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10. "A madrigal is a little amorous poem, sometimes called a pastoral poem, not confined to the scrupulous regularity of a sonnet or the subtlety of the epigram, but containing some tender and delicate, though simple thought."-WEBSTER.

Dramatic composition is that form or manner of poetry which is adapted to scenic representation. The species of this kind of composition are tragedy, comedy, tragi-comedy, farce, opera, burletta, and melodrama.

1. Tragedy represents the virtues, crimes, and sufferings of human beings in such a manner as to excite pity, indignation, grief, or horror; as, Shakspeare's "Julius Cæsar," Otway's "Venice Preserved."

2. Comedy represents the humors, follies, or pleasures of mankind; as, Shakspeare's "Merry Wives of Windsor."

3. Tragi-comedy is a representation of mingled tragedy and comedy; as, Shakspeare's "Much Ado about Nothing." 4. Farce is a brief dramatic representation of ludicrous qualities highly exaggerated. It frequently consists of one or two acts, and never more than three. "Farce is that in poetry which grotesque is in a picture."-DRYDEN.

5. Opera is the words of a musical drama. It consists of airs, choruses, etc., accompanied with instruments, and enriched with magnificent scenery and other decorations, to represent some passionate action; as, "Il Trovatore."

6. Burletta is a comic or farcical opera; as, “Hiawatha” (an operatic burlesque on the poem by that name).

7. Melodrama is a drama "in which songs are intermixed, and effect is sought by startling, exaggerated, or unnatural sentiment or situation."-WEBSTER.

A full dramatic composition (a drama, opera, or the like) is divided into five parts, each of which is called an act. These acts are subdivided into parts called scenes.

A scene "is so much of a play as passes without change of locality or time, or important change of character; a subdivision of an act."-WEBSTER.

An act is "one of the larger or principal divisions of a play or other dramatic work, in which a certain definite part of the action is completed."---WEBSTER.

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The abbreviations for gesture conform with those found in other works, so as to avoid confusion.

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PART III.

GESTURE.

GESTURE is visible expression independent of vocality. In oratory it includes posture, gesticulation, and facial expression. By gesture the condition or emotion of mind, as joy, sorrow, pain, revenge, hope, and despair, is plainly revealed and universally understood. It is a voluntary or involun tary common language; voluntary when the outward signs are subject to the will, and involuntary when unassisted or uncontrolled by the will.

1. POSTURE may be defined as the position, attitude, or disposition of the human figure when motionless or at rest; as a recumbent attitude, a sitting posture, a stooping position, an attitude of defiance.

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2. GESTICULATION is the movement of the body or limbs; as bowing, pointing, fencing. It includes speed, manner, and direction of movement.

The movement as to speed may be rapid, moderate, or slow; as to manner, direct or rotary, single or double; and as to direction, descending, horizontal, or ascending; across, front, oblique, extended, or backward.

The manner is direct when the climax of gesture is attained in a straight line, and rotary when attained through a curved line. It is single when one hand or arm is employed in the action, and double when both are employed in the action.

Feet.

The movement of the feet may be described as,

1. Advancing-stepping forward.

2. Retiring-stepping back.

3. Traversing-stepping to the right and left of the orig

inal position.

4. Starting-suddenly jumping up as if frightened.

5. Stamping-lifting and forcibly returning a foot to the floor.

Head.

The head also is expressive in position and motion: 1. Erect, it indicates dignity, confidence, courage, honor. 2. Thrown back—pride, vanity, mirth.

3. Inclined forward-humility, diffidence, shame, grief. 4. Inclined aside-languor, indifference.

5. Assenting or nodding―agreement, consent, acceptance. 6. Denying or shaking-dissent, denial, disapproval. 7. Tossing-disdain, scorn, anger.

Arms.

The arms assume an indefinite number of motions and positions, some of which will be fully described in the article "How to Explain Direction" (page 104). In attitudes of repose, the arms are,

1. Encumbered or folded—inclosing each other.

2. Reposed-one arm lying over the other at the girdle. 3. Akimbo-see cut 4, p. 28.

The special actions of the arm are known as,

1. Parrying.

2. Thrusting.
3. Aiming.
4. Striking.

7. Beckoning.

8. Repressing.

9. Advancing.

10. Springing.

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13. Rejecting.

14. Shaking.

15. Throwing.
16. Sweep and
Flourish.

There are three principal positions of the hand with regard to the palm, viz., supine, prone, and vertical. Supine, with the palm up; prone, with the palm down; and vertical, with the palm perpendicular. Besides these there are inward, with the palm toward the speaker, and outward, with the palm turned from the speaker and the thumb downward.. With regard to the fingers, the hand is said to be,

1. Natural-the hand relaxed, as when hanging at the side.

2. Extended-with the fingers more or less separated. 3. Clenched-with the fingers closed firmly in the palm. 4. Collected-finger-ends all touching the end of the thumb.

5. Index-pointing with the forefinger while the others are closed.

6. Holding the thumb and forefinger pressed together. 7. Hollow—with the palm up and the fingers curved. 8. Grasping-as if seizing something.

Combined, the hands are,

1. Clasped-fingers interlaced and closed.

2. Applied-palms and fingers laid together.

3. Folded-all the fingers of one hand closed across the other between the thumb and forefinger.

4. Crossed-one hand laid across the other flatly, as on the breast.

5. Enumerating-placing the index finger of one hand successively upon a finger or fingers of the other hand.

6. Touching-the finger-tips of one hand lightly touching those of the other.

7. Wringing the hands clasped, and moving up and down.

8. Patting-gently applying the hands several times in succession.

9. Clapping-joining the palms forcibly several times in quick succession.

10. Rubbing-chafing the inner surfaces of the hands together.

11. Washing-rubbing the hands within each other, as if washing or oiling them.

The hands are sometimes placed upon the person to express sense, emotion, or reason. The hands are placed over the eyes to keep out the light or to assist vision in overcoming distances or darkness. The hands touch the closed eyes to express blindness or weak vision; they cover the eyes in shame and horrible delirium; are pressed upon the head in distress, pain, and bewilderment, and upon the heart in extreme joy, tenderness, and anxious expectation. The hand is placed by the ear to assist hearing, strokes the chin

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