clenched, the veins and muscles are swelled, and the whole body becomes violently agitated. Groans are more frequently uttered than words; if there are words they are sometimes expressed in a sullen tone, and sometimes they are loud and furious. HATRED gives the voice a harsh and disagreeable tone. The eyes glance angrily, the eye-brows are contracted, the teeth are set, the upper lip is curled in a disdainful manner, the body is drawn back, and the hands are thrown out as if to keep off the hated object. AVERSION is similar to Hatred, but of a milder cha racter. ANGER, when violent, or Rage, expands the nostrils, strains the muscles, clenches the fist, and stamps on the ground; sometimes it gives the voice a high and loud tone, and sometimes a tone peculiarly low and emphatic. MALICE sets the jaws, clenches the fist, and causes the eyes to flash. The tone of voice is similar to that of Anger but in a lower key. REVENGE expresses itself similar to Malice, but more openly, and in a louder strain. ENVY is similar to Malice but of a milder character. MELANCHOLY is gloomy and motionless. The lips are pale, the eyes are cast down, the lower jaw falls, and there is a total indifference to every thing that passes. DISTRACTION and MADNESS open the eyes and roll them fearfully. The features become distorted, the teeth are gnashed, and every part of the body is most violently agitated. FEAR opens wide the eyes, gives the countenance an air of wildness, and the voice a low, hollow, and tremulous tone. The hands are extended, one foot is drawn back and the whole body appears to shrink from the danger. Extreme fear sometimes produces on females violent shrieks without any articulate sound. ALARM, SURPRISE, WONDER and AMAZEMENT border slightly on Fear. The eyes are opened wide, and sometimes are fixed on the object, and sometimes are raised upwards. The mouth is open and the whole body seems contracted. ANXIETY which is always attended with a degree of Fear or Apprehension, casts down the eyes, closes the mouth, and bites the lips. The person appears uneasy, walks about, and sometimes stops abruptly, and talks to himself. If he speaks to another, his pauses are long, and his sentences broken. PERPLEXITY is expressed in a manner similar to Anxiety. VEXATION adds complaint to the tones and gestures of Anxiety. SHAME hangs down the head with downcast eyes, turns away the face, and causes the tongue to falter. REMORSE casts down the countenance, and gives it a most anxious look. The teeth gnash with anguish, the right hand beats the breast, and the whole body is violently agitated. CONTRITION raises the eyes, as if to heaven, and immediately casts them down again, causes the body to assume a suppliant posture, and gives the voice a hesitating and trembling tone. JEALOUSY is a mixture of all the passions that can agitate and torture the human mind. It shews itself by peevishness, restlessness, thoughtfulness and anxiety. Sometimes there is a gleam of hope, then the mind becomes clouded with suspicions, the arms are folded, the fists clenched, and the eyes dart most fearful glances. A person that is the prey of this worst of passions has been justly compared to a ship on a stormy sea: he has not a moment's rest. FAINTING dims the eyes, takes the colour from the cheek, causes every muscle to seem unstrung, and the body, if not supported, to fall to the ground like a lifeless corpse. MODESTY gives a downcast, submissive look, and a low rate of utterance. SUBMISSION is expressed in a similar manner to Modesty. COURAGE AND CONFIDENCE require a firm tone and an open manly look and deportment. BOASTING is loud and blustering. The voice is hollow, the eyes stare, the mouth pouts, the fist is clenched, and the head nods in a menacing manner. The right foot stamps the ground, and the legs take large strides. PRIDE assumes a pompous look and air, the tone of voice is elevated, and the person strides about in a haughty manner. AFFIRMING OR PROTESTING, if vehement and with an oath or an appeal to heaven, requires the eyes and right hand to be raised upwards. If an appeal be made to the conscience the right hand should be laid on the breast. AUTHORITY assumes a grave look, it opens the countenance, but somewhat contracts the eye-brows. COMMANDING requires a stern air and a forcible utterThe hand is extended and the head nods towards the person commanded. ance. It must be borne in mind that there are not only various shades of the same passion, but that the mode of expressing any particular passion must be accommodated to the cir cumstances of the character. The anger of a youth, of a full grown man, of an old man, and of a woman, although violent in each, will require a very different delineation. Every other passion must be made to vary similarly, according to the age and sex of the individual represented. In unimpassioned subjects little action is required, while the voice should be even and moderate. NARRATIVE subjects require little more than distinct delivery. The hand may be occasionally extended, and, accompanied with the eyes, be carried gently round to the audience. ARGUMENTATIVE subjects sometimes require a slow and sometimes a quick utterance, the tone of voice is occasionally high and loud according to the argument, and the action is proportionally energetic. MEDITATIVE Subjects give the countenance a thoughtful expression and a low tone of voice, with frequent pauses. The eyes are sometimes cast on the ground, sometimes raised, and the action is feeble and unimpressive. The hand is occasionally placed on the chin; sometimes on the forehead. The foregoing observations are, in a great measure, as applicable to Reading as to Public Speaking; particularly to impassioned or dramatic reading, in which it is necessary that the tone, the look, and the gesture of the speaker should correspond with the subject or character represented. Mr. Smart's Dramatic Readings are most earnestly recommended : they will afford a rich intellectual treat to those who have any taste for Elocution. IMPASSIONED PIECES FOR RECITATION. THE CAPTIVE. (PLAINTIVE EXPRESSION WITH INTENSE FEELING.) The principal Rhetorical Figures are the Metonymy, the Epizeuxis, the Ecphonesis and Vision. a Stay, Gaoler, stay, and hear my woe, And what I am, and what should be. I am not mad! I am not mad! My tyrant husband forg❜d the tale Which chains me in this dismal cell; I am not mad! I am not mad! * The principal Rhetorical Figures in each piece are noted without a direct reference, that the pupil may exercise his abilities in finding them out. a Entreaty, requiring a most supplicatory tone and manner. b Great Earnestness. e He smiles in scorn and turns the key! 8 'Tis sure some dream, some vision vain, Which never more my heart must glad, Hast thou, my child, forgot ere this, His rosy lips, how sweet they smil'd! His mild blue eyes, how bright they shone ! c Disappointment. The speaker should look anxiously in the supposed direction of the object, and keep his eyes fixed on it for one or two seconds, after he has uttered the word "see," suspending his voice at the same time. • The feeling of cold is represented by shuddering, and contracting the shoulders, and clasping the hands. Repining, requiring a plaintive tone with much feeling. A speaker should, however, at all times, be careful to avoid a whining cant, which is too frequently mistaken for pathetic expression. Doubting, immediately followed by a deep sense of injury, which increases to Anguish. h This verse should be delivered with much tenderness; the tone of voice should be at first low, and gradually rise as the feelings of the mother increase in intensity. To be spoken rapidly, with an expression bordering on Distraction. * Again resumes maternal tenderness. |