rigid and absurd, like that of a puppet. Indeed, not only those more prominent and distinguished parts must accompany the voice and principal action of the speaker, but every muscle of the body, and every expression of the countenance, must join in harmony with those gestures, in order to impress upon them the character of nature and truth. There is no gesture, or change of gesture, which is not meant to enforce or to illustrate some new circumstance, which either calls into action muscles before at rest, or into a change of action those already in exertion. And this impression and influence extend not only to those muscles which are most strong and distinguished, but even to the most delicate fibres of the human frame, such as those which adjust the expression of the mouth, of the nostrils, of the brows, and of that wonderful organ the eye.

An example may here be given of some of the stronger changes of the head, body, and lower limbs, which accompany certain principal gestures. If the right hand be forcibly withdrawn, and presented vhfc (vertical horizontal forwards contracted), the left vdqc (vertical downwards oblique contracted), the

feet will naturally retire, and be rRlx (retire to the first position extended of the right foot). The body, at the same time, will be thrown backwards, whilst the whole countenance will express aversion, or horror. (Fig. 95).

The gesture of the right, phf ad, will be accompanied and noted thus: phf ad―pdq

which signifies that

95

the head, and consequently the body, leans forwards, and that the eyes are turned earnestly in the same direction. This evident desire of inspect ing the object more nearly, is also accompanied by an advanced step of the right foot, the principal gesture

being performed by the right hand. As the gesture of the left hand could hardly be avoided, under the circumstances mentioned, the notation of it might have been omitted.

It will be observed, that if the hand, in its gestures,

96

97

were, an ob

ject away in disgust, the head accompanies the action, not only by retiring back, but by averting the face. And the motions expressing this aversion are; first, the eye, directed towards the object; the approaching of the back of the hand towards the face, and the head bending towards the hand, and then the pushing forwards of the palm of the hand, and the throwing back of the head, and averting the face at the same time. The notation will stand thus: F vhf c— (Fig. 96), and then, A vhq p —

(Fig. 97).

aR2

rRlx

After the stroke of the emphatic gesture, if the speaker has completely closed his remarks on a particular part of his subject, or if he has finished his oration, both hands should fall to rest, in a manner suiting the last expressions which he has delivered. This falling of the hand to rest is named the close and termination of gesture. It is contrary to the correct simplicity of gesture to mark a single word or idea with

more than one emphatic stroke; any appendix of gesture, after this, would only weaken its force, or render it ridiculous.

The termination of gesture, or rather, the emphatic gesture which terminates, should not be made across. It is generally made about the horizontal elevation, but sometimes it is made downwards, or elevated, according to the sentiment. The horizontal termination suits decision and instruction; the downward, disapprobation and condemnation; the elevated, pride, high passion and devotion.

CHAPTER X.

THE FREQUENCY, MODERATION,

GESTURE.

AND INTERMISSION OF

As gesture is used for the illustration or enforcement of language, it should be limited, in its application, to such words and passages only as admit, or rather require, such illustration or enforcement. That is, gesture should not be used by a public speaker on every word where it is possible to apply it without manifest impropriety; but it should rather be reserved for such passages as require to be rendered more prominent than the others, and to be more highly coloured. A judicious speaker will therefore reserve his gesture, at least the force and ornament of it, for those parts of his discourse for which he also reserves the brilliancy of language and thought. Sometimes, the absolute intermission of gesture is advantageous, as in the commencement or opening of arguments. When an argument is nearly concluded, moderate gesture will give it more force, and relieve the monotony of a mere dry demonstration, should the spirit of the composition admit such addition.

In all discourses, the frequency of gesture will be

determined, in general, by the number, the novelty, and the discrimination of ideas. In every well-constructed sentence, some new idea is advanced, which may be marked by a suitable gesture; and possibly the various limitations and modifications of it will also admit of a similar distinction. Thus each separate clause, or member of a sentence, may admit a distinct gesture on the principal word; and as each epithet is a distinct quality, added to the principal name, and as each adverb has the same effect on the principal action expressed by the verb, a new gesture may be made on each. But for this purpose, unless the word is emphatic, a turn of the hand, a small motion in the transverse or vertical direction, or a slight inclination of the head, is sufficient.

In a sentence where every word is emphatic, each may be marked with a gesture. Sentences of this kind generally condense, in a small compass, valuable information, and should therefore be strongly enforced and marked with precision. They should, however, be delivered distinctly and deliberately, or the gestures will confuse the sentiment, and even cast a degree of ridicule upon it, as may be found by pronouncing the following serious observation with different degrees of rapidity.

Neither the emphatic gesture, nor the force of the voice, always falls on those words which are the principal, in a grammatical sense the nouns and verbs. The gesture sometimes falls on the word which modifies each on the adjective, which expresses the quality of the noun, or on the adverb, which has a similar effect upon the action or assertion of the verb.

The same notation, applied to a vehement passage requires the arm to be raised higher than when it is applied to one of the contrary character. A judicious

speaker will often omit his gesture altogether, and use it only when absolutely necessary to illustrate, or to enforce his sentiments. Gesture may be said to hold the place of high seasoning; it must, therefore, be managed with discretion, lest it should defeat its own purposes, and create disgust. If a speaker proves truly eloquent, he is sure of the most liberal and solid approbation. But he should not hazard too much; he should be guarded in the commencement of his discourse, and should restrain his gesture in the calm and reasoning passages, reserving its force and brilliancy for the appropriate expression of his most earnest feelings and boldest thoughts. His transitions from the narrative parts to those which are most highly wrought, and which require his utmost exertions, should be gradual and just, and free from extravagance.

CHAPTER XI.

THE QUALITIES OF GESTURE, AND THE GESTURE SUITED TO DIFFERENT MODES OF PUBLIC SPEAKING.

THE different qualities which constitute the perfection of gesture, and their opposite imperfections, are as follows:

1. Magnificence.

2. Boldness.

3. Energy.

4. Variety.

5. Simplicity.
6. Grace.
7. Propriety.

8. Precision.

1. Magnificence of gesture. This is effected by detaching the elbow completely from the body, and unfolding the whole oratorical weapon. In magnificent gesture, the action is flowing and unconstrained; the preparations are made in graceful curves; the transitions are easy, and the accompaniments, in all respects, illustrative of the principal action. The mo