5. With eyes well open and fixed upon some point at a distance, suppose that point to move toward you and come closer and closer until it touches the forehead. As you do this, the eyes will turn inward slightly. The same movement will be seen when the mind is closely concentrated in thought. Reverse the above action and the eyes will separate and if you take in a wide scope of view they will turn slightly outward. This is seen in certain wild, strong passions. The cuts will show the movement of eyes.

Raise the brows and the forehead will show a number of long furrows as in Cut. It is important to have the fullest movement of all muscles of the brows. They show each impulse most distinctly. They become flexible with even a small amount of practice. After raising the brow, hold the position some seconds. Then firmly draw the brows downward and together as in Cuts. Practice firmly and hold the muscles firm after each movement. The Cuts will show the action of the muscles.

1. Close the lips firmly and hold them in this position some seconds. Then speak firmly a sentence, as: "This shall be so," and after each word close them again very firmly.

2.

Round them well as in tone exercise. Holding them firmly, repeat in surprise or wonder a sentence, as: "O No, No, No! Why, who could have done this!" Keep lips firmly rounded.

This

3. The lips do not always close evenly. The lower jaw frequently moves slightly to right or left. is usually the case in the meaner passions, as hate, rage, fury, envy, scorn, spite.

Also, in opening the lips, they do not part evenly in such emotions. The first part of the work is to train the muscles, the peculiarities of movement will follow. They are a part of nature and will come if you only give nature freedom.

THE NOSTRILS.

In anger, or strong excitement, or sickness, the movements of the nostrils are most striking. They depend for action mainly upon the breathing, however. For practice, use examples for "Gutteral Rattle."

GOOD READING.

Reading is an Art-it demands practice. Two things make up the work of the reader. Ist. To translate the thought from the page and take it to his own mind. 2nd. To express it again to his auditors.

First. The reader must learn to see ideas—to take the thought to his mind, not the words. With one swift glance, his mind must grasp the idea. He must

It is not necessary page more than a though the mat

take up at one glance so much of the discourse as forms at least one idea. A little practice will make it as easy to see a line as a syllable. to keep the glance fixed upon the small proportion of the time, even ter be new. Observe this-You can always pause between ideas, and there is always time to take the second idea if you look up from the page while expressing the first.

You will find that a single glance will enable you to take from the page a line or even two lines, and practice will train your eye and mind to take a stanza at one quick glance. But you must practice this well. It can be gotten no other way.

If you read with eyes fixed on the page, it will sound as if "reading to yourself," and keeping the mind directed to the page, you will not be able to express emotion or to hold the audience. It may be said that certain noted men have delivered sermons, lectures, dramatic parts without once looking up. May be so. When you are noted, you may do so too. Their faculties have all been trained in various ways and this style of delivery is not a habit with them as you are in danger of making it with yourself.

THE MAN WITHIN.

Your body is but a covering, a mask, a shell, within which, back of what we see, dwells the living, sentient, thinking, active, God's image-that looks and listens, thinks and feels,-to which we speak, and with which we sympathize. Your flesh is but a cloak of something better, greater.

This body is but an earth-woven suit of armor in which the divine life, the soul, the real man, battles with things earthly.

A man is imprisoned here within a temple. He has thoughts that burn for expression, emotions and longings he desires to communicate to the outer world.

More than that, he When he thinks of

He looks out at the windows-he listens at the loop-holes for every sound; he forms systemized, articulate sounds, he strives by motion, by attitude, and by all we call gesture to show forth his thoughts and feelings. He struggles for freedom, but he is destined to keep within his prison. must carry it about with him. the east, and would face the coming of the sun, he turns his prison about until it fronts the god of day. Would he go on some mission; he takes up his abode and walks off with it, comes to his destination, sets down his dwelling, and by movements or attitudes of it, holds discourse. He protects that dwelling of his, too. If unexpectedly he encounters danger, if some other body is moving on a straight line toward his house, he moves off to the right. Should he come near a precipice, he stops short. In fact, it takes up

Should any

much of his time to attend his house. body offer insult, he raises it aloft, high as possible, and shows resentment; before nobler souls, he bows

it low and even prostrates it in the dust in recognition of greatness.

Now, this body is a piece of intricate mechanism, a veritable machine, built upon a frame work of mathematical precision, moved and operated with levers, cords and tendons, all of which are directed by the "man himself." It is therefore most essential to obtain the freeest possible action of all parts of this machinery; to give the best and fullest action to all levers and cords, that they may move at the slightest impulse of the "man." For this reason, all exercises of gymnastic sort that will give pliancy and elacticity to muscles, develop harmoniously all parts of the machine, and make every part most subservient to the will, are of great value.

LIMIT OF MOVEMENTS.

How many movements can be made with one member of the body, as with hand, arm, head, or trunk? “An infinite number!" you say. Perhaps so, but these are not of infinite classes. From one spot upon the earth we may have an infinite number of directing lines to distant points, as to the points in the circumference of a circle, but we call all these as North, East, South, and West, with their intermediates. So with movements of body, or parts of the body.

The head may be erect, or drop forward or be thrown back. When erect, it may move to right or left. When forward, it may also move to right or left, and also when thrown backward.

Thus it has eight distinct movements and one central position.

So the HAND may be extended as in Cut 35, and have thus three movements. Now the hand may be