confined, in good elocution? There is a very common fault, in regard to pitching the voice-what is it? Page 47. What are inflections? How many different inflections are described by writers on Elocution? In what respect does a rising inflection differ from a falling inflection? Page 49. What is the extent of the concrete intervals of the notes of speech? Do falling inflections traverse the same range of pitch as their corresponding rising inflections? Page 50. In what other respect do these inflections differ? Give some account of the circumflexes. Page 51. Why should not a falling inflection be used for the sake of mere variety? What should determine the direction of inflections? Page 52. What is melody? How is melody distinguished from harmony? What is notation? What is intonation! On what is melody founded? Page 53. In what respect does the melody of speech differ from that of song? Is it necessary, for practical purposes, to present every syllable in speech under its proper note, as is done in song? Page 54. What is an emphasis melody? Describe the staff of speech. Give an example of emphasis melody. What is the pitch-note of speech? Page 55. On which line of the staff is the pitch-note written? What is the effect of reading altogether in the pitch-note? How is the voice properly varied in pitch? Is the melody of speech confined to four degrees of pitch, whose intervals are as determinate as those of the Diatonic Scale? Does the melody of speech consist solely of emphasis melodies? Mention some points in which the graphic notes of song, and those of an emphasis melody, differ. What care is necessary to be taken in reading emphasis melodies? Page 56. What is modulation? How is modulation effected, and with what is it generally accompanied? What is the province of modulation? Describe the staff of modulation. Page 57. Give an example of modulation. FORCE. Page 59. What is force? How is force divided? How are the terms high and low, and loud and soft, applied to force? By what are the nine degrees of force expressed? Page 60. In what way should force be varied? What is stress? What is radical stress? What is median stress? Page 61. What is final stress? What is explosive stress? What is tremour? How may tremour be illustrated? Why is it necessary to pay attention to the subject of force? TIME. Page 63. What is time? How is time, in music, divided? How does the time of speech differ from that of song? Page 64. What is quantity? By what characters is quantity represented? What is their relative value? What is the effect of a dot, when affixed to a note, or rest? How many general modes of time are there? How are they distinguished? Name some of the varieties of the two general modes of time. Page 65. What is movement? How should the rate of movement be regulated? Page 66. What terms are employed to denote the rate of movement? What are the three chief divisions of time? Name some of the terms which indicate the style of performance. Are not these terms sometimes used in connexion with those which express the movement? Give an example. Is the rate of movement definitely marked by the terms, Adagio, Largo, &c.? How may it be designated with precision? Describe the Metronome. Page 67. How should the time be marked on the Metronome, in reading? How should it be marked in music? GESTURE. Page 69. What is gesture? How may the postures of the body, with respect to vocal delivery, be divided? Describe some of the unfavourable postures. Page 72. What postures are favourable to vocal delivery? In what manner should the book be held, in reading? Page 73. In demonstrating on the black-board, should the face, or back, be turned towards the audience? What is the cause of the general neglect with which the cultivation of the art of gesture has hitherto been treated? To whom is the world indebted for a system of notation of gesture? Give an example of the notation. Page 74. What suggested the idea of this system of notation? What may be reckoned among the higher objects of this system of notation? Page 76. What parts of the body are brought into action, in gesture? What should be the external deportment of the orator? In what does the gracefulness of motion, in the human form, consist? Page 77. How should the orator stand, to be graceful? How are the positions of the feet expressed? Describe the first position of the right foot. Page 78. Describe the second position of the right foot. What is the first position of the left foot? Page 79. Describe the second position of the left foot. Which is the proper reading position? Page 80. Which is the proper rising position of the orator? Describe the positions in front. Page 81. Describe the positions of the feet in the extended state. Describe the contracted position. What attitudes and positions should the orator adopt? Page 82. In changing the positions of the feet, how should the motions be made? Why should an orator not change his position frequently? What are the several acts resulting from the changes in the positions of the feet, and how are they noted? How are two or more steps expressed? How are changes of position, or steps, to be made? Page 83. How many steps may be made from each original position? Describe them. Page 84, 85. By what sort of a diagram is the present system of gesture exemplified? Page 86. To what are postures and motions of the arm referred, and how are they noted? Page 87. How many primary postures of the arm are there? How are the fifteen primary postures of the arm more particularly noted? Page 89. In referring gestures to certain points in a sphere, is mathematical precision necessary? What is there peculiar in the colloquial elevations of the arm? Page 91. How does the degree of energy, proceeding from the sentiment of desire, or aversion, influence the character of gesture? How is the notation varied, to mark the different degrees of extension of the arm? Page 91. Enumerate some of the postures of the arm which are named from the manner of holding the arm, or resting it upon the body. Page 93. By what circumstances are the postures of the hand determined? Describe some of the postures belonging to the first class. Page 96. pend on the Page 97. Describe the postures of the second class, which demanner of presenting the palm. Describe the postures of the third class, arising from the combined disposition of the hands. Page 98. Describe the fourth class. Page 100. Why may any posture of the arm, or hand, sustain different significant characters? How are the motions of the hands and arms considered, and how are they noted ? Page 101. What is noting? What is projecting, or pushing? How is waving performed, and how is it noted? How is the flourish performed, and how is it noted? What is the sweep, and how is it noted? Page 102. What is beckoning? What is repressing? What is striking, and how is it noted? What is recoiling? Page 103. How is advancing performed? What is springing ? What is throwing? What is clinching? How is collecting performed? What is shaking? What is pressing? What is retracting? What is rejecting? What is bending? Page 104. Why should an orator hold his head erect? To what should the movements of the head be adapted? Name the principal postures and motions of the head, and direction of the eyes, with their notation letters. Page 105. In what manner should the motions of the body accompany those of the hands and arms? What forms the grand instrument of gesture? Where is the centre of motion of this compound instrument? Do these parts move together in the manner of an inflexible line? In gesticulating, does this complex instrument continue long in one direct line, or in any particular flexure? Page 106. What is the stroke of the gesture? Should the stroke of the gesture always be made with the same degree of force? To what is the stroke of the gesture analogous? Are there any other points of analogy between the voice and gesture? Page 107. Is it important that the stroke of the gesture should fall precisely on the accented syllable of the emphatic word? What kind of gesture is that which is called sawing the air? With what effect are all unmeaning motions of public speakers attended? Page 108. What is meant by the terms principal gesture, and subordinate gesture? What are significant gestures? Page 109. Are the majority of gestures significant? What do gestures, in general, denote? Into how many classes are these various gestures divided? What are commencing gestures? What are discriminating gestures? Page 110. What are auxiliary gestures? What are suspending gestures? What are emphatic gestures? Page 111. Give illustrations of these several gestures. Page 112. May these five classes of gestures be used in any part of discourse? Do modern orators ever perform the principal gesture with the left hand? Is not this practice at variance with the rules of Quintilian? How do you account for this difference between the customs of the ancient and modern orators? On what occasions may the left hand perform the principal gesture? moderns violate another precept of Quintilian? Do the Page 113. Under what circumstances do the corresponding hand and foot naturally advance together? When may the contrary hand and foot advance together? In the transitions of gesture, should the hand and arm always be precipitated to the intended position by the shortest course? Describe some of these curves. Page 114. For what purpose is this indirect line used? By what is the extent of the return, or depth of the sweep, determined? Does the preparation made by these curves suit every species of gesture? What kind of preparation is generally made for emphatic gestures? Page 115. Illustrate it by examples. Page 116. What is the connexion of gesture, and how is it shown? How is the connexion of gesture, in the vertical direction, noted ? Page 117. Illustrate the connexion of gesture in the vertical direction by an example? To what does the transition of gesture relate, and what does it signify? May a gesture have a very different character and effect, according to the manner in which the hand arrives at its destined point? Why do painters generally choose to represent the suspending gestures? To what does the transition of gesture particularly relate? Page 118. If the passage to be pronounced be of considerable length, why should the right hand perform the principal gesture throughout the whole of it? Under what circumstances may the right hand yield to the left the performance of the principal gesture? Page 119. May not this balancing, or alternation of gesture, be carried to an affected extreme? How should the transition of gesture, from one hand to the other, be managed? What is the general rule, in regard to changing the position of the feet? Page 120. What is the general rule for accompaniment of gesture, in calm and moderate speaking, when both hands do not perform the same gesture? What important accompaniments are to be attended to besides the motions of the subordinate gesture? Page 121. Give an example of some of the stronger changes of the head, body, and lower limbs, which accompany certain principal gestures. Page 122. Describe, in their natural order, the several motions which may be employed in expressing aversion. What is the close and termination of gesture, and in what manner should it be ef fected? Should a single word, or idea, be marked with more than one emphatic stroke? Page 123. Is there any particular point of elevation at which emphatic gestures should terminate? Should gesture be limited, in its application, to any particular words and passages? For what parts of the oration will a judicious speaker reserve the force and ornament of gesture? By what should the frequency of gesture be determined? Page 124. In what kind of sentences may a gesture be made on each word? Why should a sentence be slowly delivered, in which a gesture is made on almost every word? Does the emphatic gesture always fall on those words which are the principal, in a grammatical sense- the nouns and verbs? Under what circumstances should gestures, which are noted alike, be varied? Page 125. Should there be any cessation of gesture during the delivery of a discourse? What is gesture said to hold the place of? How, then, should it be managed? What are the principal qualities which constitute the perfection of gesture? How is magnificence of gesture effected? Page 126. What are the opposite imperfections? From what does boldness of gesture arise? What is the opposite imperfection? Of what does energy of gesture consist? What are the opposite imperfections? Of what does variety of gesture consist? What |