în their management; because other parts of the countenance, have but a few motions; whereas the eyes express all the passions of the soul, by so many different actions, which cannot possibly be expressed by any gestures of the body, if the eyes are kept in a fixed and motionless posture. We readily determine a person's inclinations, and how he is affected towards us,by observing his eyes; and any sudden gust, or emotion of the mind, is speedily followed by an alteration in the eye. Hence, in speaking, upon pleasant and delightful subjects, the eyes are all animation and cheerfulness; and, on the contrary, they become inanimate, languid, and cheerless, on delivering any thing afflictive and sorrowful. This is so conformable to nature, that before a person speaks, we are prepared, from a mere view of him, with an expectation of either one, or the other, from his different aspect. So also in anger, a certain vehemence and intenseness appears in the eyes, which, for want of proper words with which to express it, we endeavour to represent it by metaphors taken from fire, the most violent and rapid element; and say, in such cases, the eyes sparkle, burn, or are inflamed. In expressions of dislike and detestation, it is natural to alter the looks, either by turning the eyes aside, or downwards. Indeed, the eyes are sometimes turned downwards upon other occasions; for instance, to express modesty; and if at any time a particular object be addressed, whatever it be, the eyes should be turned that way. And hence, a certain author, with great propriety, ridicules the rhetorician, as guilty of a solecism in gesture, who, when saying, O Jupiter! tran

ed his eyes downwards; and when saying, O earth! looked upwards.

A staring look, has the appearance of poverty of intellect, and want of thought; and a contraction of the eyes, excites the suspicion of chicanery or design. A fixed look, may be occasioned by intenseness of thought, but, at the same time, it betrays a disregard to the audience; and a rapid wandering motion of the eyes, is generally considered, as denoting levity and wantonness. It is, therefore, concluded that a gentle and moderate motion of the eyes, is generally the most suitable-always directed towards some of the audience; and gradually turning from side to side, with a respectful modest air, looking them in the face, as in common conversation. Such a management of the eyes, will, undoubtedly, attract due attention. With respect to the other parts of the body distinct from the head, the shoulders ought not to be elevated; for this is not only, in itself, indecent; but it also contracts the neck and prevents the proper motion of the head. Nor on the other hand, should they be drawn down and depressed; as this will occasion a stiffness of the neck, not only, but of the whole body. Their natural posture, therefore, is best, as this is the most easy and graceful. To shrug the shoulders has an air of abjection and servility; and frequently to heave them upwards and downwards, is a very disagreeable sight. A continued motion of the arms, any way, is by all means to be avoided; as their action should generally be very moderate, and follow that of the hands; unless in very pathetic expressions, when, it may be proper to give them a more animated and rapid motion.

It may here be further observed, that all proper motions of the body, are either upward or downward; to the right or left; forward or backward, or, it possibly may be circular. And, in all these, the hands are necessarily employed, except in the last. And, as they ought to correspond to the sentiments we intend to communicate, they ought always to begin and end with them. In admiration and our addresses to heaven, the hands should be elevated, but rarely raised above the eyes; and when speaking of things below us, they should be directed downwards. Side motion, should generally begin from the left, and gently terminate on the right. In demonstration, addresses, and on many other occasions, they should move forward; and sometimes, in threatening, they should be thrown back. But when the Orator speaks of himself, he should gently lay his right hand upon his breast. And the left hand should seldom move alone, but conform to the motions of the right. In motions to the left side, the right hand should not be often carried beyond the left shoulder.

In promises, and complimentary expressions the hands should have a gentle and slow motion; but in expressions of applause and exhortation, their motion should be rapid. The hands should generally be open; but in expressions of contrition and anger, they may be closed. All trifling and finical actions of the fingers should be avoided; though they should not be stretched out and expanded in a fixed and rigid posture, but kept in an easy and natural one. The foregoing, are the gestures which naturally accompany our expressions, and if duly regarded, will, undoubtedly, be found

sufficient for all the purposes of those who wish to become eloquent orators. We have alluded, indeed, to another sort of gestures-to those required for imitation; as, where the speaker personates another, and describes his actions :-But gestures of this kind are never wanted by a good orator, and generally subject those who make use of them, to the charge of buffoonery, of light, unnatural, and theatric mimicry. When an orator is compelled to exhibit things of this sort, let him convey their imagery to the minds of his hearers, in an animating manner; but never resort to those changes of the voice, attitude, gesture, and countenance which betray a forgetfulness of that self-respect, and that dignity, which ought ever to appear, in a distinguished orator. And, to close our remarks upon this subject, it is earnestly recommended, that every speaker, should most carefully guard against all affectation; which is the utter destruction of good pronunciation. Let his manner, whatever it be, be his own; not the product of an imitation of any one, nor taken from a model of the imagination; as this will always be unnatural. Whatever is natural, though it may be somewhat defective, will generally please; because it exhibits only the person before us, and appears to come unadulterated, from the heart. It is true, that to attain the art of an extremely correct, and graceful pronunciation, is what but few comparatively speaking, can accomplish; as it requires a concurrence, or combination of talents, which every one does not possess. At the same time, it is equally true, that it is in the power of the greatest part of mankind, to acquire a habit of speaking in a forcible and persuasive manner; and

those who do not acquire this habit when possessed of the means, evince a taste, which will forever debar them the pleasure of respectable and refined society.

REMARKS, &c.

Introductory to Rules to be observed in Composition.

It is generally understood that an acquaintance with the circle of the liberal arts, is indispensably necessary, to the successful study of Rhetoric and BellesLettres. It has been the sentiment, in every enlightened age, that in order to become distinguished for Oratory or real Eloquence, we first must be conversant with every department of science. And, indeed, it will forever be impossible for man to contrive an art, which shall give the merit of richness and splendour of expression, to a composition which possesses barren or erroneous sentiments. Oratory has frequently been debased by attempts to establish a false criterion of its value-some mistaken writers, have endeavoured to supply the want of matter by the graces of their composition; and to court the momentary applause of the ignorant and vulgar, instead of the enduring and valuable approbation of the enlightened and discerning. But the prevalence of such oratory is well known to be transitory; and the body, and basis of any valuable composition, must be produced by knowledge and science. The structure may be completed and polistr