of right, or even on line at right angle to the right foot. This is an excellent position for the speaker. It denotes energy, interest, and ease, and activity; it gives free action to muscles of the waist, and enables the speaker to quickly strengthen or relax the entire body as he proceeds.

(b). Weight on rear Foot as in Cut. Here the forward foot is turned well to the instep of the other, the left knee is relaxed and slightly curved inward, and all other parts of the body correspond to position of feet. This is position for repose, for reflection or soliloquy. It denotes confidence, conscious power, or thought. How close one foot is to the other, depends upon the thought or emotion. The closer the feet, the weaker the position. The wider apart the feet, the more the body curves. In all, each foot may have nine positions.

In Cut, the right

foot may have

three positions in

line 23, three in line 37, three in line 45. But many of these are but seldom used, except in comedy, or bur lesque. The free

foot will be at ease

7 in any part of the

circle from 1 to 3.

STEPPING.

Ob. One rule applies to all these exercises, when stepping to side or forward; turn the toe directly to the point to which you intend moving. If you step to the right, turn the toe directly to the right, &c. Do not move the foot sideways.

a. To step right and left.

Stand as in Cut, extend the right leg to the right, the toe turned to right, the ankle fully extended; have the toe touch the floor at about twenty inches from the instep of the left foot. Bring the right foot back to the left, the right heel at left instep. Practice several times. Now, make the step of the right foot longer, and just as the right toe touches the floor turn the heel to the right and change the weight to the right foot, bringing the heel of the left foot to the instep of the right foot. Now, practice in like manner with the left foot. In stepping to the side, bring the relaxed foot to the instep of the foot that has the weight. The feet need not be brought together, but nearly so, and the body must change its curves at each movement. These exercises will require much practice, and will be beneficial in training the feet to a proper angle.

This step will enable you to turn from one part of the audience to the other. Thus, if you face the audience at your left, and wish to turn to the right, step to the left and bring the right foot to position as in the exercise. In like manner, you can turn from the right to face the left with a single step.

Which foot to step.

In taking a step which foot should be moved? The one that has the less weight. If the greater weight

be on the rear foot, then the forward foot, or if the forward foot support the body's weight, then the rear foot moves first.

Now, observe in 26, the right foot is forward, and yet we desire to step forward, how now? Step with the relaxed limb, either forward or back, or to the side. You ask, must I keep thinking of this? No; do it a few times observingly and you will not need to think of it. It is the natural step.

THE FEET.

They give strength or weakness to the structure of the body. They are the foundation. If they are parallel, they denote weakness, illness, blindness, or · some lack of power. If at right angles they show firmness. If close together, they show less power than apart, as they support the body more firmly when separated. If you speak of an object as if you see it, or point it out with the right hand, the right foot will usually be forward and the toes turned toward the object. So with the left hand and foot.

THE KNEES.

of

mind, or will power.

When firm, show firmness They relax with grief, fear, nervousness or timidity. Most persons bend the knee too much when walking. Upon the platform, the knee should bend but slightly in stepping. A "weak-kneed" orator could not be expected to convince men. In walking, the motion of the body should be slight.

THE ARMS.

The full arm should be used when pointing or giving strong emphasis. A bent elbow is as bad as a

weak knee.

The stroke of the arm for gesture gives great effectiveness. Thus in any sentence of assertion, the arm may give a stroke as in the gymnastic exercises. This stroke may be in any direction, but it will be stronger if forward than at the side, and stronger as it is upward rather than downward. Thus if I say, This is true! If I move the hand to the side it will not be strong; if the stroke is forward, it will be better, but if raised aloft still better. It is then asserted as an oath. But you will perceive that my arm could make numberless movements for this one sentence. Which one, must depend upon the mind of the speaker.

POSITION OF HANDS.

The hand has two prime positions; prone, back to the face, and supine the palm to the face. The one position is negative, the other positive. For all we "like" or "desire," the palm is toward the face; for all we "dislike" or "repel," the back of the hand is to the face, or rather

toward the mind, acting from the brain.

Also the hand is clenched, or half-clenched, or convulsive, as in grasping. It also points, beckons; or repels, as in Cut 3.

The hands have great power of expression. In general, a gentleman should allow the hands at his

For a lady,

sides, when not using them for action. the better position is with hands in front of waist, lightly clasped, or one hand in the other. This is

one of the requirements of fashion, custom and habit. Ladies do not carry their arms at their sides on the street or in drawing rooms. If when they are before the audience they do so, they are ill at ease, because they are doing an unaccustomed thing. Besides this, it gives a lady the appearance of being "round-shouldered," and having a set of arms abnormally long. If, however, her work be of a tragic character, calling for great power, she will not wish to attempt it with folded hands. The hands are clasped in sympathy; they are parted in dislike or indifference. They are clenched for energy and determination. They are wrung in sorrow, and wander about aimlessly in insanity or any mental distraction.

The thumb refers to objects already known or mentioned; the index finger points out new objects, or demonstrates; the second finger is sensitive-sympathetic; the third finger keeps close to the second and is like it in expression; the little finger refers to things small or delicate. When the hand is extended the fingers should be well open. The thumb should open well, as it is the sign of weakness when it is turned toward the middle of the hand.

THE LINE OF MOVEMENT.

The hand or arm or body should follow curved lines of movement for gesture. The circle, parts of the circle, the compound curves, are the lines used if the thought and emotion be fine and beautiful. Straight lines are used with sudden emotion or confusion of ideas. The more beautiful the thought or emotion, the more beautiful the movement for gesture.