The tuneful voice, the eye that spoke the mind

Are gone, nor leave a single trace behind."

The author of the verses to the Memory of Mr. Garrick, spoken as a monody by Mrs. Yates, has fallen into the same sentiments, and has more fully developed them." After speaking of the security of the fame of the painter, the sculptor, and the poet, he laments the short-lived remembrance of the actor, in these beautiful lines:

"Such is their meed, their honours thus secure,
Whose hearts yield objects, and whose works endure.
The actor only shrinks from time's award;
Feeble tradition is his memory's guard;

By whose faint breath his merit must abide,
Unvouch'd by proof, to substance unallied!
Even matchless Garrick's art, to heav'n resign'd,
No fix'd effect, no model leaves behind.

The grace of action, the adapted mien,
Faithful as nature to the varied scene;

Th' expressive glance, whose subtle comment draws
Entranc'd attention, and a mute applause;
Gesture that marks, with force and feeling fraught,
A sense in silence, and a will in thought;
Harmonious speech, whose pure and liquid tone
Gives verse a music, scarce confess'd its own;

As light from gems assumes a brighter ray,

And cloth'd with orient hues, transcends the day!

Passion's wild break, and frown that awes the sense,
And ev'ry charm of gentle eloquence,

All perishable!-like th' electric fire,

But strike the frame, and, as they strike, expire:

Incense too pure a bodied flame to bear,

Its fragrance charms the sense, and blends with air.

27 Said to be R. B. Sheridan, Esq.

Pp

Where then, while sunk in cold decay he lies,

And pale eclipse for ever veils those eyes!

Where is the blest memorial that ensures

Our Garrick's fame-whose is the trust?'tis yours.'

9928

28 Mr. Steele, in his Prosodia Rationalis, has most ingeniously and perfectly recorded in certain passages Garrick's manner of delivery as to the modulation of his voice. From the present system of notation combined with that, and aided by the arts of painting and engraving, permanent monuments and valuable models of the transitory excellence of delivery might be preserved for entertainment or improvement.

CHAPTER XI.

OF THE POSITION OF THE FEET AND LOWER LIMBS.

The similarity of gestures affords opportunity for classification Every part of the human body contributes to the perfection of gestureEnumeration of the parts most necessary to be considered-The position of the standing figure should be manly and decorous-The positions of the feet and their notation-Moderate and extended positions-Equilibrium of the body and limbs-Changes of position-Walking and running-Steps with the notation.

THE

CHAPTER XI.

Of the Position of the Feet and lower Limbs.

HE variety of gestures, of which the human figure is capable, in all the motions, positions, and combinations of the head, the body, and the limbs, may almost be accounted infinite.' In this great variety there appears however a similarity and relation among many gestures, which affords opportunity for classification and nomenclature: so that however unattempted hitherto in this view, the art of gesture and its notation (that is the representation of any gesture by appropriate symbols) seems capable of being reduced to a regular system. In a first attempt many difficulties are to be encountered, which united efforts may hereafter remove, should the art be thought worthy of cultivation; and many imperfections and omissions must be expected, which future attention, and the suggestions of judicious critics may supply. The candid reader will give all just indulgence to the novelty and difficulty of this attempt.

Comely and in act

Rais'd, as of some great matter to begin.

As when of old some orator renown'd

In Athens or free Rome, where eloquence

Flourish'd, since mute, to some great cause address'd,

Stood in himself collected, while each past

Motion, each act, won audience ere the tongue. Milton, Book ix. p. 668.