Interpretive Reading

dain. Poise the head toward the right chest until the cheek nearly touches the chest, and the shoulder rises in response. This is the attitude of timidity or shyness. Poise the head to the erect position and repeat the exercise for the opposite side.

(b) The counts,—

First movement,

Right chest, 2, 3, 4,

Back, 2, 3, 4, 1, 2, 3, 4,

Erect, 2, 3, 4,

Left chest, 2, 3, 4,

Back, 2, 3, 4, 1, 2, 3, 4,

Erect, 2, 3, 4.

Second movement,

Back (right), 2, 3, 4,

Left chest, 2, 3, 4, 1, 2, 3, 4,

Erect, 2, 3, 4,

Back (left), 2, 3, 4,

Right chest, 2, 3, 4, 1, 2, 3, 4,

Erect, 2, 3, 4.

Third movement,

Back (right), 2, 3, 4,

Right chest, 2, 3, 4, 1, 2, 3, 4,

Erect, 2, 3, 4,

Back (left), 2, 3, 4,

Left chest, 2, 3, 4, 1, 2, 3, 4.

DIVISION III

PRINCIPLES OF GESTURE

The meaning of gestures of the arm is modified by the following:

1. By the part that leads,

2. By the line in which the arm moves,

3. By the angle of the arm,

4. By the altitude of the arm,

5. By the rate of movement,

6. By the degree of force of the movement,

7. By the position of the hand,

8. By the response of the body.

1. THE PART THAT LEADS

The middle of the forearm should lead in the arm movements. The hand should never lead except in the personation of the awkward and grotesque. In movements of the trunk the chest should lead.

In all free-arm gestures the arm should be straight, but relaxed, and not bent at the elbow. In colloquial gestures the arm may be bent at the elbow.

2. THE LINE IN WHICH THE ARM MOVES

All free-arm gestures are arcs of circles. The lines in which the arm moves in gesture are the ascending and descending curved lines, the outward and inward curved lines, and the spiral line.

The ascending gestures are expressive of elevation of thought, feeling, or position. The descending gestures are expressive of emphasis, determination, will, or something lowly in thought, feeling, or position.

The outward gestures are expressive of sympathy, magnanimity, growth, or expanse.

The inward gestures are expressive of limitation. They are more personal and subjective.

The spiral gestures are expressive of winding ascent, as the flight of a bird, the rising of smoke, the coil of a serpent.

3. THE ANGLE OF THE ARM

Gestures are modified by the angle of the arm, or the relation that the arm sustains to the line directly front from the shoulder bone. Gestures made directly front of the shoulder bone, or at 0°, are most direct and personal. Those made half-way between that point and the side, or

at 45°, are more general and less direct. Those made at the side, or at 90°, are impersonal and are suggestive of greatness or extent. The oblique backward gestures, or those at 135°, express allusion to the past.

4. THE ALTITUDE OF THE ARM

In earnest public speech the altitude of gestures of the arm constantly varies, from the lowest plane the hand can move in at the side to the highest point the hand can reach when the arm is uplifted. Gestures in the lowest plane are expressive of contempt, lowliness, or address to an inferior. Gestures made in the plane of the belt are largely colloquial, those made in the plane of the shoulder have more dignity, but when gestures rise in bold curves above

the plane of the head they express exaltation of thought or feeling, power or force.

5. THE RATE OF MOVEMENT

A very slow outward movement may suggest distance, or a receding object, or expanse, or calm, or delicacy. A rapid outward movement may suggest a short duration of time, rapidity of action, intensity of excitement, or a short distance. A slow outward movement may suggest length of time, calmness, gravity, or distance.

The slow movements are grave and stately; the rapid movements are vivacious, vital, or emphatic.

6. THE DEGREE OF FORCE OF THE MOVEMENT

Any gesture may be made emphatic by giving the ictus, or gesture proper, with force. A gesture may also be made. emphatic by vibration of the hand, by an impulse of the wrist, by wider gamut, by being arrested and sustained, and by repeating it. Gestures that are indicative or descriptive of quiet scenes or experiences should be given gently.

7. THE POSITION OF THE HAND

(a) Hand supine (palm upward). Fig. 12.

This position expresses giving, receiving, asking, sustaining, communicating.

FIG. 12.-Hand Supine.

FIG. 13.-Hand Prone.

(b) Hand prone (palm downward). Fig. 13.

This position expresses covering, protection, prohibition, depression, force.

FIG. 14.-Hand
Vertical.

This position expresses repulsion, revelation, or tak