Tracing a line directly in front of the speaker's shoulder, the three principal lines, already mentioned, would yield, in succession, the gestures denominated "descending in front," "horizontal in front," "ascending in front." See Frontispiece.

Tracing a line obliquely from the speaker's face, the principal lines would give the gestures "descending oblique," "horizontal oblique," "ascending oblique."

Tracing a line extended from the speaker's side, we obtain the gestures" descending extended," "horizontal extended," ascending extended.”

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Tracing a line oblique backward from the speaker's body, we have the gestures "descending oblique, backward," "horizontal oblique, backward," "ascending oblique, backward."*

The initial letters of these definitions, would run thus, when used for the convenience of abbreviation: D. f. ("Descending in front,") H. f. ("Horizontal in front,") &c. D. o. ("De scending oblique,") &c. D. e. ("Descending extended,") &c. D. o. b. ("Descending oblique, backward,") &c.

Add to these the following: R. h. (Right hand ;) L. h. (Left hand;) B. h. (Both hands ;) s. (supine-palm upward,) p. (prone -palm downward,) v. (vertical-upright, palm outward ;) po. (pointing;) cli. (clinched;) cla. (clasped.)

By the use of these initials, we have a system of notation for marking as well as analyzing gesture. With the further aid of the following designations, the subsequent applications to examples will be fully understood.

Dots, preceding italics, indicate the 1st or the 1st and 2d preparatory movement before defined. Dots, following italics,

* The practice of free, bold gesture in all these lines, is of the utmost value, as a means of giving force, freedom, and grace to action. The gestures described should be performed, first, with the right—then, with the left hand-then with both hands. They should be repeated also with all positions of the hand; as supine, (back down,) prone, (palm down,) vertical, (upright;) also in the form of pointing, and with the hand clinched. These gestures, practiced thus, become the gymnastics of action for training the body to pliancy and power of expression.

intimate that whatever position of the hand was assumed in the italicized words, is continued unchanged.

Italics indicate the emphatic word or words, and consequently the third or consummating motion of the gesture, as before analyzed.

The grave accent (`) indicates, where there is more than one emphatic and italicized word, the exact place on which the gesture falls, in coincidence with the accented syllable of the most emphatic word of a clause or sentence. This is the only true place for the consummation or completing of a gesture. Before or after this, it falls out of time, and awkwardly.

An upright mark () indicates the suspension or delay of the arm, after the completion of the preparatory movement, and before the consummating motion. In solemn style, this suspense is long; in lively style, short.

PRACTICAL EXAMPLES AND TRAINING EXERCISES IN

GESTURE.

The following examples are designed to indicate the significance of the lines and movements of gesture, and, at the same time, to furnish material for a thorough course of practice and training in expressive action, for young speakers.

I.—Gestures performed with One Hand.

R. H. S. D. f. (Right hand supine,* Descending in front,) R. F. A. L. s. (Right foot advanced, Left supporting.*)

THE STYLE OF A STRONG PARTICULAR ASSERTION.

Example." This sentiment I will maintain | with the last I

breath of life."†

* See preceding Key to the Analysis of Gesture.

In practice, each gesture should be repeated till it can be performed easily, naturally, and gracefully. · It is of great service, as a discipline to the arm and hand, to repeat the action, several times, in dumb show, without the words, so as to bend the attention more closely on the gesture, and thus acquire the power of executing it more easily and expertly.

*H. f. PERSONAL APPEAL.-R. f. s. "I appeal to you, sir, for your decision."

A. f.-APPEAL TO GOD.-L. f. s.

"I appeal to the great Searcher of hearts, for the truth of what I utter."

D. o.-GENERAL ASSERTION.-L. f. s.

"Of all mistakes | none are so fatal as those which we incur through prejudice."

H. o.-GENERAL THOUGHT.-L. f. s.

"Truth, honor, | justice, were his motives."

A. o.-SUBLIMITY OF ASSOCIATION.-R. f. s. "Fix your eye on the prize of a truly noble ambition-the

consciousness of excellence."

D. e.-REJECTION—L. f. s.

Away with an idea so absurd!"

H. e.-DESCRIPTION.-R. f. s.

"The breeze of morning | wafted incense on the air."

NEGATION.-L. f. s.

"Not as the conqueror comes,

They, the true-hearted, came."

A. e.-TRIUMPH.-R. f. s.

"In dreams through camp and court he bore |
The trophies of a conqueror."

D. o. b.-VEHEMENT REJECTION.-R. f. s.
"Away with an idea so abhorrent to humanity!"

* Refer to the Key, as explained. The right hand supine, and right foot advanced, continue till otherwise directed.

4. o. b.—ALLUSION TO REMOTENESS IN TIME AND SPACE.-L. f. s. "Search the records of the remotest antiquity for a parallel to this, and you will search them in vain."

A. o. b.-BOLDEST STYLE OF TRIUMPH.-L. f. s.

"His few surviving comrades saw

His smile when rang their proud hurràh !”

R. H. P.

D. f.-REPRESSION, (special or particular.)—R. f. s.
"Put down the unworthy feeling !"

H. f.-RESTRAINING, (special or particular.)-R. f. s.
"Restrain the unhallowed propensity."

Let

[4. f. seldom used.]

D. o.-REPRESSION, (generalized.)—R. f. s.

every one who would merit the Christian name | reprèss such a feeling."

H. o.-RESTRAINING (generalized.)-R. f. s.

"I charge you as men and as Christians | to lay a restraint on all such dispositions!"

A. o.-DEPRECATION.-L. f. s.

Ye gods, | withhòld your vengeance !"

D. e.-SUPERPOSITION.-L. f. s.

"The hand of affection | shall smooth the turf for your last

pillow !"

D. e. CESSATION.-L. f. s.

"The tumult of life has ceased."

H. e.-SUPERPOSITION.-L. f. s.

"The cloud of adversity threw its gloom | over all his pròspects."

A. e.-SUPERPOSITION.-L. f. s.

"So darkly glooms yon thunder cloud

That swathes, as with a purple shroud,
Benledi's distant hill."

R. H. V.

[D. f. not in use.]

H. f.-REPULSION.-R. f. s.
"Arise! meet and repèl your foe !"

A. f.-DEPRECATION: (strong.)-L. f. s.

"Forbid it, Almighty God!"

H. o.-DEFENCE.-L. f. s.

"He generously extended the arm of power to ward off the blow."

A. o.-DEPRECATION, (moderate.)-L. f. s.
May Heaven avèrt the calamity!"

H. e.-AVERSION.-L. f. s.
"Out of my sight, thou serpent!"

H. o. b.--EXTREME AVERSION.—L. f. s.

"Thou tempting fiend, avàunt !”

Repeat all the preceding gestures with the left hand, for the sake of discipline; as the left hand is occasionally used in gesture, and the command of it is important to freedom and force in speaking.

II.-Gestures performed with Both Hands.

B. H. S.

D. f.—DEPOSITION.—L. f. s.

"All personal feeling he deposited on the altar of his country's good."

H. f.-ENTREATY.-R. f. s.

Listen, I implore you, to the voice of reason!"