The observance of these simple rules will render any changes of position called for in oratory easy and natural, at the same time that it will afford a guaranty against all awkwardness or apparent affectation. The following are among the most common errors in the employment of the lower limbs.

Errors connected with Changes of Position.

1. The movement to the right or left, as distinguished from the free movement forward and backward, in the regular process of advancing and retiring.-Such sidelong movements may be proper for the actor, though not called for in oratory; hence the notice of them is reserved for the Appendix.

2. The making of the step too long or too short.-The theatrical stride, and the short shuffling step of hesitating timidity—are equally inconsistent with the true dignity of the orator.

3. The attempt to change the position by moving the foot which supports the body.—To move this foot requires two successive efforts,-the first being necessary to set the foot free. This complex movement is always unnecessary, and consequently awkward.

From R. 2, advance to R. 1. | From L. 2, advance to L. 1. 66 R. 1, return "R. 2.

"L. 2.

66 L. 1, return

66

R. 2, retire

❝ L. 2.

66

L. 2, retire

"R. 2.

At first, each of these changes should be made slowly, and the position may be given which should succeed; but after a very little practice, the only direction given should be-to advance or retire, when care must be taken to see that it be done correctly.

4. The advancing with the toes pointing straight forward, or turned outward by too small an angle.-This step, besides appearing less graceful, leaves the body unsupported on the side from which the toes are diverted.

5. The falling into a wrong position after advancing or retiring. Any other positions, or modes of changing the position, than those already pointed out, are wanting both in simplicity and grace.

SECTION III.

THE HEAD AND TRUNK.

THE attitude and general bearing of the whole person depend on the position of the head and trunk; and the position of these depends so materially on the management of the feet and lower limbs, that if the rules of the preceding section are carefully observed, there is little danger that in regard to this any thing shall be wrong.

In dramatic action, the head performs a very important part. Shame, pride, dislike, horror, and many other passions and feelings do not admit of a full expression but by the action of the head. Such action however has little to do with grave delivery, either in declamation or in oratory -whether in the pulpit, at the bar, or in the senate. The dignified self-possession suited to oratory preserves the head erect, permitting it neither to fall forward upon the breast, to incline to the side, nor to be thrown back in the attitude of haughtiness or defiance.-The positions of the body too may be made in the highest degree significant, as they may vary from the air of pride or disdain, which throws the body back from the persons addressed,-to the prostration, which marks the utmost degree of abasement

and humility. Oratory however requires only the erect position of self-sustained dignity, and allows no marked deviation from this position.

To be more particular, the body of the speaker should be well balanced and sustained erect on the supporting limb; the head likewise should be sustained with manliness and grace; he should front his audience-presenting himself, as Quintilian expresses it, æquo pectore, and with his face as well as his breast directed to those whom he addresses; and the shrugging up of the shoulders should also be carefully guarded against.—This perfectly erect position of the body and the head should however yield to every gesture of the arm. That which mainly distinguishes the movements of the living body from those of the machine, is the sympathy which produces a perfect correspondence in the action of all the parts. A temporary inclination of the entire body in the direction of the gesture of the arm is not then opposed to the rules here laid down.

The following are among the common errors which, it will be perceived, are at variance with the foregoing directions: Errors in the Position of the Head and Trunk.

Fig. 13.

1. The rigid square position of the body, which arises from the constrained position of the supporting leg. However such attitudes may be suited to a military man, they find no countenance in the rules laid down for the orator. This is diametrically opposed to what Cicero calls the virilis flexus laterum-the manly inclination of the sides, which is represented in Fig. 13; where it appears the supporting limb is not perpen

dicular, but inclined so as to bring the centre of the body into the line of the supporting foot. The perpendicular, rigid position of the supporting leg produces the error we would here describe; and in this erroneous position of the body, there will be less sympathy with the movements of the arms, and consequently less of ease and grace, than in the position represented in the figure.

2. The elevating and retracting of the head too much.This position presents an air of arrogance or at least of indifference; and generally arises from the erroneous position of the lower limbs represented in Fig. 12, page 230, which position has a tendency to throw the body also back too far from the audience.-The error opposed to this, is the hanging of the head bashfully down.

3. The reclining of the head towards the shoulder, presenting the appearance of languor or indolence.

4. The motion of the head in gesture, unaccompanied with the arm and hand.-This error is more common with those who have been accustomed to read from a manuscript, than with those who have trained themselves properly to the practice of oratory. Indeed some motion of the head is allowable in situations where gestures of the hand are not admitted, as in private conversation, or when one is reading or lecturing in a sitting posture.

5. The exposing of the side to the audience, instead of the breast. This generally arises from pointing the toes straight forward in the movements which lead to changes of position, instead of keeping them turned outward according to the rule.

6. The inclination of the body forward, as when the sustaining limb is bent at the knee, or the weight of the body rests on the ball of the foot.

Fig. 14.

7. The swaggering protrusion of the body represented in Fig. 14, which most commonly originates in too wide a separation of the feet.

8. The inclination of the body to one side. This may arise from a faulty position of the feet, or from a habit of inclining too much in the direction of the arm which is employed in gesture.

9. The shrugging of the shoulders, Quintilian condemns; and Demosthenes, to cure this habit, practiced speaking with a spear hanging over his shoulder.

SECTION IV.

OF THE EYES AND COUNTENANCE.

THERE is a singular sympathy between the real feelings of the heart, and the expression of the countenance. Says Lavater," When any passion is called into action, such passion is depicted by the motion of the muscles, and these motions are accompanied by a strong palpitation of the heart. If the countenance be tranquil, it always denotes tranquillity in the region of the heart and breast." "Hence it appears," says the author of the Chironomia, "that the orator who would move others, must appear to be moved nimself: that is, he must express his emotions in his countenance and by his manner; otherwise his language will De contradicted by his looks, and his audience will be more inclined to believe them, which are the natural and sure indications of the inward mind, than his words, which