which the pupil may be enabled to judge of the appropriateness to the sentiments he is delivering of any gesture he may wish to adopt, he must remember that there are no fixed laws governing the art of oratory, as far as gestures are concerned; and that it is only by strict attention to his subject, and an analysis of its sentiments, that he can hope to succeed in so calling to the aid of his language "the eloquence of motion" as to entitle him to the designation of a "perfect speaker."

Tell's Address to the Mountains.

a

(1) Ye crags and peaks! I'm with you once again! (2) I hold to you the hands you first b beheld,

с

(3) To show they still are free! (4) Methinks I hear A spirit in your echoes answering d me,

(5) And bid your tenant welcome to his home

*Again! (6) O sacred forms, how proud you look! (7) How high ye lift your heads into the fsky!

(8) How huge you are, (9) how h mighty, (10) and how free!

(1) Ye are the things that a tower, (2) that bshine; (3) whose smile

с

Makes glad, (4) whose frown is d terrible—(5) whose

forms,

Robed or unrobed, do all the impress wear

(6) Of awe f divine.

(8) I'm with you once

(7) Ye guards of liberty,

With all my ivoice!

h

again. (9) I call to you

(10) I hold my hands to you

(11) To show they still are free! (12) I m rush to you (13) As though I could "embrace you!

KEY TO FIRST VERSE OF TELL'S ADDRESS.

1. Raise both arms, extending them in front; as the sentence progresses, drop, and fold them across the breast upon

the word marked a, at the same time throwing the body into a proud, perfectly erect position.

2. Unfold and extend the arms, keeping the hands about eighteen inches apart, and allow them to remain thus until the sentence is completed to the word marked b

3. Elevate the hands slightly, and, describing a half circle right and left, suffer them to rest a moment on the word marked ; then allow them to resume their natural position.

4. Draw both hands up toward the face, keeping the palms outward. The right arm should be a little more extended than the left. Finish the gesture on the word marked d.

5. Extend the arms, and, dropping them, make a slight sweep to right and left; then finish the gesture on the word marked e.

6. Raise both hands as high as the head, keeping the palms in front.

7. Extend the right arm and drop the left, at the same time, completing the gesture on the word marked f, by a sweep of the hand upward.

8. Elevate the left hand, at the same time dropping the right a few inches; then, without any cessation in the motion, raise them both higher than the head, describe a half circle to the right and left, and stop on the word marked g.

9. Bring the hands in toward each other, at the same time raising them till, on the word marked h, they acquire their complete elevation.

10. From the last position let the arms be thrown out, describing a circle right and left. Finish the gesture with emphasis on the word marked i, and suffer the arms to fall easily to their proper position.

NOTE. The teacher and pupil will observe that the gestures in the last three lines of the address, as marked above, are continuous, with the exception of some few pauses that should be made so as to be scarcely perceptible, running one into the other.

KEY TO SECOND VERSE.

1. Raise the right hand about as high as the face, pausing for an instant on the word marked a.

2. Continue the gesture in the same direction, turning the hand, meanwhile, until the palm is up; finish the motion on the word marked b.

3. Raise the left hand and drop the right, completing the gesture by placing the arms across the breast on the word marked c.

4. Extend both arms a little, keeping the palms of the hands turned outward, at the same time avert the face from the right shoulder. Finish gesture on word marked a.

5. Elevate the right arm and drop the left, until they are brought into a line, on word marked e.

6. Raise the left arm and depress the right, at the same time drawing the hands in toward the face with the palms outward. In connection with this gesture, the body should be bent slightly forward, and the eyes raised. Complete the gesture on the word marked f, and after a slight pause suffer the arms to resume their natural position.

7. Extend and spread both arms, pausing on word marked g. 8. Draw the hands in, and, folding the arms across the breast, throw the body into a proud, erect position.

9. Continue in the same position to the end of the sentence. marked i.

10. Extend both arms, and, keeping them about eighteen inches apart, finish the motion on the word marked k.

11. Bring the hands together, with the palms turned downward; then raise the arms, and, describing a half circle, finish the gesture on the word marked 1.

12. Raise, spread, and extend the arms, on the word marked m.

13. Draw the hands in toward the shoulders, keeping the

palms toward each other; then extend the arms, and, at the same time dropping them, finish the gesture on the word marked ".

NOTE. Every part of the human frame contributes to express the passions and emotions of the mind, and to show in general its present state. The head is sometimes erected, sometimes hung down, sometimes drawn suddenly back with an air of disdain, sometimes shows by a nod a particular person or object; gives assent or denial by different motions; threatens by one sort of movement, approves by another, and expresses suspicion by a third.

The legs advance or retreat, to express desire or aversion, love or hatred, courage or fear, and produce exultation or leaping in sudden joy; and the stamping of the foot expresses earnestness, anger, and threatening.-Sheridan.

CHAPTER VI.

DESCRIPTION OF STAGE.

The stage should be elevated some two or three feet above the level of the floor, so that the audience may have a full view of all that occurs upon it. Common pine boards, placed upon trestles of the height required, should be firmly held in their places by nails or otherwise. To conceal the front of the stage, some drapery may be tacked along, and allowed to fall as low as the floor. At each corner of the stage, should be placed an upright piece, of some six or eight feet in length, to support another, the length of the front of the stage, from which is to depend the curtain.

The curtain should be made in two pieces, closing in the center, and so arranged, by means of rings running on a thick wire, fastened to the horizontal bar from which it hangs, as to admit of its being drawn asunder, and closed again wher required. The drawing of a stage accompanying this work will enable the reader to understand the description more perfectly.

Exit and Entrances.

R. means right; L., left.

Relative Positions.

R. means right; L., left; C., center; R. C., right of center; L. C., left of center.

Hints as to position and action upon the stage. Also, as to "Making up" for characters.

A constrained attitude must, on all occasions, be studiously avoided Let the speaker endeavor to act as if there were