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pression of scorn, the retracting of the corners of the mouth, the protrusion or the compression of the lips, the biting them, or folding them upon each other, as with a sort of self-complacency, should be avoided as at least tending to distract the mind of the hearer, and as being often positively offensive.

SECTION V.

OF THE HAND.

THE expressiveness of what is usually called gesture depends on the hand. Next to the tones of the voice and the countenance, the hand perhaps has the greatest variety and power of expression. Says Sheridan:-"Every one knows that with the hands we can demand, or promise; call, dismiss; threaten, supplicate; ask, deny; show joy, sorrow, detestation, fear, confession, penitence, admiration, respect; and many other things now in common use. But how much farther their powers might be carried, through our neglect of using them we little know."

The positions of the hand are described by Austin,* by referring successively to the four following circumstances: 1. The disposition of the fingers. 2. The manner in which the palm is presented. 3. The combined disposition of both hands. 4. The parts of the body on which they are occasionally placed.

1. The Disposition of the Fingers.

The natural state of the fingers, when the arm is hanging freely by the side or employed in unimpassioned gesture, is

* Chironomia, chap. xiii.

that in which the hand is fully open, with the fore-finger nearly straight and separated from the middle finger; the middle finger is more bended, and rests partly on the third finger, which it gently touches; the little finger is still more bended, and separated from the third finger; while the thumb is withdrawn entirely from the palm, and without constraint turned a little upward and outward. This posiFig. 15.

tion is represented in Fig. 15. This arrangement of the fingers is observed in the Venus de Medicis, and in others of the most eminent specimens of both statuary and painting. Even though it may at first seem difficult to some learners, it will by a little practice become to them as it indeed is the natural state of the hand.

The extended position presents the fingers separated from each other, and nearly straight; and is indicative of warm excitement. (See Fig. 16.)

Fig. 16.

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Fig. 17.

Fig. 18.

The clenched state presents the hand closed, and the thumb lapped over the middle finger. (See Fig. 17.)

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The collected state is that in which the ends of all the fingers are gently inclined towards, or touch the end of the thumb. (See Fig. 18.) This is the state of the fingers, when the hand in gesture is brought up near to the opposite shoulder, preparatory to being extended in the contrary direction.

The index designates the pointing position, in which the fore-finger is extended, while the others should all be

turned inward, and contracted with a degree of force proportioned to the energy of the speaker. (See Figs. 19,

20, 21.)

Fig. 19.

Fig. 20.

Fig. 21.

2. The manner in which the Palm is presented. The hand is said to be prone, when the palm is turned downward.

It is said to be supine, when the palm is turned upward. It is said to be inward, when the palm is turned toward the breast, and the thumb erect.

It is said to be outward, when the palm is turned from the body, and the thumb downward.

It is said to be vertical, when the plane of the palm is perpendicular to the horizon, the fingers pointing upward.

These positions of the palm, though sufficiently significant and expressive, are seldom employed in ordinary declamation, or sober dignified delivery. For future reference however, they are here noticed.—The position of the hand, as regards the palm, most suitable to be adopted by the public speaker, is that which presents an inclination from the supine position of about 45°, and accompanied with a slight bend of the wrist downward, in the direction of the little finger. (See Fig. 22.)—This, possessing the elements of freedom and grace, and being less likely to weary any of the muscles of the hand or wrist, may be designated the natural position of the palm, and should not be deviated from without

Fig. 22.

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good cause.

In declamation and oratory, the natural position of the fingers should be presented with this position of the palm.

3. The combined Disposition of Both Hands.

As these positions belong to dramatic action, the consideration of them is reserved for the Appendix.

4. The Parts of the Body on which the Hands are occasionally placed.

These will be barely enumerated. The hand may be placed―

Fig. 23.

On the Breast, in an appeal to conscience, or in giving expression to any strong internal emotion. (See Fig. 23.)

On the Eyes, to express shame or grief. (See Fig. 86.)

On the Lips, as an injunction of silence.The fore-finger on the lips expresses the same thing. (See Fig. 87.)

On the Forehead, to indicate pain or distress. (See Fig. 88.)-When the hand is brought up to the forehead or to the eyes, the head is moved forward to meet it.

On the Chin, in deliberation, or intense thought. (See Fig. 89.)

These gestures are rare, and are always significant; the hand upon the breast being the only one ever called for in ordinary address. This is performed with the arm in an unaffected position, the hand inward, and the middle of the second and third fingers directly upon the heart.

Errors connected with the Positions of the Hand.

1. The employment, in ordinary unexcited delivery, of any other state of the fingers, than that designated as the natural state; also any faulty mode of presenting the extended, clenched, collected, or pointing positions.

2. The moving of the fingers about in an indefinite manner, or upon themselves, or the clenching of the hand, when it is hanging by the side, where it ought to be perfectly at

rest.

3. The too frequent presentation of the prlm in the other positions which have been described, instead of that which is called its natural position.

4. The placing of the hand edgewise, equidistant from prone and supine, as represented in

Fig. 24; which has no meaning but as a childish imitation of the act of riving or splitting.

Fig. 24.

5. The hollowing of the palm, by approximating the fingers and thumb to it. An open palm adds both grace and energy to delivery.

6. The use of the tremulous motion of the hand, without any assignable reason.

7. The bringing of the two hands together, as in clasping them, laying the one in the other, crossing the fingers, &c. To ordinary delivery, these are not appropriate, whatever significance some of them may have as the symbols of excited passion.

8. The bringing of the hand to the face, or the laying of it on any part of the body, except when the sentiment expressly demands it.

9. Instead of placing the hand on the heart in the man

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