CHAPTER XVIII.

OF THE PREPARATION, TRANSITION, AND ACCOMPANIMENT OF GESTURE.

Of the line in which the hand moves in gesture-Preparations made for gestures of different kinds Of the connection of gestures-Of the transition of gesture-The character of gesture affected by the manner of transition-Illustration from West's picture of Oliver Cromwell— Transition of the principal gesture from one hand to the other—When the right hand should resign the principal gesture to the left-Subordinate gesture analogous to accompaniment in music-IllustrationsAccompaniment of the head, the body, and lower limbs-ExamplesOf letting the hands fall to rest—Termination of gesture-Illustrations of termination.

CHAPTER XVIII.

Of the Preparation, Transition, and Accompaniment of Gesture.

THE

HE gesture of a public speaker is essentially different from the motions of a soldier performing the manual exercise. In the latter, the object is to effect a change of position within as narrow a space and in as short a time as possible. But confined and sudden motions do not suit an orator, except when perhaps the vehemence of passion urges him to the most rapid expression. Persuasion, which is his particular office, reaches the mind slowly, and is insinuated by circumlocution not of words only, but it may almost be said, of gesture also. In the transition from gesture to gesture, his hand and arm do not therefore precipitate towards the intended position by the shortest possible line, but move in the calmer parts of the oration in a sort of waving line, or one returning upon itself, somewhat in this manner:

C

-X

Let f represent the position of the arm and hand forwards, and let the place of the next gesture be q oblique, and of a third be x extended. The hand does not move in the dotted lines, directly from fto q, and to a, but from f goes back almost to c across, in order that it may traverse the greater space; and

then proceeds towards q with an accelerated motion for the stroke of the gesture, when near that point. In the same manner and for the same purpose it returns back almost to f before it proceeds to x. The ascending and descending gestures are performed in the same manner under similar circumstances as may be seen in the figure: 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 inflexions at the principal points, d h and e.

The line of preparation sometimes assumes

h

R

a different form, partaking in the transverse direction something

of the ascending and descending motions, or of the

sweep, thus:

X

It will also occasionally follow other curves. But whatever the form of 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 the depth of the sweep or indentation is determined by the character of the sentiments delivered. The more magnificent they are the greater is this parade, and the nearer to ordinary discourse the less it is: familiar conversation is entirely divested of it, and gesture, if any be made, is sharp, dry, and direct. The preparation made by those 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 emphatical gestures. They are generally

preceded by a suspended gesture, which serves the double purpose of marking some less important word, and of preparing for the stroke of the most emphatical gesture. It will be recollected that contracted and retracting gestures are reckoned among the suspended gestures, as being made previous to some forcible effort, and are therefore preparatory to the gestures which ensue.

In order to illustrate what is here advanced : let it be supposed that the emphatical gesture requires a strong percussion of the arm descending forwards, as shf st,—the preparation for this is the suspended or preparatory gesture nef bn-as in the following passage from Brutus' speech in Shakspeare's Julius Cæsar :

A gesture across may also be used as a preparation for rejection, which passes rapidly to the extended position.

"Who's here so base that would be a bondman?"

Shakspeare.

Another example of a previous contracted gesture:

Bvhf rj

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

Cowper.