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not gesticulate too much nor too little; but, above all else, he should see that nothing in his verbiage, tone, enunciation or gesture shall divert the attention of his audience from the sacredness of the subject and the occasion. He, of all men, should be a good, expressive reader, able to present the Scriptures in a manner worthy of their dignity, and to read the hymns with intelligence and force. (See Bible Reading, page 97.)

A heavy, full, round tone of power carries with it a degree of conviction that no finely-rounded period of rhetorical argument ever possessed.

In conclusion, he should endeavor by all possible means to prove himself a man, that his words may receive character from his daily example; and, specially, let him study his style of delivery, for thereon depends more of success or failure than he is aware.

DRAMATIC ACTION.

Dramatic action differs from oratory, though it employs the same vocal expression. The orator is always himself, in his best condition; the actor acts an assumed character, which would often not be consistent with the dignity of the orator. The actor is an imitator-an impersonator, and he may make sentiment subordinate to action. His office is to entertain rather than to instruct. He must study to sustain the character which he has assumed, and, in order to successfully accomplish this, it is necessary to lay aside as far as possible his individuality, and to assume as completely as possible the personality of another. He, unlike the orator, may be extravagant, affected, or passionate, as required. He may have recourse to scenery and surroundings in order the more fully to act his part, while the orator is compelled to resort entirely to his own powers. Hence, oratory is the higher, greater, more commendable art.

In presenting these pages upon Dramatic Action, it is not the object of the author in any way to encourage a taste for pernicious or even questionable acting or theatre performance, but simply to apply the principles of elocution to the stage, and to show wherein lies the difference

between the orator and the actor. In oratory, we may borrow certain gestures (termed Special Gestures) from the art of acting; hence, it is necessary for us to be informed as to the significance and proper method of using those gestures.

THE FEET AND LOWER LIMBS.

In acting, the moderate step may become a stride. Actors are permitted to move in a lateral direction, while the orator may only advance and recede from his audience. The actor may also stamp, start or kneel. These demonstrations are forbidden the orator.

The Trunk.-An erect position is the only one siutable to the dignity of the orator. In acting, grief depresses, and pride throws the body backward.

The Head and Eyes.-The head is raised in arrogance, inclined in languor or indifferenee, and hung in shame. The head may take the following positions : Inclined, Erect, Assenting, Denying, Shaking, Tossing, Aside.

Considered in reference to the direction of the eyes, it may be Averted, Downward, Upward, Around, or on Vacancy.

The Countenance may take the expression of anger, shame, contempt, pride, despair, terror, or any other violent passion. In oratory this is not admissible.

The Hand may take the following positions: Hollow, Holding or Grasping (according to the degree of energy), Applied (palms together), Clasped, Crossed (upon the breast), Folded (fingers of right hand between the thumb and forefinger of the left), Inclosed (back of one within the palm of the other), Touching (points of thumb and fingers of each hand brought into light contact), Wringing (clasped, raised, lowered, and separated at wrists but without fingers disengaged), Enumerating (first finger of right hand laid successively upon first and other fingers of the left.

The Arms may be Folded (crossed and enclosing each other), A-kimbo (one or both hands on hips, elbows extended at one or both sides), Reposed (elbows nearly resting on hips, one hand holding the wrist of the other-a female position).

ARM AND HAND COMBINED.

In designating the manner of motion, Gesture may be considered as Noting (the hand being drawn back and raised, then advanced and by a gentle stroke depressed), Projecting (arm thrust forward in the direction in which the hand may be pointing), Retracting (arm drawn back preparatory to Projecting or to avoid an object), Waving (fingers pointing downward, then the hand flung smartly upward), the Flourish (in which the hand describes a circle or part of a circle above the head), the Sweep (the hand making a curved movement, descending from the opposite shoulder and rising high above the head; or the reverse, changing in the first case from the Supine to Vertical, and in the second from Vertical to Supine. Sometimes a Double Sweep is used, combining both movements). Beckoning (with whole hand or simply the forefinger), Repressing (the opposite of Beckoning), Advancing (the hand moved slowly forward and upward to the horizontal, the whole body aiding the action, and a step in advance being taken), Springing (the hand, having nearly arrived at the limit of the gesture, springs suddenly up to it by a quick movement of the wrist), Striking (hand and arm), Bending (preparation for Striking), Recoiling (a return to position after striking), Throwing (arm flung outward in the direction of a person addressed), Clinching (clenched hand raised threateningly), Collecting (arm sweeps inward toward the body), Shaking (tremulous motion given to arm and hand), Pressing (the hand being laid upon any part, the elbow is raised and the fingers contracted), Rejecting (vertical hand pushed toward the object. head averted).

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