So live, that when thy summons comes to join
The innumerable caravan, that moves

To the pale realms of shade, where each shall take
His chamber in the silent halls of death,

Thou go not, like the quarry-slave at night,

Scourged to his dungeon; but, sustained and soothed
By an unfaltering trust, approach thy grave

Like one who wraps the drapery of his couch

About him, and lies down to pleasant dreams.—Bryant.

LESSON XXXI.

Actions of the Hand.

The actions of the arm are what are usually known as gestures. Although, as we have seen, gestures may be made elsewhere, the arm has almost a monopoly of The arm is divided into upper arm, forearm, We begin with the hand.

them.

and hand.

I.-Simple Indication. (Fig. 17.)

Point with the forefinger of either hand toward some object; be sure that the

movement is from the wristthat is, that the hand alone and

not the forearm moves. Have

I

the arm near the body in an easy and natural attitude. The other fingers of the hand should not shut tightly, but be allowed to fall easily into a curved position. The forefinger here is active, the other fingers are passive. The thumb should not fall lifelessly inward, but should have a degree of activity, being expanded outward and upward in proportion to the activity of the forefinger.

The thumb is always more or less active in all animated, healthy conditions of mind and body. A relaxed thumb indicates either lack of vitality, indifference or passivity of mind, or weakness of intellect. Of course, in rest and sleep, the thumb, like the other parts of the body, is passive, and in portraying sleep, fatigue, or death, the thumb should be relaxed.

Point upward, downward, forward, outward, at the side, and inward across the body, with the arm in various attitudes. Use expressions like "Look at this table!" In carrying the hand outward at the side be careful that the outward movement is edgewise, or, as that the edge of the hand leads.

we say,

A graceful gesture is always made in the easiest manner. The edge of the hand, like the bow of a boat, passes through the air with the least resistance; the palm, on the contrary, seems to push away the air by sheer force. It is plain that the edgewise movement will appear more graceful and easy to the eye of the beholder, while the palm leading gives an impression of greater strength because seeming to overcome

greater resistance, or, at least, being capable of overcoming it if it were present.

The back of the hand is the weakest as the palm is the strongest side of the hand, and all gestures in which the back of the hand leads seem weak and ineffective. Avoid, therefore, leading with the back of the hand, unless you intend to give an impression of weakness.

II.-Beckoning.

Beckon with the hand, that is, indicate yourself. "I myself;" "come here!"

III.-Admiration.

Lift the hand, palm outward, with gentle activity of the fingers, much as if you would caress something before you, or, more strongly, as if to exhibit something on your palm. This expresses admiration, pleasure in something before you in reality or in imagination; with very gentle action it shows a wish to caress the object. "It was magnificent!" "How beautiful she is!" "How soft and warm!"

IV.-Repulsion.

Raise the hand, palm outward, with all the fingers active and spread apart, as if to ward off something from the body.

This is the attitude of sudden surprise or fear, or whenever there is a feeling of repulsion or desire to

ward off something.

“keep off.”

"Oh!" "ugh," "disgusting,

Combine actions and attitudes of the head with these

gestures.

EXAMPLES FOR PRACTICE.

Now, in building of chaises, I tell you what,

There is always somewhere a weakest spot;

And that's the reason, beyond a doubt,

A chaise breaks down, but doesn't wear out.-Holmes.

Flower in the crannied wall,

I pluck you out of the crannies;—
Hold you here, root and all, in my hand,
Little flower;-but if I could understand

What you are, root and all, and all in all,

I should know what God and man is.-Tennyson.

Beneath a rose, as morning broke,

An angel from his sleep awoke.

Pleased with the flower above his head,

So fair and beautiful, he said:

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Thy fragrance and thy cooling shade
Have doubly sweet my slumbers made.

"Fairest of flowers on earth that grow,
Ask what you will, and I'll bestow."

"Grant, then," it cried, "I'll ask no more,
Some charm no flower has known before!"

The angel first seemed at a loss,
Then clothed the bush in simple moss.

And lo! the moss rose stood confessed,
A lovelier flower than all the rest.

The Moss Rose."

LESSON XXXII.

Articulation.-Continued.

The middle of the tongue rises to form the consonant y.

K and g are formed by the shutting together and recoil of the back of the tongue and the soft-palate. Ng is the nasal sound in this position.

S and sh are hissing sounds made through the nearly closed teeth.

Z and zh are buzzing sounds in much the same position. (Zh represents the sound of z in azure and of g in rouge.)

Tsh is the best representation of the sound of ch in chin, church, much.

Dzh is the sound of j and soft g in Jane, age.
Kw is the sound of q in queer.

Ks is the sound of x in vex, text.

Many consonants stand for different sounds.

It will

be found that the list we have given covers the entire field, the various letters and combinations omitted being simply duplicates of these. Thus: ch hard in choir is the sound of k; e is either s or k according as it is hard or soft, as in cinder, cat.

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