a forward movement. In portraying this sentiment the hand must not be
carried to the heart. This is nonsense; it is an oratorical crime. The
hand must tend toward the loved being to caress, to grasp, to reassure
or to defend. The hand is carried to the heart only in case of suffering
there.

Take this passage from Racine's Phèdre:

_Dieu--que ne puis-je à l'ombre des fôrets,
Suivre de l'oeil un char fuyant dans la carrière--_

("God--may I not, through the dim forest shades,
With my glance follow a fleet chariot's course.")

Here the actor does not follow affectionately, but with the eye, and
then by recoiling and concentrating his thought upon himself.

In the role of _Emilie_:

"_He may in falling crush thee 'neath his fall_"

at sight of her crushed lover Emilie must recoil in terror, and not seem
to add the weight of her body to that which crushes the victim.

Augustus, on the contrary, may say:

"I might in falling crush thee 'neath my fall,"

pausing upon a forward movement, because he is here the agent.