It is presumed that all the precepts which have been laid down with endless detail on the art of reading and speaking, as far as respects utterance, may be reduced to three heads now explained, a distinct articulation, a just emphasis, and the well-varied tones of sentiment and the passions. Nothing therefore remains to be added but a few remarks on the astonishing effect of proper looks and gestures. From these, language derives its most irresistible power: it is sure to enter the heart when the sounds are accompanied with action-when the eye and the ear receive the impression at the same instant. DEMOSTHENES having been asked what was the first and most essential qualification of a public speaker, answered, Action. Being asked, what was the second, he replied as before, Action. Being asked, what was the third, he answered again, Action-still continuing to make the same reply till they had done questioning him, giving them to understand, that, without action, all the other qualifications of a speaker were to be considered as of little or no moment,—a truth which he himself had been taught too sensibly not to abide by it for ever. After intense application to private study, and notwithstanding the uncommon vigor of his genius, and the matchless energy of his language, he was ill-received by the people till he learned how to manage his weapons,-how to direct his thunder,-how to rouse or allay the passions at pleasure by the powers of utterance and action. On the mortifying failure of his first attempt to speak in public, a Player of his acquaintance made him sensible of his defect, and clearly discovered to him that, without animated gestures, the most beautiful language may be compared to a lifeless corpse, and is more likely to chill the hearer than to warm and transport him. The ancients had a large collection of precepts for regulating the tones and gestures of persons who were to speak in public; and some modern writers have increased. the number of rules by observations of their own. But the spirit of them is compressed in a few sentences by SHAKESPEARE. This admirable painter of human life had often seen, with heart-felt vexation, his finest portraits, or, to use a theatrical phrase, his most finished characters cruelly murdered by the ignorance or affectation of the performers. He therefore took an opportunity of indirectly censuring their blunders, in the following instructions to a company of players; which he puts into the mouth of HAMLET. 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 had spoke my lines. And do not saw the air too much with your hand, thus: but use all 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. Oh! it offends me to the soul, when I hear a robusteous, periwig-pated fellow, tear a passion to tatters, to very rags, to split the ears of the groundlings. It out-herods HEROD: pray you, avoid it. "Be not too tame, neither; but let your own discretion be your tutor. Suit the action to the word, and the word to the action, with this special observance, that you o'erstep not the modesty of nature: for any thing so overdone is from the purpose of playing, the end of which both was, and is, to hold, as 'twere, the mirror up to nature, to shew virtue her own feature, scorn her own image, and the very age and body of the time his form and pressure. Now this overdone, or come tardy of, though it make the unskilful laugh, cannot but make the judicious grieve, the censure of one of which must, in your judgment, o'erweigh a whole theatre of others." Though I before expressed my disapprobation of the common custom of loading the memories of boys with rules and precepts, yet I would have the young practitioner in Elocution get by heart this excellent summary of useful instructions, as well as LLOYD's beautiful little poem, nearly on the same subject, entitled, "The Actor," of which the greater part will be found as useful to the public Orator, as to the Performer on the Stage. "The player's province they but vainly try, Who want these pow'rs, Deportment, Voice, and Eye. "Theatric monarchs, in their tragic gait, "Unskilful actors, like your mimic apes, While a whole minute equipois'd he stands, When ROMEO, sorrowing at his JULIET's doom, "To paint the passion's force, and mark it well, In sock or buskin, who o'erleaps the bounds, "Of all the evils, which the stage molest, "But let the generous actor still forbear To mark some whim, some strange peculiar mode; Go to the lame, to hospitals repair, And haunt for humor in distortions there! Fill up the measure of the motley whim With shrug, wink, snuffle, and convulsive limb; "The voice all modes of passion can express, "Some o'er the tongue the labor'd measures roll, Point ev'ry stop, mark ev'ry pause so strong, And, e'en in speaking, we may seem too just.、 "He, who in earnest studies o'er his part, I cannot conclude this Section without inserting another specimen of Lord CHESTERFIELD's happy method of pointing out faults, and of making the correction of them, as well as the attainment of excellence, "the business, the study, and the pleasure" of ingenuous youth. In one of those letters, from which I before made some useful extracts, he thus addresses the fond object of his paternal care and instructions: |