elevated from the wrist as in Cut 37, and have three movements here. It may fall below the wrist and have its three movements then. Finally, it may form a circle as in Cut 69 and thus take in all points by one movement. So all the movements of the ARM, Cut 36, are horizontal, descending and ascending. And each one of these divisions has its central position'

and right and left.

Then, these are all combined in

the circle, and also in the figure 8 of Cut 39.

The movements of the lower Limbs may be seen in Cut 26. The left foot is at the center of the circle and the right foot may move to any of the points marked on the circumference of the circle. Here we have nine positions and eight movements as before.

So the Trunk may be erect, and incline to right and left; may bend forward and then incline to right and left; may be thrown backward and again move to right and left.

The Eyes have like movements, as may be seen from cuts given in former pages. These movements may all be given with different degrees of energy and extent. But the design of our exercises is to render all parts of the body capable of these different movements. You will probably have some difficulty in executing some of the movements simply as gymnastic exercises, and this will make apparent the absurdity of expecting proper gesture action without careful physical drill and practice. Train and develop the body for its best and fullest action, and then on' can you expect all parts to respond to mental and emotional impulses.

Subjective and Objective Action.

There are two mental and emotional states or acts to which I direct your attention.

I. When you are fully interested in something FROM you, as listening, looking for some object, or with your senses intent upon some external object, so as to call your mind outward. This we term OBJECTIVE. This state or act of the mind opens the eyes wide, gives the ready ear, parts the lips, takes the hands outward from you, and expands, impels the whole body outward as if each part of it were interested in the object.

2. Suppose you think-think hard, and you will observe the head will drop, the eyes will close, you do not listen, may not hear your own name if called; the hands remain close to the body or are folded upon the breast, or go to the head; the body itself reposes upon one foot, and there is a lack of physical energy. Your attention is within-not outward. So in severe grief, all the body relaxes. You do not wish to talk, to see, to hear, to use your hands, to manifest physical energy. This is SUBJECTIVE, when the mind is occupied with yourself.

If I ask you to point out for me some person, street, object, your movement is Objective; if I ask you to perform some mental operation and you are obliged to think intently and take your hand toward the head, the movement is Subjective. So, if I wish to describe for the audience a landscape, river, mountain, battle, person, building, all movements should be from me. I wish my audience to forget me-to see only the object; but if I tell a pathetic story and

personate some one who is in grief, my movements must be toward me, mainly; I wish the audience to̟ think of the sufferer, of myself, since I am taking his place. Then in this my hands may clasp, may come frequently to the body, to the head, the eye, the breast, may wring with sorrow, &c.

Here is a difference between the action of the orator and that of the actor. The former has mainly objective work. The latter subjective. The one directs attention to facts, to scenes, incidents, and says, "See these things." The other impersonates emotion and passion and says: "See me, I suffer these things." One describes, the other enacts. And yet the orator will frequently use much of the actor's art; and the actor will often use objective action. In the play of Julius Cæsar, Brutus is the orator. His speech is oratorical, objective. Antony is subjective; he weeps and his grief is more powerful than the strong statements of Brutus.

ILLUSTRATION.

You meet a friend upon the street; he greets you with hearty salutation; his voice is clear and ringing; his hand is outstretched to grasp yours; his step is quick and clastic; he sees and hears all about him; if he stops to talk with you his weight is on the forward foot, and every part of his body is active and energetic. All the tones of his voice are brisk and lively as himself. He talks to you; he has many plans. What he did yesterday, last week; shall do to-day, next year: what other people are doing.

This is OBJECTIVE.

Now, suppose your friend goes to his office and shortly receives tidings of some accident at his home, -some one is hurt or dead. He goes home. You

call to offer sympathy. He meets you, a different man from the one you met two hours ago. His hand is not so firm; his eye less open and bright; his step is heavy and slow; his head is bowed; his body bent; his voice is changed and has lost its clear ring. He talks of no plans for to-morrow; he cares little for his projects of yesterday. He scarcely cares to see you, his intimate friend. You yourself feel that you are almost an intruder.

His hands move but little from his body; they clasp, they go to his head, his eyes, his breast or hang inactive at his sides. His utterances are the moan, the sigh, or a few broken words, all tremulous with his agony. He is wrapt up within himself.

This is SUBJECTIVE.

Or, suppose while you talk with your friend upon the street, a telegram informs him of financial losses, or the overthrow of some special plans. He will then become subjective. His manner will quickly change from the bright, cheerful, sprightly, to the thoughtful, anxious, absorbed. He will forget you, the morning, all about him. His voice will also change, and every movement will be different. He now "communes with himself" and forgets other

company.

He is subjective.

Or if you take up the morning paper and read down its columns as if for yourself only, your voice will have a careless, mumbling tone, that evidences that your reading is intended for yourself alone. But as you proceed, you find something relative to your friend who may be near, you read it over and think it best to call his attention to it. "Brown! Here's something for you!"

You call him,

Then you re

read the article and every accent is widely different. Do you see? One was subjective; the other, objective. Let me merely suggest, then, that children will read much better if they read to some one; and ministers preach better if they talk to their congregations and not to manuscripts. It is not enough that the mind be active, it must be actively objective or subjective as the thought requires. Many a learned discourse sleeps, not in the ear of the audience—it never gets that far, but in the cranium of the speaker, who never gives it expression.

I hope you understand me. If not, read this chapter again. It should suggest to you the cause and remedy of many faults in speaking. But observe this; at no time can we be entirely objective or subjective. For as your friend when you first met him could not entirely get away from himself, he could not be altogether objective; and as later, he could not forget the cause of his grief, so he could not be entirely subjective. But the objective or subjective state may largely preponderate.

MIND CONCEPTS.

The manifestations of the Mind are plainly of three kinds.

1. Mental Ideas.—Intellectual, Mathematical, having no perceptible emotion, only fact.

Such as demonstration of truth, plan, purpose, direction for finding street, locality, or the performance of some mathematical operation. In utterance of such mental phrases the tone of voice is of peculiar character, mental, thoughtive, non-emotional.