it were, with his hand reversed, to banish that cruel and afflicting recollection." (Fig. 113.) 113 The significant gestures, however numerous and correct, which a great actor makes in the representation of an entire dramatic character, bear no proportion to the number of those gestures which do not belong to this class, and which are no less necessary, though they are not so splendid and imposing. The painter is struck by the boldest and finest of the significant gestures, which are called attitudes; and he records them: they are the proper objects of his art; they are striking, and less evanescent than the other gestures which pass unnoticed by him, although they make up by far the greater and more important part of the gestures requisite for illustrating the sentiments. These less prominent gestures give to the declamation its precision and force. A slight movement of the head, a look of the eye, a turn of the hand, a judicious pause, or interruption of gesture, or a change of position in the feet, often illuminates the meaning of a passage, and sends it, full of life and warmth, into the understanding. And the perfection of gesture, in a tragedian, will be found to consist more in the skilful management of the less showy action, than in the exhibition of the finest attitudes. Attitudes are danger ous to hazard: the whole powers of the man must be wrought up to their highest energy, or they become forced and frigid. Excellent players have been seen, who have never ventured an attitude; but none, deserving the name of excellence, have ever appeared, whose declamation has been deficient in precision or propriety Where all the solid foundation of just and appropriate action has been laid, attitude, when regulated with 12* taste and discretion, may be added to ornament the superstructure; but, when it is introduced unseasonably, or is overcharged, it is an evidence of deficiency of understanding, as well as of depravity of taste. shf 186 Fig. 185. This arm shall vindicate a father's cause. G. Dau'r., A.1, S. last. A widow cries, Be husband to me, heaven. K. John, A. 3, S. 2 Fig. 187. Fig. 188. 32 * D Bcl ef U heq bn---hdx Pity and forgiveness. a RIK R1 Venice Preserved, Act 5, §. 1 |