thumb near the ear.

It is then shoved out straight in front, while the head moves back in opposition. "Avaunt, and

3. Supplication. In supplication, the arm is lifted to heaven, the hand open, and held half horizontal. Do not hold the arm immediately in front. "Our Father."

4. Appellation. In appellation, the forearm is lifted perpendicular, the palm of the hand out. Voting gesture: "Aye."

5. Affirmation. In this gesture the hand is thrown down in front, the palm out. [He] "would have brooked the eternal devil."

6. Salutation. The hand is raised gracefully, the head inclining to meet it; after they have approached near each other, the hand is thrown gently forward, the head moving in opposition. The hand is lifted in proportion to the amount of deference or respect expressed. Common salutation of men who are equals is frequently made by a wafture of the hand from the lower part of the chest. "Good-morning." 7. Negation. The arm is thrown across the space in front of the student toward the back, the palm down. "This can never be."

8. Declaration. This is the same movement, with the palm of the hand half up. "The North answers the South."

9. Rejection. This is the same as negation, with the thumb down. "Sweep away all opposition."

Third Series.

The gestures in the third series are mainly dramatic; but as they give added variety, their practice is helpful in oratory.

1. Calm repose. This is the natural, easy position with arms quiet by the side.

2. Resigned appeal to heaven. In this action the arm without lifting is turned face out, the hand is turned palm slightly up; the face is turned in opposition, and uplifted to heaven,

3. Accusation. In accusation, the arm is stiffened at the side; the eye first accuses and centres upon the object, then the stiffened arm and hand are lifted till the eye sees the object down the arm.

4. Imprecation. The arm is elevated overhead. The hand is formed into a claw, ready as a bird of prey to pounce upon its victim.

5. Remorse. The hand grasps the back of the head, forearm pressing against the face.

6. Grief or shame. The face is hidden by spreading the hand over it.

7. Tender reproach. Hand slightly closed, drawn across the chest away from the object, while the face is turned upon it in reproach.

8. Pathetic repulsion. To express this emotion, the hand moves toward the object from the seventh position, while the head moves in the opposite direction.

9. Benediction. In benediction, the hands are lifted, the backs up, extended front.

10. Petition. Excepting that the palms are turned up, the positions in petition are the same as in benediction.

The Chest in Expression.-1. In excitement, courage, the sense of vigor, the chest is expanded. In timidity, anxiety, pain, conscious weakness, the chest is contracted. In repose, the chest is erect and normal.

2. In reflection, the chest bends forward.

3. In sublimity, the chest is broadened and lifted.

4. In attack, or vehemence, the chest is expanded, broadened, and brought forward.

5. In despair, the chest is flattened.

6. The body leaning directly before an object indicates defer

ence.

7. The body leaning obliquely toward object indicates reverence. 8. The body leaning back shows pride.

9. The body leaning sidewise is the attitude of wickedness; it is fox-like.

Positions. In physical and moral weakness, the gravity of the earth beneath draws the body down. The gestures are made on a lower plane.

In spiritual or moral exaltation the body is lifted, and gesture is made on a higher plane.

The Feet and Legs in Expression. Conscious weakness assumes strong position, as in the case of the aged, infirm, and in children, placing their feet far apart in standing and walking. Conscious strength assumes weak positions, as in the case of athletes and other strong persons keeping their feet nearer together.

Gravities. Three centres of gravity are to be distinguished. The weight upon the heels indicates the subjective state of mind; the weight upon the balls of the feet indicates the objective state of mind — a reaching out to the auditor; the weight upon the centre indicates hesitance and balance.

First attitude. In this attitude, the weight is upon both feet, separated by a few inches, and the toes turned out at an angle of 75°. This is a weak attitude. It characterizes respect. If the feet be far separated, the expression is physical weakness, insolence, familiar ease, vulgar repose, intoxication.

Second attitude. "In this attitude, the strong leg is backward, the free one forward." This is the attitude of reflection, of concentration, of the strong man. It indicates the absence of passion. It has something of intelligence. It is neither the position of the child nor of the uncultured man. It indicates calmness, strength, independence.

Third attitude. In this attitude the strong leg is forward, the free leg backward. This is the attitude of vehemence, of energetic action, of intense objectivity, of urging the speaker's will upon the audience.

Fourth attitude. In this attitude the leg holding most of the weight is behind, but rather widely separated from the advanced leg, and bent at the knee. It is expressive of weakness following terror, fear, recoil.

The Hand in Expression." By representing the hands disposed in conformity with the attitude of the figures, the old masters have been able to express every different kind of sentiment in their compositions. Who, for example, has not been sensible to the expression of reverence in the hands of the Magdalens by Guido,

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to the eloquence of those in the cartoons of Raphael, or the significant force in those of the Last Supper by Da Vinci. In these great works may be seen all that Quintillian says the hand is capable of expressing: For other parts of the body assist the speaker; but these, I may say, speak themselves. By them we ask, we promise, we invoke, we dismiss, we threaten, we entreat, we deprecate; we express fear, joy, grief, our doubts, our assent, our penitence; we show moderation, profusion; we mark number and time.'" 1

The part of the hand exposed to the auditor is the expressive part. 1. The palm of the hand is revelatory. Exposed to the auditor, it opens up the subject to plain sight. The back of the hand expresses secrecy, indefiniteness, doubt, and darkness. The edge of the hand is definitive in expression.

2. Primary position. In the primary position of the hand, the fingers are differentiated; the first finger quite straight and most separated; the second and third but little separated, and more bent; the fourth more separated from the third, and more straight. Straighten the thumb, and separate from the first finger. Avoid woodenness, which results from keeping the fingers close together and straightened out. Avoid spreading the hand, and also all convulsive attitudes of it. Leave them entirely alone except when gesturing, or raised in preparation before the body. This attitude should be mastered as the habitual one; it expresses calm repose. 3. The fist expresses firmness, conflict, strength, concentration of force.

4. The fingers bent at first joint is expressive of convulsion malevolence.

5. The thumb falling into the middle of the hand expresses lifelessness, lack of energy, and when carried to extreme, drunkenness, and imbecility. This faulty position is frequently seen in speakers.

6. The fingers and thumb opened, and the hand thrown up, expresses exultation, earnestness, animated attention.

7. The same position, with the fingers stiffened straight and separated to the utmost, expresses exasperation.

8. The hand closed, with the index finger straight, defines,

1 The Hand, by Sir Charles Bell.

points out the way; when the finger is shaken, it is discriminative and threatening.

9. The hand tossed from side to side expresses impatience. The Shoulders in expression. - I. Normal condition indicates calm repose. The shoulders elevated, indicate passion. The shoulders depressed, indicate feebleness. The shoulders brought forward, indicate pain. "The patient shrug" of the shoulders indicates helplessness, resignation.

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The face is the mirror of the soul" because it is the most impressive part of the body, and less under the control of the will, and consequently the most faithful agent in rendering the states of the soul.

Not only may momentary emotions be read in the face, but the conformation of the features of the face reveals the aptitude of the individual, his temperament and character, always, of course, allowing for the freedom of man to will and live above his natural appetences. Every emotion of the soul writes itself upon the countenance, and persistency will fix it there.

We have characteristically sad, joyful, thoughtful, stupid, vicious faces.

We have seen the same face undergo marked and sometimes remarkable changes, as the individual has changed his life. The face gives the hand more significance in gesture.

The Eyes. The eyes and ears are called the organs of the spiritual sense. The other organs of sense must come in contact with the object, in order to know of its qualities or character.

With the ear we can hear sounds produced afar off; and with the eye we can see the object that impresses us, though many leagues in the distance. The eye, then, is the highest as an agent of expression. It has long been characterized as the "window of the soul."

1. The normal eye indicates calm repose; the eyes partially closed, firmness; the eyelids closed indicate stupor; the eyelids dilated, and the brows raised, indicate astonishment; the brows held normal, and the lids dilated, indicate disdain; the brows and lids contracted indicate perplexity.

The Head in Expression.-1. The head easily erect is expressive of calm repose.

2. Head inclined from object, sidewise to self, is expressive of cunning, envy, hate, suspicion.