QUALITIES OF GESTURE.

In order to the better understanding of the characteristic difference in each style of gesture, it will be of advantage to enumerate the different qualities which constitute the perfection of gesture together with their opposite imperfections. These may be considered as reducible to the following. 1. Magnificence. 2. Boldness. 3. Energy. 4. Variety. 5. Simplicity. 6. Grace. 7. Propriety. 8. Precision.

1. Magnificence of gesture.This consists in the ample space through which the arm and hand are made to move and it is effected by detaching the upper arm completely from the body, and unfolding the whole oratorical weapon. The centre of its motion is the shoulder. In magnificent gesture the action is flowing and unconstrained, the preparations are made in some graceful curve, the transitions are easy, and the accompaniments correct, and in all respects illustrative of the principal action. The motions of the head are free, and the inflexions of the body manly and dignified. The action of the lower limbs is decided, and a considerable space (when the local situation of the speaker will admit of it,) is traversed with firmness and with force.

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

2. Boldness of gesture.This consists in that elevated courage and self confidence, which ventures to hazard any action productive of a grand and striking effect, however unusual. In this sort of gesture, unexpected positions, elevations, and transitions surprise at once by their novelty and grace, and thus illustrate or enforce their ideas with irresistible effect. The opposite imperfection is tameness; which hazards nothing, is timid and doubtful of its own powers, and produces no great effect.

3. Energy of gesture.This consists in the firmness and decision of the whole action and in the support which the voice receives from the precision of the stroke of the gesture which aids its emphasis.

The opposite imperfections are feebleness and indecision.

4. Variety of gesture. This consists in the abili ty of readily adopting suitable and different gestures to each sentiment and situation: so as to avoid recurring too frequently to one favorite gesture or set of gestures.

The opposite imperfections are sameness, barrenness, monotony of gesture analogous to that of voice. Variety of gesture is so essential, that even the most appropriate gestures must be avoided if they recur too often. Nothing is so injurious or disgusts so soon as barrenness of manner; the gesture had better be intermitted, or even be in some measure wrong, than monotonous-yet there is no fault so common.

5. Simplicity of gesture.-This consists in such a character of gesture, as appears the natural result of the situation and sentiments; which is neither carri ed beyond the just extent of the feeling through affectation of variety, nor falls short of it through meanness or false shame.

The opposite imperfection is affectation.

6. Grace of Gesture. This is the result of all perfections, arising from a dignified self-possession of mind; and the powers of personal exertion, practised into facility after the best models and according to the truest taste.

The opposite imperfections are awkwardness, vulgarity, and rusticity.

7. Propriety of gesture, called also truth of gesture, or natural gesture. This consists in the judicious use of the gestures best suited to illustrate or to express the sentiment. Appropriate gestures are generally founded in some natural connection of the sentiment with the gesture; significant gestures are strictly connected with the sentiments.

The opposité imperfections are false contradictory, or unsuitable gestures; such as produce solecism in gesture.

8. Precision of gesture or correctness ;-Arises from the just preparation, the due force, and the correct timing of the action: when the preparation is neither too much abridged and dry, nor too pompously displayed; when the stroke of the gesture is made with such a degree of force as suits the character and sentiment of the speaker; and when it is correctly marked on the precise syllable to be enforced. Precision of gesture gives the same effect to actions, as neatness of articulation gives to speech.

The opposite imperfections are indicision, uncertainty, and incorrectness, arising from vague and sawing gestures, which, far from illustrating, render dubious the sense of the sentiments which they accompany, and distract the spectator.

OF THE SIGNIFICANCY OF GESTURE.

Without entering largely into the subject of significant gestures, a few of the principal ones will at present suffice.

The Head and Face.

The hanging down of the head, denotes shame or grief.

The holding it up, pride or courage.

To nod forward implies assent.

To toss the head back, dissent.

The inclination of the head implies bashfulness or

languor.

The head averted is dislike or horror.

It leans forward in attention.

The Eyes.

The eyes are raised in prayer.

They weep in sorrow.

They burn in anger.

They are downcast or averted in shame.
They are cast on vacancy in thought.

They are thrown into different directions in doubt and anxiety.

The Arms.

The arm is projected forward in authority.
Both arms are spread extended in admiration.
They are both held forward in imploring help.
They both fall suddenly in disappointment.
The Hands.

The hand on the head, indicates pain or distress..
On the eyes, shame.

On the lips, injunction of silence.

On the breast, it appeals to, conscience, or intimates. desire

The hand moves or flourishes in joy or contempt, Both hands are held supine, applied or clasped. in

prayer.

Both descend prone in blessing.

They are clasped or wrung in affliction..

They are held forward and received in friendship..
The Body.

The body held erect indicates steadiness and courage..
Thrown back, pride.

Stooping forward, condescension or compassion.
Bending, reverence or respect.

Prostration, the utmost humility or abasement.

The Lower Limbs..

Their firm position, signifies courage or obstinacy..
Bended knees, timidity or weakness.
Frequent change, disturbed thoughts.

They advance in desire or courage.
Retire in aversion or fear.

Start in terror.

Stamp in authority or rage.

Kneel in submission and prayer.

These are a few of the simple gestures which may

be termed significant.

It may be proper also to enumerate some of the complex significant gestures.

Terror excites the person who suffers under it, to avoid or to escape from the dreaded object. If it be supposed to be some dangerous reptile on the ground, and very near, the expression is represented by the figure starting back, and looking downwards. If the danger threaten from a distance, the terror arising is expressed by the figure looking forwards, and not starting back but merely in the retired position. But if the dread of impending death from the hand of an enemy awaken this passion, the coward flies.

Aversion is expressed by two gestures; first the hand held vertical is retracted towards the face, the eyes and head are for a moment directed eagerly towards the object, and the feet advance. Then suddenly the eyes are with-drawn, the head is averted, the feet retire, and the arms are projected out extended against the object, the hands vertical.

Horror, which is aversion or astonishment mingled with terror, is seldom capable of retreating, but remains petrified in one attitude, with the eyes riveted on its object, and the arm held forward to guard the person, the hands vertical, and the whole frame trembling.

Admiration, if of surrounding natural objects of a pleasing kind, holds both hands vertical and across, and moves them outwards extended. If admiration arise from some extraordinary or unexpected circumstances, the hands are thrown up supine elevated, together with the countenance and eyes.

Veneration crosses both hands on the breast, casts down the eyes slowly, and bows the head.

Deprecation advances in an extended position of the feet, approaching to kneeling, clasps the hands forcibly together, throws back the head, sinking it between the shoulders, and looks earnestly up to the person implored.

In appealing to heaven the right hand is first laid on the breast, the left is projected supine upwards, the eyes first directed forwards, then upwards. In the appeal to conscience, the right hand is laid on