Example." The hand of Douglas is his own,
And never shall in friendly grasp

The hand of such as Marmion clasp !"

(1.) HAUGHTINESS, (2.) CONTEMPT, and (3.) SCORN, have the same general traits as Pride, but much more strongly marked. In the expression of these emotions, the attitude is yet more erect, the whole bearing more lofty and disdainful; the back turned towards the opposite party. Haughtiness prefers the gestures and expression of Pride: Contempt and Scorn are expressed, in action, by an occasional disdainful downward and outward sweep of the arm and hand. The features exhibit the eyebrows alternately rising and falling; the eye glancing from head to foot of the person who excites the emotion; the nostrils widely distended; lips curled and projected.

Examples.-(1.)" Then, when I am thy captive, talk of chains, Proud limitary cherub!"

(2.) "You, wretch !-you could live and enjoy yourself while the noble-minded are betrayed,-while nameless and birthless villains tread on the neck of the brave and long-descended!"

(3.) "You common cry of curs-I banish you!"

HUMILITY keeps attitude confined and subdued, and avoids movement, or change of posture; the head sinking; the body bent; the arm and hand waving submissively downward, or drawn inward, and laid upon the chest over the heart; the hands sometimes folded and gently sinking in front of the body.

Example.-"I humbly thank your Grace!"

DEFIANCE. When (1.) it anticipates being attacked, braces itself in the attitude of resistance, inclining backward; but when (2.) it becomes bold and violent, it takes the attitude of attack, faces the opponent, and approaches him. The action, in defiant resistance, (1.) is exhibited thus: arms braced, and hands clinched, but held downwards, the features marked by

the fiercely-knit brow, glaring eye, expanded nostrils, and curled lips. The action of (2.) aggressive defiance throws the arm violently forward, hand clinched, and the countenance as in (1.), but marked more by fierce hostility and violence.

Examples.-(1.) "Thy threats, thy mercy I defy !"

(2.) "I do defy him, and I spit at him!"

SUBMISSION and RESIGNATION have the same style of attitude and gesture as Humility, but more expressively marked.

Example.-"I am stripped of all my honors. Prostrate on the earth, I humbly recognize the Divine justice."

THREATENING, when personal, moves toward the party threatened; raises the arm, clinches and shakes the hand, knits the brows, kindles the eye, expands the nostrils, parts the lips widely, sets the teeth.

Example.

"If thou speak'st false,

Upon the next tree shalt thou hang alive,

Till famine cling thee!"

MEEKNESS has the same general style of expression as Humility, but less characteristically manifested. The attitude is not confined or bent, but merely unassuming and quiet. The hands usually hanging motionless, by the sides; the eyes inclining upward.

Example.-"Pour on! I can endure."

TRANQUILLITY, CALMNESS, and COMPOSURE, are indicated by the attitude of repose, steady and fixed; gentle and subdued action of the arm and hand; features calm, or serene.

Examples.

"O'er all the peaceful world the smile of Heaven shall lie !'. "My thoughts, I must confess, are turned on peace."

COMMON FAULTS IN GESTURE.

The student who has carefully perused the preceding examples of the attitude and action which naturally give expression to various emotions, and who has faithfully practiced the gestures indicated and described, is now prepared for a still closer study of the character of gesture as marked by the details of line and motion. Previous, however, to this course of application, it may be useful to advert to some of the common faults incurred in consequence of neglected habit or erroneous practice.

And, first may be mentioned the obvious fault of keeping the hands down by the sides, during a whole speech or piece. This style, as it has no action, has neither life nor power. It exhibits a statue of flesh, instead of a living, expressive human being.

2. The opposite fault of incessant gesticulation, which makes the declaimer resemble the toy wooden figure of a monkey, moved by mechanism.

3. Gesture coming before or after it is due, because before or after the emphatic word, instead of along with it.

4. Little, insignificant gestures, made with the elbow sunken down to the side, instead of being well raised so as to be free from the body.

5. Angular jerks, instead of free, flowing gestures.

6. Feeble and girlish movements of the arm, instead of manly action.

7. The opposite style of violent, thrashing action, and huge sweeps of the arm.

8. Skimming gestures, which sail horizontally through the air, instead of descending with emphatic energy.

9. Inward gestures which drive towards the speaker's body, instead of outward, downward, or upward.

10. Monotonous action, in consequence of repeating the same gesture at every emphatic word, instead of changing its mode of action as that of the piece changes its style of language and sentiment.

11. Poetic and florid gestures, used in speaking plain prose. 12. Prosaic and mechanical gestures, applied to poetry. 13. Stiff action, arising from a perfectly flat position of the hand, with the thumb and fingers close together.

14. Holding the hand half-open, as if to receive or beg something.

15. Too frequent use of both hands in the same gesture, instead of reserving such action for expansive thought and extensive description, or for warm appeals to a whole assembly.

ANALYSIS OF THE APPROPRIATE STYLE OF GESTURE.

The common gestures of conversation, being addressed to a few persons close by the speaker, are too small, slight, and angular, for the style of public speaking. The orator, to appeal to all the individuals of a large audience, must raise and extend his arm freely and fully. The gestures of the public speaker, may, from their large and forcible style, be easily analyzed and subjected to study.

A full gesture, such as is required in declamation and recitation, resolves itself into three parts, or a first, second, and third movement, as follows: the 1st raises the arm,—straight, but not rigid, to a level with the shoulder, and in a line oblique from the speaker's face,—with the hand edgewise; the 2d raises the fore-arm, and draws the hand toward the temples, without letting the elbow sink; the 3d extends the whole arm in whatever line-downward, upward, or outward-the gesture of a given sentiment requires.

KEY TO THE ANALYSIS OF GESTURE.-There are three principal lines of gesture, and on these all others are founded: 1st, descending, in which the hand descends as low as the level of the hip-joint; 2d, horizontal, on a level with the shoulder; 3d, ascending, the hand rising as high as the head.

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."

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."

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. ("Descending 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.