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A harmonizing accompaniment of arm to arm is essential. When only one arm is used in the gesture, the other is
brought into action less prominently, and at a lower elevation. When the gesticulating arm comes in front of and across the body, the retired arm falls a little
behind. When the gesticulating arm is backward, the subordinate
arm advances. When the gesture is under the horizontal elevation, the
other arm may fall laxly. Every action of the arm should be terminated by an
accentual motion of the hand from the wrist. In calm and unimpassioned speaking, the accentual beat
of the gesture will coincide with the vocal accent. In strong emotion, the gesture will precede the words. The motions of the hand must be made entirely from the
wrist. The line described by the hand in any motion must be a
curve, except in violent passion when the rigidity of the joints renders the line of action straight and angu
lar. The weight of the body should be sustained generally by
one foot, and the body should be shifted at every change of style and expression. Every motion must be preceded by a preparatory movement in the opposite direction, more or less sweeping, according to the nature of
the emotion. The motions of the feet must always be in diagonal lines. In kneeling, bring that knee to the floor first which is
next to the spectator. In rising, bring up the knee farthest away.
Index arch of the wrist, the rigidity of the thumb,
forefinger, and the hollow of the back of the hand.
Intertwined in Entreaty.
above medium height-Remonstrance.
Hund pressed on the upper part of chest—Palpitation of
the heart-Difficulty in breathing. Objects above the horizontal elevation in directive gestures
are always supine; objects below, prone.
None of our powers are more susceptible of cultivation
than those of expression. I have seen an eye curse, and an eyebrow call a man a scoundrel.
In the higher emotions, love, hope, patriotism, and sublim
ity, the lines of the face curve upward, the expression is
uplifted. In calm and placid emotions, the lines are horizontal. The lower emotions, such as hate, fear, revenge, the lines
are downward. Every expression of the face, every position of the body,
every gesture, is but the outward expression of the mind
and heart, be it one of beauty or ugliness. Attitude is but arrested expression; all the higher emo
tions find expression in spiral movements. Gesture is expression. The mind can be interested by
speech ; it must be persuaded by gesture. If the face bears no signs, we do not persuade. Facial expression is the language of the soul. There is something marvellous in this language, because it
has relations with another sphere—the world of grace. The basis of this art is to make the audience divine what
we would have them feel. The eye is the window of the soul ;—let it express the emo
tions contained in the given selection. It takes many words to say what a single word reveals. Cicero says, “ Nature hath bestowed upon man a bodily
figure completely adapted to his mind. The face of every other animal he hath turned downward to the ground, from whence its nourishment is drawn; to man alone is given a form erect, a face turned upward to his kindred heaven, to those divine abodes which are his native seat. She has, besides, so exquisitely modelled the human feat
ures that they are capable of expressing the most secret emotions of the soul. The penetrating glances of the eye indicate the corresponding internal affections, and the moral character is shown in the face.
BOW. In making a bow, bring the advanced foot behind the other,
the knee of which bend with the weight of the body.
There are three kinds of breathing,-Abdominal, Costal,
Place both hands upon the abdomen and breathe deeply,
forcing the muscles outward. Let them sink as much as possible during exhalation. Aspirate the letter S, breathing out as long as possible,
letting the abdominal muscles contract. Slowly breathe back until the abdominal muscles extend
outward to the utmost. Imagine yourself blowing a feather in the air. Expel the breath, blowing quickly. Contract the abdominal muscles. Draw the breath back,
filling the abdomen, extending the muscles. Give the vowels-A, E, I, O, U. Place the hand upon
the abdomen. Take a full breath, throwing the muscles outward, and say A in a full tone, until the muscles con
tract to the utmost. This should be practised only a few minutes at a time.
Distend the sides while inhaling, and relax gradually
with slow and regular exhalation.
Inhale as if endeavoring to thrust out the muscles of the
back by the force of the air.