EXERCISE VIII.-CIRCLE MOVEMENTS.

1. Let the closed hands rest upon the chest ; at the first count, drop both hands and allow them to return by a wide sweep, making a circle with each hand. Repeat this four times.

2. Raise the hands, letting them sweep downward in a circle and return to their places. Eight counts.

3.

Raise both hands and allow them to sweep to the right, making a circle. Eight counts.

4. Raise both hands and allow them to circle to the left. Eight

counts.

5. Same as 1, except that the left hand follows half a circle behind the right.

6. Same as 2, left hand half a circle behind.

7. Same as 3, left hand behind.

8. Same as 4, left hand behind.

EXERCISE IX.-DUMB BELL MOVEMENT.

Place the closed hands upon the chest, and throw them both out as Indicated, twice in each direction.

I. Downward.

2. Laterally.

3. Upward.

4. Front.

5. Botn hands to the right.

6. Both hands to the left.

7. Right hand upward, left hand downward.

8. Left hand upward, right hand downward.

NOTE. The object of the foregoing exercises is to secure grace and freedom of movement. They should all be given with vigor and decision, avoiding a feeble, listless manner, which will thwart the purpose in view.

Frequent practice and proper attention to this exercise will enable one to acquire facility and ease in gesticulation, and give to the body a degree of grace, strength and elasticity that would be attained in no other way.

If the above exercises be accompanied with music, the effect will be quite pleasing.

PART III.

HELPS TO THE STUDY

"Speak the speech, I pray you, as I pronounced it to you, trippingly on the tongue; but if you mouth it, as many of our players do, I had as lief the town-crier spoke my lines. Nor do not saw the air too much with your hands, thus; but use ali gently; for in the very torrent, tempest, and (as I may say) whirlwind of your passion, you must acquire and beget a temperance, that may give it smoothness. O, it offends me to the soul, to hear a robustious periwig-pated fellow tear a passion to tatters, to very rags, to split the ears of the groundlings; who, for the most part, are capable of nothing but inexplicable dumb shows, and noise. I would have such a fellow whipped for o'erdoing Termagant; it out-herods Herod. 'Pray you, avoid it.”—HAMLET.

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HELPS TO THE STUDY.

IMPORTANCE.

IT is impossible to zealously pursue any branch of knowledge without a realization of its importance. No. work can be cheerfully performed without an expectation of some good arising from it, either to ourselves or to another. We labor not from a love for exertion, but from a desire to produce results. These results may be in the form of a remuneration to us, or a benefaction to mankind in general, or to one or more persons in particular. In any case, we are prompted by an expectation of a reward in some shape, and this anticipation gives us a zest in our work. It is this that gives us a zeal and ambition to excel in whatever we may be engaged. The business man is actuated by the same impulse; the professional man, the statesman, the man of letters, all labor for one common end.

The student is not exempt from the general law. His toil is arduous and incessant. The wearying strain of brain and nerve finds a recompense in the reward of his daily exertions, in the constant growth of his intellectuality, in the continued development of his reflective and perceptive powers, and his increased activity of mind. His brain expands under the influence of a training designed to bring out his latent capabilities. This training is varied to meet the peculiar requirements of each individual case. The instruction and drill may be for the purpose of strengthening the brain and enabling it to work with greater accuracy and rapidity; it may be for the purpose of filling the mind with facts, and so training it that it may retain them; it may be for the purpose of developing the perceptive faculties that they may act with greater precision, or the reflective powers that thought may be evolved; it may be to skill the mind in the use of figures, the hand in the use of the pen, brush or chisel,