CHAPTER XII.

195

GESTURES OF DIFFERENT MEMBERS.

Each part of the human body is expressive. We have already treated of the hand and found it capable of expressing almost any emotion, that may present itself. QUINTILIAN says of the hand that, while other limbs assist the speaker, the hands speak for themselves. For do we not demand, promise, call, dismiss, threaten, entreat, abhor, fear, ask, deny, with them? Do we not indicate joy, sadness, doubt, acknowledgment, remorse, measure, multitude, number and time with them? Do they not arouse courage! Do they not mourn, repel, consent? Do they not express admiration and shame! This is the language which in the great diversity of tongues among all races and peoples, I have in common with all men." No further commentary on the use of the hands is necessary.

The feet and legs are sufficiently treated in the chapter on action.

The Head.

There are few gestures of the head. The movements of the head denoting yes or no, denying or giving assent, are the ones most commonly used.

I.

The Erect Head is the attitude of repose. notes calmness and attention; e. g.,

2.

Well, let him continue; we are listening.

It de

The Bowed Head signifies thoughtfulness, reflection, resignation; e. g.,

From Hamlet. Act. III.

To be or not be,-that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune;
Or to take arms against a sea of troubles.
And by opposing, end them?

Shakespeare.

3. The Lifted Head is expressive of joy, vivacity, vehemence, selfsufficiency, etc.; e. g.,

4.

From The Merchant of Venice. Act I.

Gratiano. Let me play the fool:

With mirth and laughter let old wrinkles come,
And let my liver rather heat with wine,
Than my heart cool with mortifying groans.
Why should a man whose blood is warm within
Sit like his grandsire cut in alabaster?

Shakespeare.

The Advanced Head denotes eagerness, curiosity, etc.; e. g.,

Really, were you the person I met?

5. The Head pivoted toward an object is significant of kindly feeling toward it; e. g.,

I am glad to see you.

Pivoted from the object denotes disgust for it; e. g.,

I cannot bear the sight of you.

6. The Head drawn back from anything denotes surprise, distrust, or haughtiness; e. g.,

From The Hidden Gem.

"Ignotus, I implore you, speak. Still silent?
Speak, or I must believe your guilt. No answer?
Have I then ta'en a viper to my bosom,
Whom worthy I had deemed to be a son?
A faithless robber for a holy man?
And have five years of seeming piety,
Of feigned austerity, and sham religion,
Been but a hypocrite's deep preparation
For vilest treachery, and meanest crime?
Who will believe again in human virtue,
If this be true.

Cardinal Wiseman.

7. The Head is thrown entirely back and down in great despair, agony and prostration; e. g.,

O Cymbeline! heaven, and my conscience, knows,
Thou didst unjustly banish me.

Shakespeare.

8.

The Head thrown entirely forward and down siguities shame, despair, etc.; e. g.,

Yes, I burn with shame to own it; I followed his bad example.

9. The Head inclined toward the side expresses carelessness, trustfulness, familiarity; e. g.,

From As You Like It. Act III.

Jacques. Rosalind is your love's name.

Orlando. Yes, just.

Jacques. I do not like her name.

Orl. There was no thought of pleasing you when she was christened.

Jacques. What stature is she of?

Orl. Just as high as my heart.

Jacques. Good-bye, you: let's meet as little as we can.
Orl. I do desire we may be better strangers.-Shakespeare.

The Eyes.

The Eye has been called "the window of the soul." Through it we detect the emotion which stirs the soul. It first communicates the thought. It is capable of more subtle expression than any other organ. The general rule which should govern the eye may be worded thus: Keep the eye to the audience. Even in reading, this is necessary. The eye should be so practiced that it can take in a whole line at a glance. DANIEL WEBSTER used to practice this by walking around a table on which was placed an open book, and, taking in, whilst facing the book, enough to continue speaking as he went around. With some practice, this can be brought to such a degree of perfection that the eye will, during entire sentences, look steadily at the audience.

There are Nine Attitudes of the eye.

I. The Normal eye looking straight ahead and resting easily on any object. It is expressive of calmness, e. g.,

To suffer with a quietness of spirit,
The very tyranny and rage of his.

Shakespeare.

2. The Normal Eye with raised brow is expressive of

contempt; e. g.,

Coriolanus.

From Coriolanus. Act 111.

Are these your herd?→→

Must these have voices, that can yield them now,

And straight disclaim their tongues?-What are your offices?
You being their mouths, why rule you not their teeth?
Have you not set them on?

Shakespeare.

3. Eye wide open with brow drawn down denotes anger; e. g.,

From The Comedy of Errors. Act II.

Now as I am a Christian, answer me.

In what safe place you have bestow'd my money,
Or I shall break that merry sconce of yours,
That stands on tricks when I am indispos'd.

Where is the thousand marks thou hadst of me?

Shakespeare.

4. Eye opened wide with raised brow signifies aston

ishment; e.g.,

Traitor!-how now!

Shakespeare.

5. Eye slightly closed with brow down indicates

thought; e. g.,

Yes, if I recollect rightly, it was ten days ago.

6. Eye opened with slightly lowered brow expresses firmness: e. g.,