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The five classes of gestures, above described, may be used in any part of an oration. They are, as it were, the elements of gesture, which, by their combinations. produce its whole power of language and expression. These elements are the component parts of every style of delivery, whether tame or vehement, argumentative or diffuse, ardent or indifferent, cold or pathetic.

It has been observed that the principal gesture is performed by the advanced hand, and the subordinate gesture by the retired hand. The best modern speakers use either the right, or the left hand, indiscriminately, for the principal gesture, as occasion may require. As this practice is altogether at variance with the opinions and rules of the ancient critics and rhetoricians, it may be proper to inquire how far we are justifiable in our departure from their great authority.

"The left hand," says Quintilian, "can never, with propriety, perform gesture alone; but it frequently acts in support of the right

hand." The consideration of the dress of the ancients, which differed so essentially from that of the moderns, may be sufficient to account for the difference between their customs and ours. The form of the ancient dress obliged the speaker, if not totally to disuse his left hand, at least to restrain its action very considerably. (See Fig. 94.) The occasions on which the left hand may perform the principal gesture, are the following: 1. When the persons addressed are on the left side, the left hand naturally performs the prin cipal gesture, in order to avoid the awkwardness of gesticulating across the body. 2. The necessary discrimination of objects opposed to each other, requires the left hand alternately to perform the principal gesture. 3. The advantage of variety. 4. The power of giving, not only variety, but force, by occasionally elevating the retired hand, and bestowing upon it all the spirit and authority of the gesture.

94

But it is not only in the use of the left hand that modern speakers differ from the ancients: they constantly violate another precept enjoined by Quintilian and his followers, viz., that of speaking with

ique position; x, extended position; veq, hands vertical, arms elevated oblique; a, ascending; br, breast the right hand is laid on the breast; Bnef, both hands natural, the arms elevated for wards; Bshf sh, both hands supine, arms horizontal forwards shak ing: R, rest, the hands fall to rest.

the corresponding hand and foot advanced.* And yet, if the natural emotions afford any just foundation for the manner of gesture, we shall be inclined to give the preference to modern custom. Those passions which incline us to advance towards their object, as love, desire, anger, and revenge, naturally cause the corresponding hand and foot to advance together with the head and body; for, in this way, the nearest approach is made to the object. And when passions of a contrary nature, as aversion and terror, affect us, still the corresponding hand and foot are advanced; as if the better to guard the body and head, which are thrown back. In such cases, it would produce unnatural distortion to advance the contrary hand and foot. Under tranquil circumstances, as when the speaker delivers narrative, or reasons calmly, the contrary hand and footf may advance together with grace and propriety. Indeed, perhaps such posture is preferable, as it presents the body more exactly in front towards the persons addressed. It was, probably, such circumstances alone, which Quintilian had in view when he pronounced his opinion, that it is unbecoming to stand with the corresponding hand and foot advanced. This explanation will serve to reconcile the apparent deviation of the moderns from the ancient practice.

CHAPTER IX.

THE PREPARATION, TRANSITION, AND ACCOMPANIMENT OF

GESTURE.

In the transitions of gesture, the hand and arm should not, in general, be precipitated to the intended position by the shortest course; but, in the calmer parts of the oration, they should move in a sort of waving line, or in one returning upon itself, somewhat in the manner represented by the following diagram :

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Let f represent the position of the arm and hand for wards, and let the place of the next gesture be q (ob

* Right hand and right foot; or left hand and left foot.

The right hand and left foot; or the left hand and right foot.

lique), and of a third be x (extended). The hand should not move in the line of dots directly from f to q, and from q tor; but from ƒ go back almost to c (across), in order that it may traverse the greater space; and then proceed to q with an accelerated motion for the stroke of the gesture. In the same manner, and for the same purpose, it should return back almost to f, before t proceeds to x.

The ascending and descending gestures are performed

Diag. 19.

h

in the same manner, under simi lar circumstances, as may be seen in diagram 19, in which Z is the zenith, and R the point of rest, and where the hand, in ascending and descending, is represented as making returning inflections at the principal points, d, h, and e.

The line of preparation assumes a variety of other curves, fourteen of which are represented by Diagram 20.

Whatever form this indirect line may be, it is used as a preparation for the gesture to which it leads; and the extent of the return, or depth of the sweep or indentation, is determined by sentiments to be delivered. The

the character of the more magnificent they are, the greater is this parade; and the nearer to ordinary discourse, the less it is. The preparation made by these different curves does not suit every species of gesture; it is adapted almost solely to that kind which is termed discriminating Another kind of preparation is made for emphatic gestures. They are generally preceded by a suspending gesture, which serves the double purpose of marking some less important word, and of preparing for the

stroke of the emphatic gesture. It will be recollected that contracting and retracting gestures are reckoned

among the suspending gestures, as be

ing made previous to some

forcible ef

fort, and are, therefore, preparatory to the gestures which ensue. In order to illustrate what is here advanced, let it be supposed that the emphatic gesture requires a strong per

Diag. 20.

[graphic]

cussion of the arm descending forwards, as shf stthe preparation for this is the suspending, or prepar tory gesture nef bn-, as in the following example:

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vhfrt

vhf rj

I hate the drum's discordant sound.t-Langhorne.

A gesture across, which passes rapidly to the ex tended position, may also be used as a preparation for rejection :

The letters, nef bn, signify, natural elevated forwards bending shf st, supine horizontal forwards striking.

The letters, vhf rt, signify, vertical horizontal forward retract ing; vhf rj, vertical horizontal forwards rejecting.

ohe

z rj Who's here so base that would be a bondman?*— Shaks.

Another example of a previous contracted gesture:

Behf rt

To hear the roar she sends through all her gates.-Coup.

In the passage from Cowper, the suspending, or previous gesture, Buhf rj, contains all the letters belonging to the subsequent em phatic gesture, except the last (p). This new letter, only, is expressed, and is joined by a long dash, or mark of connexion, with the notation letters of the preceding gesture: another line of connexion, joining this letter to x, signifies that both hands continuing in the same position, viz. vertical, the arms are to be extended. The gestures, marked at large on this line, would be as follows:

Behf rt Brhƒ p

Brhz

To hear the roar she sends through all her gates.†

But the former method is preferable, as it abridges the trouble of notation, and is equally intelligible.

The connexion of gesture is, therefore, the relation which one gesture bears to another; and it is shown by the notation of the circumstances in which they agree, and of those in which they differ. Thus, the gestures noted in the foregoing line agree, first, in being common to both hands (B), and then in the position of each hand, v (vertica?), and also in the elevation of both arms, h (horizontal). So that it is unnecessary to repeat those circumstances in which they agree, as the connecting-dash expresses them with sufficient clearness, and with greater brevity.

The connexion of gesture in the vertical direction, when the hand, without altering its posture, merely ascends by short intervals, in order to mark a succes sion of discriminating gestures, is noted by the usual connecting-dash, and an a over the word where the hand ascends.

The letters, ohc, signify, the hand outwards, the arm hori zontal across; æ rj, extended rejecting.

Behf rt, both hands vertical, both arms horizontal forwards retracting; Belf p, both harids vertical, both arms horizontal forwards pushing; Beha, both hands vertical, both arms horizontal extended.

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