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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,

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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 (Fig. 96), and then, A vhq p—

(Fig. 97).

vhf c
aR2

TRIX

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, AND INTERMISSION OF GESTURE.

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.

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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

tions of the head are free, and the inflections of the body manly and dignified. The action of the lower limbs is decisive, and a considerable space is traversed with firmness and with force.

The opposite imperfections are short and constrained gestures, rigidity of the joints, and stiffness of the body, with short steps, and doubtful or timid movements.

2. Boldness of gesture. This arises from that elevated courage and self-confidence which ventures to hazard any action, however unusual, which is productive of a grand or striking effect. In this sort of gesture, unexpected positions, elevations and transitions, surprise at once by their novelty and grace, and thus illustrate or enforce the ideas of the speaker with irresistible effect.

The opposite imperfection is tameness.

3. Energy of gesture. This consists in the firmness and decision of the whole action; and in the precision of the stroke of the gesture, which aids the emphasis of the voice.

The opposite imperfections are feebleness and indecision.

4. Variety of gesture. This consists in the application of different, but appropriate gestures, to the same, or analogous sentiments, so as to avoid recurring too frequently to one favourite gesture, or set of gestures.

The opposite imperfection is monotony of gesture, analogous to that of the voice.

5. Simplicity of gesture. This is such a character of gesture as appears the natural result of the situation and sentiments; which is neither carried beyond the just extent of the feeling, through affectation of variety, nor falls short of it through want of confidence.

The opposite imperfection is affectation.

6. Grace of gesture. This is the result of all other perfections, arising from a dignified self-possession of mind, and the power of personal exertion, practised into facility after the best models, and according to

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