Then will he strip his sleeve, and show his scars, But he'll remember, with advantages, What feats he did that day: then shall our names, Warwick and Talbot, Salisbury and Gloster,- We few, we happy few, we band of brothers; And gentlemen in England, now a-bed, Shall think themselves accurs'd they were not here; And hold their manhoods cheap, whiles any speaks That fought with us upon SAINT CRISPIN'S DAY. "Henry V." SHAKESPEARE. IMITATIVE MODULATION The melody or sounds of words frequently express their meaning, and this correspondence between sound and sense can be made an effective element in speech. Good taste and a musical ear will best guide the speaker. 1. With sturdy steps came stalking on his sight "Faerie Queene." 2. There crept A little noiseless noise among the leaves, SPENSER. 3. And her step was light and airy When she spoke, you thought, each minute, When she sang, you heard a gush Of full-voiced sweetness like a thrush. "The Spanish Duel.” J. F. WALLER. 4. Hear the sledges with the bells, silver bells,— What a world of merriment their melody foretells! While the stars that oversprinkle all the heavens seem to twinkle "The Bells." POE. 5. O hark, O hear! how thin and clear, O sweet and far, from cliff and scar, The horns of Elfland faintly blowing! Blow, let us hear the purple glens replying: "Bugle Song." 6. With klingle, klangle, klingle, The cows are coming home; Now sweet and clear, and faint and low, Like chiming from some far-off tower, Ko-kling, ko-klang, koklinglelingle, "When the Cows Come Home." TENNYSON. AGNES E. MITCHELL. 7. The Cataract strong then plunges along, "The Cataract of Lodore." ROBERT SOUTHEY. CHAPTER VII GESTURE Gesture, embracing movements of the head, body, arms, hands, legs and feet, is a natural and necessary part of expression. The student should study for grace, flexibility, appropriateness, variety and spontaneity. It will be profitable to carefully observe the expression of various classes of people, paintings and sculpture. Practise daily before a looking-glass. The head should be well-poised and not held on one side as if scrutinizing an audience. When held erect it denotes a normal attitude, courage, joy, pride, or authority; when upward it indicates hope or prayer; when downward, shame, modesty, or reflection; when forward, appeal, listening, sympathy or anticipation; when backward, surprise, terror or independence; when shaking, denial, discontent, or emphasis. Frequent and meaningless movements should be studiously avoided. In bowing, incline the head and upper body together, so as to bring the bend from the waist. It should be done slowly and pleasantly, with the eyes looking down. The face should be trained to promptly and truthfully reflect the emotions of the speaker. Quintilian says: "The face is the dominant power of expression. With this we supplicate; with this we threaten; with this we soothe; with this we mourn; with this we rejoice; with this we triumph; with this we make our submissions; upon this the audience hang; upon this they keep their eyes fixed; this they examine and study even before a word is spoken." The eyes are wide open in joy, fear and surprise; closed in faintness, half-closed in hate and scrutiny; raised in prayer and supplication; drooped in modesty and veneration; look askance in envy, jealousy, and appreciation. The nostrils are extended in fear and indignation, and elevated in scorn. The lips are closed in repose; partly open in surprise and wonder; wide open in terror; turn upward in pleasure, courtesy and good humor; turn downward in grief and sorrow; pout in discontent; and compress in anger, defiance and determination. The body should move in harmony with the other members as required by the thought. In turning from side to side the movement should be from the waist and not from the neck. The arms move from the shoulder, excepting in conversational gesture. They should rest at the sides without crooking the elbows. Movements may be slow and gentle, slow and intense, swift and light, or swift and strong. The size, length, and velocity of a gesture depend upon the thought. The lines are usually in curves, expressing grace, while straight lines are used when special emphasis is required. The general purpose of gesture is to locate, illustrate, generalize or emphasize. The hands should be carefully trained for flexibility and expressiveness. The fingers should be slightly apart and curved. A gesture has three divisions: 1. The preparation, made in an opposite direction from that which the gesture is to take. 2. The gesture proper, which must be |