometimes is, where they are pretty numerous, or the discourse is long, they ought to be expressed in the most clear and forcible manner. And if there be an address to the passions, both the voice and gesture must be suited to the nature of them. We proceed now to the consideration of particular expressions. And what we shall offer here, will be in relation to the single words, sentences, and the passions. Even in those sentences which are expressed in the most even and sedate manner, there is often one or more words which require an emphasis and distinction of the voice. Pronouns are often of this kind; as, this is the man. And such are many words that denote the circumstances and qualities of things. Such as heighten or magnify the idea of the thing to which they are joined, elevate the voice; as, noble, admirable, majestic, greatly, and the like. On the contrary, those which lessen the idea, or debase it, depress the voice, or at least protract the tone of which sort are the words, little, mean, poorly, contemptible, with many others. Some tropes, likewise, as metaphors and verbal figures, which consist in the repetition of a single word, should have a particular emphasis. As when Virgil says of the river Araxes, "It disdained a bridge." And Nisus of himself, in the same poet, " I, Iam the man ;" where the repeated word is loudest. This distinction of words, and giving them their proper emphasis, does not only render the expression more clear and intelligible, but very much contributes to the variation of the voice and the preventing of a monotony. In In sentences, regard should be had to their length, and the number of their parts, in order to distinguish them by proper pauses. The frame and structure of the period ought likewise to be considered, that the voice may be so managed as to give it the most musical accent. Unless there be some special reason for the contrary, it should end louder than it begins. And this difference of tone between the end of the former sentence and the beginning of the next, not only helps to distinguish the sense, but adds to the harmony of the voice. In an antithesis, or a sentence consisting of opposite parts, one contrary must be louder than the other. As, "He is gone, but by a gainful remove, from painful labour to quiet rest; from unquiet desire to happy contentment; from sorrow to joy; and from transitory sime to immortality." In a climax or gradation, the voice should generally rise with it. Thus, "There is no enjoyment of property without government; no government without a magistrate; no magistrate without obedience; no obedience where every one acts as he pleases.' And so in other gradations of a different form; as," Since concord was lost, friendship was Jost, fidelity was lost, liberty was lost, all was lost." That the passions have each of them both a different voice and action, is evident from hence, that we know in what manner a person is affected, by the tone of his voice, though we do not understand the sense of what he says, or many times so much as see him; and we can often make the same judgment from his countenance and gestures. Love and esteem are expressed in a smooth and cheerful tone; but anger and resentment, with a rough, harsh, and interrupted voice; for when the spirits are ruffled, the organs are moved unequally. Joy raises and dilates the voice, as sorrow sinks and contracts it. Cicero takes notice of a passage in an oration of Gracchus, wherein he bewails the death of his brother, who was killed by Scipio, which in his time was thought very moving: "Unhap РУ |