When the pupil has got the habit of holding his hand and arm properly, he may be taught to move it. In this motion he must be careful to keep the arm from the body. He must neither draw the elbow backwards, nor suffer it to approach to the side, but, while the hand and lower joint of the arm are curving towards the shoulder, the whole arm, with the elbow forming nearly an angle of a square, should move upwards from the shoulder, in the same position as when gracefully taking off the hat; that is, with the elbow extended from the side, and the upper joint of the arm nearly on a line with the shoulder, and forming an angle of a square with the body-[See Plate III. This motion of the arm will naturally bring the hand with the palm downwards, into an horizontal position, and when it approaches to the head, the arm should with a jerk be suddenly straitened into its first position, at the very moment the emphatical word is pronounced. This coincidence of the hand and voice, will greatly enforce the pronunciation; and if they keep time, they will be in tune as it were to each other, and to force and energy add harmony and variety. As this motion of the arm is somewhat complicated, and may be found difficult to execute, it would be adviseable to let the pupil at first speak without any motion of the arm at all. After some time he will naturally fall into a small curvature of the elbow, to beat time, as it were, to the emphatic word; and if, in doing this, he is constantly urged to raise the elbow, and to keep it at a distance from the body, the action of the arm will naturally grow up into that we have just described. So the diagonal po sition of the arm, though the most graceful and easy when the body is at rest, may be too difficult for boys to fall into at first; and therefore it may be necessary, in order to avoid the worse extreme, for some time to make them extend the arm as far from the body as they can, in a somewhat similar direction, but higher from the ground, and inclining more to the back. Great care must be taken to keep the hand open, and the thumb at some distance from the fingers; and particular attention must be paid to keeping the hand in the exact line with the lower part of the arm, so as not to bend at the wrist, either when it is beld out without motion, or when it gives the emphatic stroke. And, above all, the body must be kept in a straight line with the leg on which it bears, and not suffered to bend to the opposite side, At first it may not be improper for the teacher, after placing the pupil in the position plate I. to stand at some distance exactly opposite to him in the same position, the right and left sides only reversed, and while the pupil is speaking, to show him by example the action he is to make use of. In this case the teacher's left hand will correspond for the pupil's right, by which means he will see as in a looking-glass, how to regulate his gesture, and will soon catch the method of doing it by himself. It is expected the master will be a little discouraged at the aukward figure his pupil makes in his first attempts to teach him. But this is no more than what happens in dancing, fencing, or any other exercise which depends on habit. By practice, the pupil will soon begin to feel his position, and be easy in it. Those positions which were at first distressing to him, he will fall into naturally, and if they are such as are really graceful and becoming (and such it is presumed are those which have been just described) they will be adopted with more facility than any other that can be taught him. SECTION II. On the Acting of Plays at Schools. THOUGH the acting of plays at schools has been universally supposed a very useful practice, it has of late years been much laid aside. The advantages arising from it have not been judged equal to the inconveniencies; and the speaking of single speeches, or the acting of single scenes, has been generally substituted in its stead. Indeed when we consider the leading principle and prevailing sentiments of most plays, we shall not wonder that they are not always thought to be the most suitable employment for youth at school; nor, when we reflect on the long interruption to the common schoolexercises, which the preparation for a play must necessarily occasion, shall we think it consistent with the general improvement :-But, to wave every objection from prudence or morality, it may be confidently affirmed, that the acting of a play is not so conducive to improvement in elocution, as the speaking of single speeches. In the first place, the acting of plays is of all kinds of delivery the most difficult; and therefore cannot be the most suitable exercise for boys at school. In the next place, a dramatic performance requires so much attention to the deportment of the body, so varied an expression of the passions, and so strict an adherence to character, that elocution is in danger of being neglected: Besides, exact propriety of action, and a nice discrimination of the passions, however essential on the stage, are but of a secondary importance in a school. It is plain, open, distinct, and forcible pronunciation which school-boys should aim at; and not that quick transition from one passion to another, that archness of look, and that jeu de theatre, as it is called, so essential to a tolerable dramatic exhibition, and which actors themselves can scarcely arrive at. In short, it is speaking rather than acting which school-boys should be taught, while the performance of plays is calculated to teach them acting rather than speaking. But there is a contrary extreme into which many teachers are apt to run, and chiefly those who are incapable of speaking themselves; and that is, to condemn every thing which is vehement and forcible, as theatrical. It is an old trick to depreciate what we cannot attain, and calling a spirited pronunciation theatrical, is but an artful method of hiding an utter inability of speaking with force and energy. But though school-boys ought not to be taught those nice touches which form the greatest difficulties in the profession of an actor, they should not be too much restrained from an exertion of voice, so necessary to strengthening the organs of sound, because they may sometimes be too loud and vociferous. Perhaps nine out of ten, instead of too much confidence, and too violent a manner of speaking, which these teachers seem so much to dread, have, as Dr. Johnson calls it, a frigid equality, a stupid languor, and a torpid apathy. These must be roused by something strong and excessive, or they will never rise even to mediocrity; while the few who have a tendency to rant, are very easily reclaimed; and ought to be treated in pronunciation and action, as Quintilian ad |