The Series of Gestures Applied to the Sentiments Oftenest Expressed by the Orator.
First Gesture. Interpellation.
Interpellation embraces five steps:
The first consists in elevating the shoulder in token of affection. If the right shoulder, as in figure 2 with the right leg weak.
The second step consists in a rotary movement of the arm, its object being to present the epicondyle (elbow-joint) to the interlocutor. For this reason the epicondyle is called the eye of the arm.
The third stage consists in substituting the articulation of the wrist for the epicondyle. In making the forward movement of the body, the epicondyle must resume its natural place.
The fourth step consists in extending the hand toward the speaker in such a way as to present to him the extremities of the fingers.
The fifth step is formed by a rapid rotation of the hand.
Second Gesture. Thanks--Affectionate and Ceremonious.
This gesture consists of six steps:
1. Consists in lifting the hand and lowering the head.
2. Consists in raising the hand to the hip.
3. The head inclines to one side, and the elbow at the same time rises to aid the hand in reaching the lips.
4. In this, the head resumes its normal position, while the elbow is lowered to bring back the hand to the same position.
5. In this, the hand passes from the horizontal to the vertical position, rounding toward the arm.
6. In this, the arm is developed, and then the hand.
Third Gesture. Attraction.
In this gesture there are three steps:
1. The hand turns toward the interlocutor with an appealing aspect.
2. The hand opens like a fan with the little finger tending toward the chest.
3. The elbow is turned outward, and the hand passes toward the breast.
Fourth Gesture. Surprise and Assurance.
1. This consists in elevating the shoulders, opening the eyes and mouth and raising the eyebrow; the whole in token of surprise.
2. Raise the passive hand above the chin, making it turn around the wrist.
3. The hand still passive, is directed toward the person addressed, the elbow being pressed against the body.
4. The arm is gradually extended toward the person addressed, while the hand is given an opposite direction; that is, the palm of the hand is toward him.
Fifth Gesture. Devotion.
This gesture embraces seven movements:
1. This consists in raising the passive hand to the level of the other hand, but in an inverse direction.
2. This consists in turning back the hand toward one's self.
3. This consists in drawing the elbows to the body, and placing the hands on the chest.
4. This is produced by taking a step backward, and turning a third to one side; during the execution of this step, the elbows are raised, and the head is lowered.
5. This consists in drawing the elbows near the body, and placing the hands above the shoulders.
6. This consists in developing the arms.
7. This consists in developing the hands.
Sixth Gesture. Interrogative Surprise.
This surprise is expressed in two movements:
1. This is wholly facial.
2. This is made by advancing the hand and drawing the head backward.
Seventh Gesture. Reiterated Interrogation.
This gesture signifies: I do not understand, I cannot explain your conduct to me. It embraces five steps:
1. This consists in placing both hands beneath the chin, and violently elevating the shoulders.
2. This consists in bringing the hands to the level of the chest, as if in search of something there.
3. This consists in extending both hands toward the interlocutor, as if to show him that they contain nothing.
4. This consists in extending one hand in the opposite direction, and letting the head and body follow the hand.
5. This consists in turning the head vehemently toward the interlocutor, and suddenly lowering the shoulders.
Eighth Gesture. Anger.
This gesture is made in three movements:
1. This consists in raising the arm.
2. This consists in catching hold of the sleeve.
3. This consists in carrying the clenched hand to the breast, and drawing back the other arm.
Ninth Gesture. Menace.
This gesture consists of a preparatory movement, which is made by lowering the hand while the arm is outstretched toward the interlocutor, then the finger is extended, and the hand is outstretched in menace.
The eye follows the finger as it would follow a pistol; this occasions a reversal of the head proportional to that of the hand.
Tenth Gesture. An Order for Leaving.
This is executed:
1. By turning around on the free limb.
2. By carrying the body with it.
3. By executing a one-fifth sideward movement--the right leg very weak. All these movements are made by retaining the gesture of the preceding menace. Then only the menacing hand is turned inward at the height of the eye, at the moment when it is about to pass the line occupied by the head; the elbow is raised to allow the hand a downward movement, which ends in an indication of departure. In this indication the hand is absolutely reversed, that is, it is in pronation. Then only does the head, which has hitherto been lowered, rise through the opposition of the extended arm.
Eleventh Gesture. Reiteration.
1. The whole body tends toward the hand which is posed above the head. The right leg passes from weak to strong.
2. The head is turned backward toward the interlocutor.
3. It rises.
4. The arm extends.
5. The hand in supination gives intimation of the order.
Twelfth Gesture. Fright.
The right hand pendent. The left hand rises. Tremor.
The first movement is executed in one-third; the body gently passes into the fourth, and as the fifth is being accomplished, the arm is thrust forward as if to repel the new object of terror.
At this moment a metamorphose seems to take place, and the object which had occasioned the fright, seems to be transfigured and to become the subject of an affectionate impulse. The hands extend toward this object not to repel it, but to implore it to remain; it seems to become more and more ennobled, and to assume in the astonished eyes of the actor, a celestial form--it is an angel. Therefore the body recoils anew one-fourth; the hands fall back in token of acquiescence; then, while drawing near the body, they extend anew toward the angel (here a third in token of affection and veneration). Then a prayer is addressed to it, and again the arms extend toward it in entreaty. (Here the orator falls upon his knees.)
The series can be executed beginning with the right arm or the left, being careful to observe the initial and principal movement, with the arms at the side where the scene opened. This gives the same play of organs only in an inverse sense.
Important Remarks.
Should any student despair of becoming familiar with our method, we give him three pieces of advice, all easy of application:
1. Never speak without having first expressed what you would say by gesture. Gesture must always precede speech.
2. Avoid parallelism of gesture. The opposition of the agents is necessary to equilibrium, to harmony.
3. Retain the same gesture for the same sentiment. In saying the same thing the gesture should not be changed.
Should the student limit himself to the application of these three rules, he will not regret this study of the
Practice of the Art of Oratory.