KEY TO SECOND VERSE.

1. Raise the right hand about as high as the face, pausing for an instant on the word marked a.

2. Continue the gesture in the same direction, turning the hand, meanwhile, until the palm is up; finish the motion on the word marked b.

3. Raise the left hand and drop the right, completing the gesture by placing the arms across the breast on the word marked c.

4. Extend both arms a little, keeping the palms of the hands turned outward, at the same time avert the face from the right shoulder. Finish gesture on word marked d.

5. Elevate the right arm and drop the left, until they are brought into a line, on word marked e.

6. Raise the left arm and depress the right, at the same time drawing the hands in toward the face with the palms outward. In connection with this gesture, the body should be bent slightly forward, and the eyes raised. Complete the gesture on the word marked f, and after a slight pause suffer the arms to resume their natural position.

7. Extend and spread both arms, pausing on word marked §. 8. Draw the hands in, and, folding the arms across the breast, throw the body into a proud, erect position.

9. Continue in the same position to the end of the sentence marked i.

10. Extend both arms, and, keeping them about eighteen inches apart, finish the motion on the word marked k.

11. Bring the hands together, with the palms turned downward; then raise the arms, and, describing a half_circle, finish the gesture on the word marked 1.

12. Raise, spread, and extend the arms, on the word marked m.

13. Draw the hands in toward the shoulders, keeping the

palms toward each other; then extend the arms, and, at the same time dropping them, finish the gesture on the word marked ".

NOTE. Every part of the human frame contributes to express the passions and emotions of the mind, and to show in general its present state. The head is sometimes erected, sometimes hung down, sometimes drawn suddenly back with an air of disdain, sometimes shows by a nod a particular person or object; gives assent or denial by different motions; threatens by one sort of movement, approves by another, and expresses suspicion by a third.

The legs advance or retreat, to express desire or aversion, love or hatred, courage or fear, and produce exultation or leaping in sudden joy; and the stamping of the foot expresses earnestness, anger, and threatening. Sheridan.

CHAPTER VI.

DESCRIPTION OF STAGE.

The stage should be elevated some two or three feet above the level of the floor, so that the audience may have a full view of all that occurs upon it. Common pine boards, placed upon trestles of the height required, should be firmly held in their places by nails or otherwise. To conceal the front of the stage, some drapery may be tacked along, and allowed to fall as low as the floor. At each corner of the stage, should be placed an upright piece, of some six or eight feet in length, to support another, the length of the front of the stage, from which is to depend the curtain.

The curtain should be made in two pieces, closing in the center, and so arranged, by means of rings running on a thick wire, fastened to the horizontal bar from which it hangs, as to admit of its being drawn asunder, and closed again when required. The drawing of a stage accompanying this work will enable the reader to understand the description more perfectly.

Exit and Entrances.

R. means right; L., left.

Relative Positions.

R. means right; L., left; C., center; R. C., right of center; L. C., left of center.

Hints as to position and action upon the stage. Also, as to "Making up" for characters.

A constrained attitude must, on all occasions, be studiously avoided. Let the speaker endeavor to act as if there were

none present to observe his gestures or appearance: his positions will then be natural ones, and such ever are the most graceful. In gesturing, all angular movements must be discarded: whatever the movement, it should be made in a curved line. Be careful not to make too many gestures, and, above all, learn to stand still. (The pupil, on reference to the piece entitled "Tell's Address to the Mountains," will find a description of the gestures in most common use.)

There are a few articles necessary for the toilet of one who is dressing and "making up" for a character, of which the following is a list, as complete as can be desired on ordinary occasions. A box of Chinese vermillion; a rabbit or hare's foot, dried-used to put the paint on with; prepared chalk; India ink, and a small camel's hair pencil; a piece of cork, with one end charred; a little gum Arabic, dissolved in a small bottle; and some crimped hair, white and black.

Having the above named articles, you are prepared to "make up" for the character you desire to represent, as far the face is concerned. By "making up" is meant painting and marking the face, so as to give it the appearance of age, or any other that may be wished.

To make the face appear wrinkled, mix some Indian ink with vermillion,-a dark brown is the color requisite,-dip your pencil in the mixture, and draw a line wherever you wish to have a wrinkle. By observing the face of an aged person, you will be able to see where the lines should be drawn to produce a proper effect. Hollow cheeks, red and sunken eyes, and pinched lips, give a person's face an emaciated appearance. To produce this effect, proceed thus: rub a little burnt cork on each cheek, being careful to blend it in well with the color of the skin, so as to present no abrupt edges. This causes the cheeks to appear hollow. To heighten the effect of the cork, the other portions of the face, those about the cheek-bones especially, may be thrown into relief

by the application of the chalk. Painting the outer corners, and under lids of the eyes with red, gives them a swollen appearance, as if caused by weeping. To sink the eye, tinge the under lid with burnt cork. Now apply a few wrinkles, and the face is "made up." In representing old men, whiten the eyebrows and beard.

A cropped, light-colored wig, a red nose, and eyebrows heightened by a dash of red above them, give the face a comic appearance.

Much artistic skill may be shown in "making up" the face; therefore, practice is the only means by which the pupil can learn all that is necessary. Let him remember that, to look like the character he would represent, attention must be paid as much to the externals which would mark the character, if it really existed, as to the language it is supposed to utter; and that to identify himself with it in all respects is the only way by which he can produce a proper effect upon those before whom he is playing.

When a piece is ended, the persons remaining upon the stage should so dispose themselves as to produce a picturesque effect, if a tableau is needed; if no tableau is necessary, they should range themselves at equal distances apart,— those in the centre being a little further back than the ones at the side, so that a slight curve may be formed in the line upon which they are standing.

In studying dialogue pieces, such as farces, dramatic extracts, etc., it is not necessary, nor indeed expedient, for the scholar to whom any one part may be assigned to study all the others. He should study the sentence, or a portion of it, consisting of four or five words, immediately preceding each speech or exit and entrance of his own. The sentence to be so learned is called the cue, or hint to what follows it. To make our meaning perfectly plain, we will illustrate it by an example.