Intellectually, Shakspeare was the Master of the passions and the human heart.

THE FEATURES.-When the soul is at rest the features are tranquil. Their proportion, harmony and union seem to mark the serenity of the mind. When the soul is excited the visage becomes a living picture. Each emotion is designated by some corresponding feature, where every impression anticipates the will and betrays it.

THE EYES. The passions are particularly painted and soonest perceived in them. The eye seems to share every emotion, and belong to the soul more than any other feature; it receives and transmits impressions until general. The whole heart sometimes looks from the eyes, and speaks more feelingly than all the bursts of eloquence.

THE EYE-BROWs.-The eye-brows are the most apparent feature, and are seen farther than any other. Le Brun thinks they are the most expresssive. The more movable they are in elevation and depression the more noticeable they become. The other features are not so much at command in this respect.

In pride and pleasure they are raised; in pain and thought, depressed. Those who have this feature most at command are most likely to excel in expression; but an excessive and improper use is disgusting.

THE NOSE. The nose has slight motion in strong passions. Widening, it adds boldness.

THE MOUTH AND LIPS.-The passions have great power over them in different. degrees.

The face with its muscles does more in expressing the passions, than the whole human frame besides. In Anger it is red, or pale; in Fear, pale. The mouth opened shows one state, and shut, another; the forehead smooth shows one, wrinkled, another.

The eyebrows can be arched, or drawn down. The eye has a different appearance in every different state. Joy opens and Grief half closes it; while it flashes in Hatred and Anger. Animation will light even heavy features. The expression of the face goes beyond and increases vocality in its effects.

THE GREAT MASTERS OF THE PASSIONS.

Those who seem to have had the greatest command of the passions were Demosthenes, Cicero, Bourdaloue, Massillon, Curran, Grattan, Pitt, Henry, Kossuth, Webster and Clay as orators; and Garrick, Mrs. Siddons, Talma, the elder Kean, the elder Booth, and Macready as actors.

We can append only a few ideas gathered from various sources that relate particularly to the passions, as illustrated only by actors. We have no traditional account of orators in this particular respect.

But first a word from the celebrated Dr. Rush. He says: "The actor holds, both for purpose and opportunity, the first and most observed position in the art of Elocution, and should long have been our best and allsufficient Master in its school. The Senate, the Pulpit, and the Bar, with the verbal means of argument or persuasion almost exclusively before them, have so earnestly or artfully pursued these leading interests, that they have not observed nor indeed wished to observe, how far the cultivated powers of the voice might have assisted the honest or the ambitious purpose of their oratory. But with the stage, distinction is attained through speech alone. The stage, however, has not fulfilled the duties of its position; for though holding the highest place of influential example in the art, and enjoying the immediate rewards of popularity, it

has done little more than keep up the tradition of its business and routine; without one serious thought of turning a discriminative ear to their vocal excellence, and thereby affording available instruction on the means of their success."

MRS. SIDDONS-DR. RUSH.

"If she could now be heard, I would point in illustration to Britain's great mistress of the voice; since that cannot be, let those who have not forgotten the stately dignity of Mrs. Siddons, bear witness to the effect of that swelling energy by which she richly enforced the expression of Joy, and Surprise, and Indignation. A whole volume of elocution might be taught by her instances.

"All that is smooth and flexible, and various in intonation, all that is impressive in force, all that is apt upon the countenance, and consonant in gesture gave their united energy, and gracefulness and grandeur to this one great model of Ideal Elocution.”

EDMUND KEAN.

He produced

His acting was a return to nature. startling and wonderful effects, the most extraordinary and sudden contrasts. His acting was electric, vivid, terrific. He had the natural glances of the fearful reality.

power of sending forth supereye, which gave his utterance a

G. V. BROOKE.

He had a majestic carriage and delicate tenderness. He could evince subdued, yet most appalling despair, on discovering innocence after murder. (Othello.) In Sir Giles Overreach, he was an incarnate demon, blasted, paralyzed by lightning at the moment of triumph.

MACREADY.

In the fifth act of Werner he could utter a cry or yell of agonized despair that was horrible; like the fearful utterance of a disembodied wretch upon the rack. It was wrung by Gabor from miserable, shrinking Werner, with his heart torn and lacerated till it breaks.

THE ELDER BOOTH.

Everything he uttered came with all the point and effect of which the matter was susceptible; every thought seemingly concentrated on the subject. His hate was violent and unrelenting. His villainy, bold and romantic, and he gloated in the sweet satisfaction of revenge.

ISABELLA GLYNN.

Her death-scenes were poetic in conception, and supernatural in manner. Emotions by her were carried to the terrible. In Margaret, the Prophetess, her inspiration was marvellous, towering above till the beholder shrunk with shuddering dread; awfulness to her became familiar.

In Cleopatra, in the death-scene with the asp, there was a glory upon her countenance as she anticipated the meeting in the shades. She had a sublime, fearful energy in jealousy and rage, and possessed a physical nerve little suspected. She had great judgment, however, in deferring manifestation of power. Upon the whole it was rather that she was informed by metaphysical power, interpreted by mental indications, than material forces. Her mind was masculine, and endowed with extraordinary intellectual strength. She had a strong sense of independence and honor. Her life was

spent in close study and practice. Her excellence was founded upon principles; each character was a new application of them.

She knew the value of long pauses; had great flexibility of voice, and not a word was lost in quick or slow time.

HABITS OF THE ORATOR.

THE PUBLIC SPEAKER should bathe frequently, and after drying the body, apply a gentle friction, for a few moments, by rubbing or patting the chest to keep the lungs healthy and active. He should also take exercise in the open air.

He should stoutly resist the temptations of smoking or chewing tobacco, as decidedly injurious to the pure quality of the voice.

The excessive use of sweetmeats, nuts, and confections of any kind, has a clogging character on the vocal organs.

Warm bread, pastry, rich puddings, cake, and highly-seasoned, greasy, or salt food, affect the voice through the instrumentality of the stomach. In short anything that injures the latter affects the former.

It is highly injurious to speak just after a hearty meal, for the digestive and mental powers cannot operate well at the same time. The blood is drawn to the brain and throat at such a time, when it is needed to warm the stomach to aid it in assimilating the food.

The teeth should be kept clean as an aid to distinct articulation. It is well to brush them a short time before speaking.

Have the clothing loose to allow a free circulation of the blood. Be especially careful about the neck;