A System of Elocution

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:

a- 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 important 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 continuous 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 observed; 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.

B shf p

q

(SHAKSPEARE.)

vex sp

B nef

Romans, countrymen, and lovers! hear me for

B shf n

awake your senses that you

B shc

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

br - R

say that Brutus' love to Cæsar, was no less than

shf st

rRl

ief

·n veq

his. If, then, that friend demand why Brutus rose

B shf p

against Cæsar, this is my answer: not that I loved

nef- shf st

B veq w

Cæsar less, but that I loved Rome more.

shf p

peq sp

Had

phf styou rather Cæsar were living, and die all slaves,

than that Cæsar were dead, and live all freemen?

sef

As Cæsar loved me, I weep for him; as he was for

br

TL1

veq - vhq

B sdf d

tunate, I rejoice at it; as he was valiant, I honour

him; but, as he was ambitious, I slew him. There

are tears for his love, joy for his fortune, honour

rR1

B veq sp

ceb

chf sh― BR

shf

for his valour, and death for his ambition. Who's

P

rL1

ohc

•x rj

pef

here so base that would be a bondman? If any,

rude that would not be a Roman? If any, speak;

vef sp

B vhf p

for him have I offended. Who's here so vile that

(STANZA XVII.) The last two lines have each a series of continuous 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 observed; 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.