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rity with which it is executed. And the grace of any postures (except such as are manifestly designed for repose), consists in the apparent facility with which they can be varied. Hence, in the standing figure, the posture is graceful when the weight of the body is principally supported by one limb, whilst the other is so placed as to be ready to relieve it promptly, and without effort. And as the limbs are formed for a mutual share of labour and of honour, so their alternation in posture, and in motion, is agreeable and graceful.

The body must then be supported, if grace be consulted, on either limb, like Apollo, Antinous, and other beautiful and well-executed statues.

The positions of the feet are expressed by the notation annexed, which is to be written under the word where the speaker is to assume such position. They are the following:

First Position of the Right Foot, noted R. 1. (See Fig. 15)

The upper part of the figure represents the elevation of the position; the lower, the plan.

In this position the right foot (advanced before the eft about the breadth of the foot), orms, with the left, an angle of about seventy-five degrees, as may be seen in the plan. The lines which form this angle, passing through the length of each foot, meet its vertex under the heel of the left. The principal weight of the body is sustained by the left foot; the right rests lightly, but in its whole length, upon the floor.

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This fact is shown in the plan by deeply shading the left foot, and lightly shading the right.

Second Position of the Right Foot, noted R. 2. (See Fig. 16.)

In this position, the right foot sliding forward about half its length, receives the principal weight of the body, the left being raised, and turning as far inwards towards the right; the ball of the left great toe only lightly touching the floor, to keep the body from tottering. In the plan, the right foot, by which the weight of the body is principally sustained, is all shaded, while that part only of the left is shaded which rests upon the floor. The angle formed by lines drawn through the length of the feet, in this position, is about ninety degrees.

16

In this position, when the feet are near together, the entire sole of the left foot may lightly touch the floor; but when the feet are separated about their own length, or more, the left should touch only near the great toe; the knee should be bent, and the heel turned inward, as in Fig. 24 and 26.

First Position of the Left Foot, noted L. 1. (See Fig. 17).

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This position of the left foot is, in all respects, analogous to the first position of the right. The left foot is advanced, and the body is principally supported by the right. The shading of the plan is similar to that in the first position of the right, and for the same purposes.

The first position of the right foot is the proper reading position, when no gesture is employed; but it should be occasionally alternated with the first position of the left, for the relief of the supporting muscles.

Second Position of the Left Foot, noted L. 2. (See Fig. 18).

This position of the left foot is, in all respects, analogous to the second position of the right; and, in the figure, it is represented in the same manner, only reversed.

Figure 19 is a better plan of the feet than that annexed to the elevations. In both positions the right foot advances about half its own length, as may be seen by comparing

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it with the equidistant parallel lines. In the first position of the right foot, the lines ff, ff, passing through the centre of the feet,

make an angle of
about seventy-five de-
grees; and in the se--
cond position, the
lines SS make an an-
gle of about ninety
degrees. These an-
gles are nearly bi-
sected by the line
EE, which goes to
the eye of the person
addressed. In the
first position, the lines
c, f, q, x, b.* annexed

E

Ef 19

S

to the dotted prints of both the feet, mark the manner in which they are shifted, without altering their own angle, according as the gesture is directed. In the plan the gesture is supposed to be directed forwards. This figure may be supposed to be reversed for the first and the second position of the left foot.

The first position of either foot, but particularly that

These are notation letters, which will be explained in their place.

of the right (because the more graceful), is the proper reading position. It is also the proper rising position of the orator. But should he stretch forth his arms towards the audience, when he begins to speak, he should take the second position.

Besides the four positions above mentioned, there are two others, which may be called positions in front. The heels are placed nearly together, and the body is supported, alternately, on the right and left foot, whilst the toes of the other lightly touch the floor. The angle formed by the feet, in these positions, is somewhat greater than a right angle. In other respects they are similar to the ordinary positions. The right position in front, noted R. F., is when the body is supported on the left foot. The left position in front, noted L. F., is when the body is supported on the right foot. The position in front is used when persons are addressed alternately, on either side, whilst the auditors are in front, as on the stage. It is not graceful, and should not often be used; it is too stiff and formal, like the military figure, and presents the body with too much uniformity and flatness.*

20

This appears to be the position condemned by Quintilian: The swing of those who balance their body to the right side and left. upon the alternate feet, is very ungraceful."

Connected with these positions which express the moderate state of the feet, are marked the same positions in the extended state. (Fig. 20.) These differ from the moderate, principally, in the greater separation of the feet. The second position extended, enlarges the angle a few degrees by drawing up the heel of the retired foot. (See Fig. 46 and 89.) The first extended position is made when a person retires in any degree of alarm; and the second, when he advances with boldness. (See Fig. 106 and 108.) An x is added to the notation to express the extended position, thus; R. 1. x; R. 2. x; &c.

The contracted position may be easily understood by supposing the heels to be brought close together. A c is added to the notation, to express the contracted position, thus: R. 1. c.

The attitude of the orator should not be like that of the affected dancing-master, which is adapted to springing agility and conceited display. The orator should adopt such attitudes and positions only as consist with manly simplicity and grace. The toes should be turned, not inwards, like those of the awkward rustic, but moderately outwards; and the limbs should be so disposed as to support the body with ease, and to change with facility. The sustaining foot should be planted firmly; the leg braced, but not contracted; and the knee straightened (contraction suits the spring necessary for the dancer, and bent knees belong to feebleness, or timidity); the other foot and limb should press lightly, and be held relaxed, so as to be ready for immediate change and action, except in very energetic delivery, where both limbs should be braced. The trunk of the body should be well balanced, and sustained erect upon the supporting limb, except in such instances as particularly require its inclination, as veneration. supplication, &c. The orator should face his audience. Whatever his position may be, he should present himself, as Quintilian expresses, æquo pectore (Fig. 13), and never in the fencer's attitude.

F

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