as in Fig. 7, has a good effect, when the subject in creases in warmth and interest. This gesture is also adapted to demonstration, remonstrance, or an appeal to the candor of the audience.

In the unimpassioned parts of a discourse, it gives the orator an air of ease and self-possession to place the left hand on the hip, while he gesticulates in a moderate degree with the right, as in Figs. 8 and 9. In impas

FIG. 7.

FIG. 8.

FIG. 9.

sioned parts of a discourse, this placing the hand on the hip is obviously wrong. An eloquent orator would find it impracticable to proceed, without having the left hand free, ready for use on the first strong impulse, in aid of the right hand.

The gesture indicated in Fig. 10 is in more frequent use than any other, since it is equally appropriate to any part of a discourse, which is not impassioned or arnestly argumentative.

Quintilian says, a moderate extension of the arın. with the shoulders thrown back, and the fingers cpening as the hand advances, is a kind of gesture excellently adapted to continuous and smoothly flowing passages. In an attitude of apology or supplication, we naturally lower the hands. (Fig. 11.) In adoration we raise

FIG. 10.

FIG. 11.

11

them, sometimes even above the head, and this gesture is also applied to passages in which we describe what is elevated, vast, or sublime, in the moral, as well as the material world. In ordinary cases, the hands acting in concert express most feeling; stretched out but a short distance when we speak on inconsiderable, grave, or tranquil subjects, but extended to a greater distance when we treat of such as are important, exhilarating, or awful. In Figs. 12, 13, and 14, there is animated gesture with both hands; but it is only in Fig. 14 that they act strictly in concert.

As to the hands, says Quintilian, without the aid of which all delivery would be deficient and weak, it can scarcely be told of what a variety of motions they are

Fie. 12.

FIG. 13.

FIG. 14.

susceptible, since they almost equal in expression the powers of language itself; for other parts of the body assist the speaker, but these, I may almost say, speak themselves. With our hands we ask, promise, call persons to us and send them away, threaten, supplicate, intimate dislike or fear; with our hands we signify joy, grief, doubt, acknowledgment, penitence, and indicate measure, quantity, number, and time. Have not our hands the power of inciting, of restraining, of beseeching, of testifying approbation, admiration, and shame ? Do they not, in pointing out places and persons, discharge the duty of adverbs and pronouns? So that amidst the great diversity of tongues perva ling all nations and people, the language of the hands appears to be a language common to all men.

As to the motion of the hand, continues Quintilian, It commences, with very good effect, on the left, and stops on the right; but the hand ought to stop so that it may appear to be laid down, not to strike against anything; though, at the end of a phrase, the hand may sometimes sink, but so as soon to raise itself again; and it sometimes even rebounds, as it were, when we enforce a denial or express wonder. In regard to this point the old masters of delivery have very properly added a direction that the movement of the hand should begin and end with the sense; otherwise the gesture will either precede the sense, or will fall behind it; and propriety is violated in either case.

But when increasing warmth has given it animation, the gesture will become more spirited in proportion to

FIG. 15.

FIG. 16.

FIG. 17.

the ardor of the language. But though in some pasages a rapid pronunciation will be proper, in others a

staid manner will be preferable. On some parts we touch but slightly, throw together our remarks upon them, and hasten forward; in others we insist, inculcate, impress. But slowness in delivery is better suited to the pathetic; and hence it was that Roscius was inclined to quickness of manner, Æsopus to gravity: the one acting in comedy and the other in tragedy.

In Figs. 15, 16, and 17, are illustrated some of the more animated gestures of the hands; fig. 15 being suitable for narration, demonstration, or argument, fig. 16 for exhortation, and fig. 17 for grief, or an endeavor to suppress emotion.