What I would have understood by action, abftractedly and apart from its giving force to the meaning of the words, may be better conceived by fuppofing a foreigner, who is a thorough mafter of all the effects of action, at one of our theatres, but quite ignorant of the language of the play; it is evident his fentiments under fuch limitations, would chiefly arise from what he might distinguish by the lines of the movements belonging to each character; the actions of an old man, if proper, or not, would be visible to him at once, and he would judge of low and odd characters, by the inelegant lines which we have already fhewn to belong to the characters of punch, harlequin, pierrott, or the clown; fo he would also form his judgment of the graceful acting of a fine gentleman, or hero, by the elegance of their movements in fuch lines of grace and beauty as have been fufficiently defcribed. See chapters 5, 6, 7, 8, on the compofition of forms. Where note, that as the whole of beauty depends upon continually varying, the fame must be observed with regard to genteel and elegant acting and as plain space makes a considerable part of beauty in form, fo ceffation of movement in acting is as abfolutely aeceffary; and in my opinion much wanted on moft ftages to relieve the eye from what Shakespear calls, continually fawing the air. The actress hath fufficient grace with fewer actions, and thofe in lefs extended lines than the actor; for as the lines that compose the Venus are fimpler and more gently gently flowing, than those that compose the Apollo,, fo muft her movements be in like proportion. And here it may not be improper to take notice of a mischief that attends copied actions on the stage; they are often confined to certain fets and numbers, which being repeated, and growing stale to the audience, become at last fubject to mimickry and ridicule, which': would hardly be the case, if an actor were poffeft of fuch general principles as include a knowledge of the effects of all the movements that the body is capable of.. The comedian, whofe bufinefs it is to imitate the actions belonging to particular characters in nature, may alfo find his account in the knowledge of lines; for whatever he copies from the life, by these principles may be strengthened, altered, and adjusted as his judgment shall direct, and the part the author has given him fhall require. FINI S. 1. I PRINTS Published by the Late W. HOGARTH: Genuine Impreffions of which are to be had of Mrs. HOGARTH, at her Houfe in Leicester Fields. Frontispiece Harlot's Progrefs, in fix prints 1 Marriage a-la-mode, in fix prints Four Times of the Day, in four printsi Before and After, two prints Midnight Conversation Diftreffed Poet Enraged Mufician Southwark Fairvi Mr. Garrick in the Character of King Calais, or the Roaft Beef of Old England o Ditto, with Alterations Mofes brought to Pharoah's Daughter Strolling Actreffes dreffing in a Barn Bishop of Winchester The Effects of Idlenefs and Industry, exemplified in the Conduct of two FellowPrentices, in twelve prints Lord Lovat Sleeping Congregation O O IO 5 2 6 6 3 0 Prints Published by the late W. HOGARTH. Country-Inn Yard 1. s. d. O IO Paul before Felix, in the manner of Rembrant o The Bench Beer Street and Gin Lane, two prints Two prints of an Invasion A Cock Match The Five Orders of Periwigs The Medley The Times O I O 0 I 6 Wilkes Bruifer Finis 2 O N. B. Any person purchasing the whole together, may have them delivered bound, at the Price of Thirteen Guineas; a fufficient Margin will be left for Framing. 3 |