A temperate habit of living is calculated to preserve and improve the voice; and every species of excess is extremely prejudicial to it. The voice must necessarily suffer, if the organs of speech have not their proper tone. A strong voice is of great service to an orator; because, if he want some other advantages, he is however sure of making himself heard. And if, at any time, he is forced to strain it, he is in little danger of its failing him before he finishes his discourse. But he, who has a weak voice, should be very careful not to strain it, especially when commencing his discourse. He ought to begin in a slow manner, and rise gradually, to such a pitch as the key of his voice will carry him, without being obliged to sink again afterwards. Frequent inflections of the voice will likewise be some assistance to him. But especially he should take care to speak deliberately, and ease his voice at all the proper pauses. It is an extreme, much less inconvenient for such a person rather to speak too slow, than too fast. But this defect of a weak voice, is sometimes capable of being helped by the use of proper methods, as is evident from the instance of Demosthenes before mentioned. Some persons, either from want of due care in their education at first, or from inadvertency and negligence afterwards, run into an irregular and confused manner of expressing their words; either by misplacing the accent, confounding the sound of the letters, or huddling the syllables one upon another, so as to render what they say, often unintelligible. Indeed, sometimes this arises from a natural defect, as in the case of Demosthenes;

who found a mean to rectify that, as well as the weakness of his voice. But, in defects of this kind which proceed from habit, the most likely method of mending them, doubtless, is, to speak with great deliberation.

Of Gesture.

By the term gesture, we mean that conformity of the countenance, motion, and several parts of the body, which is suited to the subject of our discourse.

It is not decided, with any degree of unanimity, among the learned, whether the voice, or gesture, has the greatest influence upon an auditory. But as the latter affects us through the eye, and the former through the ear, it would seem, that gesture, from the nature of it, must have this advantage-that it conveys the impression more speedily to the mind-as the sight is the quickest of all our senses. Nor is its influence less upon our passions; as experience has often proved. The eye has a more powerful effect than any gesture. A cast of the eye, will express desire, or love, in a more moving manner than the softest, and most mellifluous language; and a different motion of it, disgust and resentment. To wring the hands, tear ▾ the hair, or strike the breast, are all strong indications of sorrow. And he who only puts his hand his sword, throws us into a greater panic, than one

upon

Nor is it, in many

who only threatens to kill us. respects, less various and expressive language. We are told by Cicero, that he often diverted himself by trying this with Roscius, the celebrated comedian; who could express a sentence in as many ways by his gestures, as he could by his words. And those dramas, called pantomimes, have frequently been carried on wholly by mutes, who have performed every part by gestures only, in a very intelligible and interesting manner. With respect to oratory, gesture may very properly be styled the second part of pronunciation; in which, as the voice should be suited to the impressions it receives from the mind, so the several motions of the body ought to be accommodated to the various tones and inflections of the voice. When the voice is even, and moderate, little gesture is required; and nothing can be more improper, than violent motion, in discoursing upon ordinary and familiar subjects. The motion of the body should rise, therefore, in proportion to the vehemence and energy of the sentiment, and appear to be the natural and genuine effect of it.

But as the gesture is very different and various, as to the manner of it, which depends upon the proper management of the several parts of the body, it will be important to point out more particularly the management which is now under consideration. Now all ges ture is either natural, or from imitation. By natural gesticulation, we mean, such actions and motions of the body, as naturally accompany our words-as words do the impressions of our mind ;-and these either respect the whole body, or some particular

part of it. The orator should not long continue standing in the same position, like a statue; but be constantly changing, though the motion needs to be but very moderate. There ought to be no appearance, of stiffness, but a certain ease, and pliableness, naturally suiting itself to every expression; by which means, when a greater degree of motion is necessary, it will appear less sudden and vehement; for as the raising, sinking, and various inflexions of the voice must be gradual, so likewise should the motions of the body. It is only on some particular occasions, that á hurried, vehement, and impetuous manner, is proper in either

case.

With respect to the several parts of the body, the gestures of the head, are the most important. To raise this too high, gives an air of arrogance and pride; to stretch it forward too far, or throw it back, betrays clownish and uncultivated manners; to hang it downwards upon the breast, shows an undignified diffidence and want of spirit; and to suffer it to rest on either shoulder, evinces both sloth and indolence. Hence, in all calm, and sedate speaking, the head should be kept in its natural state, or upright posture. However, it should not be long without motion, nor yet constantly moving; but gently turn, sometimes on one side, and sometimes on the other, as occasion requires; that the voice may be more distinctly heard by all who are present; and then return in an easy and graceful manner to its natural position. It should always accompany the other actions of the body, and turn on the same side with them; except when we wish to express aversion to any thing; and this is to be done,

by stretching out the right hand with the palm turned back, and turning the head to the left.

But it is the countenance, that principally represents both the passions, and the disposition, of the mind. By this we express love, hatred, joy, and sorrow; modesty, and confidence-by this we supplicate, threaten, soothe, flatter, invite, forbid, consent, or refuse; and all this we may do without articulation; and, indeed, it is from a view of the countenance, that we judge not only of a person's present temper, but of his capacity, and natural disposition. Hence, it is common to say, such a one "has a promising countenance," or, "his countenance promises but little." This, however, is not an infallible rule of judging; nor is it in the power of an orator to alter the natural mechanism of his countenance. But the several parts of the face bear their part, and contribute to the proper and decent motion of the whole. In cool and dispassionate discourse, all the features retain their natural state and situation. In sorrow, the forehead and eyebrows lower, and the cheeks hang down; but in expressions of cheerfulness and joy, the forehead and eyebrows are expanded, the cheeks contracted, and the corners of the mouth drawn upwards.

Anger and resentment contract the forehead, draw the brows together, and thrust out the lips; and terror elevates both the brows and forehead; and as these are invariably the natural signs of such passions, the orator should ever recollect, and conform to them. But as the eyes are the most active and significant, it is recommended that the greatest care should be taken