for your Country's weal! In gaping wonder will the words be read, "The new M. P., Lord Noodle, rose, and said." 'This pillar of "ten-pounders" rises now, and towards the Speaker makes profoundest bow. "Unused to so much honour, his weak knees bend with the weight of senate-dignities. He staggers—almost falls - stares-strokes his chin-clears out his throat, and ventures to begin. 19 Sir, I am sensible"2" (some titter near him)—19 I am, Sir, sensible" """ Hear, hear!" 22(they cheer him!) 23Now bolder grown, for praise mistaking pother, tea-pots one arm, and spouts out with the other. "I am, Sir, sensible-I am, indeed-that, though-I should-want-words24I must proceed; and, for the first time in my life 25I think-I think-that- —no great orator-2should shrink:-and, therefore, -Mr. Speaker-I for one-will speak out freely. "Sir-I've not yet done. 29 Sir, in the name of those enlightened men who sent me here to speak for them-why then, to do my duty—as I said before-to my constituency-"I'll say no more.’ Pictorial Arrangement.-The House of Commons. The "Virgin Member" on the right-the Speaker" in front-reporters' gallery to left of centre-the interrupting members on the left side. Details of action, &c.-'Look and point with right forefinger to the "virgin member," then speak to front. 2open the hand. expand both arms. 4upward wave to right. upward wave to left. a confidential communication-the hand covering the mouth. 7look around with pride. clasping the hands. hand on forehead. 10a quiet undertone to front. look to right and centre, and right again before speaking. 12look upwards to left. 13swaying the head rapturously. 14 point with the open right hand as if at a paper in the left hand. 15 point to the speech with the right forefinger. 16imitative. 17point to right, and speak to front jocularly. look to right before speaking to front. 19to centre, with obeisance. 20look annoyed to left side, then speak smilingly to front. 21look amused to left. 22point to left, and speak mirthfully to front. 23look archly to front. 24look with a contemptuous shrug to left before speaking. 25look bewildered and glance with an air of annoyance to left before speaking. 26frowning to left. 27 with a determined side jerk of the head. 28look to left with an air of triumph, then speak to front. 29proudly. 3°hesitating. 31look disconcertedly to left, then speak lugubriously. RUSTIC LOGIC.-Anonymous. (I.) 'Hodge, a poor honest country lout, not over-stocked with learning, chanced on a summer's eve 'to meet the Vicar, home returning. 3. Ah! Master Hodge," the Vicar cried, "what, still as wise as ever? 'the people in the village say that you are wondrous clever." 5. Why, Measter Parson, as to that I beg you'll right conceive me. "I do na brag, but yet 'I knaw a thing or two, believe me." 3 We'll try your skill," "the Parson cried, "" for learning what digestion: and this you'll prove or right or wrong, by solving me a question. Noah, of old, three babies had, or grown-up children rather; "Shem, Ham, and Japhet they were called-now "who was Japhet's father?" "that does 13 Rat it!" cried Hodge, and scratched his head; my wits belabour: but howsomde'er I'll "homeward run, and ax old Giles my neighbour." 15To Giles he went, and put the case with circumspect intention: (II.) 16 Thou fool,” cried Giles, “I'll make it clear to thy dull comprehension. Three children has Tom Long, the smith, or cattle-doctor rather; Tom, Dick, and Harry, they are called; "now, who is Harry's father?" 17 Adzooks, I have it," Hodge replied, "right well I know your lingo; who's Harry's father?-stop-"here goes,-why Tom Long, smith, by jingo." (III.) 19Away he ran to find the priest, with all his might and main; who with good humour instant put the question once again. 106 Noah, of old, three babies had, or grown-up children rather; "Shem, Ham, and Japhet they were called: now 20who was Japhet's father?” 21I have it now," "Hodge grinning cried, 23 I'll answer like a proctor: who's Japhet's father? "now I know; why, Long Tom, smith, the doctor." 9926 Pictorial Arrangement.-I. Hodge coming from left meets the Vicar coming from right. II. Giles stands on Hodge's right. III. Hodge runs towards the Vicar on the right. Details of action, &c.—1Look and point to left, then speak to front. 2giving a rustic salute to right. 3turn and speak to left with raised eyebrows. *pout the lips, depress the eyebrows, and shake the head. turn and speak smilingly to right. with raised eyebrows. 7smiling and jerking the head to one side. speak to front without turning the body. speak to left. 10 very deliberately. 11striking the thumb, fore and middle fingers of left hand with right forefinger, in pronouncing the names. 12repeating the last stroke and accentually nodding the head. 13turn and speak to right with puzzled expression and "scratching" action. 14 point backwards over the shoulder with the thumb of left hand. 15pointing to left, and speaking amusedly to front. 16 to left with knitted brow and giving Hodge a dig with the thumb. 17slapping the leg or otherwise expressing vulgar triumph. 18chuckle, then change to a wandering silent look of serious stupidity. 19point to right, and speak smilingly to front. 20repeatedly strike the middle finger while speaking, chuckling and rubbing the legs, or otherwise expressing vulgar delight. 22jerk the head to one side triumphantly, then speak to front. 23panting, as if from quick running. 24with the head lying knowingly to one side. 25 with a nod of pride. 26a chuckle of self satisfaction suddenly changed to a look of puzzled disappointment-then look to the audience while you point laughingly to Hodge, and make your bow. VIII. NOTATION OF GESTURE. 56. A system of Notation for Attitude and Motion is presented in the following pages. By this means a speaker can record for practice any position or movement which, in Oratory, in Painting, or in Sculpture, strikes him as effective. By this, also, an artist can jot for reproduction any attitude of which he may have obtained a momentary glimpse. To teachers of Gesture the system of Notation will be of great service, in furnishing a nomenclature for the mechanics of action; and to students it will be found of considerable assistance in the acquisition of variety and precision of movement. The following diagram illustrates the positions and shifts of the feet : No. 1. A turn on the ball of the foot from the position indicated by the black feet. No. 2. A turn on the heel from the same position. No. 3. Preparatory shift for turning to the opposite side. 58. When the right foot is in front, these turns can only be made to the left; and when the left foot is in front the turns can only be made to the right. A circle may be traversed, as an exercise, by shifting one foot after each turn. The circle will be completed in four turns on the heel, or eight turns on the ball of the foot. When the feet are separated by the breadth of a foot the positions are noted: Right foot in front. RI Left foot in front. LI When the feet are separated by the length of a foot the positions are noted :— L 5 L 6 When the feet are more widely separated the positions. are noted:— R 5 body is on the and on the ad In these notations the weight of the retired foot for the odd numbers (1, 3, 5) vanced foot for the even numbers (2, 4, 6). Vertical and Transverse Motions of the Arms. 59. Either arm may move with grace to the extent of a SEMI-CIRCLE, both vertically and horizontally. For NOTATION, five points are selected-the extremities of the semi-circle, the middle, and a point intermediate to the middle and each extreme. 60. The extremities of the vertical semi-circle are the zenith and the nadir (marked z and n); the middle point is the horizontal (h); and the other intermediate points are:-elevated half-way to the zenith (e), and downwards half-way to the nadir (d). When the arm hangs at rest, it is of course directed to the nadir. The notation N is used to distinguish the rest position from the gesture, n. 61. The extremities of the transverse semi-circle are :—the arm across the body (c), and backward about 30 degrees (b): the other points are :—the arm extended in a line with the shoulders (x); projected in front of the body (ƒ), and directed obliquely between the front and the extended positions (9). The diagram illustrates these notations: Graceful and Passionate Transitions. 62. Gestures would be disagreeably angular if the most direct line of transition from point to point were followed by the arms. A preparatory movement is therefore made, in the opposite direction, before any important gesture. 63. In unimpassioned delivery the preparatory movement may be sweeping and varied, for graceful effect. 64. In strong passion the preparatory movement will be direct and simple, but extensive, and the lines of the accentual gesture bold and straight. IX. GENERAL SCHEME OF NOTATION FOR ATTITUDE AND MOTION. NOTE.-I. The right foot is in front for the R series, and the left, for the I. series. The weight of the body rests on the foot in front for all the even numbers, and on the retired foot for the odd numbers. II. A small number should be prefixed to the notation for advancing, retiring, stepping to the right, or to the left, when more than one step is to be made. Thus 2ad, advancing two steps, re, retiring three steps. (All the subsequent notations placed above the line.) z...pointing to the zenith c...directed across the body e...elevated 45° above the horizon f... 66 forwards h...horizontal 66 q... obliquely 45°from f d...downwards 45° below the x...extended in the line of the |