Shame, shame on their manhood! They hear, they heed

The face is still riveted to the spot where the fugitive and the intercepting party are meeting. The hand, which has remained extended, may be dropped as the word shame is first uttered.

The cry her flight to stay;

And, like demon forms, with their outstretched arms

They wait to seize their prey!

She pauses, she turns, - ah! will she flee back?

(Fig. 36.)

The look is all the while fastened on the fugitive and her pursuers; or it may rapidly glance around the vicinity, as if looking for sympathy and succor.

Like wolves her pursuers howl loud on her track:
:-

She lifteth to heaven one look of despair,

Her anguish breaks forth in one hurried prayer :

Hark, her jailer's yell!-like a bloodhound's bay

At the word hark, the eye glances at the jailer, who has now, it must be supposed, approached very near the fugitive.

On the low night wind it sweeps!

Now death, or the chain! -to the stream she turns,

And she leaps, O God, she leaps !

On the word chain a gesture of emphasis, a downward stroke. (See, on a subsequent page, Emphatic Gestures.)

During the delivery of the last eight or ten lines there may be no gesture to indicate mere locality; but throughout the whole of them the attention is steadily fixed on the spot where the action is progressing. On the words she leaps there is first a sympathetic movement as if to leap, and immediately a recoiling with horror. (Fig. 38.) (See, on subsequent pages, Imitative Gestures.) On the word God there should be an instantaneous upward glance.

The dark and the cold yet merciful wave

If this scene is supposed to be somewhat near the speaker, he will naturally look down a little to the river below the bridge; but if it is conceived to be at some distance, say a quarter of a mile or more, there will be no perceptible change in the direction of his gaze.

Receives to its bosom the form of the slave.

No gesture of location needed here.

She rises, earth's scenes on her dim vision gleam;

In pronouncing the words earth's scenes, a hasty glance around the landscape in the vicinity of the catastrophe would be appropriate.

But she struggleth not with the strong rushing stream;
And low are the death-cries her woman's heart gives,

As she floats adown the river;

Faint and more faint grows her drowning voice,

And her cries have ceased forever.

On the words as she floats adown the river, the direction of the glance should change very slightly, so as to keep pace with the floating corpse.

Now back, jailer, back to thy dungeons again,

At the word now, the glance returns to the jailer, who is supposed to be still standing on the bridge, watching his vic

tim. At the utterance of the second back, the face turns to the jail, and a quick gesture of the hand may point to it; and the eye, having momentarily looked at the prison, instantly returns, and rests on the jailer.

To swing the red lash, and rivet the chain :

The form thou wouldst fetter a valueless clod!

On swing, the gesture may imitate the stroke of one plying the lash. (See Imitative Gestures, p. 80, etc.)

At the word form or fetter, the hand begins to be moved, to make a gesture pointing out the floating corpse; and at the utterance of the word clod the hand or finger points, with a descending stroke, in the direction of the dead body in the river. The gesture may be made with the left hand. (Fig. 22.)

The soul thou wouldst barter- returned to her God!

The eyes, in the utterance of the word soul, are fixed on the jailer, but without delay they are raised to heaven; and at the utterance of the words wouldst barter - returned, the right hand is also raised, and the hand or finger points, as the

eyes look, to God. The left hand may still be held in the direction of the corpse in the river. (Fig. 42.)

She lifts in his light her unmanacled hands ;

Here, as in a number of other places in this piece, there should be a striking imitative gesture. (See Imitative Gestures, p. 79, etc.) The hands should be lifted prone (i. e. palms down) in front of the body, till they are at the full length of the arms and at an angle of about 45° with the horizon, and then the hands should be lifted vertically to the front, turning on the wrists as pivots. The mention of the light of God, which is the glory of his throne, or the glory of heaven, naturally requires a glance upward.

She flees through the darkness no more;

To freedom she leaped through drowning and death,

If freedom be supposed to be in heaven, the look, which had been lowered, may again give an upward glance. On the words she leaped, the body may make a slightly imitative movement as of one beginning to leap.

And her sorrow and bondage are o'er.