a student why he did not use his left arm a little. He replied: "I have only been taught with the right." Use both indiscriminately as occasion requires (ie. as you find yourself on the right or the left of the stage), using the one to support or balance the other.

This rule cannot be observed if you carry a cloak or Roman toga. This, of course, gives a preference to the right arm, and we must be true to custom in that costume, which prevented the use of the left, and made it a kind of clothes-peg.

In Quintilian's description of the management of a toga, he says: "Attention to the adjustment of dress belongs only to the commencement of an oration. At the beginning the folds fall with propriety from the shoulder of themselves; when a considerable portion of the oration is exhausted, and whilst fortune favours, almost anything is allowable, perspiration itself and fatigue, and a greater negligence of adjustment and the robe loosened, and, as it were, falling down on every side." By that means both arms would be free and available for epic gestures, without appearance of negli gence and violation of the propriety of dress. In & costume like ours of the present day, leaving both arms equally free, the rational objections of the Romans do not apply. To such periods belong the picturesque in

art.

The exigencies of public taste, which may desire the Epic to-day, the Rhetoric to-morrow, and the Colloquial the next day, require you to be ready and practised for every style. They are, as has been shown, quite distinct. The knowledge of one style, however, gives a charm and distinction to the other; cultivation in

any branch of plastic art brings us nearer to perfection. The actor cannot, like the painter, hide himself behind his pictures to hear what the judges have to say of his work.

Doctrineless principles and blind slavery and reproductions cripple progress; they are not durable or to be commended in any way. We should apply established principles, not copy individuals.

CLASSIFICATION OF GESTURE.

WE have mentioned three rules as the most important and useful, embodying all that is necessary in action. They are classified in the Gartside and Neville method as:

36. DEMONSTRATIVE. 37. ILLUSTRATIVE. 38. INDICATIVE. DEMONSTRATIVE MOTIONS*...Comprise all motions that appeal to the feelings, actions of the mind and heart; you demonstrate them.

ILLUSTRATIVE MOTIONS ...... Comprise all that you describe, the

INDICATIVE MOTIONS*..

acts you perform, the deeds you have witnessed and relate; you illustrate them.

Point or refer to the thing; you indicate the object.

General Motions classified.-These are comprised in the following:

39. PRINCIPAL. 40. SUBORDINATE. 41. SIGNIFICANT.

All parts of the frame share in discriminating particulars of all the classes. There are details and expressions exclusively belonging to each. As, for example :

These motions accord with the different styles of acting, which are of only two substantive kinds, viz., the Demonstrative and the Indicative. The former must be studied and practised in order to properly demonstrate the passions and sentiments with grace and power of movement; the latter differs, from the fact that passions are merely indicated, not acted.

THE HEAD...With its varied facial expressions, general phy

siognomy.

THE HANDS...With their pronating and supinating movements, entreaty, or aversion. (Palms upwards or downwards with the various expressions of the fingers.) THE LEGS......In the importance of their varied co-operations in expression.

All share in the subdivisions, comprising:

42. INTERMISSION. 46. TRANSITION.

50. VARIETY.

Study and reflect on the exact meaning of these subdivisions in order to illustrate and enforce all the new circumstances which call the motions into play, even to the delicate muscles of the eyes, nostrils, mouth, and brows required for the Colloquial, Rhetorical, and Epic.

Particular Gestures classified.-We have directed attention to the different parts of the body, and to their movements, which indicate respectively grace, propriety, and effect with thought and care emanating from the zones. You know that the motions in general. denote expressions of various kinds; the effect and power being derived from the time and manner of their application, the place where and the time when used, and from various combinations. Some gestures are used at the beginning of sentences, some at the conclusion, but most of them are given on the accentuated syllable or word of a sentence. These gestures may be divided into six classes:

54. PRIMARY.

56. SIGNIFICANT. 58. SUSPENDING. 55 DISCRIMINATING. 57. AUXILIARY. 59. EMPHATIC.

Primary. Primary gestures are made at the commencement of an oration (if action be required at all), to call attention, to mark the divisions of the discourse, always slow, easy, gentle, and generally not higher than the horizontal position.

Discriminating.-Discriminating gestures comprise all gestures which modestly indicate persons and objects, as well as those for distinguishing, limiting, modifying, extending, and explaining. They are useful in the intermediate degrees. In the colloquial, the head performs most of these motions.

Significant. Significant gestures are used for pointing to an object, signifying a person or thing, indicating the zone from which a sentiment emanates, the heart, the brain, &c. "Your finger on your lips" signifies "Be silent."

Auxiliary-Auxiliary gestures are generally performed by the retired hand to aid the advanced one, either in sustaining an action made on the stroke of the emphatic word and maintained, or to help its easy and graceful retirement. They create variety and energy where necessary.

Suspending. Suspending gestures are made to hold the audience in suspense preparatory to the stroke before some forcible effort, elevation or contraction of the arm which is to fall on the emphatic word.

Emphatic.-Emphatic gestures strike with force on the particular word that expresses the dominant idea, sonetimes on the highest point in the range, sometimes the lowest; they serve also as terminating gestures.