(2) Second Attitude, Backward.

In this attitude the back knee is slightly bent, the weight is thrown back and rests chiefly on the left leg and foot (see Figs. 28 and 29). As shown in these figures the angle between the feet varies from 90° to 125°- more than in any other position or attitude. As in

dicated by the dotted lines the forward foot varies in position according to the distribution of the weight of the body. The more the weight is shifted to the back foot the greater the angle.

In the Second Attitude, Backward, either foot may be advanced if the right, it is called the Second Attitude Right, Backward; if the left, the Second Attitude Left, Backward. The two parts of this attitude are complementary to each other and are used interchangeably in expression according to the location of

90°-125°

35°

FIG. 28. SECOND ATTITUDE
RIGHT, BACKWARD

the object which inspires the feeling.

As we have already seen, the Forward Attitude is used in aggressiveness, menace, defiance, and attack; the Backward Attitude, on the contrary, is used in defense, timidity, shrinking, fear, dread, amazement, terror, horror, and cowardice. While the Forward Attitude is used by the fencer in his lunges or the broadswordsman in his attacks, the Backward Attitude is necessary in defense in parrying the thrusts of his adversary or in shielding his body from the heavy blows.

In expression the torso, the arms, and the head must sustain

sympathetic relation and move in harmony with the action of the lower limbs.

35°

90°-125°

FIG. 29. SECOND ATTITUDE
LEFT, BACKWARD

In contrast with the Forward Attitude, which is Vital in relation to the Triune Nature, the Backward Attitude is Emotive and defensive in character and expression. It goes without saying that in practice the student should fully realize the thought or emotion implied in the various attitudes used.

Sentences illustrating the Second Attitude, Backward.

NOTE. In the following short passages illustrating this principle the surprise, disgust, and horror shown in the words may well be expressed in the receding movement of the Second Attitude, Backward.

a. Angels! and ministers of grace, defend us! — Shakespeare.

b. O judgment! thou art fled to brutish beasts, and men have

lost their reason. — Shakespeare.

c. Oh, horrible! horrible! most horrible!

d.

'Hereafter!' Ay, — hereafter!

Shakespeare.

A whip to keep a coward to his track!
What gave Death ever from his kingdom back
To check the skeptic's laughter?

Come from the grave to-morrow with that story

And I may take some softer path to glory. — Willis.

SECTION VII. TECHNIQUE OF ACTION

That the student may have ample practice in Action we here give a series of exercises in technique. They are given, not for physical culture, but for their expressional value. To this end the student should keep in mind the thought or feeling implied in the various movements.

1. EXERCISES FOR FREEDOM OF GESTURE

(1) Finger Movement. Clasp the right hand with the left thumb and finger. Relax the fingers of the right until they form an easy curve. Open and close them alternately several times to the accompaniment of music or counting. Let the forefinger lead in moving out, the little finger in moving in. Exercise the left hand; then both together.

(2) Wrist Movement. Grasp the right wrist with the left thumb and finger. Draw in the hand from the wrist, partly closing the fingers as in exercise (1). Open and close alternately, keeping time to music or counting.

Exercise the left wrist; then both alternately.

(3) Elbow Movement. Support the right elbow with the left hand. Draw in the forearm with the hand and fingers relaxed as in exercise (2). Open and close the arm to accurate time. The strokes of the elbow, the wrist, and the fingers should be simultaneous. To break the straight line there should be a slight curve at the elbow, a slight depression at the wrist, and a slight curve in the fingers.

(4) Feather Movements.

a. Vertical Movement. Extend the arms parallel, full length, diagonally downward. With hands hanging loosely let the wrists lead up and down several times through an arc of about 90 degrees. Let the hands float after the wrists, the palms being turned in on the upward and out on the downward movement.

b. Horizontal Movement. Place the arms at full length with the palms facing each other. Move them outward and inward alternately through an arc of about 90 degrees, letting the hands float after the wrists.

(5) Supine Movements..

a. Low. Extend both hands, palms up, diagonally to the right, and level with the hips, giving the upper arm, forearm, and finger movements. Give the same movement to the left. b. Medium. Repeat the movement with the hands level with the shoulders.

c. High. Repeat as before with the hands above and in front of the head.

(6) Prone Movements.

a. Low. Fulfill the conditions of the first supine movement except that the palms should be down.

b. Medium. The same as the preceding exercise, with the arms level with the shoulders.

c. High. The same as before, with the arms above and in front of the head.

(7) Rotary Movements.

a. Outward. Extend the arms, full length, in front of the shoulders, palms down. Move the hands upward and outward, describing as great a circle as possible from the wrists. Keep the palms down and use no finger movements. Make the circle four times.

b. Inward. Retrace the circle used in the last exercise four times, moving upward and inward.

(8) Shaking Movements.

a. Horizontal. Raise the forearms to a level, the palms facing each other. Withdraw all energy from the hands and shake them vigorously with the forearms. Repeat four times.

b. Vertical. Raise the forearms as before, with the palms down. Shake them vertically. Do the same with the edges down. Repeat four times.

2. EXERCISES IN PRINCIPLES OF GESTURE

(1) The Index.

a. Give the Index in the Plane of the Superior with three strokes at different angles.

b. Give the same in the Plane of Equality.

c. Give the same in the Plane of the Inferior.

(2) Give the Supine, the Prone, the Clenched, and the Averse in like manner.

(3) Practice consecutively with positive strokes in the Plane of Equality the following principles of gesture: The Index, the Supine, the Prone, the Clenched, and the Averse.

(4) Give the Reflex to different parts of the Mental, Emotive, and Vital zones of the body.

(5) Give the Clasped on, and also in front of, the Torso. (6) Practice the principles of gesture in the following order: a. The Supine in the Plane of Equality.

b. The Reflex on the Torso.

c. The Index in Plane of Equality.

d. The Prone in Plane of Superior.

e. The Averse in Plane of Inferior.

f. The Clasped on the Torso.

g. The Clenched in Plane of Inferior.

3. EXERCISES IN POSITION AND ATTITUDE

(1) First Position.

a. Alternate between the First Right and the First Left by moving forward a few paces. Keep the right foot on the right side of a line and the left on the left.

b. Move backward a few paces, observing the same conditions. Changes may be made from the First Right to the First Left, and vice versa, by turning on the balls of the feet, but changes by steps attract less attention and are therefore more desirable.