on the hips, and one hand holds the wrist of the

other, noted (Rp).

Z

N

zenith

with the right or left hand.

nadir

arms folded or encumbered

akimbo (with the right or left hand) arms reposed

rest from gesture.

These 9 extra gestures, added to the former 135, make, in all, 144.

The Colloquial style requires the arms not to be raised so high as in the Epic, and in portions of the Rhetorical. The horizontal plane will, therefore, not range above the middle of the chest. The elevated will be in a line with the eyes, and the downward, a little below the waist, the arm principally moving from its centre of motion at the elbow.

OF THE HANDS.

The gestures of the hands are so numerous, taken both separately and in their combinations, that it would be next to impossible to enumerate them. For the gesture of the hands and fingers alone is so complicate, that every age and country differ in the use of it. Quintilian thus speaks of the gesture of the hand:

"Without the aid of the hand," he says, "action would be mutilated and void of energy; but it is hardly possible, since they are almost as copious as

words themselves, to enumerate the variety of motions of which they are capable. The action of the other parts of the body assists the speaker, but the hands (I could almost say) speak themselves. By them do we not demand, promise, call, dismiss, threaten, supplicate, express abhorrence and terror, question and deny? Do we not, by them, express joy and sorrow, doubt, confession, repentance, measure, quantity, number, and time? Do they not also encourage, supplicate, restrain, convict, admire, respect? and, in pointing out places and persons, do they not discharge the office of adverbs and pronouns so that, in the great diversity of languages, which obtain among all kingdoms and nations, theirs appears to me the universal language of all mankind."

"The celebrated physician Cous called the prac tice of the gestures of the hand the most excellent lesson in eloquence.

Among the wise men of Egypt, the inventors of the sacred hieroglyphics, their designation of language was by the symbol of a hand placed under a tongue.

"Contention, play, love, revels, change and rest, And truth and grace are by the hand express'd.

"Everything, it must be confessed, depends on the hand; it gives strength and colouring to eloquence, and adds force and nerves to the riches of thought, which, otherwise languid, creeping on the

ground, and deficient in vigour, would lose all estimation."*

The positions of the hand are determined by four different circumstances. First, by the disposition of the fingers; secondly, by the manner in which the palm is presented; thirdly, by the combined disposition of both hands; and fourthly, by the parts of the body on which they are occasionally placed,

Natural (n)." The hand, when unconstrained, in its natural and relaxed state, either hanging down at rest, or raised moderately up, has all the fingers a little bent inwards towards the palm, and the middle and third fingers lightly touch, the point of the middle finger resting partly on the nail of the third. The forefinger is separated from the middle finger and less bent, and the little finger separated from the third, and more bent. * Cresollius.

The extremity of the thumb should be bent a little outwards, and in its general disposition and length be parallel with the forefinger."

Extended (x).-When all the fingers are rigidly separate.

Clinched (cl).—With the thumb lapped over the middle finger.

Collected (1).-Where the points of the four fingers touch the point of the thumb.

Hollow (w).-With palm held supine, as holding water (cavá manu).

Index (i).-The forefinger pointing, the others clinched; sometimes the middle finger is extended also.

Holding (h)-As in presenting a sheet of paper. This gesture is capable of great varieties.

Thumb (m).-Pointing with the thumb, the other fingers being clinched. But Quintilian says that to point out anything with the thumb averted, is rather permitted than becoming an orator.

Grasping (gr).—As in seizing garments or hair (uncis digitis).

II. According to the manner in which the palm is presented.

Prone (p).-When the palm is turned downwards.

Supine (s).-When the palm is turned upwards. It is advisable in the use of this gesture, which is the most frequent, not to hold the hand quite horizontal, but gently inclined towards natural, on the authority of Hippocrates and Galen, and modern anatomists, who say that the hand cannot long remain supine, without feeling pain,

Inwards (n').*—When the palm is turned towards the breast.

Outwards (o.)-When the palm is turned from the breast.

Vertical (v).—When the palm is perpendicular, and the fingers point upwards.

III. According to the combined disposition of both hands.

Both hands are noted with a capital B before the gesture.

Bap. Both hands applied.—When the palms are pressed together, and the fingers and thumbs of each mutually laid together,

B cl. Both hands clasped.-When the fingers are interlaced, and the hands pressed together by the fleshy parts near the wrists.

B cr. Both hands crossed, i, e., on the breast. B fl. Both hands folded.—When the palm of either * The symbol for inwards is marked with an accent, to distinguish it from natural,