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ORATORY.

perature; neither too moist nor too dry. All excesses affect theorgans one or other of these ways.

i. A strong voice is very serviceable to an orator, because, heis thereby capable to make himself heard. And if at any time heis forced to strain it, he is in less danger of its failing him beforehe has finished his discourse. But he who has a weak voice,should be careful not to strain it. He ought to begin low, and risegradually to such a pitch as the key of his voice will easily carryhim, without being obliged to sink afterwards. Frequent inflec-tions of the voice will be some assistance to him. But he shouldtake care to speak deliberately, and ease his voice, by allowing duetime for respiration at all the proper pauses.

ii. A voice is said to be clear, when the organs of speech aresuited to give every single letter, and all the combinations of themin syllables and words, their proper and distinct sound. Such avoice is very agreeable to the hearers; and no less so to the speak-er, as it saves him a great expence of spirits. For a moderatevoice, if clear, will be as distinctly heard, as one much louder, ifobscure. This is a great advantage to the speaker, because hecan better help his voice under command, and modulate it atpleasure. An obscure and confused voice is not always occa-sioned by a deficiency in the organ ; but is often the effect of abad habit. The most likely way to mend such faults is to speakdeliberately.

iii. A full voice differs from a strong or a loud voice. It fillsthe ear, but it is often not pleasant. And therefore to render itso, it should be frequently varied. Yet it seems better suited tothe character of an orator, than a small and shrill voice ; becauseit has something in it more grave and manly. And those, whohave the misfortune of a very small voice, should be cautious ofraising it to too high a pitch, especially at once ; because the sud-den compressure of the organ is apt to occasion a squeaking anddisagreeable sound.

iv. A soft and smooth voice is the most musical, especially if itbe flexible. Nothing is less harmonious, than a voice that is harshand rough. From these properties of the voice, we may concludethat to be the fittest for an orator, which is moderate, distinct,firm, clear, and smooth, and easily flexible to the several varia-tions of sound, which the various parts of the discourse may re-quire.

Of Gesture.

By gesture is meant, a suitable conformity of the motions ofthe countenance, and several parts of the body in speaking, tothe subject matter of the discourse. The word is here used in alarger sense than is done in common language. For we rarelyuse that word to denote the motions of the countenance, but asthese make a considerable part of our present subject, they musthere be comprehended under this term. It is not agreed amongthe learned, whether voice or gesture has the greater influenceupon us. But as the latter affects us by the eye, as the formerdoes by the ear, gesture seems to have this advantage, that it con-veys the impression more speedily to the mind. Nor is its in-fluence less upon our passions ; nay, in some instances it appearsto act more powerfully. A cast of the eye shall express desirein as moving a manner as the softest language; and a differentmotion of it resentment. Nor is it in some respects less variousand expressive than language. Cicero tells us, he often divertedhimself by trying this with Roscius the comedian ; who could ex-press a sentence as many ways bv his gestures, as he himself bywords. And some dramas, called pantomimes, are carried onwholly by mutes, who perform every part by gestures only, in away very intelligent, as well as entertaining to the spectators.Well therefort might Cicero call action (or gesture) the languageof the body, since it is capable in so lively a manner to expressboth our ideas and pas,ions. But with respect to oratory, ge-turemay very properly be called the sccind part of pronunciation; inwhich as the voice should be suited to the impressions it receivesfrom the mind, so the several motions of the body ought to be ac-commodated to various tones and inflections of the voice. Whenthe voice is even and moderate, little gesture is required ; andnothing is more unnatural than violent motion, in discoursing uponordinary and familiar subjects. The motions of the body shouldrise therefore, in proportion to the vehemence and energy of theexpression, as the natural and genuine effect of it. It is hardly

necessary to mention, that by the uniform practice of all nations,the most proper poslure for a public speaker is to address his au-dience standing. But though standing appears to be the mostproper posture, yet it is very unbecoming for the body to be en-tirely without motion. It should not long continue in the sameposition, but be constantly changing, though the motion be verymoderate. There ought to be no appearance of stiffness, but acertain ease and pliableness, suiting every expression ; by whichmeans, when a greater degree of motion is necessary', it will ap-pear less sudden and vehement : for as the raising, sinking, andvarious inflections of the voice must he gradual, so likewise shouldthe motions of the body. It is only on some particular occasionsthat an hasty impetuosity is proper in either case. As to the se-veral parts of the body, the head is the most considerable. To lift,it up too high has the air of arrogance ; to stretch it out too far, orthrow it back, looks clow'nish ; to hang it downwards on the breast,shows an unmanly bashfulness ; and to suffer it to lean on eithershoulder argues indolence. Wherefore in calm and sedate dis-course it ought to keep its natural state, an upright posture. How-ever, it should not be long without motion, but gently turn some-times on one side, and sometimes on the other, as occasion re-quires, that the voice may he heard by all who are present. Itshould always accompany the other actions of the body, and turnon the same side with them ; except when aversion to any thing isexpressed, which is done by stretching out the right hand, andturning the head to the left. But it is the countenance that chieflyrepresents both the passions and disposition of the mind. By thiswe supplicate, Uneaten, sooth, invite, forbid, consent, or refuse,without speaking. But the several parts of the face hear their part,and contribute to the proper and decent motion of the whole. Ina calm and sedate discourse, all the features retain their natural ap-pearance. In sorrow, the forehead and eyebrows lour, and thecheeks hang down. But in joy and cheerfulness, the foreheadand eyebrows are expanded, the cheeks contracted, and the cor-ners of the mouth drawn upwards. Anger and resentment con-tract the forehead, draw the brows together, and thrust out thelips. And terror elevates both the brows and forehead. See LeBrim’s description of the effects of the passions on the features,under the article Drawing. But as the eyes are the most activeand significant, Cicero advises, that the greatest care should betaken in their management. We readily guess at a person’s in-tention, by his eyes. And any sudden change or emotion of themind is presently followed by an alteration in the look. Inspeaking therefore upon pleasant and delightful subjects, the eyesare brisk and cheerful; as, on the contrary, they sink and are lan-guid in delivering any thing melancholy and sorrowful. A gen-tle and moderate motion of the eyes is in an orator most suitable,always directed to some of the audience, and gradually turningfrom side to side with an air of respect and modesty, and lookingthem decently in the face, as in common discourse: such a beha-viour will of course draw attention. But as all the passions are inthe most lively manner expressed in the eyes, their motions oughtto vary according to the different nature of those passions they aresuited both to discover in the speaker, and convey to his hearers ;since, as the quickest access to the mind is by the sight, a properwell timed look will sooner effect this than can he done by words.As to the other parts of the body, the shoulders ought not to beelevated ; as it contracts the neck, and hinders the proper motionof (lie head. Nor, on the other hand, should they be drawndown, and depressed ; as ibis occasions a stiffness both to the neckand the whole body. Their natural posture therefore is most easyand graceful. A continued motion of the arms any way, is to beavoided. Their action should generally be very moderate, andfollow that of the hands unless in very pathetic expressions, whereit may he proper to give them a more lively spring. The handsneed never he idle. Quintillian seems (o think them as necessaryand powerful in action, as Cicero does the eves. “The hands(says he), without which all gesture is lame and weak, have agreater variety of motions than can he well expressed ; for theyare almost equal to our words, In short he styles them “ the com-mon language of all mankind.” Now, all bodily motion is eithi rupward or downward, to the right or led, lorwarif or backward, orelse circular. The hands are employed by the orator in all theseexcept the last. And as they ought to correspond with our ex-pressions, so they ought to begin anti end with them. In admira-4 tion