Page images
PDF
EPUB

HAMLET'S MEDITATION ON DEATH.

Shakespeare.

1To be, or not to be, that is the question, whether 'tis nobler in the mind to suffer the stings and arrows of outrageous fortune, or to take arms against a sea of troubles, and by opposing, end them;6-To die - 2to sleep — no more;- and, by a sleep, to say we end the heart-ache, and the thousand natural shocks that flesh is heir to 'tis a consummation devoutly to be wish'd. To die? 2to sleep-to sleep?-10perchance to dream— 3Ay, there's the rub? For in that sleep of death 12what dreams may come, when we have shuffled off this mortal coil, must give us pause; 13there's the respect that makes calamity of so long life:6 for who would bear the whips and scorns of time, the oppressor's wrong, the proud man's contumely, the pangs of despised love, the law's delay, the insolence of office, and the spurns that patient merit of the unworthy takes, when he himself might his quietus make with a bare 15bodkin?6 Who would fardels bear, to groan and sweat under a weary life; but that the dread of something 16after death— 3that undiscovered country, from whose bourn no traveller returns-2puzzles the will, and makes us rather bear those ills we have, than fly to others 19that we know not of?6 Thus conscience does make cowards of us all; and thus the native hue. of resolution is 20sicklied o'er with the pale cast of 21thought, and enterprises of great pith and moment; with this regard, their currents turn awry, 22and lose 28the name of action.2

1 Standing for some seconds before speaking, with the right elbow supported in the left hand, the forefinger and thumb of the right hand supporting the chin,- or in any attitude of meditation-with the eyes fixed on vacancy. 2 an accentual nod of the head. 3 shaking the head. 4 letting the right hand fall on the left arm. 5 extend the arms with the accent-palms downwards. 6 rest. 7 look upwards with desire.

8 meditative attitude- the arms extended downward-palms downwards and fingers interlaced, the head lying to one side. 9 head lying to the opposite side. 10looking uneasily forward, with raised eyebrows and open mouth. 11 head depressed, eyes raised. 12 raising the head progressively. 13 pointing demonstratively upwards. 14 extending the right hand in front. 15 an accentual stroke of the right hand towards the left side, as if pointing to a dagger or sword. 16 slow.y raising the head and eyes. 17 extending both arms-hands open. 18 turning the hands round and elevating them from the wrist. 19 raising the arms to the level of the head, and dropping them to rest with an accentual sigh. 20 moving the right hand to and fro in front-palm downward. 21 throwing out the right hand obliquely, and shaking the head. 22 extending both arms and raising the hands- palm outward. 23 a gentle accentual stroke of the hands forwards. 24 bow.

THE DEATH OF MARMION.— Sir Walter Scott. (1) 1With fruitless labour, Clara bound, 2and strove to staunch, the gushing wound: the monk, 1with unavailing cares, exhausted all the Church's prayers; "Ever, he said, that, 'close, and near, a lady's voice was in his ear, and that the priests he could not hear, for that she ever sung- 9 In the lost battle, borne down by the flying, where mingles war's rattle, with groans 10of the dying!" so the notes rung.

12 Avoid thee, Fiend!- with cruel hand, shake not the dying sinner's sand! Oh, look. my son, upon yon sign of the Redeemer's grace divine! 14oh, think on faith, and bliss! 15By many a

death-bed I have been, and many a sinner's parting seen, but never aught 16like this."

(II.) The war, that for a space did fail, now trebly thundering, swell'd the gale, and 18. Stanley!" was the cry: 19A light on Marmion's visage spread, and fir'd his glazing eye; with dying hand, above his head he shook the fragment of his blade, and shouted 20. Victory! 21Charge! Chester!-Charge! 22On! Stanley! on!"23 24were the last words of Marmion.25

Pictorial Arrangement.— I. Marmion lying on the ground in the centre-facing the speaker-Clara kneeling by his side to the right-the monk standing beside him, to the left. II. The battlefield to the extreme left.

Details of action, &c.— 1Pointing downwards with right forefinger to Clara, on right of centre. 2open the hand. 3pointing horizontally with left forefinger to left of centre. 4raising the hand and looking downwards sympathetically to centre. 5the hand falling to rest with the accent-the head shaking. pointing downwards to centre with right hand. 7the eyes fixed on vacancy. 8shaking the head. 9slow utterance-muffled voice-listening attitude. 10feebly nodding the head. looking around at the audience. 12the left arm extended in front-palm downward-as if shielding the prostrate man; the right arm extended backward-the palm outward-as in repulsion. 13looking to Marmion and raising the right forefinger. 14clasping the hands. 15averting the head-to right. drawing back the head and looking fearfully askaunce at Marmion. 17icok suddenly with raised eyebrows to the extreme left. 18pointing with left hand in the same direction. 19pointing abruptly with right hand to Marmion. 20with the action previously described-shaking the sword. 21the left hand downwards as if supporting the body-panting utterance. 22raise both hands eagerly. 23drop both arms suddenlyrest-24point with both hands to Marmion, and shake the head mournfully while speaking. 25bow.

AN ORATOR's first speecH IN PARLIAMENT.-Alex. Bell. 'The virgin Member 2takes his honoured place, 1while beams of modest wisdom light his face: multum in parvo in the man you see; he represents the people's majesty! Behold their choice! the pledged, 'midst many a cheer, to give free trade! free votes! "free bread and beer! Blest times!-7He sits at last within the walls of famed St. Stephen's venerated halls! 80, shades of Pitt and Fox! is he within the House of Commons? "How his senses spin! Proud man! 10has he then caught the Speaker's eye? no, not just yet - but he will, by-and.by. "I wonder if there are reporters here? 12Ay, that there are, and hard at work they appear. 180 happy man! By the next post shall reach your loved constituents, 14the maiden speech! The Press (great tell-tale!) will to all reveal, 1how you have-spoken for your Country's weal! In gaping wonder will the words be read, 14" The new M. P., Lord Noodle, rose, and said.”

[ocr errors]

This pillar of "ten-pounders" rises now, and towards the Speaker 16makes profoundest bow. Unused to so much honour, his weak knees bend with the weight of senate-dignities. 18He staggers--almost falls - stares- -16strokes his chin --clears out his throat, and ventures to begin. 19 Sir, I am sensible"20 (some titter near him)-19 I am, Sir. sensible" 21" Hear, hear!" 22(they cheer him!) 23Now bolder grown, for praise mistaking pother, 16tea-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

226

EXAMPLES OF APPLICATION OF GESTURE.

think—that—no great orator —should shrink:—and, therefore, -Mr. Speaker—Ï for one—will speak out freely. Sir-I've not

yet done. 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—31I'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. Supward wave to left Ga confidential communication--the hand covering the mouth. look around with pride. Sclasping the hands. 9hand 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. 14point with the open right hand as if at a paper in the left hand. 15point to the speech with the right forefinger. 16imitative. point to right, and speak to front jocularly. 18look to right before speaking to front. to centre, with obeisance. 20look annoyed to left side, then speak smilingly to front. 21look amused to left. point to left, and speak mirthfully to front. Blook 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. look to left with an air of triumph, then speak to front. proudly. 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 2to 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, 9" 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 12who was Japhet's father?"

13 Rat it!" cried Hodge, and scratched his head; "that does my wits belabour: but howsomde'er I'll 11homeward run, and ax old Giles my neighbour."

To 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?"

176. Adzooks, I have it." Hodge replied, "right well I know your lingo; who's Harry's father? 18-stop-here goes,—why Tom Long, smith, by jingo.

(III.)Away he ran to find the priest, with all his might and main; who with good humor instant put the question once again. 10. 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: 24who's Japhet's father? 25now I know; why, Long Tom, smith, the doctor."26

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. Look and point to left, then speak to front. 2giving a rustic salute to right. 3túrn and speak to left with raised eyebrows. 4pout the lips, depress the eyebrows, and shake the head. 5turn and speak smilingly to right. 6with raised eyebrows. 7smiling and jerking the head to one side. 8speak to front without turning the body. 9speak to left. 10very deliberately. 11striking the thumb, fore and middle fingers of left hand with right forefinger, in pronouncing the names. 12 repeating the last stroke and accentually nodding the head. 13turn and speak to right with puzzled expression and "scratching" action. 14point backwards over the shoulder with the thumb of left hand. 15pointing to left, and speaking amusedly to front. 16to 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, 21chuckling 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. 24 with the head lying knowingly to one side. 25 with a nod of pride. 26 a 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. The following diagram illustrates the positions and lateral shifts of the feet, (see par. 28-30).

Λ

30°

EXPLANATION.

(1.) Semi-Lateral turn on the ball

of the foot from the position indicated by the black feet— 45 degrees.

(2.) Lateral turn on the heel, from the same position, - 90 degrees.

(3.) PREPARATORY shift for turning to the opposite side.

NOTE. When the right foot is in front, turn to left; and when the left foot is in front, turn to right. Preserve an angle of 75 degrees in every posture.

[ocr errors]

57. EXERCISE.-Traverse a complete circle to right and to left, shifting one foot only. The circle will be completed in EIGHT semi-lateral, or FOUR lateral turns. 58. NOTATION.- When the feet are separated in the first degree, or little more than the breadth of the foot, the weight of the body being on the retired foot, the position is noted R 1 when the RIGHT foot is in front, and L 1 when the LEFT is in advance. With the same relative position of the feet, but with the weight of the body on the advanced foot, the positions are noted R 2, and L 2— the right foot being in front for the former, and the left for the latter. When they are separated in the second degree, or about as much as the length of the foot, the notation is R 3 and L 3; R 4 and L 4; and when they are still more extended, their positions are noted R 5 and L 5; R 6 and L 6.

59. In this notation, the weight of the body is on the RETIRED foot for all the ODD numbers, and on the ADVANCED foot for all the EVEN numbers.

60. The following diagrams illustrate these positions with the RIGHT foot in advance.

учун

[merged small][merged small][ocr errors][merged small][merged small]
« PreviousContinue »