the initial letter, some letter in the name is adopted as its symbol, sufficiently remarkable, so as to be easily associated with it and remembered: thus x is used for extended, and q for oblique: And lastly, two letters are used to designate certain names. These two are varied also, sometimes being both of them small letters, and sometimes consisting of a capital before a small letter.'

But these literary contrivances, though they very considerably extended the notation, were not sufficient. It was therefore necessary to add some other device. That which has been chosen is the local signification which is given to the symbolic letters. This consists in disposing the names into different classes according to certain analogies, and assigning a particular place in the combinations of the different letters to each class. This expedient opened a fertile field, and rendered practicable, what before had seemed almost impossible.

Thus the most complicated gestures, are those which relate to the combined positions and motions of the arms and hands together; yet these are expressed with sufficient accuracy in all their movements, by four, or fewer symbolic letters for each movement. They are for this purpose divided into four classes,

The words commencing with the letter a which relate to gesture are very numerous, and such as are retained are necessarily discriminated by those various contrivances. A,. averted, a, ascending, c, across, ap, applied, ad, advancing, as, assenting ad, admiration.

the symbolic letters of which, always preserve their own place as to priority or succession, and derive their signification from their place, as the Arabic numerals do their value. The four letters, or three first taken together, are called a set of letters. In a set, as phfd—or seqn

The first letter relates to the position of the hand.
The second to the elevation of the arm.

The third to the transverse situation of the arm.
The fourth to the motion or force of the gesture.

This last letter is often omitted. Thus phfd is to be read, prone horizontal forward descending. Prone is the position of the hand; horizontal is the elevation of the arm; forward the position of the arm in the transverse direction. And descending means, that in arriving to that position, the arm descended from a higher elevation.-seqn is read, supine elevated oblique noting. Supine, the hand; elevated, the arm as to elevation; oblique, the arm in the transverse direction; noting, the motion or action of the hand andarm; as may be seen in the explanatory arrangement of the symbols.

As both hands and both arms are equally capable of executing any gesture, the letters and sets of letters relate to both indifferently. But they are thus distinguished. When there are two sets of small letters, the first denotes the gestures of the right hand and arm, the second those of the left. In this case, the two sets are separated by a short dash between, as phqpdb, prone horizontal oblique the right hand, and prone downwards backwards the left.

When only a single set of three, four, or five small letters is marked, the gesture of one hand only is expressed; that of the other, is supposed to be easily supplied according to the rules of accompaniment. A short dash is always marked with each set of small letters: if this dash follow the letters, they denote the gesture of the right hand only; if the dash precede the letters, they denote the gestures of the left hand only. Thus ph q-denotes only t e gesture of the right hand and arm as before, and-p db the gesture of the left.

When a long dash follows the small letters connecting them to other small letters, or to a single one farther on, a change of gesture is marked, which is to take place on the word over which such letter or letters are placed: and the commencement or termination of the dash is conveniently used to mark the commencement or termination of the particular gesture.

When after the set of small letters a dash, and then a dotted line of connection is marked, extending to another set of small letters marked with a contrary dash, it is to be understood, that the gesture made by the first hand is to be followed and supported by another gesture made by the other hand, which is to take place where the second set of letters is marked. This is called alternate gesture, and noted al.

The positions of the head, and the looks of the eyes, are marked with their symbolic capital letters towards the beginning of the sentence, and considerably separated from the symbolic letters relating to the hands and arms: both in

order to prevent confusion by their interference, and because the expression of the countenance should precede the gesture of the hands.

The positions of the feet and the steps are marked below the line, and under the word where they should take place. This should generally be a short time after the gesture of the hands and arms, except in vehement passion, where they all seem to move together. The order in succession of the gestures of the different parts is, first, the eyes and countenance, second, the head, hand, and body, and last the feet.

In the arrangement of the symbolic letters, several pairs are assigned for the expression of particular passions. But this is not necessary, except at the pleasure of the person who makes the notation, as all the gestures suited to those passions may be expressed in detail. It would be perhaps still better to note in the margin the general sentiment or passion, according to the manner of Sheridan. See his Art of Reading.

The symbols relating to the voice may be used as occasion requires, and written in the margin. They are chiefly borrowed from the very ingenious work, Prosodia Relionalis, by Steele.

In order to illustrate the use of the symbolic letters, some short passages of poetry are annexed and numbered, so as to answer to the references This method will be found more advantageous than the exemplification by single lines, as the whole connections and transitions of the gestures may be comprehended better. The manner of delivery is such as

occurred, and might have been varied in a thousand ways: it is to be considered as an example, merely for illustrating the system. See the notation of part of the Fable of the Miser and Plutus at the end of this Chapter.

Synoptical arrangement of the Symbolic Leliers:

Letters written above the Line on which the Gesture is noied, relating to the Hands, the Fingers, and Arms.

• The order of this synoptical arrangement of the symbolic letters will be found to depart, in a small degree from that pursued in the investigation of the principles of the notation of gesture. This has been adopted for the convenience of practice, the symbolic letters being here placed as nearly as possible in the order of their most frequent use. But each class of symbols of gesture is preserved distinct, and may be easily referred to for explanation under their respective heads in Chapters 11, 12, 13 and 14.

Forwards. The palm presented forwards, the fingers pointing down. Backwards. The palm turned backwards, the fingers pointing down.