Gesture and Patnomimic Action

ACTI9N
GESTURE
AND
PANTOMIMIC ACTION
BY
FLORENCE
A.
M:\Y
EDGAR
S.
FOWLE ADAMS
YORK
W RN
1.
FM
Copyright, i8gt,
BY
FLORENCE A. FOWLE ADAM:
A.
J.
PHILPOTT 4 CO., PRINTERS,
TO MY
DKAR
F ATI IKK
\VH-'SK I.YIN'. INTEREST
AND
THK
ASSISTA
li
)is
IS
l-n>irAIT.l>
AND MOTIIKK,
IN A!
i3ook
Nl> r.KATIi:
AUTHOR'S
IN
:ini
present
in--
hook ID the public
thi.-.
want lung
supplying
I'UKl-ACE.
felt
I feel
tl.
by teachers, stu-
dents, readers, etc.

Thi'iv
am many
an- almost enti>

is
works upon the subject \vl

ami while theory
ely theoretical
:
certainly indispensable to the stud\
practical
work which
is
the
required to pro*
best and most material results.
Of what use
is it
pound the theory
to a person to be able to ex-
and philosophy
he cannot exemplify the results in his
What he m'eds
the
st'it'leiied
is
work
of the
if
own body?
go<d practical train
muscles and put grace
awk-
ii
ward limbs.
It
is
for this
pii'-p<
se that
hook and have endeavored

practical,
ble.
and
at
The work
the
is
same
to
ha',
make
tii;
arranged
practical leSSOQfl easily
in the
it
thnnn:
.pie
form
as possiof
-rasped by the no\
simple
CONTENTS.
PHILOSOPHY or Exi'UE>M'
>N
g
:>N
r.\M"\n.\;
x
-:.>N
,,
RELAXING EXERCISES
RECO.Ml'osiNC;
ZONAL
III
VISIONS OF BODY
I'RIXCiri.!>
il-'
PANTOMIME
nan
HARMONIOUS
I'Kol'KR
OF imuv
I'.IIAKIM;
CAKKIA(iE OF BODV
60
THE WALK
THE COURTESY
6t
64
SMTIM;
RISINC
K\EI-:I.IM;
EXERCISLS
...:...
SLITINi;
IN
"
"I^Ls
66
1'ivoriNi;
EXTREssioNs OF Tin: iiii AND
THE HANI)
SOME OF THi
INI Li
'
)R
SIM1
THE HAND
So
CONTENTS.
iv
....
COMPLEX GESTURES OF HAND
PAGE.
84
THE ARM
85
THE SHOULDER
85
THE ELBOW
86
EXPRESSIONS OF ARMS
ATTITUDES
EXPRESSIONS OF ARMS
GESTURES
88
THE TORSO
g'o
91
EXPRESSIONS OF THE TORSO
ATTITUDES
GESTURES
91
93
THE HEAD
94
EXPRESSIONS REVEALING INWARD CONDITIONS OF
MIND
IN ITSELF
94
EXPRESSIONS REVEALING THE RELATION EXISTING
....
BETWEEN SUBJECT AND OBJECT
THE EYE
THE EYEBROW
102
...
102
......
107
COMBINATIONS OF EYE AND BROW
THE MOUTH
EXPRESSSIONS OF JAW
SIMPLE EXPRESSIONS OF LIPS.
...
COMPLEX EXPRESSIONS OF LIPS

PANTOMIME
SELECTIONS FOR PANTOMIME SISTER HELEN
SISTER
HELEN ARRANGED
94
101
Ft >K
PANTOMIME
THE FAMINE ARRANGED FOR PANTOMIME

.
.108
no
115
118
THE STORY OF THE FAITHFUL SOUL
107
I2Q
155
.182
STORY OF THF FAITHFUL SOUL ARRANGED
FOR PANTOMIME
l86
CATHEDRAL SCENE FROM FAUST

ARRANGED FOR PANTOMIME
.196
213
GESTURE
AND PANTOMIMIC
ACTION.
PHILOSOPHY OF EXPRESSION.
'""PHE
first
are
requisites of dramatic
In the
first place,
the power of com-
plete surrender of the will to the emotions,
secondly, the entire subjectivity of the
and
its
agents to the
What
and
unh-
will.
the will?
is
It is the
It
power of self-determination.
creates forms of action in the body suitable
to reali/e the
And
what
purpose of the
is
the bein^?
beini;'."
Is
not
it
and the
body one and the same?
Ah, there yon

merely the
for the
shell
are wrono-.
The body
is
or outward material coverinj;-
hein^ and
mortal and
is
perishable,
EXPRESSION.
while the being
is
that mystic, subjective, im-
man
mortal and imperishable portion of

soul.
the
For
"
Dust thou
Was
All expression
the being
art,
to dust returneth,
"
not spoken of the soul
but the manifestation of
is
by the body and
its
ayeuts.
So to
the student of expression I will say, that the

art of truly manifesting
or motion of the
body
by some
or
its
sign, position
agents, the emo-
which sway the being, is the only true art

But it must be remembered
expression.
tions
of
that signs, positions, motions,
etc.,
are not in
themselves expressions, but only the instru-
ments of expression, and that they are never

truly expressive only
when they
the being.
spectator the mystic life of
The student must
reveal to the
also develop the element of
spontaneity as ah manifestations of the being

are spontaneous.
He must
likewise be able to
wholly conceal from the view of the spectator

the mechanical means by which he arrives at
his
effects,
for
the
moment
that
becomes apparent, that instant
his
median ism
movements
EXPRESSION.
cease to be effective, as
all
sense of eilort
expression ohscnro and mi>lead>
tin-
in
mind of
the spectator and hrin^s into view the machi

of only the effects
instead
produced
tliat
hy
machinery.
There are three

in
man
i-oca.1,
distinct
forms of e\preion
verbal
VOCAL EXPRESSION".
VOCAL EXPRESSION
is
lan^naê of
tlie
physical or vital principle of hein^.
manifestation
by the natural
tones
voice
of the
nature.
K.^nu^li
of
or
the
inarticulate
the vital
or
the i;Toan, the
It is
tin-
ph\
laii^'h,
the
lanûa^-e
of
cry.
VFJIHAL
VERBAL
reason.
tones
Tones
EXPKKSSION
It
is
in
is
the
the manifestation
the
of
EXPRESSION.
reflective
hy articulate
of
principle
hein^.
themselves are inarticulate and
and manifest conditions

ticulation or speech
pression, and
is
is
sensations
form îven
vital.
hut
to vocal
\-
mental, manifesting reflection.
EXPRESSION.
10
PANTOMIMIC EXPRESSION.
PANTOMIMIC EXPRESSION
is
the language
o o of
It is the manifestation
the soul.
tudes, bearings or gestures of the
agents, of
body or
its
emotions of the being.
Pantomime manifests the

is
atti-
the reflective, emotive or essential
states, characteristics or
speech
by the
the
effect,
and
cause,
which
of
as a general rule should
precede speech, for unless the cause
is
perceived
before the effect, the full meaning and expressiveness of the effect
is lost.
Never allow the voice

gesture,
and do not
to usurp the place of
strain for effects
the emotion be truly felt
by the
artist,
for
if
and he
has thoroughly trained himself to the perfect

expression of that emotion, the inward emotion
and the outward expression of that emotion

will sufficiently color the voice
effort
that
on the part of the
it is
without conscious
artist.
We
all
know
impossible to speak in an angry tone,
or in a tone of menace, with an expression of

joy or happiness
The
upon the
face.
great Regnier used to say to his pupils
EXPRESSION.
11
that in order to read well one must be true ami

sincere,
speak
simply,
and above
all
tli
avoid a sing-song method of speaking.

So,
of
forms
master
these
expression,
thoroughly
and the coloring of the voice, without which

reading or speaking would be but dull and
sipid, will follow easily
all
in-
and naturally from the
expression shown upon the face, ami the fare
should express the
than the voice.
clunn.i-
of
y^/.s.v/o//
rather
RELAXING EXERCISES.
Refore beginning the study of the laws and
principles of Pantomime,
body
in a
fit
we must
first
put the
condition to express our emotions
and most
in the highest
artistic
For
manner.
purpose we have the relaxing exercises,

which give flexibility to the muscles and joints
this
and
thus
free
thoroughly
the
channels
of
expression.
These exercises develop the faculty

will of
complete
in the
self surrender.
EXERCISE
FOR FINGERS.
I.
1.
Grasp
left
hand, thumb of
upon palm of left, fingers

of right upon back of left, back
right
of left parallel with floor. With-
draw energy from fingers of

and shake with
right.
Practise these
one hand, then with the other.

12
first
left
with
RELAXING EXEK(
M'ISK
13
II.
left
(h-a>p
thumh
of
of right upon hack

fingi-r>
left,
upon palm of
of
right
left,
palm
Withdraw energy from
parallel with ground.
fingers of left hand,
hand,
and shake with the
right
hand.
EXERCISE
3.
Grasp the
hand with the

the
thumh
of
III.
left
right,
right
hand resting upon the
palm of left, side of

hand parallel with ground. Withdraw ei;
of left hand and shake them with
from iin-'-ers
D
hand.
F.XKUCiSi:
IV.
FOR
Will-
1.
Hold the arm
this position, the
hanging
wei"'ht
o
a>
from
in
hand
dead
ton-arm,
RELAXING EXERCISES.
14
Put no energy in the

hand, the whole force should come from foreShake from forearm.
arm.
the forearm a
Imagine
O
stick,x
and the hand a
You
can readily
glove fastened to one end.
see that when the forearm, or stick, is shaken,
the glove, or hand, will simply flop.
2.
Hand
position,
in
this
thoroughly
relaxed, shake.
Hand
3.
in this position,
shake.
4.
Hand
in position of Exercise 1.
Shake
forearm with a rotary motion. This is to be

done with the hand in the three positions.
EXERCISE V.
FOR FOREARM AND ELBOW.
Raise upper arm to level of shoulder, allowing forearm and hand to hang as a dead weight.
Shake upper arm from shoulder. This is the

most difficult of all the relaxing exercises, ir.d
must be practised very
carefully.
RELAXING EXERCISES.
KXKIICISK
shoulders,
Arms
2.
WHOLE AKM.
VI.
Arms hanging
1.
will
rotate
1
the
swing
O in
lo
dead
from
weight
body from the
ankle>.
all direction*.
Withdraw
Raise arms above the head.
energy from them, arms
will fall a
dead weight
to side.
3.
Arms hanging
relaxed
from shoulders,
impel the body forward and hack, takn
wide base for the feet and bending the knees.
Begin slowly, and gradually increase the imArms will swing as a pendulum, and
petus.
as the impetus increases,
they
will
gradually
describe a circle.
EXERCISE
1.
FOR SHOULDERS.
VII.
Arms hanging
at side.
Throw arms up
allowing barks of hands to strike above the
Keep elbows straight, and arms relaxed,

As the muscles of the shoulders
but not still'.
head.
become relaxed the backs of hands

with perfect ease.
ercise
It is
will
meet
better to begin thi-
by throwing one arm up
at a time,
giving
RELAXING EXERCISES.
16
it
sufficient
impetus to carry
it
over as far as
possible.
2.
Raise arms directly in front of body to
level of shoulders, wrists crossed.

3.
Throw arms behind body.
Be
careful to
keep elbows straight and arms upon level of

If this is not done, the shoulder
shoulders.
muscles do not receive the full benefit of the
exercise.
Do
not strain the muscles in your
endeavor to relax them.

easily
and
carefully.
EXERCISE
1.
Practise this exercise
THE HEAD AND NECK.
VIII.
Withdraw energy from neck and allow
head to drop lifelessly upon breast. Raise it

and allow it to drop backwards, then to right,
then with a rotary motion.
Remember the head is not to be carried to these
then
left,
points but allow

2.
it
to
drop
lifelessly.
Bend body forward
at waist,
allowing
head to hang lifelessly. Rotate body at

allowing head to swing as it will.
EXERCISE
1.
IX.
waist.
ANKLES.
Withdraw energy from ankles and shake
from knee.
RELAXING EXERCISES.
EXERCISE
Stand upon a
17
X.
Lift leg as
foot-stool.
lii^!
from hip, relaxing
possible to the front
and lower part of leg completely.
life-
Drop
lessly.
EXERCISE
Same
HIP.
XI.
position as in preceding example.
free leg
x'ulc.
Drop
EXERCISE
lifelessly.
XII.
ENTIRE LEC.
Stand upon a foot-stool. Withdraw en

from free leg and swing it by a rotary motion
of the body.
EXERCISE
Upon
pends
XIII.
THK
W.\
musd-s 1-
the elasticity of the \vaUt
(ilninxt
entirely
the
sujtplriir
<f
tin-
body.
an easy position.
eles of neck, allowing head to
1.
This
Stand
will
Kelax mn--
in
draw the
torso.
muscles and allow hodv
to
fall
Kelax
fall at
forward.
the
\\ai-t
the wai-
RELAXING EXERCISES.
is
The same
far forward as possible.

at the side
conditions
and at the back.
Withdraw
energy from waist muscles.

Allow the body to fall as far forward from
waist as possible.
Rotate the body from waist.
2.
all
ENTIRE BODY.
EXERCISE XIV.
Stand
Avith
weight upon back
leg.
Bend
the back knee, at the same time inclining torso
forward and head back.

sible
Sink as low as pos-
upon back knee.
back knee, simultaneously relaxing

cles.
The body
will fall to the
EXERCISE XV.
lids
going to
EXERCISE XVI.
the mus-
ground.
THE EYELIDS.

to fall over eyes as if
all
and
allo\v
them
sleep.
THE JAW.
Relax jaw and allow it to drop lifelessly.

Grasp it with both hands and move it by iimni*
of the Jit a r/x (nil i/ from side to side, forward
i
and back, up and down, and with a rotary

motion.
RELAXING EXERCISES.
CHEEKS AM)
EXERCISE XVII.
19
I.;
Relax as completely as poîi.lc the niuof cheeks and lips.

Shake h
ôroiislv.
This exercise
first^
is
apt to caiiM- slight
and should
l>e
practised
di/./in>
only at short in-
tervals.
All of these relaxing

ticed faithfully
cretiou.
exercise-,
and regularly,
must
Imt
l>e
]
with
di--
RECOMPOSING.
We
have now thoroughly freed the muscular

tissues from their old automation, and put them
admit of the free flowing of
nervous force from one articulation to another.
in condition to
The purpose
develop this
of the recomposing exercises
last faculty,
is
to
which, when consum-
mated, gives to our movements that smoothness

which is so essential to perfect grace.
The gradual unfolding of the arm nntxt

commenced from the shoulder, the upper arm
1><
leading.
Always keep
this in
mind.
Never
under any circumstance follow the prevalent

but erroneous idea of Iwd'tny from tlte <///*/.
There are
really
but two fundamental exercises
for the development of graceful
these conquered,
all
other
arm movement
forms, which
are
combinations and variations of the fundamental

principles will easily follow.
20
RECOMPOS1
The
B6i
<>|
Their purpose i> to enahle the

pivot easily on the wri>t. in>tead (if
tlic
to
fundamental
first
wrist.
the
hand
to place itself.
EXERCISE
position,
tips of
s
down,
Then
a^'aiii.
tinue
Carry
in
this
middle
tin.
left
hand.
arm
wri>t.
arm
up
and so on. Concarry
this
for several
Be
arm
i-i^lit
hand banging relaxed.
upon hack of
rio-ht
sinking
O
I.
Hold
1.
2.
I:
movement
momen
careful
to
keep
tips
of lingers of ri^ht
hand upon hack of left throughout the e\e;

and allow the hand to he wholly ôvcnied hy
j
the motion of
arm and
wri-^t.
22
EXERCISE
II.
Gradually remove
of fingers from back of
1.
hand, but retain
tips
left
hand
left
in
the same position.
Continue
2.
the
mo-
tions of Ex. 1, being care-
keep the same space

between tips of fingers of
ful to
right
O
left,
hand and back of
throughout the exer-
cise.
EXERCISE
III.
Raise arm to level of shoulder, hand relaxed.
Sighting some object

fingers
upon that
upon the
spot.
in
fix
space,
Keeping the
spot, depress or sink the
then the elbow, then the wrist.
has attained
its full
tips
of
fingers
upper arm.
When
the
hand
development upward, slowly
drop the arm, allowing the hand to
float
through
KECOAfPOSfXG.
the
all
air. a^ a
feather.
directions and altitudes,
then with the other, then
Be
thi> cxt-ivi.se in
Pi-aril-.first
with on.- arm,
Imtli.
em-
careful not to put the sli^huM
into the hand.
The next
of that.
Let the wrist t
set of exercises lias
1'or it>
the training of the upper arm to
its
purpose
proper u>e.
Turn
1.
in
sucli
liriii"-
tin-
manner
out
elliow
and hack
upper arm
of
hand
with the hodv.
at
>ide.
parallel
RECOMPOSING.
Slowly rotate
2.
upper arm around to

front as far as possible
without straining the

muscles until palm of
hand
is
turned towards
the front.
arm
The upper
will turn the fore-
arm, and the forearm

will
turn
the
hand.
The hand should hang

relaxed,
on
and pivot up-
Be
wrist.
very
careful in turning the

upper arm not to ele-
vate the shoulder in the slightest degree.

EXERCISE
1.
12.
Turn upper arm.

Slowly raise arm
time rotating:
O
it
II.
(to front), at the
as in Exercise 1.
exercise, raising the
arm
arm must not
quired altitude
is
Practise this
to different altitudes,
from the lowest to the highest.

o
of the upper
same
reached.
The
rotating
o
cease until the
re-
RECOMPOSING.
K.\KIICISE
III.
Turn upper arm.
1.
illustration
(See
in
ise 1.)
Raise arm >lmvly to
2.
shoulder
of
level
coining
from
;t
upp.
ton-arm and hand lian-mu

ivlaxi-l
illustration
tion of the
re-ached
shoulder.
llotate
\\.
upper arm.
at
the same time sinking-
it
and hrinîn^
toward
throw
tin-
This
will
forearm
side.
the
hand
pendent.
i-llx>\v in
still
up
relaxed and
Tli-
and pendent.
>ho\vs
tlie
arm when
the
levrl
i-iit
of
has
the
DECOMPOSING.
26
4.
Straighten forearm, and lastly the hand.
Slightly raise elbow as the forearm straightens.
Practise
this
exercise
until
it
can be done
smoothly and
easily, the
nervous force
^/
flowing
in
harmonious
sue cessio n
from the shoulder
to
the tips of fingers.
THE SPIRAL.
This
merely the last exercise perfected

commenced at a low altitude and carried in conis
tinuous motion to the highest.
Commence
the same as in the last exercise,
only at a lower altitude, and just before the

straightening of forearm has ceased again raise
upper arm to the next altitude, relaxing forearm

and hand, and continue the same motion.
Allow the
tip of
of the spiral.
middle finger to trace the lines

As you near the top of your
RECOM'POSING.
must narrow,
very slight, and linallx
spiral the circles
luent
is
27
until the
iu<
'he fore-
linger forming the apex of the >piral.

Practise this e\en-ie in
all
din
pendicularlv, ohli<|iiclv, and horizontally.
In the
horizontal spiral the lines will take tlu^ form.
TIIH SERPKNTINK.
1.
Raise arm to level of
straight, haiul relaxed

"2.
Depress wrist.
hand.
shoulder,
and pendent.
elliow
DECOMPOSING.
28
Rotate
4.
forearm
from
elbow until tips

of fingers point
towards
5.
floor.
Throw
hand up upon
wrist, relaxing-
the finders.
RECOAIPOSING.
6.
Bring"
O
hand
to
shoulder, bending elbow,
hand
relaxed.
7.
hand
IiUlM-
rlbou
at >idr.
falling relaxed.
RECOMPOSING,
30
8.
Bring elbow to
turning hand out
side,
(still re-
laxed).
Send arm
9.
out, at the
gizing hand, as in the
same time ener-
first illustration.
This exercise must be practised until it will

appear one continuous gliding motion, and
must be as suggestive of the writhing of a
ser-
pent as possible.
We
tine
into
have now the feather,
movements for the arm, all

play spiral and circular lines.
The next
lines
and serpenof which bring
spiral
and
is
composed of straight
the commanding movement.
exorcise
called
is
RECOMPOSL\G.
EXERCISE.
IV.
1.
r in
of
level
ilder,
hand
ea-
held,
>ily
palm up,
f orefin
tended.
'2.
Carry arm hack.
elbow, until
body,
fll)o\v
brinîiiL;-
i-
\\fll
t'on-arni
vertical portion, liand
of shoulder.
Miiml
up I"
upon
DECOMPOSING.
32
3.
side,
Raise elbow out at

at
the
same time
allowing hand to
fall re-
laxed and pendent, tips

of fingers upon level of
shoulder.
4.
Extend
whole
arm
back war
d,
forefinger ex-
tended,
and
back of hand
up.
RECOMPOSI
The
force of the gesture depend- upon the
height to which the elbow

tliat is raised
a-
it
is
the more force
carried backwards,
more emphasis
keep the
to
raided
is
i-
the higher
-/iven to tin-
and consequently
the gesture.
tips of the lingers at the
Be
arm
the
careful to
same altitude
throughout the exercise, the rai>iu^ and sinking

of the arm and wrist changing the position
of hand.
varying
We
Practise this exercise in

it
will
in
all
directions,
every conceivable manner.
now
turn our attention to the head
and neck, the exercises for which are few and

very simple.
EXERCISE
I.
Carry the head down upon the breast slowly

and evenlv, then up to normal position, then
hack as far as possible without straining the mu-.-le>
of the neck, then hark to normal position.
BCI8H
Carrv the head over
hack to normal, then
II.
to right shoulder, then
to left,
and back
to
normal.
DECOMPOSING.
34
EXERCISE
III.
Slowly turn or pivot the head to left, bring

back to normal. Carry to right, then back to
normal.
EXERCISE
IV.
Drop the head forward to five altitudes.

At each altitude carry head over to left shoulder,
back to normal, then to
right,
then back to
normal.
EXERCISE
Drop
head forward
each altitude pivot to
V.
to five altitudes.
left,
At
then back to normal,
then to right, and back to normal.
EXERCISE
VI.
At
Carry the head back to five altitudes.
each altitude obey directions for fourth and
fifth exercises.
RECOMrOSING.
i:xi:i:<
1.
Bow
2.
From
carry
it
head.
tliis
easily
You
left.
vn.
ISK
altitude pivot to ri^ht, then
back
are
ohlicjucly.
now looking
Then
over
From
with head thrown hack.
how head
to i'ront,
obliquely forward (to

and return to normal.
left
pivot to
shoulder
this
position
lei'ti.
Practise these exercises until von can
the
head with perfect ease and
Vary
this last exercise in every
Pivot
move
smoothness.
manner
possible.
THE EYEBROWS.
EXERCISE
I.
Slowly contract hrows, then expand them.

;:CISE
n.
Slowly raise hrows, then lower them.
Till-
KV
AM>
i:
LID.
i.
Slowly open eye> as widely as possihle, then

slowly close them.
RECOMPOSLVG.
36
THE
NOSE.
EXERCISE
I.
Slowly expand, then contract the
nostrils.
THE MOUTH.
EXERCISE
I.
Slowly widen lips into a smile, then push

them out into a pout. Do not tighten lips but
allow them to
moVe
easily.
THE KNEE.
EXERCISE
I.
Slowly sink forward upon right knee

then sink upon left knee rise.
;
rise,
ZONAL DIVISIONS OF BODY.

The human
The
is
hotly has three ^ran.l
head, which
ail'ectional,
intellectual, the tor>o.
and the
Each of these
what are
is
di
le^s,
which
which are phvsical.
divisions arc aâin divided into
called /ones,
and these
zone.-,
form the
points of arrival and departure of a gesture.
which are
shall give only those
really practical,
as each zone can be divided, and aâin subdivided.
THE HEAD.
The upper
containing
part
mental, and
forehead
called the frontal zone.
eves
is
The
central portion containing nose
is
or
ail'ectional,
huccal zone.
and chin
physical
zone.
is
is
emotive, and
The lower
vital,
instill'
the
and
is
and
called
part containing
mouth hein^
Thi> U called
cli
the
mouth
replete with
the genual
ZONAL DIVISIONS OF THE BODY.
38
TORSO.
The upper part, or chest, is the zone of honor,
manhood and womanhood. The heart region
O
is
the
region
affectional
is
purely
zone,
vital.
and
the
Gestures directed from
or toward that region are vulgar.
must be observed
Great care
in trying to bring into play
these zonal divisions, that

action petty.
abdominal
we do not make our
PRINCIPLES OF PANTOMIME,
These are the fundamental prim
iplrs
govern-
ing the significance of pantomimic action.
I.
PRINCIPLE OF MOTI'
There are three
distinct
forms of motion.
Eccentric, (from a centre), which

explosive form of passion.
is
the vital or
Con
a centre), the intense or concentrated form of

passion, and formal, or Poistd, which is Unpossessed form of passion.
II.
VELOCITY.
This principle governs the velocity of our

"
is in
to
motions.
Velocity
moved and
force moving.
proportion
In proportion to the
depth and majesty of the emotion will lie the

deliberation and slowness in motion, and
versa.
In proportion to the superticiality or
PRINCIPLES OF PANTOMIME.
40
explosiveness of the emotion will be the velocity

of
expression in motion."
its
For example
"
When Ajax
strives
The
line too labors
Not
so
when
Flies o'er the
The
first
some
rock's vast weight to throw,
and the words move slow.
swift Camilla scours the plain,
unbending corn and skims along the main."
half
is
moved with great
suggestive of a huge mass,

toil,
heavy movement, both
in
and requires a
voice and gesture
slow,
;
but
the last half suggests to us something extremely

light
be in
So of course our gestures must

accordance with this lightness and airiness.
and
airy.
ALTITUDE.
III.
'*
Positive
emotion
rises,
falls."
you
are
negative emotion
The more
of the
positive
truth
of
your assertion, the highei*

the
arm
gesture,
is
carried in
and
rice
the
versa.
The more doubtful you
are
of your assertion, the lower
the
arm
gesture.
afford
some
slight help.
is
carried in
the
The diagram may
PRINCIPLES OF PANTOM.
41
FOIIM.
IV.
Straight lines are vital and strong.

lines are
mental
and
reflective.
Tin
Spiral
are spiritual and mystic, and an- the nio^t

tiful.
The
general contour of the ho.lv
a spiral line,
in all
and we work
our changes of position.
that
of such.
!>
t'ornix
to preserve that
line
But do not im-
agine, hecause spiral lines are the m>,t

ful,
In-uiiti-
our gestures are to be composed

If this were so the sinuo>itv of our
all
movements would soon
pall
th<
upon
tor.
FORCE.
V.
" Conscious
strength assumes icmk
Conscious weakness assume
psychically
takes a wide hase
as
it
is
far easier
<>',<//,
hut
to
attitu. ie
it
is
retain
is
attiti:
attitu.:
one which
physi;-all\
one's cijuilihrium
upon a wide hase than upon a narrow one.

is
psychically weak hei-aiiM- it shows no:
It
cle of poise or true strength.
person conscious of strength
hv having
42
upon his side truth and right needs not to

sume a physically strong attitude, in order
impress
but one who
weakness takes
this
is
conscious of his
as-
to
own
order to in-
attitude in
timidate.
REACTION.
VI.
"
its
Every extreme of emotion tends to react

Concentration
opposite."
passion to explosion,
and
emotion to prostration.
is
or
suppressed
explosive,
The
to
vehement
story of passion
concentration, explosion, prostration.
As an example
illustrative of this principle I
will
"
"
quote a few lines from the potion scene
in "
Romeo and
"
Juliet."
look, methinks I see
my
cousin's ghost, seeking out
Romeo
"
Stay, Tybalt, stay
Juliet
"
!
wrought up to the highest pitch of

and with the words " Stay, Tybalt,
is
intensity,
stay
she rushes forward as
if
to intercept
Tybalt, her passion reaching its climax upon

the last "
which she shrieks. She then
stay,"
hills,
as the over-wrought nerves give way.
VII.
of
Expression
while as
SEQUF*
face
/////.</
precede
rule ^c.sture
a Lieiieral
should precede
speech.
CLIMAX.
VIII.
Never allow ltt
n<
ijruml
<!],,
work up to this climax, ami when it is

rca'-lu'd work down from it.
The full lu-i^ht
ally
of the emotion should never he e\piv^Ml onlv
ami even then
at this climax,
be conscious
of
power
still
the >per-
let
in
The
climax of power should be expressed
by the
face rather than the voice.
IX.
NUMHKK AND DURATION OF GK-T
Kvery gesture
is
an
the
expnissii>:i of
produced upon us of some impression.

Hut
multiply gestures.
>
to
express an entire thought."
the gesture must
whi
-h
cause.
it
he held until the

melts
another impression.
a\\a;.
and
i:i;
ell'e
It-.
-ded
44
.GRACE.
X.
Perfect grace
is
three elements,
Too O<yreat
a complete blending of the
ease, precision
ease
of
manner or
to assurance, vulgarity
precise
action
or
and
manner
action lends
familiarity.
leads
to
Too
mechan-
While a superabundance of harmony leads to affectation and

sickens and disgusts the spectator.
These apical
motions and
and harmony.
stiffness.
ply to vocal and verbal, as well as pantomimic

expression.
XL
Opposition
is
OPPOSITION.
the arrangement of parts sym-
metrically around
lies all
the centre of gravity.
In
the symmetry and
harmony
must
be simOpposite movements
ultaneous, parallel movements may be successive.
The greater the number of agents which are
opposition
of motion.
brought into play the higher the form of expression.
OF
45
y./.v/'o.)//.;/
EXERCISES IN 01M
Slowly raise right arm
to front.
hand
and pendent. simultaneously bowing

Bring arm down, depressing wrist and
head.
The same
with
left
re]
head.
rai
arm. then with hoth.
n.
Raise right arm to side, hand pendent, at

the same time dropping head over right shoulder.
Bring arm down, depressing
and
rai
arm, dropping head over

shoulder; then with both, dropping head
head.
left
Same with
wri-t
left
forward upon breast.

in.
1.
Place right hand on ch
Carry right arm to right in repulsion,

simultaneously turning head to left.
2.
.'$.
1.
.">.
Drop arm. turning head

Place left hand on cli.
Tarry
left
arm
to
left in
to front.
repulsion, h
turning to right.
(j.
Drop arm and turn head
to front.
46
IV.
1.
Raise right arm to front, hand pendent,
simultaneously bowing head.
Bring arm down to level of shoulder,

depressing wrist and raising head.
2.
3.
Carry arm to right, in repulsion, head to
left.
4.
at the
Raise arm, allowing hand to
same time bowing head over
fall relaxed,
left shoulder.
Drop arm again to level of shoulder,

depressing wrist and raising head.
5.
Bring arm to front, side of hand

with floor, head turning to front.
6.
parallel
7.
Raise arm, hand relaxed, bowing head.
8.
Bring arm down, depressing wrist and
raising head.
9.
Same with
left
arm upon
left side.
v.
1.
Hand on
2.
Arm
3.
Hand and head
4.
Arm
5.
Hand and head
chest,
head bowed.
out in appeal, head thrown back.

to first position.
to right in repulsion,
head to
to first position.
left.
PRINCIPLES OF PANTOMi:.:
6.
Ann
7.
Hand and head
8.
Drop arm and
to left in repulsion,
Raise
head to ri^ht.
to first position.
raise head.
THE VEIL MOVEMENT.
VI.
1.
47
rio-lit
arm
hand relaxed.
to front,
Innvino- head.
"2.
Depress wrist and
.'5.
Carry arm to ri^ht
raise-
head.
in repulsion,
head
to
left.
4.
Retaining
raise left
.").
ri^ht
arm
this
in
arm and how head over
Depress
wrist
of
left
left
posit
shoulder.
hand and
raise
head.
6.
to
Carry
front.
left
arm
to left in repulsion,
li
Both arms are now outstretched
at
side.
7.
Turn hands, brinîn^ palms upwards.
5.
lirinir
arms
to front, carrying
9.
Hrini;'
arms
to hreast. crossing
head hark.
hands on
chest, simultaneously howino- head.

10.
Raise elhows.
11.
Carry arms out
raising head.
to side
in
declarat;
48
Depress wrists, and bring arms down.

These exercises should be practised until the
12.
movements are smooth and continuous.

vir.
Stand with weight upon right foot, left foot

Raise right arm
free and slightly advanced.
in the
commanding movement, simultaneously

depressing head.
Carry arm back, forefinger
extended, moving head
weight
to left foot.
arm,
left,
transferring
The same with
left
left foot, right foot free.
weight upon
left
to
arm,
Raise
etc.
VIII.
Weight upon
over
up
head,
right foot.
forefinger
Carry right arm

extended,
simul-
Bring arm down to

side, forefinger extended and pointing towards
ground, simultaneously raising head. The same
taneously bowing head.
with
left
arm.
IX.
Stand with weight upon

advanced.
left foot,
the right
Transfer weight to right leg, bend-
OF PANTOM
tin-
and
knee
to
raise head.
bowing head.
iii
Bring clasped
Throw
head hack.
to rlu-.M.
lowing
('h^p h
kneeling,
arm-, out
(.'lasp
licad.
hamU
iii
;r
to
!>:
:rrv-
and hrin^ tlu-ni

Carry hanl> down
h;ind>
raise head.
PRIMARY OPPOSITIONS FOR ARM

AXD HEAD.
I.
RESKJNED APPEAL TO
HEAVEN.
Ri"-ht
o
hand turned
out at side, palm to
Head inclined over ri^'lit

the front.
shoulder, eyes
to
Heaven.
rai>ed
50
II.
Arm
ACCUSATION.
raised to front,
head bowed, forefinger

of
hand
pointing
at
some imaginary person.
';
IMPRECATION.
III.
Right arm raised
directly overhead,
hand in the attitude
of imprecation, head
slightly depressed
and advanced. Left
arm
at side,
hand
in
attitude of imprecation,
slightly thrust
back, as
at
some
if
clutching
object.
IV.
51
REMORSE.
Throw head hack,

dropping right arm and
hand over head, left arm
dropping at
side.
V.
SHAME.
Bo\v head upon luva^t. at the

sainr time
carrying arm
overhead as poxsihle, and
arm
to front to hide the fa
62-
DEEP THOUGHT, GRIEF.
VI.
Raise head and lower
hand
until
it
covers the
face.
VII.
PATHETIC REPROACH.
Drop hand
to left side
of chest, head inclining

to right, eyes raised.
PRINCIPLES OF PANTOMIMl..
PATHETIC REPULSION.
VIII.
Ann
in
to left
carried to riirht, cud-
an upward
s\vee|>.
head
and depressed over
left
shoulder.
ix.
APPEAL.
Carry arm out

peal, head hack.
in aj>-
54
X.
BENEDICTION.
Turn hand
the palm
slightly
is
so that
downward,
raising arm
and bowing head.
HARMONIOUS BEARING OF BODY.

WHF.X WP stand with
both feet the body
line of beauty,
rated
tin-
will
viz:
weight e<piall\- upon

have the curves of a
two convex
cm
and joined by a concave curve.
(juently
when we change our weight
('<
so
no longer rests equally upon both fee

must keep this principle in mind. A> the
that
it
and the
le<;-
form the convex curves.
'
M> in our
changes of position we must, in order to

serve these curves, allow the head to symp;!'
pit-
with the strong le^, or the le^ upon which the
weight of
tile
body
the concave curve,

the strong
line
of
We call
lei;
this tin
These principles
(ii'nix
it
tor>o
forms
must incline
thus always preserving nature'-
beauty, as
tltc
As the
rests.
well
as
hnnnnnnnis
are
in-'
to
be
one's
JIIHS,
equilibrium.
(if
the bo.lv.
strict
the
HARMONIOUS BEARING OF BODY.
56
opposition
is
between arms and head, torso and
strong leg.
The
the feet, the
more marked becomes the
tion of
head and
greater the distance between

inclina-
torso.
EXERCISES FOB HARMONIOUS POISE.
I.
1.
Stand with weight upon right
leg perfectly free
and
at ease.
leg, left
Incline head
toward strong leg and torso toward weak

Slowly change
leg.
weight to left leg, simultaneously
inclining head to left
and torso
to right.
Gently sway from one side to the other,

strictly observing the principle for harmonious
2.
poise as the weight changes.
n.
Stand with weight equally upon both
Advance
right foot.
feet.
Sway forward, throwing
weight upon front foot, simultaneously inclining
head forward and torso back.
HARMONIOUS REARING OF BODY.
59
III.
Stand with weight equally upon hoth

Carrv ri^lit le^ hack.
Slowly MV.IV h,-k
till
upon the
simultaneously inclining head hack and
the weight of
leg,
tin-
hody
rests
torso forward.
IV.
Gently sway hack and forth from fron*

hack poi>e. carefully ohscrvin^- the ;ihove principl'
This exeivise must he

tlie
jiractised
changes in opposition of
very >lowly,
head and
should, he as gradual as possihle.
Pr.i.ti-e
the
exercise until the changes themselves are imper-
the spectator,
ceptilile to
and only the
can he observed.
the ehaiiiivs
O
PROPER CARRIAGE OF BODY.

THE
ings,
student must distinguish between bear-
gestures,
and
attitudes.
marks the climax of a passion.
An
attitude
gesture
is
merely the passing inflection of the agent of
Bearings are more
expression.
They
are often
fine
marks of heredity.
bearing
is
greatly to be desired,
should be cultivated by
nature.
The
permanent.
and
not so blessed by
head should be held easily erect,
all
the frontal and buccal zones brought into prominence, as they are significant of intellectuality,
nobility,
and gentleness.
Above
AVOID PROTRUDING THE ABDOMEN.
all
things
The
best
carriage of the body brings into prominence
the chest and heart regions, zones of honor and

the affections.
The arms should hang

shoulders,
naturally from the
and the shoulders should be
thrown back.
60
easily
THE WALK.
To
To
ladies
l)oth
say avoid long mas'-uline
gentlemen and
down
foot
ladies,
with a thud upon
do not bring the
tin-
not allow heel of foot to strike

ing,
floor,
and do
In walk-
first.
the imprints of the heels should form a
straight line.
length of the step
own
one's
general rule for the proper

is
about twice the length of
The motive power
foot.
come wholly from the

the foot should be the
Avoid
all
thigh, and
.should
hall of
the
first to strike
the iloor.
The
swaying of shoulders or body.
arms should hang easily from the shoulders

If allowed
but do not swing them violentlv.
to
hang with
perfect ea>e from
and
will
swing slightly
manner, as you walk.
much
in
As
shoulden they
natural
ai
gentleman
longer strides than a ladv. of course his

.
arms
will
swing
in
proportion to
the stride.
GJ
the length of
THE WALK,
62
PREPARATORY ACTION FOR WALK.

EXERCISE
Stand
left leg,
all
the
I.
harmonious poise with weight upon

right leg free and at ease.
Obeying
in
good carriage of the
principles for a
body.
Move
1.
free leg far in front, only the toe
touching.
Come back
Move free
2.
3.
touching, back to
Move
4.
ing,
back
ing,
back to
Move
6.
first position.
directly out to side, toe touch-
it
it
obliquely backwards toe touch-
first position.
it
first position.
firm,
leg obliquely forward, toe
to first position.
Move
5.
to first position.
directly
Be very
do not allow
it
to
backwards, back
to
careful to keep torso
sway
in the slighest de-
gree.
This exercise
legs in
is
to
enable one to
move
the
any direction with no perceptible sway-
ing of torso.
Till:
Be
WALK',
83
careful to keep tor>o firm, to allow only
toe to touch the different
tin-
move
the
leg'
to
the hip.
I'roin
EXERCISK
For
and
points,
this exercise
II.
pin a piece of tape to the
floor divided into lengths, each
twice
t!i
your own foot

1.
v,-
Stand
at
eight upon the

2.
the upper end

left
of
this
line,
foot.
Curry free leg forward
to fir>t
division,
heel just over the division, hall of too;

slightly
o.
upon
floor.
Sway forward
until
upon right
foot at the
i'oot
upon
1.
lirmly
Carrv
left
weight of liody
same time
p:
ight
floor.
leg forward to next
divi-
oheyiug the preceding directions, and

tiniie until you reach the end of your line.
Practise thi> ezereiae very carefully obe
the principle alf)\e mentioned.
THE COURTESY.
PLACE one
upon back
should
ward.
behind you. Slowly sink

bending back knee. The head
foot
leg,
backward and the torso
incline
for-
Rise by drawing forward the front leg
and straightening back
leg.
SITTING.
Begin
in the
same manner as for the courtesy
then slowly sink into your chair. Do not allow

yourself to fall with a jar into the chair, but
sink easily and gracefully.
RISING.
Advance one
foot.
Rise
by
bearing the
weight of body firmly upon the legs. Incline

torso forward slightly, and head backward.
Do
not bend body at the waist.

64
KNEELING.
BEND
floor,
\vard.
the
hark
knee until
it
touches
tin-
inclining torso forward and head backRise by bearing weight of bodv upon
forward
leg.
In stooping to pick up an article from
tin-
always bend the knee as for kneeling.

If von arc
never bend the body at the waixf.
floor
before an audience, the knee townnl the audi-
ence
is
the one which must be carried to\\anU
the floor, thus presenting to the andien

straight line
of an angle.
from the waist downward, in>tead
EXERCISES IN SITTING POISES.

SEAT yourself squarely in your chair. Sway
forward from the waist, at the same time in
dining head backward.
Come back
to first
position.
i.
Sway backward,
inclining head forward.

ii.
Sway
to the right, inclining
head to
left.
in.
Sway
to the left, inclining
head to
right.
IV.
Twist body from the waist to the right, turning head to the
left.
v.
Twist body to
left,
turning head to right.

66
PIVOTING.
i.
STAND.
right,
Pivot or turn body from ankle-
head turning
to left.
n.
Pivot to
left,
head turning
to right.
in.
Advance
Turn body
weight
right foot, carry

to right, head to
upon
it.
left.
IV.
Advance
Pivot to
left
left,
hear
foot,
head turning to
weight
upon
it.
right.
v.
Carry right foot hack, lu-ar

pivot to right, head turning to
\\.
upon
it.
Hear weight upon
it.
i^ht
VI.
Carry
pivot to
left foot
Ici't.
hack.
head turning
to right.
EXPRESSIONS OF THE FEET
AND
LEGS.
BEFORE commencing the study
of the expres-
sions of the various .agents of the
word of
to speak a
membered
caution.
It
body I wish
must be re-
that the expressions given are only
types and as such form a sort of basis upon
Do
which to work.
into the
ces fall
not under any circumstan-
grievous
error of
so
many
teachers and students of expression of using

these types empirically.
Do
not say, " I have
here an emotion the expression of
re-
whole bearing. Very

must immediately run to my book and
quires defiance in
well I
which
look up
my
my
attitude.
Ah
yes, here
it is.
De-
back leg strong, free leg well advanced,

Now I must find the correct attitudes for
fiance,
etc.
the head, arms, hands, brows, mouth,
etc., etc.,"
and having found them the student proceeds

to deliberately place the various agents of the
body
ders
in the required attitudes.
why
it is
He
then won-
his action is so very mechanical.

G8
F..\TKESSIOA rS
It
this
is
tion
A.\
which causes so much mechanical

so
among
various
the
OF THE FEET
called
types
of
Delsarteaiis.
expression
how
true
all
are
IV.,
faithfully.
Study them metaphysically and you

ceive
will
nature,
to
ac-
they
when Jyou are readyv to use them YOU
will
per-
and
find
>
that the true expression
will
come
spon;
on your part.
ously without conscious effort
EXPRESSIONS
There are
THE FEET
O/'
nine
expressions
Three with weight upon the

back leg, three with weight
upon forward leg and three

with
both
weight
le-s.
o
equally
The
first
upon
three
have the weight equally upon both legs.
i.
RESPECT.
Hoth legs strong, heels altoes turned

most together,
o
out.
1
will
"
Madame,
Example,
do your bidding."
A.\T>
of
I /
tin-
EXPRESSIONS OF THE FEET AND LEGS.
II.
INSOLENCE, INTOXICATION, VULGAR EASE,
CHILDHOOD AND OLD AGE.
For Insolence, intoxication and -mil (jar ease.

Feet wide apart. Exam" Sure an'
ple, insolence,
it's
not you that's mis-
tress."
For Old Aye.
Feet
not quite so wide apart,
with knees
character
in "
of
The
bent.
Old
As You Like
Adam
It
"
is
a good example for this

position.
the base
is
slightly
For childhood
narrower and the knees are
straight.
in.
Both
INDECISION.
legs strong, one
vance of the other.
This
foot
is
directly in
a vacillating
adatti-
tude shows an action commenced and arrested

half \vav.
of action in
It
is
exactly between the attitude
which the strong leg
is
forward
SESSIONS OF THE FEET AND LEGS,
and the attitude of

tion
leg
inac-
which the strong
in
is
71
back.
It indicate-,
doubt, hesitancy and inde" Shall

cision.
Example,
I go,
or
I stay ?
shall
The next
three
"
atti-
tudes have the weight up-
on the back
leg.
IV.
- CALM
Strong leg
In-hind,
knee
straight, free le^ in front at
knee
perfect
ease,
bent.
This attitude
calm
also indicate
inav
reflection.
intense, siippivêd.
hidden
or concentrated passion.
For the
last
of forward
four the knee
leir is
not bent.
72
EXPRESSIONS OF THE FEET AND LEGS.

V.
DEFIANCE.
Strong leg behind, knee

straight, free leg well ad-
vanced,
knee
straight.
Example: "Do your

worst
I defy
"
you
-PROSTRATION, REPULSION, RECOIL.
Strong leg behind, knee

bent, front knee straight.
Body
sible
sinks as low as pos-
upon back
Example
has
left
me
leg.
" Alas
forever
he
"
!
For the next three the

weight
of
the
upon the forward
body
leg.
is
J:\PKESSION OF THE
VII.
i-r.r.r
;s.
ANIMATION.
Strong leg in
front,
straight.
o
a
short
knee
Free
le<r
o
distance
behind, knee
Exam-
stniight.
ple
\\e
"Look!
can just
cati-h
a glimpse of the
boat!"
VIII.
81
in
Strong le4'
knee .straight.
o
front,
Free
at side, heel of free
little
st ro n
"
1
In-hind
LV
foot.
nni>t.
foot
inMrp of
K\ainjle
hear
what thev are
leir
âvii
EXPRESSION OF THE FEET AND LEGS.

IX
VEHEMENCE.
/feu
This
of
the widest
is
the attitudes.
all
Strong leg far in

front, knee bent.
Free leg back, knee
s t r aigh t
"
ple
I say
In
all
must be
Exam-
Hold, hold,
"
!
these attitudes the harmonious poise

strictly observed.
Practise these at-
changing from one to another, and observing oppositions of head and torso.
titudes,
THE HAND.
THK
is
is
in itself
a mental division.
true index of the mind.

is
palm
i\e.
liand
In
is vital
the
fine-,
back mystic and M
revealatory, the
and the side indicative or
thnmh
its
It
and physical;
definitive.
it falls in
The
upon the
palm of the hand in imhecilitv, insensibility or

death.
Or course we make an exception in tincase
of a
violent death
which the whole
in
Also in drowning or in
any ease in which the victim may have grasped
some ohject in the death strii^'le and the
frame
is
convulsed.
finders have stiffened in this position.
The
forefinger and
The
of mentality.
little
finder are significant
forefinger
little fiiiii'er is suhtle.

o
is
strong and the
The two middle
fin.
are alfectional.
The hand
action,
is
capahle of
is
hut with
all its
lost unless the
I/it-
Jinin rx.
pends upo;i
power,
thumb
o-n-at
its
in
expreesiyeneea
'" "/V"' x ''''"'

/'/"//"
All the potency of

this.
snlitlcty
tin-
hand
de-
THE HAND.
76
The proper
position for the
hand
in ordinary
unimpassioned gesticulation is with the two

middle fingers slightly depressed toward palm,
the forefinger and
and the thumb
little
finger raised slightly,
directly opposite the forefinger.
EXERCISE TO DEVELOP OPPOSITION OF THUMB TO

FINGERS.
Place the end of
two middle
thumb upon
fingers, forefinger
the end of the
and
little
finger
easily held.
Slowly open hand, fingers moving

from you and thumb moving in opposition, toward you.
EXPRESSIONS OF THE HAND (ATTITUDES).

I.
Hand
in a
REPOSE OR INDIFFERENCE.
normal position
signifies repose or indifference.
THE HAND.
SYMPATHY, TENDERNESS.
II.
Hand
expanded.
" This bud of
slightly
Example
love by summer's ripening
:
hreath
teous flower
Juliet,
prove a
inav
Act
beau-
when next we meet." (Romeo

Scene
II.,
II.)
ANIMATION, EARNESTNESS.
III.
Hand
further expanded.
Example
"
:
Yes, yes
was Bassanio, as
was he called."
Venice, Act
I.,
Scene
IV.
Hand
fully
aide apart,
it
think, so
Merchant of
II.)
VEHEM!
expanded.
thumb full
lin_.
of energy.
Example: "Stay! Tybalt,

"
Hoiiu'o and Juliet. Act IV.. ^ cue
stay!
(
111.;
THE HAND.
78
V.
AVIDITY, EXASPERATION, EXECRATION
Position of
hand the same as
in the last exercise, with ends
thumb
of fingers and
Example
"I should
like to kiss
your wife."
Bleak House ;)
(Hortense, the French maid, in
The Merchant
or (Shylock in
hate him, for he
is
in
normal,'
of Venice),
"I
a Christian."
PROSTRATION.
VI.
Hand
curved.
thumb
falling
O
upon palm.
Example
"
how
(As You
Jupiter,
"
weary are my spirits

Like It, Act II.. Scene IV.)
!
VII.
CALM POWER, AUTHORITY.

Fingers closed gently upon
palm, thumb laid easily over
forefinger.
Example
"I
am more
proud
to be Sir Roland's son, his youngest son;
would not change that calling
and
to be adopted
THE HAND.
heir to Frederick."
Scene
(As
You
79
Like
It,
Act
II.)
STRUGGLE.
VIII.
Hand
clenched,
thumb
closed
firmly over fingers.
Example
so envious?"
Act
III.,
Scene
fifth
the same
exercise,
CONVULSION.
as in the
with
contracted into palin.
be
(Romeo and Juliet,
II.)
IX.
Hand
" Can Heaven
fingers
SOME OF THE FUNCTIONS OF THE

HAND.
THE hand may Define,
of
gesture, with the side
hand moved up and down.
It
may Indicate,
pointing with the index finger. It may Mould,

as if shaping something in palm with the
fingers.
It
may
Detect,
end of thumb rub-
bing against end of middle finger, as

the quality of a piece
of goods
if
noting
we use the
middle finger in this because it is more sensitive

to touch than the forefinger.
The hand may
Hold,
hand
closed easily.
It
may
Surrender,
hand opening, palm downward, as if dropping

something. It may Inquire, hand easily opened
nervous motion of the fingers. It
hand reaches out and is then
Acquire,
with a
may
little
drawn back
may
as
acquiring some object.
It
gesture of hand in attitude of
Caress,
tenderness.
if
It
may
hand
Assail,
of Exasperation, gesture as
80
if
in attitude
striking at some-
SOME OF THE FUNCTIONS OF THE IIAXD.

It
thing.
may
Affirm or Assert,
81
gesture of
hand with palm down. It may Deny,

hand
in the same position, motion out to one side.
It
hand
any position in which

hidden and back of hand exposed
may Conceal,
the palm
to view.
is
It
may
view the palm.

stretched as
if
in
by bringing into
may Accept, hand out-
Reveal,
It
to receive. It
may
ing away with palm of hand.
Reject,
It
may
pushSupport,
gesture the same as in Affirmation and Acceptation, only stronger.
It
the same as in Affirmation, only
shown
in the hand.
may
Protect,
more tenderness
INFLECTIONS, OR SIMPLE GESTURES
OF THE HAND.
I.
HAXD
DEFINITION.
same position as for Definition.

Motion up and down.
in the
NEGATION, DENIAL.
II.
Position of
Motion from
hand the same

side to side.
If the motion
it is
is
made
rapidly several times
expressive of impatient negation.

DISTRIBUTION.
III.
Hand
if
as for Affirmation.
distributing seed
IV.
Hand
Motion as
in position of Acceptation.
from hand.
DECLARATION, OPENNESS.
carried out to side,
posed to view.
till
palm
is
ex-
Side of hand parallel with
floor.
82
SIMPLE GESTURES OF THE HAND.
SECRETIVENESS.
V.
Hand
carried towards
den, and back of hand
VI.
Hand
is
83
body
till
palm
is
bid-
expo.M-d to view.
SURPRISE, SUDDEN
EXCITEMENT.
carried
until
upward
paliu
is
ex-
posed to view.
VII.
Hand
ward
DOMINATION.
carried down, forefinger

pointing to-
floor.
VIII.
Hand
carried
APPELLATION.
toward body, palm
fore-finger pointing to self.
IX.
Hand
SALUTATION.
exteikled as in welcome.
inward.
COMPLEX GESTURES OF HAND.

COMBINE the
attitudes of the
hand
Avith the
being very careful that your combinations are consistent.

Do not attempt the
inflections,
gesture of distribution with the hand in the attitude of struggle, nor

tion with the
The hand
hand
in
make an impatient
nega-
in the attitude of convulsion.
the attitude of calm power,
tenderness and earnestness,
may perform
all
the gestures; in the attitude of vehemence, all
vm
and ix ; in the attiexcepting the v., vn.,

tude of execration only the i., n., m., and v.
;
in struggle the gestures

vi.
may
ridxioi'i.
under
and
be made, and in the attitudes of conprostration and indifference it may
perform none*
In practising the
gestures
remember the movements are

tirely
i.,
n., v..
from the
of
the hand,
to be
made
wrist, as they are for the
alone.
84
en-
hand
THE ARM.
THE arm
whieh
is
has three sections
articulations
affectional,
the upper arm.
the forearm, affectional, and the
vital,
hand, which
There are
mental.
is
the shoulder,
and the
vital,
also three
the elbow,
wrist, mental.
x*
THE SHOULDER.
THE
It
shoulder
is
the thermometer
marks the degree of inh
but not the passion
itself.
<>f
The shoulder
a part of vast importance in gesture.

to
plavs
Attempt
depict a struggle with no motion of the
shoulders,
As
jiaxxinn.
nxiti/ of a passion.
and what a
cold,
dead thing
it
i-.
the passion grows in intensity, the force of
the passion will naturally
\Ve are
lift
the
sl.ouldeis.
of us able to translate instantly a
all
Supposing I am
I
speaking to you of a mutual friend.
say,
what a lovely girl, so charitable and kind,
shrug of
the
and what a
shoulders
perfe.-t
disposition."
>ee
you
shrug your shoulders and slightly elevate your

eyebrows.
immediately know your thoughts
THE SHOULDER
8.6
as well as
if
you
do you think so ?
many words " 0,

You do not know her as well
said in so
Your shrug in
sinuative.
Or again
as I."
THE ELBOW.
:
was plainly
this case
some wonderful incident
am
may
iir
relating to
you
have witnessed.
You shrug your
shoulders, which says plainly,

" I do not
believe it."
So we may insinuate or show incredulity

as well as intense passion with the shoulders.
THE ELBOW.
THE
elbow
of self, that
ness of
is
affectional
is, it
self.
is
a thermometer
shows the degree of conscious-
"Wati-h a child
the notice of strangers.
show
and
He
his self-consciousness
brought before
will
immediately
and embarassment
arms around, bringing the

You have
elbows directly out to the front.
seen men and women walking on the street
by twisting
his
holding their arms out in the shape of a bow,

with the elbows turned out to the side.
When
you see such a person you instantly say to your"

Then
self,
0, what a conceited creature."
again you have noticed persons with the arms
pressed close to the side, with the elbows turned
SHOULDER
ELBO IV
Of such you
inward.
think,
women
" Poor
creature,
threatening one another with their
hands on their
their
87
Or you may have
he looks scared to death."

seen
WRIST.
hips, elbows
advanced
in front,
whole attitude expressive of vulgar
defi-
ance and audacity.
So
to
sum up our deductions we have the
following
THE SHOULDER.
The Shrug,
insinuation,
incredulity,
im-
patience.
Raised in different degrees,
intensity of
passion.
THE ELBOW.
Turned
Turned
in,
timidity.
out, with arm pressed to side
barrassment,
self-consciousness.
Turned out
out, or with
dacity,
em-
in different degrees,
hands on
hips.
arms held
sell-conceit, au-
deliance.
Normal
calm Belf-possession.
position
TIIK
The motions
of
\VKIST.
the wrist depend
upon the expressions of the
entirely
arm and hand.
EXPRESSIONS OF
ATTITUDES.
CALM REPOSE, INDIFFERENCE.
I.
Arms hanging
II.
Arms
ARM
easily at side,
elbow normal.
SUBJECTIVE REFLECTION.
folded or crossed behind back.
OBJECTIVE REFLECTION, OBJECTIVE ATTENTION.
III.
Arms
crossed in front, not folded, but hands
crossed on abdomen, palms turned in.
IV.
AUDACITY, FAMILIARITY, DEFIANCE, EASE.
Arms
lifted at side,
V.
Arms
hips.
CONCENTRATION, STRUGGLE.
folded tightly on chest, hands clenched.
VI.
Arms
hands on
CALM POWER.
folded easily on chest.

88
EXPRESSIONS OF AKM.
VII.
Arms
crossed on chest.
OPENNESS, REVELATION.
VIII.
Arms
RESIGNATION.
outstretched at sidr. palms of hand>
exposed to view.
IX.
Arm raised
MYSTICISM, PROPHECY.
over head, hand pointing

up with
back of hand exposed to view.
EXPRESSIONS OF ARMS.
INFLEC-
TIONS.
THE
inflections of the
arm
are the same as
those for the hand, only of course using the
whole arm instead of the hand alone.

IN
THE PERPENDICULAR.
Action of arm from above downward

firmation
and
Af-
Definition.
Action of arm from below upwards
Ap-
peal, Exaltation.
ACTION IN BREADTHS.
Arm
from within carried outward,
Distri-
bution, Repulsion, Rejection, Aversion.
From
without, inward
Apprehension.
Inward and outward, (with

Negation, Denial.
90
side of hand),
THE TORSO.
I
HAVE spoken
quite fully of the torso- in
the lesson upon the harmonious hearing of the
body, so
I will
pro -eel
pressions, merely
st
immediately to
.'iting
its
ex-
that the torso shoiihl
always he fn'm but flexible in
all its
bearings.
KXPRESSIOXS OF THE TORSO

TUDES.
ATTI-
Torso expanded
cates Excitement,
in
different
degrees
indi-
Vehemence.
n.
Torso contracted,
Pain, both
bodily and
mental.
in.
Torso relaxed.
Indolence. Prostration.
THE TORSO.
92
IV.
Leaning
directly
toward the object,
Ob-
jective or Vital Attraction.
v.
Leaning obliquely toward
object,
Subject-
i/e Attraction.
VI.
Leaning
directly
from
object,
Vital Repul-
sion.
vn.
Leaning obliquely from
object,
Subjective
Repulsion.
VIII.
Bending before
object,
Obsequiousness,
Humility.
IX.
Torso bent backward,
Abandon.
THE TORSO.
Movement up and down,
93
GESTURES.
Despair of the
weak.
ii.
From
side to side,
Carelessness.
in.
Twisting,
Childish Impatience.
THE HEAD.
Expressions of head revealing inward conditions of
mind
in itself.
i.
Head bowed,
Concentration of Mind.
n.
Head
Explosion, Vehemence.
lifted,
in.
Head normally
Calm Repose.
erect,
IV.
Head
inclined over shoulder,
Carelessness,
Indifference.
<*
v.
Head advanced,
Curiosity, Eagerness.
04
THE HEAD.
VI.
Head drawn
Harslme
back,
VII.
Head hung
Imbecility
VIII.
Head
tention.
pivoted toward image in mind,
From
Head thrown
Aversion.
image,
Passional Prostration.
back,
despairing or abandoned
Plujx'n'nl
At-
mood
of mind.
or utter despai;.
7Vo.s7/v///o/?,
complete giving up of all hope, would be shown

by head dropped upon breast.
The next
series of attitudes are tho-c reveal-
ing the relations existing between subject and

object.
This relation
is
shown by the action
of the eye-ball in the head.
THE HEAD.
96
In the three following exercises the head
is
on a normal plane.
CALM ATTENTION.
I.
Head normally
Eye
fixed easily
ject.
II.
TRUST, TENDERNESS.
Head
inclined
object, eye
upon
toward
object.
erect.
upon ob-
THE HEAD.
DISTRI
III.
Head
ject,
eye
inclined
still
In the three following exercises the head
\\.
S<
IMTINY.
Head bowed
directly
before object,
eye fixed
upon object.
"ALKM.
is
from
upon
bowed.
ob-
object.
THE HEAD.
98
V.
TRUST,
VENERATION
SUPPRESSION OF SELF.
Head bowed and
in-
clined toward object, eye
upon
VI.
SCRUTINY, WITH DIS-
TRUST AND SUSPICION.
Head bowed and

clined
from
in-
object, eye
The head
object.
advances as the element
upon
of suspicion strengthens.
object.
THE HEAD.
In the three
following exercises the head
VII.
is
thrown back.
EXALTATION, AIIAN-
""V
IKKATV.
Head thrown
back.
in
If
directly
thrown
hack
such a manner as
to
bring object below you

with eye fixed
ob-
ject
it
upon
arro-
indicates
gance, pride, disdain.
VII!.
EXALTATION WITH
TIH'ST.
Head thrown back and

inclined
toward
eye upon object.
object,
100
THE HEAD.
IX.
ARROGANCE WITH
DISTRUST.
Head thrown back and

inclined
Combine the simple
from
object.
attitudes of head, (the
attitudes revealing inward condition of itself)
one with another, remembering' that the head

bowed adds intensity to the attitude, raised
exaltation or arrogance,
ness,
adc<nn-l adds eager-
and drawn back adds harshness.
THE EYE.
THE
whole expression of the face depends
upon the eye. The eye is the mirror of the

soul, and should truthfully reflect the emotions.
As
mind becomes animated the eye gradAs the mind becomes reflective
opens.
the
ually
the lids close
upon the
eye, partially concealing
Excitement widens the pupil of the
it.
Eye opened
'u\
degrees
dijj'trtnt
1.
Animation, Earnestness.
2.
Passion.
3.
Exaltation, Astonishment.
4.
Madness,
'in
open to
il'ijfi
n nf
o\
full extent.
d<(/r'S:
.">.
Normal
(').
Lid slightly drooping
7.
Keilection.
S.
Intense
9.
Prostration.
Calm Attention.
IndiilVre:
Reflection, Suppressed
101
Passion.
THE EYEBROW.
THE eyebrow is
mind. When raised
dicates
the
thermometer
in different degrees
incredulity,
surprise,
The brow lowered

Observe
in incredulity ) the
it in-
astonishment.
in different degrees indi-
cates reflection, intensity,

Ithiiess*
of the
concentration, sul-
as the shoulders are raised
brows are also elevated.
COMBINATIONS OF EYE AND BROW.

In the three following exercises the brows are raised.
I.
GREAT SURPRISE,
ASTONISHMENT.
Brow raised,
eye wide open.
102
THE EYEBROW.
II.
103
DISDAIN.
Brow
raised, eye
normal.
III.
Brow
rastM, eye
partly closed.
THE EYEBROW.
104
In the three following exercises the brows are lowered.
IV.
FIRMNESS.
Brow lowered,
eye wide open.
V.
BAD HUMOR.
Brow lowered,
eye normal.
THE EYEHROW.
VI.
lor,
nNf
KNTRAI
IMKN.-K REFLECT!
Brow
lowered,
eye partly closed.
In the following three exercises the brows are normal.
VII.
Brow
STTI'OR.
normal,
eye wide open.
THE EYEBROW.
VIII.
CALM REPOSE.
Brow
normal.
If
IX.
STRATEGY, CUNNING,
SENSUALISM.
Brow normal, eye

partly closed.
normal, eye
THE MOUTH.
THE
i)tou(h
is
the vital agent of expression
Energy and
sensibility are
shown
and completely by the actions of

jaw and lips.
lowi-r
in the i'acc.
(.burly
KXPRESSIOXS OF
JAW
I.
Jaw normal,
Energy
in Repose.
ii.
Lower jaw
teeth
closed firmly
clenched,
intense,
upon upper jaw.

passional form of
Energy, Concentration.
in.
Jaw
easily relaxed,
Suspense.
IV.
Jaw completely
relaxed
107
Prostration, Idi
THE MOUTH.
108
V.
Jaw advanced,
Audacity.
VI.
Jaw drawn
Timidity, Recoil.
back,
SIMPLE EXPRESSIONS OF LIPS.

i.
Normal,
Calm Repose,
n.
Compressed,
Concentration, Intensity, Sup-
pression.
in.
Easily relaxed,
Indifference.
IV.
More
fully relaxed,
Surprise.
v.
Drawn
in,
Secretiveness.
THE MOUTH.
109
VI.
Pushed
out,
Disagreement,
Sulkiness,
Childish Impatience.
VII.
Corners drawn up,
Approval, Pleasure.
VIII.
Corners drawn down,
Disapproval, Grief.
COMPLEX EXPRESSIONS OF
LIPS.
SECRETIVE SUPPRESSION.
I.
Compressed and drawn

in.
IT.
INTENSE DISAGREEMENT.
Compressed
pushed
and
out.
no
CO. \rPLEX
111.
EXPRESSIONS OF UTS
1 1
sriMMJKSSKI) KN.JOY.MKNT.
Compressed, corners drawn

up.
IV.
SUPPRESSED
DISPL!
rui-:.
Compressed,
drawn down.
corners
112
COMPLEX EXPRESSIONS OF LIPS.
V.
SECEETIVE SUPPRESSED
APPROVAL, MISCHIEVOUSNESS.
Compressed and
drawn in with corners
is
raised.
characteristic of
suppressed
VI.
SECRETIVE
SUPPRESSED
DISPLEASURE, GREAT
ANXIETY.
Compressed and drawn in

w i t h corners drooping;
characteristic
suffering.
of intense
This
malice.
COMPLEX EXl'RESSIONS
VII.
U3
OI- LIl'S.
INTENSE MSf;r>T.
Compressed and pushed

out, corners drawn down.
VIII.
COMPLETE ENJOYMENT OR
PLEASURE.
Relaxed, with
corners
raised.
114
COMPLEX EXPRESSIONS OF LIPS.
IX
PROSTRATION.
Relaxed, corners
drooping.
By
curling the upper

lip,
this
signifies
attitude
disdain.
PANTOMIME.
PANTOMIMIC
the expressive .action of
is
head, torso and limbs.

i.r
cixiltlf
or invisible
and
body the
of the being.
There are two

Elliptical
It manifests liy
actions of the
life
tin-
distinct
forms of pantomime
Dcxci'ijttir,
ElliptirnJ jtantomime manifests
by the
out-
ward actions of the body the inward emot:

conditions,
" It
is
or
characteristics
of
the
bein^
the outward visible sign of the inward
invisible substance of
Dcscripfirc
human
is
i><iii1oiii'nin
nature."
the indication bv
the outward actions of the body of some material
experience of the
i>l>jccfirc
as tree
human
NX/O/?
is
pantomime
and
we cannot
call
de-
truly expression, but mere-
ly useful functions of the
illustration
the
the objective manif.
tion of the siihj-l'n'c life
As an
It is
illustration of the (Jijt-ctin life,
*.'///<
>criptive
beii^g.
of
<I<
115
aênN
*cr!j>f!i'(
of expression.
pantomime.
PANTOMIME.
116
I will quote
"
one stanza of Bishop Heber's

"
Spring Journey
"
green was the corn, as
And
And
And
rode on
my
way,
bright were the dews on the blossoms of May,

dark was the sycamore's shade to behold,
the oak's tender leaf was of emerald and gold."
pantomime one
that the motions would be
If this were to be given in
can readily see
purely descriptive.
To
the
and
illustrate elliptical
first
two
Juliet
lines of the
I will take
Potion Scene in " Romeo
"
:
" Farewell
I
pantomime
have a
God knows when we

faint cold fear thrills
That almost
freezes
shall
through
up the heat of
After the words "
meet again," Juliet
life
meet again
veins
my
"
God knows when we

clearly
shall
shows by the ex-
and the expressive action

of her whole body, the horrible fear which has
taken possession of her. Thus outwardly repression of her face
vealing the
this
inward condition of the being.
we prove
expressive.
that elliptical
*
pantomime
is
By
truly
SELECTIONS FOR PANTOMIME.
i.
SISTER HELEN'.
BY DANTE GABRIEL ROSSETTI.
The legend
runs thus
Keith of Ewern, the betrothed of Helen,
has proven untrue to her and married another.
Helen craves ven-
She curses Keith of Ewern and makes in
geance.
his effigy
waxen image, which, when completed, she slowly melts before a fire.
As the image melts, Keith of Ewern lingeringly dies. His father,
Keith of Keith, his two brothers, Keith of Eastholm, and Keith of
\Yestholm, and his bride, the
Helen
to
dies while
must
lift
under
forfeit
Lady of Ewern, come
to plead with
her curse, as Ewern's soul will be forever lost if he
her
this ban.
own
This Helen refuses to do, although she
soul if she refuses.
on through the medium of Helen's
little
117
The conversation
brother.
is
carried
SISTER HELEN.
The lines having the double rule against them have been omitted
from the pantomime.
"
WHY
did you melt your waxen

Sister Helen ?
To-day is the third

" The time was
since
man,
you began."
long, yet the time ran,

Little brother."
(O Mother, Mary Mother,

Three days to-day, between Hell and Heaven!)
" But
if
you have done your work
aright,
Sister Helen,
You'll
let
" Be
very
me
play, for
still
in
you
said I might."
your play to-night,
Little brother."

Third night, to-night, between Hell and Heaven
" You
said
it
!)
must melt ere vesper-bell,

Sister Helen
;
If
now
" Even
it
be molten,
so,
all is
well."
nay, peace you cannot

Little brother."
!
tell,
what
is this,
118
between Hell and Heaven?)
SISTEK HELEN.
u<)
Oh, the waxen knave was plump to-day,

Sister Helen
How like dead folk lie ha* dropped av
'
Viy, now of the dead what
can
Little brother?
(O
What
" See,
"
Mother, Mary Mother,
of the dead, between Hell and Heaven?)
sunken
see, the
pile
of wood,
Sister Helen,
Shines through the thinned wax red a^ Mood

Nay, now, when looked you yet on blond.
Little brother
"
'.
"
How
Now
And
close
I'll
Ave,
pale she
is,
between Hell and Heaven
your eyes, for they're sick and

Sister Helen.
!)
plav without the gallery door."

me rest,
I'll lie on the tl<">r,
let
Little brother."
Mother, Mary Mother.
between Hell and llea'.
((>
What
Here
lii^h
up
rest to-night,
in the
Si>ter
The moon
11
balcony.
I
lelen.
Hies face to face with
me."
A\e. look and say whatever you

Little broth,
;.>ther,
Mary Mother,
'What si^ht to-ni^ht, between Hell and Heaven?^
SISTER HELEN.
120
" Outside
it's
merry
wind's wake,
in the
Sister
Helen
In the shaken trees the chill stars shake."
" Hush, heard

you a horse-tread as you spake,
Little brother
?."

"What sound to-night, between Hell and Heaven ?)
"
hear a horse-tread, and
I see,
Sister Helen,
Three horsemen that ride terribly."

" Little brother, whence come the
three,
Little brother
"
Whence
"
should they come, between Hell and Heaven
They come by
from Boyne Bar,
the hill-verge
Sister Helen,
And
?)
one draws nigh, but two are afar."

look, do you know them who they are,
"
Little brother ?
" Look,

^"ho should they be, between Hell and Heaven?)
" Oh,
it's
Keith of Eastholm rides so
fast,
Sister Helen,
I know
The hour
mane on
For
the white
"
has come, has come at

"
Little brother
the blast."
last,

Her hour
at last,
between Hell and Heaven!)
III-.LEN.
'
He
has
made
a siîi
Sister
And
u
Oh
IK- s ;t
tell
\s that he
him
fear
121
and called Halloo!

lelen,
would speak with you."

the fro/en dew,
Little brother."
Why
" The wind
is
Mother, Man- Mother,

laughs she thus, between Hell and Heaven?)
loud, hut
Sister
hear him cry,
lelen,
That Keith of Lwern's like to die."

And he and thou, and thou and I,
-
Little brother."
And
they and we, between Hell and Heaven?)

N
" Three
days nô, on
his
marriage morn,
Sister Helen,
lie sickened, and
lies
since then forlorn."
For bridegroom's side

k
Little
'
is
the bride a thorn,
brother
bridal cheer,

Three days and nights he has

Sister
"
lain
abed,
lelen,
And
he pra\s in torment to be dead."

" The
tiling may chance, if he ha\e prayed,
Little brother:
If lie
"

have ]>rayed, betwren Hell and He;v-
SISTER HELEN.
122
11
But he has not ceased

Sister
to cry, to-day,
Helen,
That you should take your curse awav."

''
he need but pray,
J/x prayer was heard,
"
Little brother
Shall
" But he
says,
God
till

not hear, between Hell and Heaven?)
you take back your ban,
Sister Helen,
His soul would pass, yet never can."

"Nay then, shall I slay a living man,
Little brother?"

living soul,
!)
" But he
calls for ever
on your name,
Sister Helen,
And
"
says that he melts before a flame."

heart for his pleasure fared the same,
My
Little brother."

and Heaven
Fire at the heart, between Hell
" Here's Keith of Westholm

riding
!)
fast,
Sister Helen,
For I know the white plume on the blast."

" The hour, the sweet hour I forecast,
Little brother
Is the
"
!

hour sweet, between Hell and Heaven?)
SISTEK
u
He
///..
stops to speak, and he stills his horse,

Sister Helen
;
But
his
words are drowned
wind's
in the
coi:
\:iy hear, nay hear, you must hear perforce,

Little brother
"
Mother,
\\hat word
"
now
Mary Mother,
Heaven?;
heard, between Hell and
he says that Keith of Kwenf s cry,

Sister Helen,
Is ever to see you ere he die.''
Oh
" In
soul sees, there am

"
all that his
Little brother
The
''He sends
And
else
one
sight,
Mother, Man' Mother,

a ring and a broken coin,

Sister Helen,
bids you
" What
soul's
I,
mind
the banks of IJovne."
he broke will he ever join,

Little brother
"

No, never joined, between Hell and Heaven!)
,
"
He
yields
you these and
crave-* full fain,
Sister Helen,
You pardon him

k '
in his
mortal pain."
\Vhat else he took will he iîve a-ain.

"
Little brother :
'Bother,
:i
Mary Mother,
Hell and He.v.
SISTER HELEN.
124
"
He
calls
your name
in
an agony,
Sister Helen,
That even dead Love must weep to see."

"
Hate, born of Love, is blind as
he,
Little brother

Love turned
"
Oh
to hate,
Keith of Keith
it's
"
!
now
!)
that rides fast,
Sister Helen,
For I know the white hair on the blast."

" The short, short hour will soon be
past,
Little
brother?"

Will soon be past, between Hell and Heaven
He
looks at
me and
he
tries to
!)
speak,
Sister Helen,
and weak "

What here should the mighty Baron seek,
But oh
w>
his voice is sad
Little brother
"

Is this the end,
"
Oh
his son
still cries,
if
you
forgive,
Sister Helen,
The body
" Fire
dies, but the soul shall live."
me as I forgive,
"
Little brother
shall forgive
As she

forgives,
!)
SISTER HELEN.
"Oh
he prays you,
;i->
li'.'
would
his heart
rive,
Si>ter Helen,
To
save his dear son's soul alive."
" Fire cannot
slay it, it shall thrive,

"
Little brother
:

Alas, alas, between Hell
" lie
the road,
you, kneeling in
Sister Helen,
cries to
To go
God
with him for the love of
" The way
and He.
is
'
!
long to his son's abode,

Little brother."

The way
"
A lady's
is
long, between Hell
and Heaven
'.)
here, by a dark steed brought,

Sister Helen,
So darkly
clad, I
" See her
now
saw her not."
or never see aught,

"
Little brother
'.
t
(
\Yhat more to
" Her hood
falls
see,

between Hell and He.u
i
back, and the
moon
shines fair.
Sister Helen,
On
the
Lady of Kwern's golden hair."

despair.
my power and her
"
" Blest hour of
Little brother
'.
(O Mother, Man- Mother,
Hour
blest
and bann'd, between Hell and Heaven
'.'<
SISTEK
126
HELEX.
" Pale,
pale her cheeks, that in pride did glow.
Sister Helen,
'Xeath the bridal-wreath three days ago."
" One morn for

pride and three days for woe,
Little brother
"
!

Three days, three nights, between Hell and Heaven
!)
" Her
clasped hands stretch from her bending head.
Sister
With
"
Helen
the loud wind's wail her sobs are
What
wed."
wedding-strains hath her bridal-bed,

Little
What
brother?"
strain but death's,
" She
may not speak, she sinks
in a
swoon.
Sister Helen,
She
'
her lips and gasps on the moon."

might I but hear her soul's blithe tune,
lifts
Oh
Little brother
Her
woe's
dumb
"
!

cry,
"
They've caught her to Westholm's saddle-bo \v.

Sister Helen,
And her moonlit hair gleams white in its flow."
" Let it turn whiter than winter snow,
Little brother
"
!

Woe-withered gold, between Hell and Hc;i
!)
SISTER HE1
"
Sister Helen,
you heard the
Sister
M.ne
127
lelen
l>ell,
loud than the vesper-chime
it
fell."
N<> vesper-chime, hut a dving knell,

"
Little brother
'.
His dying
Alas
but
fear the
(O Mother, Man- Mother,

knell,
heavy sound,
Helen
Sister
Is
it
"
Little
What would
"
skv or in the ground?

have they turned their horses round,
in the
.Say,
!)
They have
brother?"

she more, between Hell and Heaven?)
raised the old
man from
his knee,
Sister Helen,
And
they ride in silence hastily."

fast the naked soul doth tlee.
" More
Little brother!
The naked
" Flank
to
soul,
"
lather, Man- Mother,

between Hell and Heaven!)
Hank are the three steeds gone.

Sister
lelen,
But the lady's dark steed goes alone."

" And
lonely her bridegroom's soul hath llown.
Little brother."
Mother, Man' Mother.
The
lonely ghost, between Hell and
IK
SISTER HELEX.
128
"
Oh
the
wind
is
sad in the iron chill,
Sister Helen,
And weary
sad they look by the

I are sadder still,
hill.
"
" But he and
Little brother
Most sad of
" See,
see, the
wax
"
!

all,
has dropped from
its
!}
place,
Sister Helen,
And
the flames are winning
" Yet here

they burn but
up apace
for a space,
Little brother
Here
"
Ah
for
k>
"
!

a space, between Hell and Heaven
"what \vhite thing at the door has cross'd,

Sister
Ah
"
!
what
is
Helen?
this that sighs in the frost?
soul that's lost as
mine
"
is lost,
Little brother
"
!

Lost, lost, all lost,
SISTER HELEN.
ARRANGED FOR PAKTOMIMK.
The
action of the
upon the
boy should take place upon the
left,
that of Sister
Helen
right.
I.
"
Why
did you melt your
waxen man.
Helen
Sister
Left foot forward, weight upon that foot. Left hand (prone) out
stretched ijuestioningly toward Helen; look toward left, as if addressing
Helen.
To-day
is
the third since you began."
The same
attitude, a questioning look
The time was
upon
face.
long,
Bring weight back upon right foot; hands clasped, head bowed over
right shoulder, as if in thought.
yet the time ran.

Little brother."
Clasp hands
still
more
tightly, raise head,
and turn impetuo.:
right, towards the boy.
II.
''
You
saiil it
must melt ere vesper
boll.
Sistor
\Vi i-ht
-.till
of anu>; look
If
now
it l>o
Brill i;
upon back
at
Hrlen, toward
molten,
weight forward
time slightly
foot (right); left foot forward:
It-Ion
no movement
left.
all is
well."
to left foot, as if to look at imajjc, at the

I
,nl it, hand
.
LS9
same
SISTER HELEN.
130
Even
so,
Start back, clenching left hand, and extending right arm in repulsion,
and turning head to left, as if to repel and shut out the sight of the
image.
nay peace
Turn
to right, towards the boy, right
As
arm extended,
as if silencing
is brought forward from the preceding position, wave

toward the body for opposition, then, as the arm is carried out toward the boy, allow the body to sway back slightly in
him.
the
arm
the body
slightly
opposition.
you cannot
tell,
Little brother."
Drop
right arm,
and
incline
head slightly to
right,
toward the boy.
III.
"
Oh, the waxen knave was plump to-day,

Sister Helen
Hands
clasped upon breast; weight upon forward foot

Look towards left, at image.
sion of surprise upon face.
How
like
(left)
dead folk he has dropped away
expres-
"
!
Hands still clasped upon breast; keeping the eyes still upon the
image, draw back slightly, as if in awe, at the same time slightly inclining head forward, in opposition.
"
Nay, now of the dead what can you
say,
Little brother ?
"
Drop clasped hands from breast to the front of the body; change
weight to right foot, observing the harmonious poise in the change.
Incline head to right, towards the boy, as if regarding him sadly and
tenderly.
Now close your eyes, for they're sick and sore,

Sister Helen,
]!ring weight forward to left foot; carry left arm out towards Helen,
with caressing movement, hand in attitude of tenderness incline head
backward, as the arm is carried out; sympathetic expression uji.
;
SfSTJ.K
And
I'll
If 1:
1. 1.
\.
l:U
play without the gallery door."
"
I'll," simultaneously inclinBring hand toward self, upon the word
ing head forward, then carry arm to left, as if designating the door.
"
Aye, look and say whatever you
see,
Little hrotlicr."
Turn quickly to right, clench hands in intensity
shoulders; a look of expectancy upon the face.
slightly elevating
V.
" Outside
it's
merry
in the wind's wake,

Sifter Helen,
Clasp hands in pleasure, look around, as

pleased expression upon the face.
In the shaken trees the
if
gazing at the
chill stars
tr
shake."
Carry arms out to side in a broad gesture, including all the trecthe words " the chill stars shake," look up ami make a slight upward
wave of the arms, to designate the stars.
"
Hush,
forward quickly,
right
arm
to
toward-, the boy, as
right, |>ress left hand upon heart:

if .silencing him, hand in attitude
in opj>
nestnos, inclining head back, slightly
heard you
a horse tread while
Little
you spake.
brother?"
Turn head to left, and incline it slightly to riglit. as if intently

-it
the k.-iiiie tiinr. linn:; right arm -lightly tOWSl If
attitude oflistenin.
in.;,
VI.
" I hear a horse-tread,

;t,
toward
and incline
it
slightly to left;
bring
tlie bi
and
sec.
>i-ler Helen.
SISTER
l.',l>
HEI.F.X.
Three horsemen that ride

Lean forward
(to left),
terribly."
hands shading eyes, as
if
looking
down
the
road.
"
Look, look,
Step to right, toward the boy, carrying both arms out (hands prone
and in attitude of animation) toward him, in great excitement, slightly
inclining head backward.
do you know them, who they
are,
Little brother ?
Lean
still
farther forward
toward the boy, clasp hands and bring them
to the breast; expression of eagerness
"
Oh,
it's
"
upon the
face.
Keith of Eastholm rides so
fast,
Sister Helen,
Lean forward
For
know
"
down
hands shading the eyes.
the white
Clasp hands
ing
(to left),
in surprise,
mane on
but
still
the blast."
keep the eyes to the
left,
as if look-
the road.
The hour has come, has come
at last,
Little brother
Slowly raise head and both arms to Heaven,
"
!
in fierce exultation.
VIII.
He
has
made a
Lean forward
sign
(to left), slightly
bending
left
knee, hands shading eyes.
and called Halloo
Sister Helen,
Bring right hand to breist, carry left arm out slightly, as if listening
at the same time turning head to right, and slightly inclining it
backward.
S/S TJ: A'
And
li<-
hays that
lie
IIKI.I-.X.
would Npeak with
\<.u."
Turn held
side toward
right h iijil
"
Oh
tell
to left, as if addressing Helen, and carry left

her, hand Mipine, inclining head back in oppo.tr
upon
him
arm
ijii-.i-t.
I fear the froze n dew.

"
Little In-other.
>rop nrnis to side, slowly turn body to left, and incline head back.md turn it to ri^ht, look over right shoulder towards the
smile
of"
sarcasm upon the
lips.
IX.
"
The wind
is
him
loud, hut I hear
civ.
T Helen,
Lean forward
bending left knee; bring right hand to

and bring hand to left ear, as if intently listening.
(to left),
turn head to right,
That Keith of Ewern's
like to die."
Start back, in shocked surprise, clasping the hands; look

left, at Helen; c\pr-.->.->ion uf grieved surprise UJK>:!
X.
"Three davs and nights he has
ahcd.
lain
ip lian.U, still
more
illy, in
And
he prays
in
ti^litly,
and bring them
torment
to
OUl slightly
"The
tiling
may
to
br<.
opposition.
chance,
hi>
((
if lie
dead."
:!
Helen,
in
have prayed.
Little In-other
ferencc
upi>:i
SISTER HELEX.
1:54
XI.
%
" Here
's
Keith of Westholm
riding- fast,
Sister Helen,
For
know
the white plume on the blast."
Lean forward (to left) , shading the eyes with the hands, as if peering
intently through the gloom.
The
hour, the sweet hour
Clasp hands in fierce exultation, raise them slowly to breast; raise

eyes to Heaven,
I forecast,
Little brother
"
!
Retain left hand upon breast, raise right arm to Heat-en, as if in

prophecy (back of hand to- the front) keep the eyes, raised; expression
;
of fierce, exultant joy upon the face.
"
Oh he
says
Lean forward (to left) raise left hand toward

right arm to front, in support of left; turn head
and incline it to left.
;
left ear,
slightly
as
if listening,
toward right,
that Keith of Ewern's cry,

Sister Helen,
Slowly bring hands to breast and clasp them, inclining head forward,
in opposition; the head must still be turned to the right, as if listening.
Is ever to see
Turn
" In
all
to left,
you
ere
he die."
towards Helen, and extend both arms to her,
that his soul sees, there
am
in appeal.
I,
Little brother
"
!
Body still turned to left; slowly turn head to right, intil it is inclined
over n.uht shoulder: eyes to right, fixed upon boy, slowly raise left arm
.ven, right arm in repose at side.
'II
M.I
HIM
II
\K
III
K.>/I.\
I.ITTI.K
M'\V.
UK. >rHFR.'
SISTER HELEN.
"He
sends a ring, and a broken coin,

>T Helen,
Look towards
left,
as
if
addressing Helen; clasp bands pleadingly;
expression of pity and sympathy upon face.
And
bids
you mind the banks of Boyne."
Rring right hand to bieast, and extend left arm towards Helen, hand
prone, in attitude of tenderness; incline head backward, as the arm it
carried out.
What
else
he broke
Clench both hands, and bring the

shoulders and inclining head forward
left
towards breast, elevating the
slightly, in opposition to the
arm;
expression of despair upon face.
will
he ever
join.
brother?"
Little
Throw both arms up, hands clenched; throw head back in an abandonment of grief. Upon the word " join," throw left arm over the head, and
cover face with right hand, then let the head sink forward, slowly,
breast, with arms and hands in this position.
upon
XIII.
"
He
calls
your name
in
an agony.
Sister Helen,
Clasp hands tightly, elevating shoulders and depressing head; face

expressing intcn*c 1'ity.
That even dead Love must weep to
see."
Carry clasped hands out towards Helen, inclining head back.
Hate, born of Love,

Clench hands together tightly, elevate shoulders, and depress head,
then slowly earn- hands down, still tightly clenched, raising head
slightly; expression of vindictiveness and hate upo:
is
blind as he,
Lit tie
Carry the right arm to the right, turning hc.nl to left,

all memories of her love, anil allow in-.; notiiin^ !'-.u t!:e
away
her wrong to come to her
brother.
n;
"
SISTER HELEN.
138
XIV.
"
Oh
its
Keith of Keith now that rides
fast,
Sister Helen,
For I know the white hair on the
blast."
in great excitement, bring hands slowly to eyes, as if

at the same time inclining head forward, in opposition,
Lean forward
shading them,
then carry hands slowly out again, inclining head back.
"
The
short, short
hour
will
soon be past,
Little brother?"
Bring the hands slowly toward head, then carry them to breast; shrink
back slightly, with an expression of dread upon face; eyes fixed intently
upon image.
XV.
"
He
looks at
me and
he
tries to speak,
Sister Helen,
Lean forward, to suggest looking down at the baron-, retain right
hand upon breast; carry left hand to left cheek, in a sympathetic gesture,
remember to incline head forward, in opposition, as the hand is raised
But oh
his voice is sad
and weak
"
!
Carry right hand to breast, and clasp hands; an expression of pity
upon the
"
What
face.
here should the mighty Baron seek,

Little
brother?"
turned to left; head thrown back, and inclined over

shoulder; an expression of scornful surprise upon face.
Body
slightly
XVI.
"
Oh
his son
Turn
still cries, if
to left, as if earnestly
you
forgive,
Sister Helen,
addressing Helen, clasp hands pleadingly.
SISTHfi
The body
dies,
but the soul
Extend both arms,

head back.
<;
III-.l.
in appeal,
Fire shall forgive
me
EN.
shall
li
towards Helen, simultaneously carrying
as I forgive,
Little
brother!"
Turn
fiercely to right, clench both hands, and slowly raise right arm
to breast, hand in attitude of malediction; face expressing unrelenting
fierceness.
XVII.
"
Oh
he prays you, as his heart would
rive,
Sister Helen.
Step
To
to left,
toward Helen, clasp hands
save his dear son's soul

Carry clasped hands out,
"Fire cannot slay
in appeal,
it, it
in intense
pleading.
ali\
head moving back.
shall thrive.
Little brother
Turn slowly to right, clenching

arm to Heaven, face exprei\<.
left
hand
at side,
"
!
and raising right
XVIII.
"
He
cries to you,
kneeling
in the road.
Sister Helen.
Reml
It- ft
knee,
to
suggest kneeling and extend both arms plea
to Helen.
To go
with him for the love of (iod

Sink
ward
as
still
lower
hamU
aie
\\\>\n\
left
tamed
"
!
knee, clasp hand* in BD agony of pitv anil

.4 back-
out.
SISTER HELEN.
140
" The
way
is
long to his son's abode,

Little brother."
Turn body slowly to left, head to right, and eyes fixed upon the
" his
son's
brother; carry left arm slowly to left, and, upon the words,
abode, point downward, to suggest the abode of Hell.
XIX.
"
lady's here,
by a dark steed brought,

Sister Helen,
Lean forward
port of
(to
hand shading eyes,
left), left
right
arm out
in sup-
left.
So darkly
clad, I
saw her not."
to eyes, and lean

Bring right
zled, surprised expression upon face.
hand up
" See her
still
further forward, a puz-
now
Spring to right, in great excitement; press left hand convulsively

heart, and extend right hand (prone) in great excitement towards
upon
boy.
or never see aught,

Little brother
Carry right arm up slowly
left
hand upon
to
heart, eyes fixed
Heaven, as if invoking a
upon the boy.
"
!
curse, retain
XX.
"
Her hood
falls
back,
Lean forward, in great curiosity,

arm out at side, in support of left.
left
arm moving out
slightly, right
and the moon shines
fair,
Sister Helen,
Slowly bring both hands up towards eyes, simultaneously m
head forward, in opposition; lean still further forward, as if anxious
see
who
the lady
is.
"IMKI
\\V"1
Î
\V
IT,
IT sHU.I.
i.irn.K
THRIVE,
S/STER
On
the
of Kwern's golden hair."
Lady
Stan back
IIF.I.KX.
-li-lnly, clasp
hands in surprise; expression of wonder and
surprise up"!
"Blest hour of
my power and
her despair,
Little brother
"
:
Step forward (tn right), raise both arms to Heaven, head raised;
expression of iiendi--.li exultation upon face.
XXI.
"She may
not speak.
hands and bring them to heart;
Clasp both
upon
expression of pity
face.
she sinks in a swoon,
Helen,
bending over the balcony, extend both arms
reaching toward the lady in sympathy.
Lean forward,
to left, as if
She
lifts
her
to suggest
lips
and
<;-asps
on the moon."
both hands towards eyes carrying head forward, to suggest

looking very intently through the darkness at the lady; face expressive
of great pity and symyathy.
l!rin
Oh
mu;-ht I but hear her soul's blithe tune.

Little
brother!"
and bend right knee, inclining body forward, to suggest

Step
knci
>rward, turn head to left, bring left h
atlitii
.lining
carry right hand
head forward, to surest intently listening; au expression of cruel
enjoyment upon
to right,
i.
XXII.
"0
Sister Helen,
you beard the

Sister
Start
'i.inds.
bell,
Helen
SISTER HELEN.
More loud than the vesper-chime

Turn head to left,
of awe upon face.
"
No
as
if
it fell."
looking at Helen, hands clasped; expression
vesper- c-hime,
Turn
to right,
hand upon
left
extending right arm, as
if to
silence the boy, pressing
heart.
but a dying knell,

Little brother
"
!
Slowly drops arms to side, then drop head upon breast; expression of
hopelessness upon face.
XXIII.
" Alas
but I fear the heavy sound,

Sister
Carry left foot back, sinking weight upon it,

hands over the ears, as if to shut out the sound.
in a
Helen
crouching attitude;
Is it in the sky
Crouch
still
lower, and look
up
at sky,
or in the
and
slightly
draw body away.
"
ground
Shrink back, bring hands to breast, look all around and towards the
ground, as if in search of the sound; expression of dread and fear upon
the face.
"
Say, have they turned their horses round,

"
Little brother ?
Step to right, extend right arm towards the boy, hand in nttit
earnestness; left hand pressed to heart; face expressive of intense
earnestness.
XXIV.
" Flank to flank are the three steeds

gone,
Sister Helen,
Incline
body forward; bending
hands shading eyes.
left
knee, to suî^t kne<jlin_
"
YKT HKKK T11KV
lit
KN
-TUT.
in
SISTER HELEN.
I
Jut
14'.
the lady's dark steed goes alone."

Incline the body still further forward, hands
trying intently to pierce the gloom.
And
still
shading eyes, as
if
lonely her bridegroom's soul hath flown.

Clasp hands, and bring them slowly down, simultaneously raising head.
Little brother."
Drop head upon
breast
an expression of awe upon the
face.
XXV.
"
See, see, the
wax has dropped from
its
place.
Sister Helen,
Step to
hand.
And
left,
with excitement, toward image, and point to
the flames are winning up apace

Same
with
position, eyes
left
still
upon image; make a
slight
it
with
left
"
!
upward gesture
hand.
" Yet here

they burn
Spring t> ri^lu, :is if rushing toward the image, left hand pressed con:inv; the
vulsively upon heart, pointing to imaê with
which the wax still adheres; face expressive of terror, dread and
suspense.
<
but for a space,

Little brother
Incline body still further forward, as if leaning over the
hand convulsively to heart, bring rijjht hand to head; the whole
tude and face expressive of UK
left
"
!
atti-
XXVI.
Ah what
!
white thing- at the door has crossed.

Sifter
in terror,
thrust out both arms, as
e.\pre>Mi_m of fear uj>oii
if
to
ward
Helen
off the spirit;
SISTER HELEN.
150
All
what
is
this that sio-hs

in the frost ?
<j
"
Crouch down, and shrink back, bringing both hands to ears, as

shut out the sound, looking around iu great terror.
"
if
1 1
soul that's lost

Bring arms up, hands clenched, head toward
as mine
left,
body swaying back.
is lost,
Little brother
"
!
Clutch head tightly with both hands, slowly turn it to right, body
swaying backward; expression ol hopeless, despairing anguish upon face.
"
Lost, lost, all lost,

"
Throw arms up
all lost,"
in an utter abandonment of despair; upon the words

throw right arm over head, and cover face with left hand,
allow the body to sway back as far as possible.
carrying head back
betAveen Hell
and Heaven."
Bend both knees, slowly sink toward ground

covering face with hands.
in
hopeless despair,
"ALL
LOST,
BETWKKN
MKI.I.
AMI
III-
AVKN
"
!
FA MINK.
Till-]
IIKNUV
I5V
WAKSWORTH LONC KKLU
& Co
[By permission of HOUGHTON, MIFFLIN
Oh, the long and dreary Winter
>'.V.
Weight upon the back
foot
(left),
hands
tightly clasped,
struggle.
Oh, the cold and cruel Winter

hands
bringing them
to
sli-htly elevating shoulders,

slightly forward, to suggest a shiver.
Bring clasped
breast,
and
Ever thicker, thicker, thicker,

Froze the ice on lake and river,
Slowly carry weight of body forward until it rests upon the forward
which is the riijht raise arms to front, to about the level of
then slowly and gracefully carry them out to side, in a descriptr.
ure, hands (prone) easily and gracefully held; look around, as if at the
frozen waters.
foot,
Ever deeper, deeper, deeper

Fell the snow o'er all the landscape,
Fell the covering snow, and drifted
Raise both arms (hand* hanîiiL; relaxed) throughout the fir
"
fell," let them
words, and upon the word
the upper arm, ellxjw and wrist, and allow
to little below the level of the shoulders; make a slight gesture
:
"
upon the word
Through
drifted."
the forest,
arms
toward one another.
Uriii.^
the
Wave
the arms out to side.
to front,
round the
155
village.
THE FAMINE.
150
Hardly from his buried wigwam

Could the hunter force a passage
to forward foot; raise right arm to front,

*Slowly bring
and,
" weight
upon the word force," send arm out to front, in a strong gesture.
With
his mittens
and
his snow-shoes
Move right arm slightly towards body (this gesture

paratory movement for the next).
is
merely a pre-
Vainly
Carry arm to
right,
head moving to
left,
in a
gesture of pathetic
repulsion.
walked he through the

Drop arm
to side,
and bring head
forest,
to front.
Sought for bird or beast

Sway forward, extend right
action to suggest seeking.
arm
to front,
left
arm
to side; the
whole
and found none,

Bring weight to back foot; give the arms a slight, upward wave, then
drop them to side, head falling upon breast; attitude suggestive of
despair.
Saw no
track of deer or rabbit,

body forward, shade eyes with hands, peer intently around,
searching eagerly for some track.
Incline
as
if
In the snow beheld no footprints,

Incline the body still further forward, bending right knee, action the
in the preceding line, only make it more intense.
same as
Iii
the ghastly, gleaming forest

Shrink away, gesture of repulsion.
*
Always remember to move the head in opposition to the arms. When the
arms are brought up, slightly depress the head, and vice versa. When the arms
descend, raise head. When the arms are carried, the head should move backward slightly, etc. Upon these little points depend, in a great measure, the
beauty and subtlety of your movements.
"FROM HIS liixikWAY

SAW ir ui'KNiNi: IN
II
IA\\ A
HI
HA
M>KI sr."
THE FAMINE.
Fell,
Reel backward, clutching the head with both hands.
and could not
rise
from weakness,
Slowly take an attitude of prostration.
Perished there from cold and hunger.

Come
Oh
back slowly to normal position.
the famine and the fever

Clasp hands
in struggle, slightly
elevating shoulders, and depressing
head.
Oh
the wasting of the famine

The same
Oh
gesture, only
more
intense.
out in abandon, hands prone, head thrown back.
the wailing of the children

Bring hands slowly
Oh
it
the Masting of the fever

Arms thrown
Oh
make
to breast, depressing head.
the anguish of the
women
Raise arms, with hands tightly clasped in struggle, head moving
back
in opposition.
All the earth was sick and famished
Slowly carry arms out to side (hands prone), making a broad, descriptive gesture, taking in all the earth.
Hungry was the
air
around them.
Slowly wave arms toward one another
Hungry was
looking fearfully around.
the sky above them.
W.ivc .inns out to
side, giving
them
a graceful impulse
upward.
And
the hungrv stars in Heaven

Like the e\rs of wolves glared at them
Shrink hack, bringing hands to

the
'.\
brtv.
\ i-r left
shoui
inn up in repulsion, to suggest the idea of shutting out the
horrible sight
THE FAMINE.
ICO
Into Hiawatha's wigwam,
Came two other guests as silent

As the ghosts were, and as gloomy,
" Into
Sway forward, slowly raising arm throughout the words,
Hiawatha's wigwam," and upon the" Came two other guests," designate
the guests by a slight wave of the arm remember to carry the head
back as the body moves forward, and the arm is carried out; shrink
with the words "As silent as the ghosls were, and as
back, slightly,
"
gloomy; eyes fixed upon the imaginary guests.
:
Waited not to be invited,

Did not parley at the doorway,
Wave
*
the
arm
to right, slightly
shaking the head.
Sat there without word of welcome
In the seat of Laughing Water
Designate the seat with right hand.
Looked with haggard eyes and hollow

At the face of Laughing Water.
Step forward (to right), as
if
anxiously watching them; extend

gesture, designating the {ace
arm toward them, hand prone, and make a

of Laughing Water.
And the foremost said

am Famine, Bukadawin
" Behold
me
"
!
Step back, raise head, fix eyes with a ghostly stare upon Minnehaha;
in gesture of revelation.
arms
And the other said " Behold me

"
I am Fever. Ahkosewin
:
Step forward, raise right
arm over head,
slightly depressing
head.
And
the lovely Minnehaha

Shuddered as they looked upon her,
Shrink away, in terror, bringing hands to breast, eyes fixed upon the
imaginary guests with an expression of horrified fascination upoi
IX
THK LAND OK THE DACOTAHS
"I
\VII.I.
FOI.t.oW Yt>r,
MY HfSliANp!
"
77/7:
Shuddered
I-AMIXE.
at the -words tliey uttered.
Shrink back still further, sinking slightly upon back knee

and turning body a little to left: eyes fixed upon the ghosts, which arc_
upon the right; the whole attitude must be B
the dreadful fear with which the ghosts have inspired her; the shoulders
iM be elevated and brought forward, to suggest a shudder.
:v
down on her bed
in silence,
Retain hands upon breast, and carry right foot

as low as possible, bending both knees.
Hid her
but made no answer
face,
Drop
back of
left anc'
sink
face into hands.
Lav there trembling, freezing, burning

retaining the crouching posture,
Still
if
moving
face, look
At
;is
[i.^siiiU- :i.v.iy
up timidly and
tY.
draw the body
slightly to
left,
as
>:;
fearfully to right, towards the g:
the looks they cast upon her,

Hide
At
as fir
face again, with hands.
the fearful words they uttered.

Shrink shtidderingly away, still in the crouching posture, drop head,
and cover ears with hands, as if to shut out the words uttered by the
ghosts.
Forth into the empty forest
Rushed
Drop hands from ears, raise head, and slowly
upon the word "rushed," step
attitude,
rise
from the crouching
!"
extending both arms with force, allowing head to move back
the
maddened Hiawatha
'-..
in opj>
clutching head with both hands, an
expn>
In his heart was deadly sorrow.

Hring hands to heart, elevating shoulders.
Ill
his face a stony tinmies<
.w the body up, head erect, expr

of firmness and despair upon
THE FAMINE.
166
" Gitche
Manito, the Mighty
"
!
Sink slightly upon right knee, to suggest kneeling, raise eyes and
Heaven face expressive of the most intense earnestness.
clasped hands to
Cried he with his face uplifted

In that bitter hour o anguish,
Slowly bring clasped hands to breast, slightly inclining head forward.
" Give
father
your children food,
Give us food, or we must perish
Carry clasped hands out in passionate appeal, head moving back.
me
Give
food for Minnehaha,
Take a
step forward, and sink upon right knee, inclining body backward, and throwing both arms out in the most intense earnestness and
appeal.
For
my
dying Minnehaha
"
!
Sink as low as possible toward ground, dropping face into hands.
Through the far-resounding forest,

Through the forest vast and vacant
Slowly
rise,
carrying arms out to side (hands prone), in a broad,

if through the forest, an expression
descriptive gesture, look around, as

of awe upon face.
Rang
Give a sudden wave of the arms, outward and upward.
that cry of desolation,

Clench hands
in struggle,
then drop them at side.
But there came

Sway
forward, slightly raise right
arm
slowly, and bring
toward body, inclining head forward, and turning

of listening.
no other answer
Wave arm
Than
to right,
head turning
to left.
the echo of his crying,
it
hand
in
to left, in attitude
HI\K
HI
CU.I.INi:
r.)
\1
Ml-
>
->r
M1NNKHAHA
KKOM A
DI9
THE FAMINE.
Than
the echo of the woodlands,

"
Minnelialia
" Minnelialia
Sway forward, slowly bringing hand

turning to
to breast,
head moving back and
left.
All day long roved Hiawatha

Bring hand down, and clasp them in front of body.
that melancholy forest,
Iii
Look around, as if through the forest, and slightly shrink back, as

appalled by the lonc
Through
O the shadows
if
of whose thickets,'
In the pleasant days of Summer

Of that ne'er forgotten Summer,
He had brought his young wife homeward
From
the land of the Dacotahs

Hands
clasped, very slowly let head

tude of thought.
still
upon
fall
breast, in
..
When
And
And
the birds sang in the thickets,

the streamlets laughed and glistened,
the air was full of fragrance,

Slowly raise head, smile, as
if
the
remembrance brought pleasure.
And
the lovely Laughing Water

Said with voice that did not tremble,
.
ly turn
head
to left,
an expression of love
.uul
confidence upon
the face.
"I
will follow you,
mv husband
Step forward (to left): extend both anus, head moving back, the
whole attitude suggestive of the deepest love and confidence as j
111 tlie
In left;
with Nokomis,
wiifwam
o
c.\i'-'
mp.uhy and
pity.
THE FA MIXE.
;:0
With
those gloomy guests that watched her,

AVith the Famine and the Fever,
Clasp hands and shrink away, as if in horror, from the ghosts, but
keeping the eyes fixed upon them.
still
She was
lying, the Beloved,
Sway forward
extend right arm, with a carressing

designating Minnehaha.
(to right) slightly,
motion, head moving back, as
if
She the dying Minnehaha.

Drop arm
and drop head upon the breast; expression of
to side,
face.
deep pity upon
"
Hark
"
she said
left
Bring
hand
to breast, carry right
arm out towards Nokomis,
as
if
silencing her.
I hear a rushing,
Hear
a roaring and a rushing,
Slowly bring right hand toward

towards right, as if listening.
Hear the
Falls of
turn head to
Left,
and
incline
it
Minnehaha
me from
Calling
o to
breast,,
a distance
"
1
Clasp hands in great joy upon breast; expressionof delight upon face
No,
" 'T
my
is
child
"
1
said old
Nokomis,
the night-wind in the pine-trees
Now suggest Nokomis, who should talk from the

slowly shaking head, an expression of pity upon face.
" Look " she said

!
" I see
my
left;
"
!
look down,
father
"
look," then extend both arms, to
Clasp the hands upod the word
right, towards the father, head moving back; an expression of love and
longing upon the face.
Standing lonely at his doorway.

Clasp hands and bring them to breast, head moving forward.
Beckoning
to
me from
his
Extend right arm towards the
wigwam
father.
>K
in
111
I
III-
-M'l'l
ri'iiN
IM \\ps i'K
HI
J,
I
ifKM V
i
-M D."
THE
l-AMIXE.
In the land of the Dacotuhs

Sway
forward, bring right hand up, as
upon the imaginary
child
"No, my
"
'
if
shading the eyes; eye fixed
father.
"
!
said old
Nokomk
smoke, that waves and heckons
is tin-
if
"
!
Sway back, look down, make a carrcssing gesture with

soothing Minnehaha, hand in the attitude of tenderness.
"Ah
"
said she,
Glare upon
me
left
"
!
hand, as
"the eyes of Panguk
in the darkness,
Start back in terror, throwing out both arms in repulsion, as if warding

off the spirit; body moving back towards left, eyes to right and fixed
upon the spirit; expression of terror upon face.
I can feel his icy fingers
Clasping mine amid the darkness!

Place the right foot back of the left, and crouch as low as possible,
knees: clutch breast convulsively with both hands; ex
pression of wild horror upon face.
licniling both
Hiawatha
Start forward, throwing out both
arms
in
wild terror and appeal.
Hiawatha !"
Reel backward, throwing arms up
in
despair and clutching head.
And
the desolate Hiawatha,

Far away amid the forest,
Miles
awav amid the mountains,

forward, slowly
them out with
r.,
-\\
"
upon the word miles," send
(>:
Heard that sudden cry of anguish.

Heard the voice of .Minnehaha
Calling to him in the darki.
!
listening attitude;
to left, in
THE FAMINE.
174
" Hiawatha
Slowly carry right arm out, inclining head back in opposition; head
turned to left, and inclined to right, as if listening.
still
Hiawatha
"
!
Lean forward, to left, bringing right hand back to breast, and left hand
up to ear; the attitude is to suggest the idea of the Indian listening
intently; an intent expression upon face.
Over snow-fields waste and

Carry the arms out to the
passing the
side, in
pathless,
a broad, descriptive gesture, encom-
fields.
Under snow-encumbered branches,

Look up and around,
as
if at
the trees
carry arms up, to designate
the branches.
Homeward
hurried Hiawatha,
Bring arms down
them
to the front;
to a
stroke
little
below the
level of
" shoulders,
coming upon the word hurried."
and carry
Empty-handed,
Open arms
at side, in attitude of revelation; expression of hopeless-
ness upon face.
heavy hearted,
Drop arms
And
at side.
he rushed into the wigwam,
Step forward, extending both arms to the front (hands prone)

" rushed."
of gesture upon the word
Saw
the old
Rocking
to
stroke
Nokomis slowly
and fro and moaning,
foot, right arm extended to front, left

in support of right; anxious expression upon face.
Weight on forward
Saw
arm
at side,
Minnehaha
Lying dead and cold before him,
his lovely
Start back, bringing

face.
upon
hands
to
head; expression of anguish and horror
"
MIGHT NOT LEAVE HER
IN
THE DARKNESS."
1-K'iM
||I>
FROM
IHI
SI'iMiD
HIM
liKli
Tl
^-
"|
KM'
MINM
AND U \KIIII)
II
Mlillll
N.'l
\|
||
i;i
||
!'K!~
Ml
\.
IHK IHHDKWAY,
XI1N..I I>1IH>."
THE FAMINE.
And
his bursting heart within

1
j;;,
him
Uttered such a cry of anguish

Bring hands
That the
to heart in struggle, elevating shoulder.
forest
Hands
still
moaned and shuddered
upon heart; draw back
That the very stars

Shook and trembleV.ring clasped
awe.
Heaven
in
1
in
with his anguish.
hands down
in struggle, raising
head and elevating
shoulders.
Then they buried Minnehaha

In the snow a grave they made her,
;
Slowly turn to right, looking down, as if at the grave,

easily in front of body; expression of pity upon face.
hands clasped
In the forest deep and darksome,

if
Shrink back
through the
in
awe, bring clasped hands
to breast,
Underneath the moaning hemlocks

Same
looking around, as
forest.
attitude, shrink
still
further back, look up, as
if
at the trees.
Clothed her in her richest garment-,

Wrapped her in her robes of ermine,
Covered her with snow,
like
ermin
Slowly carry arms out to side, hands prone, making a broad gesture,
looking down, a* if.it Minnehaha.
Thus they buried Minnehaha.

Slowly drop
And
Ou her
at nin'ht
a fire
D
was lighted.
*
grave four times was kindled.
Raise right arm slowly to front, hand prone, to about level of waist.
THE FAMINE.
180
For her soul upon
To
its
journey
the Islands of the Blessed.

Raise right arm slowly towards Heaven, raising head.
From his doorway Hiawatha

Saw it burning in the forest,
Slowly drop right arm to side, and clasp hands in front of body look
towards front, as if watching the fire; expression of hopeless sorrow
;
upon
face.
Lighting up the gloomy hemlocks

Looking up and around, as
From
From
if
at the trees.
bed uprising,
his sleepless
the bed of Minnehaha,
Stood and watched
That
it
iliight
it at the
doorway,
not be extinguished,
Slowly sway forward, raising right hand (hand prone), to about the
level of shoulder; intent expression upon face.
Might not leave her

Wave arm
to right,
" Farewell
Farewell,
"
!
my
in the darkness.
head turning
said he,
to left (see illustration).
" Minnehaha
Laughing Water
in front of body in struggle, and slowly raise

breast, elevating shoulders; expression of anguish upon face.
Clasp hands
All
All
my
my
buried with you,

thoughts go onward with you
heart
Extend arms
Come
to front
and
slightly raise them,
not back again to labor,

Wave
Come
is
the arms slightly out to sides.
not back again to suffer,
hands supine,
them
to
THE
Where
the
Famine and
iy to
I'.rn
the heart ami

]; 1|;
F'-vcr
;
\vastt..vly,
head forward
tightly,
and
slightly ele-
the
h<
Iv.
elevating shoulders, and inclining
in f>|>i><>Miioii.
Soon my task
he completed,
will
lc,
palm of hand
Soon your footsteps
To
To
tin-
breast,
slioii.
vating
Wear
/-:/.)//.\7-;.
to front, look toward right.
shall follow
the Islands of the Klessed,

the
Kingdom
of
Ponemah,
of rapture upon
Slowly raise anus to Heaven, looking up; expression
face.
To
the
Land
of the Hereafter!"
in opposition.
Bring hands to breast and cross them, bowing head
THE STORY OF THE FAITHFUL SOUL.

The lines having the double rule against them have been omitted
from the pantomime.
THE
fettered spirits linger
In purgatorial pain,
With penal
Their
Which
Had
fires effacing
last faint
life's
earthly stain,
imperfect sorrow
tried to cleanse in vain.
Yet on each
feast
Their sorrows
of
Mary
find release,
For the great archangel Michael
down and bids it cease

name of these brief respites
called " Our Lady's Peace."
Conies
And
Is
the
Yet once
so runs the legend
When the archangel came,

And all these holy spirits
Rejoiced at Mary's name,
voice alone was wailing,
One
Still
wailing on the same.
though a great Te Deum

The happy echoes woke,
And
This one discordant wailing

Through the sweet voices broke
So when Saint Michael questioned,
;
Thus
the poor spirit spoke

182

"
am
not cold or thankless,
Although
Although
TII
still
it
comes
--till
On
Is
vain
ceaseless pain.
earth a heart that loved
Still lives
And
in
hitter anguish,
my
Or quench mv
"
complain;
our Lady's blessing,
I pri/.e
and mourns
me
me
there,
the shadow of his anguish

more than I can bear;
All the torment that I sutler

Is the thought of his despair.
" The evening of my
bridal
Death took my life away;

Not all love's passionate pleading
Could gain an hour's delay.
And
he
A
"If
I left
has suffered
whole \ear since that day.
If
could only see him,

could only go
And speak one word of comfort

then I know
And solace.
He would endure with patience
And
strive against his \voe."
Thus the archangel answered

" Your time of pain is brief,
:
And
soon the peace of heaven
\Yill give
you
full relief;
183
184

Yet if his earthly comfort
So much outweighs your
"Then, through
I offer
you
grief,
a special mercy,
this grace,
You may seek him who mourns

And look upon his face,
And speak to him of comfort
you,
For one short minute's space.
" But when
that time
is
ended,
Return here, and remain

thousand years in torment,
thousand years in pain
Thus dearly must you purchase
The comfort he will gain."
The
lime-tree's shade at evening
spreading broad and wide

Beneath their fragrant arches,
Pace slowly, side by side,
In low and tender converse,
bridegroom and his bride.
Is
The
night is calm and stilly,

other sound is there
No
Except their happy voices
What
is
that cold, bleak air
That passes through the
And
stirs
lime-trees,
the bridegroom's hair?
While one low cry of anguish,

Like the
last
dying wail
THE STORY OF THE FAITHFUL

Of some dumb,
SOL' I..
hunted creature,
borne upon the gale

Why does the bridegroom shudder,
I
And
turn so deathly pale?
NVar purgatory's entrance

It
The
radiant angels wait
was
the great Saint Michael

closed that gloomy gate,
Who
When
the poor wandering spirit
Came back
to
meet her
fate.
" Pass on," thus

spoke the angel
Heaven's joy is deep and vast
Pass on, pass on, poor spirit,

For heaven is yours at last
In that one minute's anguish
Your thousands-ears have
passed."
la-'.
THE STORY OP THE FAITHFUL
SOUL.
BY ADELAIDE ANNE PROCTOE.
FOUNDED ON AN OLD FRENCH LEGEND.
The beauty of
this
pantomime depends upon the delicacy of
its
every varying emotion, of which there are so many, must
action;
be clearly shown.
ticipation of the
less despair
The
first
contrast between the joyful
and eager an-
journey to the earth, and the crushed, hope-
of the journey back to Heaven,
and must be brought out
clearly.
is
a very fine distinction,
Then, the expression of amaze-
ment, which changes to anguish, the growth of that anguish after

the spirit discovers her lover, and realizes his faithlessness, and,
fin-
the change from a stony, despairing, almost indifferent resigna-
ally,
tion, to
her fate; to the pure, loving, reverened peacefulness which
pervades her being, as she hears the welcome words of the saint,
telling
her to pass on to the joy and peace of Heaven, that she has
passed through her thousand years of torment in that supreme
moment
In
and
if
of anguish upon earth.
my
in
it
opinion, this
is
the most beautiful of
the power of pantomimic expression
given well, will create a

It is best to
all
is
the pantomimes,
clearly
shown, and
profound impression upon an audience.
have the entire poem read, or
the pantomime, in order that the audience
meaning, and one can readily see
it
recited, before giving
may
fully
understand
beauty of the pantomime to allow any reading while

progress.
186
its
would detract greatly from the

it
was
in
THE STORY OF THE FAITH Ft' L SOUL.

The action of this pantomime begins at the point where the spirit
stands in hopeless despair and despondency l>efore Saint Michael,
and explains to him the reason of her sadness.
V.
"I
am
not cold or thankless,

I still
Although
complain
Stand in an attitude of despondency, hands clasped in front of body,

head bowed upon the breast.
I prize
our Lady's blessing,
Raise head and look up, as
if
addressing the saint; expression of
hopelessness upon the face.
Although
it
comes
Raise right arm, and wave

turning to left.
To
still
Bring hand
my
in vain
to right, in pathetic repulsion,
head
bitter longing,
to breast,
and turn head
Or quench my
Bow head and
it
to front.
ceaseless pain.
press hand upon
heart.
VI.
"
On
earth a heart that loved
Still lives
and mourns me
me
there,.
Step forward and point downward, with forefinger of right hand, to

suggest pointing down to earth.
And
C'lasp
the
haiuU
shadow of
in strtit;u!i-, rle\
his anguish,
.ititii;
Ui,mli!ers
iiii.l
.Icprcss head.
188

more than
Is
The
struggle should
idea of turning
I can bear
grow more
away from
intense, turn to
left,
to suggest th*
the saint to hide her emotion.
All the torment that I suffer

Is the
Still
show
thought of his despair.
struggle, with the
slowly turn it to right, and

turned to left.
fix
hands and shoulders;
the eyes
upon the
head and
keeping body
raise
spirit,
VII.
The evening
of
Death took
Eyes
still
upon the
my bridal
my life away
saint,
turn body slowly to right, hands
still
clasped.
Not
all love's
passionate pleading
Clasp hands tightly, bring them towards breast, bowing head, and,
"
upon the word pleading," throw arms out passionately, head moving
backward.
Could gain an hour's delay

Clasp hands tightly, bring them towards breast in struggle, elevating
shoulders and depressing head, then carry hands down, in struggle,
raising head.
And
A
Hands
he I
left
has suffered
whole year since that day.

clasped in front of body, head
bowed upon
breast.
VIII.
" If I could
only see him,
If I could only go
And speak one word

And solace,
Slowly raise head.
of comfort

then I
He would
Extend
right
And
know
endure with patience
arm
to right,
toward the
spirit,
strive against his
Wave arm
then drop
1'Jl
to right,
arm to side,
hand supine.
woe."
hand prone, head to left, in pathetic repulsion,

bowing head over left shoulder.
IX.
Stand
in this attitude
throughout the words:
" Your time of

pain is brief,
And soon the peace of heaven
Will give you
full relief
Yet if his earthly comfort

So much outweighs your
Upon
"
grief,
the following lines
Then, through a special mercy,

I offer
you
this grace,
Slowly raise head, expression of wonderment

body must not be turned as it is raised.
You may
And
seek him
on face; the head and
who mourns
you,
look upon his face,
Turn head to right, and fix the eyes upon the

upon the face;, clasp hands in delight.
saint,
an expression of
great joy
And
speak to him of comfort

For one short moment's space.
Turn body to right, hands still clasped, eyes

face expressive of the greatest joy.
still
fixed
upon the
saint,
THE STORY OF THE FAITHFUL
1D2
SOUL.
XI.
" But when that time
is
ended,
Return here, and remain

A thousand years in torment,
A thousand years in pain
Thus dearly must you purchase
:
The comfort he
Stand before the
saint,
will gain."
with hands clasped, head bowed in reverence
and gratitude.
The remainder of the pantomime must be done

with no words for a guide.
The next movement
is to suggest the idea of the spirit flying down to the

Slowly rise upon the toes, having one foot in advance of the other,
arms
with hands relaxed and depressing head; raise the right
slowly raising both
arm almost directly to the front, and the left arm obliquely to the left; this
must
movement
be made very slowly and gracefully, otherwise, it will be
almost ridiculous.
When the position is attained, hold it a second, then slowly return, bringing
arms down gracefully and easily, depressing wrist and raising head bring the
earth.
arms down
The
till
the position of the illustration
spirit is
upon page 193
now supposed
to
is
attained.
have reached the
earth.
The next movement in the pantomime is to illustrate the search of the spirit for
her lover. Slowly bring right hand towards eyes (left hand moving toward body
in sympathy with the right), to suggest intensity in the search, simultaneously
swaying forward and bending head forward, slightly, in opposition to movement
of arms and hands.
Now slowly turn to left, right arm moving out to right, in support of the left
arm, which should move to left, the hand held easily and gracefully, but expresBend the knee of advanced leg
sively, and following the direction of the eyes.
(the left), and incline body forward. Now sway back, bringing hands to breast,
head and eyes moving to front. Again sway forward, carrying right arm to
front and left arm moving toward left in sympathy; slowly turn to right, moving arms until position of illustration is again attained. The eyes must move
slowly and searchingly, following the direction of the arms and hands, and the
face, as well as all the movements of the body, must express the greatest eagerness and intensity. The face must also express joyful anticipation.
At the point where the spirit discovers her lover, start back with a low cry,
rather more of surprise and disappointment, than of anguish, as the spirit does
THE STORY Of THE FAITHFUL SOUL.
l!r,
not, as yet, realize the fact that her lover is false.

Bring right hand to head,
Hold this attitude an instant, in stunned
aiul press left hand upon heart.
amazement: then, as the dreadful truth begins to dawn upon her, slowly sway
forward toward them, pressing both hands upon heart, as if not crediting the
she must hear their conversation.
evidence of her eyes,
Then, as the truth grows upon her, the expression of the face changes to
anguish; with a low wail of anguish, she staggers back, throwing up both arms
(hands clenched), in despairing abandon, head thrown back. Now throw left
arm over head, covering face with right, head turned to left (see page 152).
Hold this attitude a moment, then slowly reverse it, turning head to right and
carrying right arm over head and covering face with left. Hold this an instant,
then slowly sink down in utter despair (attitude same as that upon page 153,
only covering face with both hands). Hold this attitude an instant, then slowly
rise, hands clasped in struggle, face expressing the most intense and utter
ml anguish. Stand for an instant with head bowed.
Ihe next movement is (he same as in the first of the pantomime, where the
spirit flies to earth, but the expression, both of face and body, must be widely
different
In the first flight, it was that of eager, joyful anticipation, now it must be one
of utter, hopeless despair. As you return to normal position, after rising upon
the toes, slowly bring arms down to side and raise head.
The spirit is now supposed to stand before St. Michael, awaiting her doom.
Bow head, hands hanging easily at side, face expressing resignation to her fate.
As she hears the words of the saint, which tells her to pass on, she raises her
head and clasps her hands in joy, looks at him a moment, then bows her head and
crosses both hands upon her breast in peacefulness (see illustration, page 189).
CATHEDRAL SCENE FROM GOETHE'S

FAUST.
MUSIC BY GOUNOD.
THIS scene can hardly be
called a
pantomime proper, as Marguerite
must speak her words, but she shows in pantomime the effect produced upon her by the words of Mephistopheles, and the chanting of
the church choir.
Of course
the effect
is
in Marguerite's costume.
greatly heightened if the reciter
If the scene
is
is
dressed
given with stage setting, and
a Mephistopheles and demons, Marguerite's action will be substantially
the same, only greatly enlarged, and, instead of suggesting
kneeling, must sink directly
down upon
much or
The performer can use as

desirable.
it
is
If given
as
little
of the music as
is
as a simple recitation, without stage-setting,
best to have only the last two or three bars played, before the
performer's entrance.
it Js
the knees.
much more
Organ music
is
of course to be preferred, but
convenient, as a rule, to use a piano.
must be a thoroughly good performer.
directions for use in a stage performance of the scene.
196
The musician
have given the stage
FAUST.
<f?
197
MAKOKKIITA.
i)|
j
f i& C ffiy p
>l-nor, coo-cei-io
* *
i-
/sJT" /iiMTTiTjywi'j^
o-milToilr' mn-ttl-
!!'
di.
.-,
pro-itrr-*i
tlT (I -
^3
-J J
J1
I
I
Jl
V^
i
J.
No,
hJ
to
non dei
-gar
no
nun/
M ikull fritf pro
^^^
N?
^-
At-ter-ri
te
I( A.-rl.
<r>
Is
TO
<M
frat
;;
VA)
n.
f?
!.
at,
Spir-U del mal.

6t-mmi
m. .
<
FAUST.
198
*^tp
lo Ya
- cil
-u
^=^fr
tr
-
lo
ahimfe f
WHO
CALLS ME?
FAl'ST.
201
Mrnrrnrri.!.
cor.
lor,.
*>r'
...
Ve
ni-riil tem-piotl-lo
Qnu-dotuil-u-'*
n"
ii*
Jt*
Ti al
ekl
tuf^l
tail
_J-
Ed
tl
cie
'
to
per a-do-nr Id- dio. cm-pi* ooa
U
uitr
sa-lia
cm-tu ta* pregbw
?s
tall'
/ui
r,
it
r u
U di u tm- n
r
ji
rf
-J
m-
li
del-U
if-
fc
it In
FAUST.
202
Li
mor,
fear
l'in-fer-no
My ftef .
1'e -
ter
a se
g,r
*\-rti
chia
einm
m
maut
no do
ma L infer- no
/V^n
<A
t. -loo.
gna
ti
TOO! I
- lor
"
fOrcA.)
chi
naal vo - ce en
H
/.
<u row x
pa
<
mi par-
la
eo
me
seen -de
r
<
<
nell'
*'
1
cm
bra?
'
Pie-
Ciel!
"'
to
-BO
che
ciel,
FAUST.
Soprani, Ttnori
Baui. (CoBO RI-LIOIOS&)
MM
FAUST.
204
MAKULTOFKLB.
P
|*CTI
te,
/.rajr.-
Dio non
la
ha
(tea
-r
ciel
nou
io
U>
il
jKa per
gv
'.
-r
-V
Viia
pivl
HE
nol
(CoRO RELIGIOSO.)
di-rdal-lo
Che
mart
fiu
lAoU
An
ra al mio
frUM
*i
Si-gnor?
Jr
*<,
ir.0530.
ve
lit
tro hid
va
tm
- renii
m-llt
pro
or
let - tor?
ua
"WAIT BIT
TILL TH H' SHALT COME."
l:\UST.
m.v
id Arf
dio,
1%
Rior
_r
nl
d'cb
.
bm
t~.
207
-t-^-r
FAUST.
208
(CoBO REIIGIOSO.)
Soprani, Tenon.
-^-:
fc
(Orj
Or*.}
"AND
i, THE FRAILEST OF THE FRAIL

HAVE MOST NEED OK YOL'R FORGIVENESS."
FAUST.
211
'
I-*;
.
ffhie
i-r
n,
M,
nd'nnmi-M-ro
* V
1*
^-g-sftCT^LpT s"t
L"
pra-thi*.
*
IMT. tr *
cor!
f-i
Caru-cio T
tM
Mr
ra,
cal
-M
T-g
. t
ft <il
<*
tu
A*
Sopnm.
Uo
rtf
vcn
gt
dal
dal.lt
(io
ta
la
to-a
ife
ife
1 T
sfe
ra,Unraggio
lor,
do
do
lor.
vcn
ga
dal - la tea
'lor,
it
do'
lor,
fl
do
cal
ft
uî>
sfe
ra,
lop,
lor,
.lor I
mill
J.
.
.
mi a
do
j
do
gii ^!E^
rr^^î;
cal
do
*
i lor t
11
Bill
do-
212
FAUST.
CATHEDRAL SCENE.
AI:I:AN<;KI> F<H:
I-ANTOMIMK.
Marguerita enters slowly and hesitatingly. She crosses herself, and sinks
slowly upon her right knee (remember only to suggest kncrling, <lo nut allow
the knee to touch the floor.) clasping her hands ami l>owing her head, she remains in this attitude throughout the lines:
Thou
who on thy throne
Giv'st an ear for repentance,

Here before Thy feet let me pray
Hold
throughout the two bars of music which forms the

interlude between the end of Marguerita's speech and the beginning of
that of Mephistopheles.
Now conies the music, representing the words of Mephistophelc*. It
is best to play the air, together with as much of the accompaniment as
possible, as the air forms somewhat of a guide for Marguerita's action.
this attitude
No
No
thou shalt pray no more

thou shalt pray no more
!
Let her
know
Demons
of
What
in store
is
ere she prayeth,
111,
!
Marguerita raises her head, and looks around

" Let her know ere she
the words
in wonderment, with
prayeth," etc., the fare should
express both wonderment and dread throughout the interlude (which
may all be played or not), this attitude is held, with a slight shrinking
and the expression of dread deepening.
of Demons
She
JA/r.
starts
Who
calls
Mar.
me ?
Hands pressed upon her
( '//r.
Marguerita
up with the words:
Marguerita
heart, expression of suspense
upon
face.
I falter, afraid
forward, hesitatingly, extending right hand to front,

in a faltering manner, li ft hand pressed upon her heart, expression of
pitiful terror upon her fa. e.
M.irîu-iil.i steps
218
FAUST.
214
Oh
save
me from
myself.
Clasping her hands and stepping forward and looking upward.
Has even now the hour
of torture
began
Bring hands down in struggle, elevating the shoulders and bowing

head toward the left shoulder (hold this attitude throughout the short
interlude).
Meph.
Recollect
the
old
time
when the
angels caressing
Did teach thee
to pray
earnest to ask for a
!
how thou
Recollect
blessing
the dawn of the day
At
her head, listens intently, slowly raises her hands to

Marguerita
her breast, expression of joyful remembrance upon her face.
lifts
When
thy feet did fall back, and thy

breath it did falter as though
O to ask
for aid
Holds the same
attitude, but the smile begins to fade
from her face.
Recollect thou wast then of the rite and
the altar
In thine innocence afraid.

She shrinks back, pressing left hand tightly upon her heart, and putns
ting up right in repulsion before face, bowing head and turning to left,
if
to shut out the thought of her former innocence.
And now
be glad, and hear,
Marguerita again leans forward, clasping both hands, and attentively

With the words:
listens.
thy playmates do claim thee
From
below, to their
She shrinks back
in terror.
home
IT IUM'1.111
A OiKI)
I'ol
Mi MY
HR)\V.
FAUST.
-'i:
The worm to welcome

warm thee
tlicc.
the
to
fin-
Wait but
till
thou shalt come
Shrink slill further hack, with a i-axj> ,,( horror. Unin.: her head and
covering her car>, as it" to shut out the dreadful words; step* forward,
.'r head, and looks fearfully and thrinkingly around.
Ah
Is
what sound
in the
beneath me, around
Carry arms nut
descending Kcsturt, then hrin^ them

the words sug^c^t the gesture; ex-
a slightly
in
gloom
me ?
lowauU the body;
slowly up, an. in

preMtOD of dread
I
ii|).in
face.
Angels of wrath,
Is this
your sentence of cruel doom
Clasp hands and look up: how head with the

by the worshipers in the church.
last
three words.
?
Choral
:
When the book shall be unsealed,
When the future be revealed,
Chor.
Marguerita stands with

the worshipers.
What
frail
bowed head, meekly
mortal
listening to the chant of
shall not, shall
not
yield?
She
Mnr.
shivers,
and bows her head
And
I,
still
lower.
the frailest of the frail
Have most need
of your forgiveness.
She
raises her head, with an expression of pitiful pleading

face, steps forward, extends hands tremblingly, in revelation.
.)/'
/th.
No
let tlu-m
pray
M.iruerita clasps her hands tightly,
But thy
sin is deep,
She meekly bows her
In
in
let
upon her
them weep,
consternation.
FAUST.
218
too deep to hope forgiveness
Marguerita starts back, with an anguished cry, wildly clutching hei

head with both arms, an expression of horror upon her face.
No!
She sinks upon her knees, wildly clasping her hands
in
mute appeal.
No!
She
raises her clasped
hands passionately to Heaven,
in
anguished
appeal.
Chor.
Where
How
shall
human
sinner be,
hid in earth or sea
lie
She rises to her feet, and leans forward in an agony of suspense and
dread, to hear what shall be the fate of the sinner, pressing left hand to
heart and right hand to head.
To
escape, escape
Eternity ?
She shrinks back into a crouching position, turning head slightly to

and putting up both hands in repulsion, as if to ward offthe terrible
left,
words.
Mar.
Ah
Marguerita
up and rushes forward, as if trying to escape from

hymn, throwing her arms out in passionate abandon.
starts
the words of the
the
hymn
is
around and above me,
stops, looks around, with fear expressed upon her face, making
a slight, descriptive gesture, with the arms outward and upward.
She
bindeth a cord round
It
She clutches her head

and pain upon her face.
Meph.
thy friends who love thee

thy guardians above thee
Farewell
And
my brow
tightly with both hands, an expression of terror
Marguerita slowly brings her hands down from her head, and clasps
them in struggle expression of anguish upon her face.
,
The
past
is
done,
She throws her left arm over her head, with a moan of anguish, carrying her head back, and covering her face with right hand, attitude of
bitter,
despairing remorse.
"
WHO ON THY THRONE

AN EAR FOR REPENTANCE,
HERE BEFORE THY FEET LET ME PRAY
O THuU
GIV'ST
"
!
THOU] O THor! ON THY THHONK, \\IIo DOST HEAR ME.

THE SIDE OK MY CRAVE,
LET A TEAR OK MEKl Y KAI.L NEAR ME,"
'O
FAUST.
pavnnMit now
tinShe sinks down
in attitude
nf despair,
her breast, face entirely hiiUen by
who
left
bowing her head forward upon
.inn .uul riyht li.m.l.
Thou! on
Thou!
.:
-"-J
tliy
throne.
dost hear me,
Kneeling, with hands tightly clasped, eyes raised to heaven.
the side of
By
my
grave,
Let a tear of mercy

Carry clasped hands out
To
and save
pity
Bring clasped hands
"
Thou
Sink
still
fall
near me,
in appeal.
to breast,
bowing head.
on thy throne, who dost hear
lower upon the knee, throw out both arms
in
sudden
passionate, despairing appeal.
me, who dost hear by the side of
my
grave,
Let a tear of mercy fall near me,

Let a tear of mercy fall near me,
Clasp hands tightly.
To
aid
and
to save
Throw arms up in despairing abandon, hands tightly clenched, then

sink down in an attitude of utter prostration, covering the face with the
hands.
Murguerita
M<l>li.:
She rcmnins
in the
same
attitude of utter despair.
'Tis forever
Mm-.
Ah
exit.
in
abandon and
falls.
Do
fall
wildly, then bring
and
unless giving the scene with staê-settim; and the

nivinn it .imply as a pantomimic recitation, end in
(live a wild slirick. tnrOW m> Imth arms and clutch head
not attempt the
othi-r character-..
manner:
art thou
She gives a wild shriek, throws up her arms

this
mine
If
arms down
to side,
hands clenched
in struggle,
bow
PN
Adams, Florence Adelaide

(Fowle)
Gesture and pantomimic

action
PLEASE
CARDS OR
DO NOT REMOVE
SLIPS
UNIVERSITY
FROM
THIS
OF TORONTO
POCKET
LIBRARY

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ACTI9N

PHILPOTT 4 CO., PRINTERS,

\VH-'SK I.YIN'. INTEREST

hook ID the public

dents, readers, etc.

an- almost enti>

works upon the subject \vl

certainly indispensable to the stud\

best and most material results.

pound the theory

to a person to be able to ex-

he cannot exemplify the results in his

go<d practical train

muscles and put grace

hook and have endeavored

practical leSSOQfl easily

-rasped by the no\

EXTREssioNs OF Tin: iiii AND

COMPLEX GESTURES OF HAND

EXPRESSIONS OF THE TORSO

EXPRESSIONS OF THE TORSO

EXPRESSIONS REVEALING INWARD CONDITIONS OF

EXPRESSIONS REVEALING THE RELATION EXISTING

BETWEEN SUBJECT AND OBJECT

COMBINATIONS OF EYE AND BROW

COMPLEX EXPRESSIONS OF LIPS

THE FAMINE ARRANGED FOR PANTOMIME

THE STORY OF THE FAITHFUL SOUL

STORY OF THF FAITHFUL SOUL ARRANGED

CATHEDRAL SCENE FROM FAUST

the power of com-

plete surrender of the will to the emotions,

secondly, the entire subjectivity of the

body one and the same?

Ah, there yon

or outward material coverinj;-

while the being

that mystic, subjective, im-

mortal and imperishable portion of

not spoken of the soul

but the manifestation of

by the body and

the student of expression I will say, that the

agents, the emo-

which sway the being, is the only true art

that signs, positions, motions,

themselves expressions, but only the instru-

ments of expression, and that they are never

spectator the mystic life of

The student must

also develop the element of

spontaneity as ah manifestations of the being

wholly conceal from the view of the spectator

becomes apparent, that instant

expression ohscnro and mi>lead>

the spectator and hrin^s into view the machi

There are three

physical or vital principle of hein^.

the i;Toan, the

themselves are inarticulate and

and manifest conditions

mental, manifesting reflection.

tudes, bearings or gestures of the

emotions of the being.