takes up the principal gesture. This is called alternate gesture. Both hands unite their action on weary. Fourth Line. V, the eyes bent on vacancy. (STANZA II.) The several gestures which are connected togetner by long dashes, are to be considered as the flowing variation of continued motion, till either one, or both hands fall to rest. Gestures, thus connected, may be called continuous; they are generally of that kind which are styled discriminating gestures. First line. The posture, Bphc, on fades, is the preparation for sweeping round the horizon. Whilst the hands are proceeding to the position, Bphc, the head and eyes should turn towards either extreme; and whilst the arms are moving from this to the different positions, q and x, the head and eyes should move to the other extreme. In cases where the right hand performs the principal ac tion, the head should follow its motion; in other words, it should turn from left to right, and vice versa. Third line. The left hand drops here, and the index-finger of the right hand is prepared to point across. The eye should follow the object at which the finger seems to point, as at a flying beetle. 46 (STANZA III.) In order to vary the gestures, and the better to distribute the objects in the picture, the tower is supposed to be placed on the left side, and the left hand assumes the principal gesture; this is indicated, in the notation, by the short dash which precedes the set of letters. Fourth line. Ancient, solitary." Nouns, or, substantives, may be considered as the outlines, or inages of things; adjectives, as the colouring, or circumstances added to those images, or limitations deducting something from them. In poetical language they are called epithets. Gray has indulged in the use of them, perhaps to a fault. But however that may be, whenever they occur, they almost constantly rob the principal image, or substantive, of its emphatic distinction, and claim it for themselves; perhaps, because the circumstances alone give individuality to the image, which, in itself, is a general term. For these reasons, the action, or gesture, falls rather on the epithet; and, if tv o, or more epithets are added to the same image, each should be distinctly marked, both by emphasis and action: if so pronounced, they serve to illustrate the idea; but if they are hurried over, they cause only confusion. Therefore, the words ancient solitary reign, require two gestures, one on each epithet. But, to avoid affectation, the transition should be the easiest possible; and this will be when the gesture on the preceding word is made the preparation for that on the subsequent. When two epithets are applied to a name, the latter should be the stronger; and in this view, also, it is proper to reserve the emphatic gesture for it, as the principal. (STANZA IV.) First line. On elms, the right hand again resumes the principal gesture. It is here alternate, or auxiliary, as appears from the dotted line of connexion. Second line. On heaves the backs of the hands are presented forwards, the hands hanging down, and in the action they ascend gradually towards vertical elevated, on the word mouldering. Third line. "Each in his narrow cell for ever laid," the arms gradually ascend to the highest point, on the word ever, and then, in the same manner, descend, to rest on the word sleep, making, in their progress, a momentary arrest on the word forefathers. It seems to be an incongruity to raise the arms, in speaking of the grave, which is below; but this is removed by the downward inclination of the head, and look of the eyes, as noted; and it is not uncommon to elevate the arms in looking into any thing dreadful below. This is also the preparation for the following gesture, which requires the arms to fall to rest. From the third line to the end of the stanza the gestures are continuous. (STANZA V.) First line. On breathing the graceful wave is marked. The wave may be considered of three kinds, the graceful, the wave of triumph (which, in a less degree, is also the wave of joy), and the wave of scorn, or contempt. The subject will always sufficiently determine the character to be adopted, though the notation is the same for all. Second line. On swallow, the index is raised, to point out the object; on twittering it ascends to the highest point in the range of gesture, or is retracted, so as almost to touch the head, and then on the word straw-built it makes the action of noting. Third line. The joyful wave, approaching to triumph, should be made on echoing; the voice should here mark the crescendo, which will be contrasted with the gravity of the follow ing line. Fourth line. In order to perform the action of springing, indicated by sp, the arms begin to ascend from more, and having arrived at the word rouse, the wrists make on it the stroke of the gesture by springing suddenly into the elevated position. (STANZA VI.) Fourth line. The gesture on climb is a suspending gesture, preparatory to that on kiss. The eyes look downwards on climb, and forwards on kiss. The ends of the fingers approach the mouth a little on kiss, after which the hands are advanced supine noting. (STANZA VII.) Second line. The preparation for the gesture on stubborn is neq rt, and would fall on oft, but is here omitted as taking place, of course, when the gesture marked on stubborn is executed. It will be observed that several emphatic gestures imply a proper suspending, or preparatory gesture, and reciprocally, the latter the former. Thus, when a stroke is required to be made, the arm must, of course, be raised; therefore, shf st must necessa rily imply nef bn, inwards elevated forwards bending; veq w implies, bhf a, backwards horizontal forwards ascending; and vhx rj, implies, vhx rt, vertical horizontal extended retracting. In the notation, the preparatory gestures are often omitted, when they are not required to make a preceding less emphatic word; in which case they are prepared with less decision, and their stroke is soft ened. When the suspending, or preparatory gesture is used as the principal, as in terror, where the arms are retracted violently, and in surprise, where they are elevated forcibly, the subsequent ges ture is also softened; and the emphasis of its stroke is remitted. Fourth line. Should woods not be pronounced with a strong emphasis, the notation over this word might be omitted. (STANZA VIII.) The first gesture in each of the first three lines of this stanza, is a preparatory gesture, of the decisive kind, and the last, in each, emphatic. As all the words which are noted are important, each requires the enforcement of gesture; and the connexion of suspending, or preparatory and emphatic gestures, renders the transitions easy and unaffected. Second line. The noun, destiny, being here placed before its adjective, or epithet, may obtain both the emphasis and action; they might, also, be reserved for the epithet obscure. Fourth line. "Short and simple;" the first epithet is distinguished by a slight discriminating gesture, produced by a small change in the elevation of the arm and hand, marked a. This is made the commencement of the gesture vef, which is completed by a suspending gesture on simple, and which descends to rest on the word poor, with an emphatic and terminating gesture. (STANZA IX.) First line. The flourish is marked on power. The flourish, as expressed in Fig. 88, is performed principally by the wrist. In order to perform this action, the hand, with the index-finger, is dropped down a little above the head, nearly at right angles with the fore-arm, and is then thrown forcibly upwards, and sweeps round as marked by the line of dots in the figure. To advance boldly, indicates confidence, pride, &c.; to advance slowly, implies solemnity, grief, resignation, &c. The notation is the same, in each case, as the sentiments sufficiently show in what manner the speaker should advance. Of the former (bold advance), an instance is observed on the word power, in this line; of the latter (slow advance), an instance is seen on the word grave, in the last line. Third line. The shake, sh, is marked on inevitable. It should not comprise many tremulous motions, lest it appear ridiculous; it is sufficient that the hand move twice suddenly backwards and forwards. Fourth line. The gestures in this line are continuous. The first, on paths, is a discriminating gesture, leading to the suspending gesture, on glory. The gesture on lead, is the preparation for that which descends to the word grave, on which falls the emphatic and terminating gesture. The advance, noted in this line, a R2, for the step, combines with the descending arms, and aids in looking down with resignation. But it might be 7R1, or rLA, which would express terror, or alarm. I prefer aR2. (STANZA XI.) Second line. From back, both hands (the palms inwards), move inwards, so that at mansion they nearly touch the lips, as noted; they then move outwards to the position oblique, on the word fleeting. (STANZA XII.) Third line. There is a suspending gesture on hands, which is the preparation for the subsequent gesture. It might have been omitted, as it is obviously implied, were it not thought proper to mark the word hands with some force; and, in this way, it obtains the distinction of gesture without extravagance or unnecessary waste of gesture. Were this preparatory gesture not marked, the hands would ascend, by a uniform motion, to rod, then make the stroke on empire, which would be feeble, and, if noted at large, would be thus: B shf st Hands that the rod of empire might have sway'd. Fourth line. The double sweep is here performed - first inwards, on ecstasy, and then outwards, on lyre. (STANZA XIII.) The gesture on penury is a suspending one; its fourth and its fifth letter, rp, which express the manner of motion, being separated, in order to place them over their proper syllable. The notation, at large, would be as follows: B vhf rt B vhf rp Chill penury repressed, &c. The first retracting, the last repressing; this, however, is understood from the nature of the emphatic gesture. Fourth line. The fourth small letter, c, over froze, signifies contracted. The gesture on current serves as a preparation for placing the hands on the breast. This gesture, Bnhf p, begins on genial, and the arms are stretched out, with some force, on current. (STANZA XIV.) Third line. On the word flower, shf rt might be placed, as the preparation for the gesture on blush; but as the word does not require a strong emphasis, the notation is omitted; however, the gesture is implied. (See remarks on Stanza VII.) (STANZA XV.) Fourth line. When from the transverse position, c, the arms move directly to x, without noting the intermediate position, q, as here, on country's blood, the motion is understood to be rapid, and decisive, expressing vehemence or horror. (STANZA XVI.) Second line. The gestures necessary to be marked, on this line, are four, of which the second, on pain, and the third, on ruin, are made by the momentary arrest of the hand, in its ascent to vef, on the first syllable of despise; rj, rejecting, on the last syllable, finishes the whole with the emphatic stroke. Thus sufficient discrimination is made, without falling into quaintness of gesture, or affectation. These small discriminating gestures, produced by a slight arrest of motion, and often by merely changing the posture of the hand, are more frequent, and more im portant to the orator, than the more showy gestures, and should be particularly attended to. (STANZA XVII.) The last two lines have each a series of con. tinuous gestures. From the preceding analysis and notation, it will be observed that the discriminating gestures are principally requisite for the reciting of this poem. The suspending and the emphatic are frequent; but the last seldom require to be strongly marked, as the general character of the sentiments is calm and tender. Of significant gestures there are very few. The first, marked Ls, listening, over curfew, is of this class, and perhaps a few others may also be reckoned to belong to it, as when the hand is laid on the breast; but there are not many more. As these gestures may be varied, it may be said, infinitely, so there can be no fixed standard, as to the manner of delivering this, or any other poem, or oration, which should be considered exclusively appropriate. The sentiments require, indeed, to be delivered with suitable tones of voice, and expression of countenance; but great variety of gesture may be consistent with propriety, provided general rules are not violated: as, that decorum and simplicity be ob served; that the transitions, connexions, the time of the gesture, and precision in the stroke, be attended to, and other obvious precautions, of general import, already sufficiently detailed. The notation will accommodate itself to every variety in the speaker's manner; and this must prove a recommendation to its use. THE SPEECH OF BRUTUS ON THE DEATH OF CESAR. Romans, countrymen, and lovers! hear me for Bref sp phf st - R may hear. br pr-veq sp respect unto DB pef in your wisdom; and awake your senses that you TRI B shf n B she may the better judge. If there be any in this sdf d a R2 vef sp assembly, any dear friend of Cæsar's, to him I |