action allowed to the orator, but uses it more freely than oratory allows; and superadds to this, as we have just suggested, other elements of gesture still, by the employment of which Boldness and Magnificence of gesture are produced, which constitute the chief characteristics of the Epic style. The principal of these new elements we shall

now enumerate.

THE FEET AND LOWER LIMBS.-Under the influence of strong excitement, as when one advances with boldness or retires in alarm, the positions of the feet before described may be exhibited in what may properly be called an extended state, which consists simply in a wider separation of the feet. The moderate step, which is most graceful in oratory, in the theatre may often become a stride; and while the orator is limited to the simple movement of advancing and retiring, and that by a single step, the actor may traverse the whole stage, as he is moved by passion or by the cir cumstances of the scene.-Instead of moving on the stage only backwards and forwards, in dramatic action and in all dialogue the movement may be lateral. If it is in the direction of the free foot, the person is said to traverse, and he falls into the same position as when he advances. If the movement is in the contrary direction from the free foot, he crosses ;—if from the second position, carrying the free foot forward of the other, and falling into the first position of that foot; if from the first, carrying it behind the other and falling into the second position of the advanced foot.— It is by the aid of the lower limbs also, that the actor kneels, or starts, or stamps.

THE TRUNK.-The erect posture has been presented as the only one suited to the dignity of the orator. Indeed the manly attitude of the body, which neither inclines nor stoops, with the head in an erect and natural position, as

exhibited in the painting of Washington by Trumbull,* may be presented as the very symbol of dignity. Grief depresses the body, and the person under its influence is said to be cast down; while pride may throw the body back too far. The expression of the passions however depends more upon the head than upon the trunk, which rarely gives any expression but in sympathy with the lower limbs, as in kneeling or prostration, or with the head, or the arms and hands.

THE HEAD AND EYES.-When the head is hung down, it expresses humility; when turned upwards, arrogance; and when inclined to one side, languor or indifference. Beside these, and, says Quintilian, "beside those motions, which by a nod signify assent, or rejection, or approbation; there are other motions of the head known and common to all, which express modesty, doubt, admiration, and indignation." These are expressions which oratory has little occasion to exhibit: hence a reference to them has been reserved for this place. The positions of the head, which have been distinctly designated, and most of which are used only in theatrical expression, are as follows:

The Head alone.

Inclined.
Erect.

Assenting.

Denying.

Shaking.
Tossing.
Aside.

THE COUNTENANCE.

The Head considered with reference

to the direction of the Eyes.

Forward.

Averted.

Downward.

Upward.

Around.

Vacuity, or Vacancy.

It is of man alone," says Sir Charles Bell, that we can with strict propriety say, the

*This portrait is in the gallery of paintings belonging to Yale College; an engraving of it may be found in the National Portrait Gallery, vol. i.

countenance is an index of the mind, having expression corresponding with each emotion of the soul. Other animals have no expression but that which arises by mere accident, the concomitant of the motions necessary to the accomplishment of the object of the passions."* The ex

pression of pride, of shame, of despair, of anger, of contempt, of terror, or of any vehemence of passion, finds no place in oratory. There is no passion however, or degree of excitement, but may be exhibited on the stage. These passions find a partial expression in words and in the tones of the voice; but unaccompanied with the appropriate expression of the countenance, the symbols of feeling would make but a faint impression.

THE HAND. The positions of the hand have been presented to the learner as depending on four circumstances. As regards the first-the disposition of the fingers, besides the natural state, and the others which were described as having an occasional place in oratory, others still may be enumerated for purposes of significant expression.

The hand is said to be Hollow, when the palm is held nearly supine, and the fingers turned inwards without touching. (See Fig. 51.)

Fig. 51.

Fig. 52.

Fig. 53.

In the Holding position, the finger and thumb are pressed together, either the fore or middle finger, or both; while the other fingers are contracted more or less, according to the degree of energy required by the sentiment. (See Figs. 52, 53, 54, 55.)

*Anatomy of Expression.

Fig. 54.

Fig. 55.

The Thumb expresses the position of the hand, in which the thumb is extended downward or upward, while the fingers are clasped down. (See Figs. 56, 57.)

The Grasping position represents the fingers and thumb as seizing the garments, or tearing the hair. (See Fig. 58.)

As regards the manner in which the palm is presented, no new elements need to be introduced. Dramatic action employs all the positions of the hand described on p. 243, except the natural position, much more frequently than they are used in oratory. This position is equally adapted to both.

The positions of the hands which arise from-the combined disposition of both hands, find little place in oratory; hence they are reserved for consideration here. Among these it may be sufficient to enumerate the following.-The hands are said to be

Applied, when the palms are pressed together, and the fingers and thumbs of each are laid against those of the other. (See Fig. 59.).

Clasped, when all the fingers are inserted between each other, the hands pressed closely together, and one thumb lapped over the other. (See Figs. 60, 96.)

Crossed, when one hand is laid on the breast, and the other is laid over it crosswise. (See Figs. 61, 85, 94.)

Folded, when the fingers of the right hand, at the second joint, are laid between the thumb and forefinger of the left, the right thumb crossing the left. (See Fig. 62.)

Inclosed, when the back of one hand, moderately bended, is received within the palm of the other; the thumbs lying at length over each other. (See Fig. 63.)