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so well received, are good actors, in the highest circles, that, were it not for the slur cast on the profession in the statute-book, their influence would be perhaps too predominant; which shows the vast sway the graces of elocution have over the minds of all classes.


To aid youth in their first efforts in recitation, the artist has done more, in the way of pictorial illustration, than could have been effected by a long discourse on the manner in which the position of the body, the countenance, and the hands are to be employed in expressing the various passions.

The pupil would do well, also, to notice in what manner the several emotions of the mind are expressed in real life; as, for instance, among his mates in the playground. A boy that has been wantonly struck, or who thinks he has been cheated at play, naturally throws himself into a different position from the composed state he previously was in, when every thing seemed to be going on pleasantly the voice, the countenance, also, suddenly become altered; and anger, unhappily, takes the place of cheerfulness and hilarity.

The milder passions might also be noted: for instance, the bland effect of friendship on the countenance of two inseparables, or classfellows, with their arms wreathed round each other's neck, talking, while slowly sauntering along, of home, sweet home.

PLATE 1. Figures 1 & 2, show the proper positions when two come on in the same scene. The right-hand figure represents the attitude in which a boy should place himself when he begins to speak. The arms of the other, who is supposed to be listening, should hang in their natural places by his side.

PLATE 2. Figure 3.-The soliloquizing figure is well and gracefully depicted. We may suppose him to be enacting Hamlet, and repeating,―

"O that this '00, too solid flesh would melt,
Thaw, and resolve itself into a dew!

Or that the Everlasting had not fix'd

His canon 'gainst self-slaughter!

Figure 4.-The comic character here represented would seem to inherit the natural humour of Matthews, and to act his part to the life. He might be thought to represent 66 a fellow of infinite jest, of most excellent fancy,"'-one that, like "poor Yorick," would, with his flashes of merriment, "set the table on a roar."



PLATE 3. Figure 5.-We may with pity at times observe the change that violent grief has on the mind and frame of a sensitive youth, unaccustomed hitherto to such emotion. A fatal accident may have suddenly deprived him of a dear relative, in whom his being and happiness seemed to be bound up, now hopelessly lost to him for ever.

Figure 6.-This may represent Jaffier supplicating Pierre :

"No, thou shalt not force me from thee:

I'll weary out thy most unfriendly cruelty;

Lie at thy feet and kiss them, though they spurn me!"

PLATE 4. Figure 7.-This might represent Fear, as described in Collins's "Ode on the Passions."

"First Fear his hand, its skill to try,
Amid the chords bewilder'd laid,
And back recoil'd, he knew not why,
Ev'n at the sound himself had made."

Figure 8 might stand for the same poet's description of Anger :

"Next Anger rush'd, his eyes on fire

In lightnings own'd his secret stings."

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Or, if we take the two together, as in one scene, the representative of Fear seems also as much concerned for the unreasonable anger that would appear to actuate his companion, as for any fear of his own safety he stands, as it were, at bay, rather for the purpose of checking, than escaping from, his frantic friend. The passion of fear, however, evidently predominates.

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