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2. The throwing of the weight of the body forward upon the ball

of the foot, instead of having it rest upon the heel.-This has less of firmness and less of dignity than the erect attitude.

3. The placing of the feet too close together.-This diminishes the base of support; thus rendering the position less stable, and of course restricting the free use of the arms in gesture. (See Fig. 7.)

Fig. 7.

Fig. 8.

Fig. 9.

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4. The separating of the feet too far from each other.If thus placed, and on a line with each other, there is produced a very awkward and slovenly appearance; and if the one is placed in advance of the other, a swaggering theatrical air is presented, entirely inconsistent with the simplicity of the positions suited to the orator. (See Figs. 8, 9.)

5. The pointing of the toes straight forward, or not turning them outward to the extent of the angle above described. This may be combined with any of the faults just named, and will greatly heighten the awkwardness of those positions. By itself, it diminishes the base of support and thus renders the positions of the body less stable; and tends to expose the side of the speaker to his audience instead of the full front.

6. The bending of the leg which should sustain the body, or the keeping of the free one straight and rigid.-Either of these errors of position throws the body into an ungraceful attitude. (See Figs. 10, 11, 12.)

Fig. 10.

Fig. 11.

Fig. 12.

Without referring at this point to the occasions which call for changes of position in the lower limbs, it may be

remarked that the only changes of position which seem to be required or admitted in oratory—are advancing and retiring. Either of these movements may be made from either of the four positions before described; and the directions which follow are designed simply to insure that these changes shall be made with the utmost simplicity, and with an entire freedom from display. For this purpose they must be made under the following conditions:-First, the speaker must advance or retire, when on the stage, by a step of only moderate length-something less than the ordinary walking step. Secondly, the change must always commence with the free foot. Thirdly, the outward direction of the toes noted in the several positions must be preserved during the changes; and fourthly, the changes must be in the following order :-1st. The advance from the first position of either foot-is made by passing into the first position of the opposite foot; and the advance from the second position, by passing into the first position of the same foot. 2nd. To retire from the first position of either foot, it is only necessary to pass into the second position of the same foot; and to retire from the second position, to pass into the second position of the opposite foot. It may assist the learner, to remember that the advance should thus always bring him into the first position of one of the feet; while in retiring, he always falls into a second position.*

*NOTE TO THE TEACHER.-These positions and changes of positions, being the most easy and simple, by a little practice become perfectly natural. An entire class, or section of a class, may advantageously be trained together in this kind of exercise. First, let the class be required to take the second position of the right foot, (which for convenience may here be designated by R. 2; and the other positions in a corresponding manner.) Then let them be required to advance and retire, according to the following table, which may be extended and combined, at the pleasure of the teacher.

The observance of these simple rules will render any changes of position called for in oratory easy and natural, at the same time that it will afford a guaranty against all awkwardness or apparent affectation. The following are among the most common errors in the employment of the lower limbs.

Errors connected with Changes of Position.

1. The movement to the right or left, as distinguished from the free movement forward and backward, in the regular process of advancing and retiring. Such sidelong movements may be proper for the actor, though not called for in oratory; hence the notice of them is reserved for the Appendix.

2. The making of the step too long or too short.-The theatrical stride, and the short shuffling step of hesitating timidity—are equally inconsistent with the true dignity of the orator.

3. The attempt to change the position by moving the foot which supports the body.-To move this foot requires two successive efforts,-the first being necessary to set the foot free. This complex movement is always unnecessary, and consequently awkward.

From R. 2, advance to R. 1. | From L. 2, advance to L. 1.

66 R. 1, return "R. 2.

66

L. 1, return " L. 2.

66

R. 2, retire " L. 2.

66

L. 2, retire

"R. 2.

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At first, each of these changes should be made slowly, and the position may be given which should succeed; but after a very little practice, the only direction given should be-to advance or retire, when care must be taken to see that it be done correctly.

4. The advancing with the toes pointing straight forward, or turned outward by too small an angle. This step, besides appearing less graceful, leaves the body unsupported on the side from which the toes are diverted.

5. The falling into a wrong position after advancing or retiring. Any other positions, or modes of changing the position, than those already pointed out, are wanting both in simplicity and grace.

SECTION III.

THE HEAD AND TRUNK.

THE attitude and general bearing of the whole person depend on the position of the head and trunk; and the position of these depends so materially on the management of the feet and lower limbs, that if the rules of the preceding section are carefully observed, there is little danger that in regard to this any thing shall be wrong.

In dramatic action, the head performs a very important part. Shame, pride, dislike, horror, and many other passions and feelings do not admit of a full expression but by the action of the head. Such action however has little to do with grave delivery, either in declamation or in oratory -whether in the pulpit, at the bar, or in the senate. The dignified self-possession suited to oratory preserves the head erect, permitting it neither to fall forward upon the breast, to incline to the side, nor to be thrown back in the attitude of haughtiness or defiance. The positions of the body too may be made in the highest degree significant, as they may vary from the air of pride or disdain, which throws the body back from the persons addressed,-to the prostration, which marks the utmost degree of abasement

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