In reading, the book should be held in the left hand, or may be changed to the other in a long selection. Care must be taken that the book may not intercept the sound as it proceeds from the reader to his audience.

GESTURE.

Gesture is a motion of any part of the body or limbs intended to express, enforce or emphasize an idea or an opinion. The parts of the body moved in gesture are the head, arms, and lower limbs.

The head movements should be in harmony with the sentiment, and directed to the different parts of the audience. Too frequent changes in the position of the head should be avoided, and a constant or habitual shaking of the head should be entirely discarded.

The arm movements should be in graceful lines, and equally, or nearly equally, distributed between the two arms.

Forcible, bold and abrupt ideas require gestures in straight lines, while beautiful or grand thought requires the graceful

1. Down, soothless insulter! I trust not the tale!

2.

"Down, down!" cried Mar; "your lances down.

All gesture with reference to the intensity or character of the sentiment is divided into conversational, oratorical, or dramatic.

Conversational gesture is that used in ordinary conversation when the persons speaking become intensely interested. The hand is most used, and the motions of the arm do not extend above the elbow.

Conversational Gesture.

No! dear as freedom is, and in my heart's just estimation prized above all price, I would much rather be myself the slave, and wear the bonds, than fasten them on him.

Oratorical gesture is used when speaking to a large company of individuals, or when animated thought is presented. The position of the body is erect and the arm movements extend to the shoulder.

Oratorical Gesture.

Blaze, with your serried columns!

I will not bend the knee!

The shackles ne'er again shall bind
The arm which now is free.

I've mailed it with the thunder,
When the tempest muttered low,
And where it falls, ye well may dread
The lightning of its blow!

Dramatic gesture is used in very impassioned thought, as in the presentation of a drama.

In dramatic gesture the body frequently changes position, and there is displayed by means of gesture and facial expression the intensest feeling.

Dramatic Gesture.

He spoke of wrongs too long endured,
Of sacred rights to be secured;
Then from his patriot tongue of flame
The startling words for Freedom came.
The stirring sentences he spake
Compelled the heart to glow or quake,
And, rising on his theme's broad wing
And grasping in his nervous hand
The imaginary battle-brand,
In face of death he dared to fling
Defiance to a tyrant king.

FACIAL EXPRESSION.

Facial expression is the adaptation of the countenance to the thought to be expressed. It requires a vivid imagination on the part of the speaker, and a good control of the facial muscles.

GENERAL PRINCIPLES OF FACIAL EXPRESSION.

THE BROWS.

An unruffled brow denotes tranquil thought.

A contracted brow portrays anger, hatred, defiance.

An elevated brow expresses wonder, admiration, terror, joy.

THE MOUTH,

An open mouth shows surprise, wonder, admiration, fear, desire, mirth, love, silliness.

The mouth closes lightly in repose and in peaceful thought. A tightly compressed mouth shows firmness, perplexity, scorn. A drawing down of the corners of the mouth expresses scorn, contempt, pride.

The mouth smiles in approval, satisfaction, happiness.

THE EYES.

The eyes are raised in joy, hope, admiration.

They are cast down in shame, modesty, grief, disappoint

ment.

They look forward in determination.

They are turned away in disgust, listening, or bashfulness.
They roll in rage, despair, or a delirium.

They are opened wide and fixed in consternation.
They flash in sudden anger, or scorn.

THE NOSE.

The nose is elevated in scorn.

It is expanded in sudden anger.

It is wrinkled in mirth.

The nostrils are contracted in pain, fear.

EXAMPLES IN FACIAL EXPRESSION.

Reverence.

Father, thy hand hath reared these venerable columns;

Thou didst weave this verdant roof.

Joyousness.

Ring out the old, ring in the new,
Ring, happy bells, across the snow;
The year is going, let him go;
Ring out the false, ring in the true.

Secrecy.

Hush! Hark! Did stealing steps go by?
Came not faint whispers near?

Indignant Command.

Get thee back into the tempest,

And the night's Plutonian shore!

Sadness.

Alas for the rarity of Christian charity
Under the sun!

Oh! it was pitiful! Near a whole city full,
Home she had none.

Defiance.

Thy threats, thy mercies I defy,

And give thee in thy teeth the lie!

Surprise.

Gone to be married! Gone to swear a peace!
False blood to false blood joined!

Extreme Fear.

And nearer, clearer, deadlier than before:

Arm! Arm! It is it is the cannon's opening roar!

NOTE.-Drill the class thoroughly on the foregoing selections, having them assume the facial expression necessary to their correct rendering. It is best to avoid gesture in rendering them, and to give the whole attention to facial expression.

LESSON XII.

PAUSES AND PARAPHRASING.

PAUSES.

Pauses are introduced in reading or speaking, either for the sake of clearness or to give proper expression to ideas. They are of two kinds, grammatical and rhetorical.

Grammatical pauses are introduced for the sake of clearness, and are to audible reading or speaking what punctuation is to the written or printed language.