197. POSITION.

The impression made by a reader or speaker as he steps upon the platform and takes his position is of great importance. If his walk be irregular, halting or haughty, and the position assumed be ungraceful and betray uneasiness or a want of proper respect for his auditors, his performance must contain much merit to overcome the prejudice he has already excited in his audience. On the other hand, a firm, elastic step, followed by a graceful attitude that occasions no unfavorable impressions, wins commendation at the start; and his hearers become sympathetic and approving from the beginning.

198. Positions of the Feet.

Stand erect with the shoulders well thrown back, the chest full and slightly elevated. Support the body mainly on one foot, the other lightly touching and → advanced from three to six inches. The angle formed by the feet while in this position, should be a little less than a right angle, say eighty degrees.

and balance the body, which is thrown a little forward, with the toe of the right foot.

200. Changes of Position.

In the delivery of unemotional thought there should be few changes, and all movements should be performed within a limited space. In the expression of emotional thought and heated passion, change of position, and greater freedom of movement are permissible; yet even here, the speaker must confine himself within the bounds of propriety. The impetuous, headlong, and boisterous plunges up and down the platform suggest not strength and vigorous emotion under the control of a powerful reserve force, but ungovernable weakness and instability. Never move until the occasion impels you to do so, and you will not go far astray.

201. Position of the Head.

The head is presumed to guide the motions of the body, and should be so held as to command the respect of an audience. Its various positions foreshadow the thought before it is expressed. An erect position of the head suggests confidence, dignity and honor; thrown back, humor, pride or vanity; inclined forward, humility and grief; inclined aside, languor; while a tossing motion implies contempt and anger. 202. Expression of the Eyes.

The eyes are particularly expressive of emotion. It is here the mysterious workings and changes of mind are imaged forth in unmistakable language. In

reading turn your eyes from the book to your hearers as frequently as possible; this secures attention and often supplies the place of appropriate gesture. In speaking or recitation look into the eyes of your audience, not at the walls, nor assume that vacant stare which masses the people into so many inanimate objects. In personation look in the direction of the person to whom you are supposed to be speaking, and not at the audience. At all times keep your eyes open, have a purpose in them, and not an undecided expression of uncertainty.

203. The Arms.

When not employed in gesture the arms should hang gracefully by the sides or one may be placed at the waist, as represented in the figures 1 and 2.

204. Position of the Hands.

1. The various positions assumed by the hand are highly significant, and should be thoughtfully studied.

2. In repose the hands should be a model of grace; the forefinger should be gently extended, the thumb extended and nearly parallel with the first finger; the second finger slightly curved, the third curved more than the second, and the fourth, or little finger, forming a semi-circle. Study the attitudes of statuary and adapt your positions to those models that are regarded as specimens of the highest art.

3. The hand is said to be supine when open, fingers relaxed and palm upward, indicating entreaty, appeal, light, joyous emotions, and general description,