GESTURE. 155. By this is meant the art of representing thought through the movements of the body. There is a negative and a positive side to the subject. The first has to do with the different members of the body when one is not gesticulating; the second, when one is gesticulating. POSITIONS AND MOVEMENTS OF THE BODY WHEN NOT GESTICULATING. 156. a. The Head and Trunk. Face what is before you, and yet hold the chin down; — down, i. e. in distinction from up or out, as if the chin were pointing forward. This is a simple rule which, if observed in standing or walking, usually causes an erect position and graceful bearing. If carried out, it will throw the shoulders and back into an erect position, with the least possible danger of causing it to seem to be a stiff one. b. Avoid holding the head, trunk or shoulders too much I. Thrown back or up. People do not like to have one seem to look above them. It suggests self-conceit or arrogance, § 200. II. Hung down. For an opposite reason, this suggests humility, bashfulness, shame. III. Inclined to one side. This suggests languor. IV. Too stiffly in any position. This suggests an unyielding temperament or an uncultivated bearing. 157. a. The Hands and Arms may hang at the sides, with palms toward the body and fingers bent; or b. They may both be placed low down in front with the elbows slightly bent, and the fingers together, clasped or unclasped; or c. One hand may hang at the side, and the other be held on the waist, as if preparing to gesture. In this hand the thumb may rest in the watch chain, or the finger be poirting down, or all fingers be folded together. d. Avoid having one or both hands I. Out of sight behind the back, suggesting backwardness, awkwardness. II. Playing with each other, with the clothing or the watch chain, suggesting nervousness or embarrassment. 158. In Reading, hold the book in the left hand, slightly to one side, so as not to hide the face; and gesture with the right hand. 159. The Feet and Lower Limbs. Arrange the feet, in standing, about four inches apart, and so that a straight line drawn through one foot from toe to heel will pass through the heel of the other. (See §§ 161, 162.) a. This is the position assumed naturally by all strong men who are also graceful. In taking this position, avoid placing the feet I. Too far apart, as if bracing one's self against opposition. II. Too near together, as if unprepared to meet opposition. The position should not suggest opposition in any form. 160. Stand firmly, with both knees unbent; but resting the body I. On one foot-not on both of them; II. On the ball and heel of the foot-not on either exclusively. a. This position will throw the body slightly forward of the feet, as if about to step toward the audience, and will throw the hips a little to one side, into such a position that a line drawn perpendicularly through the center of the head and trunk above will pass through the heel of the foot on which the body rests. b. The body may lean on the front foot, and incline slightly forward in earnest appeal. In dispassionate address it usually rests on the foot behind. Avoid I. Moving up and down on the toes, and appearing unsteady. II. Changing often the position of the feet, and appearing unsettled. III. Bending often, or holding, in a visibly bent position, one or both of the knees. Always stand or walk with the knee on which the body rests made as straight as possible. Few who appear to be weak-kneed themselves can awaken the confidence of others. IV. Resting equally upon both feet. This is ungraceful, suggesting a lack of repose-that a man apprehends disturbance — is anxious to walk away. V. Leaning too far to one side. Above the hips, the trunk and head should be erect. One should not appear to need support. A man of firm understanding should stand firmly. 161. In shifting the position (not walking) in order to throw the weight of the body on the foot that has been resting, either take one step forward or backward, or lift the heels slightly and turn on the balls of the feet. a. Shift the position while speaking, and just before or after a transition, and time the steps to the accent or emphasis on important syllables. 162. In walking across the stage, the orator, as distinguished from the actor, usually needs to face, in order to keep control of, his audience. If he gives them the side view that is afforded when they see his legs and feet cross each other, he runs a risk of losing this control. Some years ago the author made the following chart from the positions taken by the feet of Edward Everett during one of his orations. They seemed to be studied. [AUDIENCE] Beginning at A, he kept gradually drawing one foot behind the other till, in the course of five or ten minutes, he had reached B. From B, during an animated passage, he walked rapidly across the stage to C, but moved forward diagonally, with the right foot foremost, so none saw his feet cross. Then he retired gradually to D, and from here walked across to A again, with the left foot foremost; and so on throughout the evening. This chart will also serve to show how the position mentioned in § 159 can always be maintained. POSITIONS AND MOVEMENTS OF THE BODY WHEN GESTICULATING. 163. Of these, there are two kinds, usually more or less combined, yet which, for the sake of explanation, may be separated. They are the objective gestures, used mainly in Oratory; and the subjective ones, used mainly in dramatic reading or acting. Both represent and enforce what a man thinks with reference to a subject. But the former do this in order to show the relation of the subject to the audience; the latter, to show the relation of the subject to the speaker. In the former, the general direction of all the movements is from the speaker (his head, heart, and body generally,) toward the audience; in the latter, the direction of the movements is from the audience toward the speaker. We will consider, first, the OBJECTIVE GESTURES. THE HEAD AND TRUNK. 164. The movements of the head in ordinary Oratory should be few, and, except in the case of the bow, usually accompanied by gestures of the hands. If these, the most instinctive vehicles of expression, are held still, while the head moves, there is an appearance of restraint, and the effect is stiff and ungraceful. For a similar reason, a very slight bow often accompanies an emphatic handgesture. For gestures with the head alone, eyes, nose, mouth, and countenance generally, see §§ 195–198. Here we will consider only the bow. 165. Bow slowly; start the movement in the middle of the spine; carry the shoulders slightly forward, slightly crushing in the chest, and incline the head from the neck; but keep the eyes on the audience, and the hands motionless, except so far as they fall forward naturally with the shoulders. a. Avoid, therefore, making the bow I. Too rapidly. The bow represents thought just starting or just ending; in neither case, therefore, under sufficient headway to justify excitement. II. From the neck alone. It then appears presumptuous-too flippant and familiar. III. From the waist mainly. It then appears repelling-too stiff and dignified. IV. With the eyes on the floor, as if one had no oversight nor control of his audience. V. With hands swinging too loosely, as if one had no control of himself. THE HANDS AND ARMS. 166. The first principle with regard to these is not to exaggerate their importance. No one can be an orator who cannot attract and interest an audience by merely the modulations of his voice. It is good practice sometimes to refrain from gestures, and to try to produce expression and effects without them. 167. A second principle is, never to gesticulate except to emphasize ideas. This principle leads one to a. Avoid making gestures at or near the beginning of a speech; Except, of course, when there is some exciting cause or reason for it, as at the opening of a prayer or benediction. Usually, it is only after thought is under headway that it appears natural to represent it as having sufficient momentum to move the body as well as the mind. This same principle leads us also to b. Avoid making gestures, except so far as the meaning of them is understood. Their object is to give additional expression, emphasis and representation to ideas. They can do this, so far only as they are used intelligently. Before proceeding, therefore, it is necessary, first of all, that we understand the following: 168. The Significance of the Hand and Arm Gestures may be ascertained or verified by noticing, in part, the natural movements of children and of grown people; and in part, the artistic movements and attitudes employed in the best elocutionary delivery, painting and sculpture. a. The Movements of the Arms convey the hands from one position to another,—down or up perpendicularly, round about the body horizontally; or, as sometimes happens, both perpendicularly and horizontally at the same time. A little attention to the circumstances under which these movements take place will evince that they are all, to some extent, representative. A man makes them either because he is viewing or imagining external objects, and |