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ing sameness. This is far removed from theatrical gesture; it rather approaches the colloquial style. Nothing could be more incongruous than for a public speaker, in either of the foregoing situations, to introduce the parade and magnificence of theatrical gesture. The charge which is sometimes made against public speakers, of being theatrical in their gesture, probably arises more from some unsuitableness in their manner to the matter, than from anything of uncommon majesty, boldness, or grace in their action.
When the public speaker aims at persuasion, as in discourses from the pulpit for public charities, or on extraordinary occasions in Congress, or at the bar, when the advocate desires to influence the opinions of a jury, he will naturally use more graceful, more flowing, and more varied gesture. But he should not fall into the action of the theatre. He may be graceful, but he should be simple; he may be energetic, but he should not affect gestures too strongly significant, much less attempt surprise by attitudes. All his gestures should be regulated by manly decorum, suitable to his situation, to the character of his hearers, and to the just expression of his sentiments.
SIGNIFICANT GESTURES. The most important of the significant gestures are the following:
THE HEAD AND FACE. The hanging down of the head denotes shame, or grief. The holding of it up, pride or courage. To nod forwards implies assent. To toss the head back, dissent.
The inclination of the head implies diffidence or langrior.
The head is averted, in dislike or horror.
They are cast in various directions, in doubt and anxiety
The placing of the hand on the head, indicates pain or distress.
On the eyes, shame or sorrow.
Both hands are held supine, or they are applied, or clasped, in prayer.
Both are held prone, in blessing.
The body, held erect, indicates steadiness and courage.
THE LOWER LIMBS.
The firm position of the lower limbs signifies courage, or obstinacy.
Bended knees indicate timidity, or weakness.
These are a few of the ople gestures which may be considered significant.
SYNOPTICAL ARRANGEMENT OF THE NOTATION LETTERS.
Letters written above the Line, relating to the Fingers,
the Hands, and the Arms.
FIRST SMALL LETTER,
Noting the disposition of the Fingers. n, natural.
h, holding. C, clinched.
w, hollow. x, extended.
thumb. i, index.
Noting the manner of presenting the Palm.
f, forwards. n, inwards.
b, backwards. 0, outwards,
SECOND SMALL LETTER, AND TWO CAPITALS,
Noting the elevation of the Arms d, downwards
2, zenith. h, horizontal.
R, rest. e, elevated.
THIRD SMALL LETTER, Noting the Posture of the Arms in the Transverse Direction. c, across.
X, extended. f, forwards.
o, backwards. 9, oblique.
FOURTH AND FIFTH SMALL LETTER,
Noting the Direction of Motion.
9, right. d, descending,
l, left. s, forwards.
i, inwards. b, backwards.
0, outwards. 2, revolving
Noting the Manner of Motion. n, noting.
pr, pressing. P, projecting, or pushing. rt, retracting w, waving.
rj, rejecting A, flourish.
bn, bending 8W, sweep.
rc, recoiling. bk, beckoning
sh, shaking rp, repressing.
th, throwing. ad, advancing
cl, clinching sp, springing.
ll, collecting st, striking.
CAPITAL LETTERS AND NUMERALS,
Noting the Positions of the Feet. Ri, right foot, lst position. RF, right front position. R2, right foot, 2nd position. LF, left front position. Li, left foot, 1st position. K, kneeling L2, left foot, 2nd position. S, aside.
SMALL LETTERS AND ONE CAPITAL,
Noting the degree of Exctension of the Feet. 2C, extended
xx, extended extreme. mx, moderately extended.
sp, stamp. tr, traverse.
sk, shock c, cross.
Letters relating to Parts on which the IIand may be
F, forehead. N, nose.
C, chin. L, lips.