Note 2 — Chapter Four THE ACTING

W. F. McNeir, “E. Gayton on Elizabethan Acting,” P.M.L.A., LVI (1941), 579-583; Robert H. Bowers, “Gesticulation in Elizabethan Acting,” So. Folklore Quarterly, XII (1948), 267-277; A. G. H. Bachrach, “The Great Chain of Acting,” Neophilologus, XXXIII (1949), 160-172; Bertram L. Joseph, Elizabethan Acting (London, 1951). In a later book, The Tragic Actor (London, 1959), Joseph disclaims any intention of associating formality with oratory. Both acting and oratory “had the same object, the imitation of human emotions as they are to be recognized in human beings in life” (pp. 19-21). In effect, he adopts the position of the naturalists (p. 27).