15 and 20, in which n is thus separated, to point out the particular syllable on which the action of noting falls) The action of the hands and arms, at No. 15 and 20, is the same, but the general effect is different, in consequence of the difference in the positions of the feet. In the preparation for these gestures, the palms of both hands are raised so as almost to touch the forehead; then they descend gradually, and when the arms are a little below the horizontal elevation, the wrists make that particular motion called noting, on the respective words, stores and cheat. (26.) Left foot first position extended. To make this position. extended, the left foot is advanced, the body at the same time is thrown back, and sinks a little, bending the right knee. (28.) This gesture, Bvhf rj, both vertical horizontal forwards rejecting, is thus made: both hands are drawn backwards, nearly to the mouth, in the vertical position; the eyes, at this time, are directed forwards, the hands are then pushed forwards, while the face is averted, and the feet retire, to a greater or less extent, in proportion to the degree of disgust or abhorrence to be expressed. AN ELEGY WRITTEN IN A COUNTRY CHURCH-YARD. (GRAY.) I. a Bpef d The curfew tolls-the knell of parting day! Ls veq-vhz Bnef d BR And leaves the world to darkness, and to me. And drowsy tinklings lull the distant folds: Of such as, wandering near her secret bower, veq ·P Molest her ancient, solitary reign. IV. - shf n Beneath those rugged elms, that yew tree's shade, Bbdf a vhf Where heaves the turf in many a mould'ring heap, The swallow, twitt'ring from the straw-built shed, idq veg w The cock's shrill clarion, or the echoing horn, a Bnef sp B sdf d No more shall rouse them from their lowly bed. VI. shf a R2 For them no more the blazing hearth shall burr1, Or climb his knees, the envied kiss to share vef rR1 R The short, and simple annals of the poor. vef sp IX. ief f The boast of heraldry, the pomp of pow'r, aR2 beauty, all that wealth e'er gave, B vhq sh Await, alike, the inevitable hour a vef TR1 a sdq n R The paths of glory lead but to the grave. Nor you, ye proud, impute to these the fault, veq w If mem❜ry o'er their tomb no trophies raise, vhf p L2 sec Where, thro' the long-drawn aisle, and fretted vault, B nef d BR The pealing anthem swells the note of praise. B shf sh a R2 a vef vdf p Or flatt'ry soothe the dull cold ear of death? ·В nef· B shf st Hands that the rod of empire might have sway'd, phc Rich with the spoils of time, did ne'er unroll; Full many a flow'r is born to blush unseen, B nef d B sdf Some mute, inglorious Milton, here may rest; a R2 B vhf rt Their growing virtues; but, their crimes confin'd, REMARKS ON THE NOTATION OF GRAY'S ELEGY. (STANZA I.) First Line. Ls, listening. (See complex significant gestures.) The small a, over knell, is connected with the set of letters, B pef, over parting; and the small d, over day, is also connected with the same set. Each is considered a fourth small letter, separated from its set; a denotes the preparation, and d, the termination of the motion of the gesture. Second line. The set of letters, phd, relates to the right hand, which finishes its action at x, and falls slowly to rest. Third line. Here the left hand |