afterwards, run into a very irregular and confused manner of expressing their words; either by misplacing the accent, confounding the sound of the letters, or huddling the syllables one upon another, so as to render what they say often unintelligible. Indeed, sometimes this arises from a natural defect, as in the case of Demosthenes; who found a method to rectify that, as well as the weakness of his voice. But in faults of this kind, which proceed from habit, doubtless the most likely way to mend them is to speak deliberately.

OF GESTURE.

BY this is meant, a suitable conformity of the motions of the countenance, and several parts of the body in speaking, to the subject-matter of the discourse. It is not agreed among the learned, whether voice or gesture has the greater influence upon us. But as the latter affects us by the eye as the former does by the ear, gesture in the nature of it seems to have this advantage, that it conveys the impression more speedily to the mind; for the sight is the quickest of all our senses. Nor is its influence less upon our passions; nay, in some instances, it appears to act more powerfully. A cast of the eye will express desire in as moving a manner as the softest language; and a different motion of it, resentment.

To wring the hands, tear the hair, or strike the breast, are all strong indications of sorrow. And he, who claps his hand to his sword, throws us into a greater panic than one who only threatens to kill us. Nor is it in some respects less various and extensive language. Cicero tells us, he often diverted himself by trying this with Roscius the comedian; who could express a sentence as many ways by his gestures, as he himself could by words. And some dramas, called pantomimes, have been carried on wholly by mutes, who

have performed every part by gestures only, without words, in a way very intelligible.

But with respect to oratory, gesture may very properly be called the second part of pronunciation; in which, as the voice should be suited to the impressions it receives from the mind, so the several motions of the body ought to be accommodated to the various tones and inflections of the voice. When the voice is even and moderate, little gesture is required; and nothing is more unnatural than violent motion, in discoursing upon ordinary and familiar subjects. The motions of the body should rise therefore in proportion to the vehemence and energy of the expression, as the natural and genuine effect of it.

But as gesture is very different and various as to the manner of it, which depends upon the decent conduct of several parts of the body, it will not be amiss to consider more particularly the proper management of each of those parts. Now all gesture is either natural, or from imitation. By natural gesture, we mean such actions and motions of the body, as naturally accompany our words, as these do the impressions of our mind. And these either respect the whole body, or some particular part of it.

The speaker should not long continue standing in the same position, like a statue, but be constantly chang ing, though the motion be very moderate. There ought to be no appearance of stiffness, but a certain ease and pliableness, naturally suiting itself to every expression; by which means, when a greater degree of motion is necessary, it will appear less sudden and vehement for as the raising, sinking, and various inflections of the voice must be gradual, so likewise should the motions of the body. It is only on some particular occasions that a hasty vehemence and impetuosity is proper in either case.

As to the several parts of the body, the head is the most considerable. To lift it up too high has the air of arrogance and pride; to stretch it out too far, or throw it

back,

back, looks clownish and unmannerly; to hang it downwards on the breast, shows an unmanly bashfulness and want of spirit and to suffer it to lean on either shoulder, argues both sloth and indolence. Wherefore, in calm and sedate discourse, it ought to keep its natural state, and upright posture. However, it should not be long without motion, nor yet always moving; but gently turn sometimes on one side, and sometimes on the other, as occasion requires, that the voice may be heard by all who are present; and then return again to its natural position. It should always accompany the other actions of the body, and turn on the same side with them; except when aversion to any thing is expressed; which is done by stretching out the right hand, and turning the head to the left.

But it is the countenance, that chiefly represents both the passions and dispositions of the mind. By this we express love, hatred, joy, sorrow, modesty, and confidence by this we supplicate, threaten, soothe, invite, forbid, consent, or refuse; and all this without speaking. Nay, from hence we form a judgment not only of a person's present temper, but of his capacity and natural disposition. And therefore it is common to say, such a one has a "promising countenance," or that "he promises little by his countenance." It is true, this is no certain rule of judging: nor is it in the power of any one to alter the natural make of his countenance.

But the several parts of the face bear their part, and contribute to the proper and decent motion of the. whole. In a calm and sedate discourse, all the features retain their natural state and situation. In sorrow, the forehead and eyebrows lour, and the cheeks hang down. But in expressions of joy and cheerfulness, the forehead and eyebrows are expanded, the cheeks contracted, and the corners of the mouth drawn upwards. Anger and resentment contract the forehead, draw the brows together, and thrust out the lips. And terror elevates both the brows and forehead. As these

are

are the natural signs of such passions, the orator should endeavour to conform to them.

But as the eyes are most active and significant, it is the advice of Cicero that the greatest care should be taken in their management. And he gives this reason for it. "Because other parts of the countenance have but few motions; whereas all the passions of the soul are expressed in the eyes, by so many different actions; which cannot possibly be represented by any gestures of the body, if the eyes are kept in a fixed posture." Com mon experience does in a great measure confirm the truth of this observation. We readily guess at a person's intention, or how he is affected to us by his eyes. And any sudden change or emotion of the mind is presently followed by an alteration in the look.

In speaking, therefore, upon pleasant and delightful subjects, the eyes are brisk and cheerful; as, on the contrary, they sink and are languid in delivering any thing melancholy and sorrowful. This is so agreeable to nature, that before a person speaks, we are prepared with the expectation of one or the other from his dif ferent aspect. So likewise in anger, a certain vehemence and intenseness appears in the eyes, which, for want of proper words to express it by, we endeavour to represent 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 hatred or 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, as to express modesty. And if at any time a particular object be addressed, whatever it be, the eyes should be turned that way. And therefore Philostratus very deservedly ridicules a certain rhetorician as guilty of a solecism in gesture, who, upon saying, O Jupiter! turned his eyes downwards; and when he said, O Earth! looked upward. A staring look has the appearance of giddiness and want of thought and to contract the eyes gives suspicion of

craft

craft and design. A fixed look may be occasioned from intenseness of thought; but at the same time shows a disregard to the audience; and a too quick and wandering motion of the eyes denotes levity and wantonness. A gentle and moderate motion of the eyes is, therefore, in common, most suitable; always directed to some of the audience, and gradually turning from side to side with an air of respect and modesty, and looking them decently in the face, as in common discourse. Such a behaviour will of course draw an attention.

As 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 likewise contracts the neck, and hinders the proper motion of the head. Nor, on the other hand, should they be drawn down and depressed; because this occasions a stiffness both to the neck and the whole body. Their natural posture therefore is best, as being most easy and graceful. To shrug the shoulders has an abject and servile air; 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. Their action should generally be very moderate, and follow that of the hands; unless in very pathetic expressions, where it may be proper to give them a more lively spring.

Now, all bodily motion is either upward or downward, to the right or left, forward or backward, or else circular. The hands are employed by the orator in all these except the last. And as they ought to correspond with our expressions, so they ought to begin and end with them. In admiration, and addresses to Heaven, they must be elevated, but never raised above the eyes; and in speaking of things below us, they are directed downwards. Side motion should generally begin from the left, and terminate gently on the right. In demonstrating, addressing, and on several other occasions, they are moved forward; and in threatening, sometimes