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GESTURE, AND VOCAL GYMNASTICS.

I know of no means of teaching Gesture by written instructions; nor do I think that much assistance can be gathered from plates of figures representing different actions and attitudes. Austin's Chironomia was the first work that attempted this, and the book is not without advantage to a professor, or to one who has made some progress, by practice under good tuition, in giving force to an oration by certain well-regulated and appropriate gestures, or in the expression of the passions by the action of the face and the attitude of the body. Austin has been followed by a crowd of copyists, who have adopted his plates and figures, but whose instructions appear to me to tend rather to give the pupil a stiff and constrained style of gesticulation, than to invest him with that easy and graceful action, and powerful but unexaggerated attitude, which alone are pleasing and effective in the orator or the actor.

The first point to be aimed at, as the foundation of a good style of gesture, is a natural and easy carriage of the body,-erect, not stiff,—but firm, manly, and free. This is a thing, unfortunately, too much neglected in education generally the drill-sergeant will be found of use in helping us to this; and the dancing-master's assistance is also of service. Not that we are to aim at the stiff and measured professional step of the soldier, or the mincing gait of a

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maitre-de-danse; we must avoid the extreme of each; a manly and graceful carriage lies between the two. An excellent exercise both for voice and health,one that will both improve the strength of the lungs and the carriage of the body, is to walk and speak aloud at the same time; a task which at first will pear difficult and tiresome, but by practice,—carefully observing the rules which I have laid down for pause and inspiration, to supply expended breath,-will become easy; and I answer for it, that the voice will be by this means much increased in strength, the carriage of the body improved, and the health of the lungs greatly promoted. I recommend any person whose profession calls on him to speak loud and long,either in the Pulpit, the Senate, at the Bar, or in the Lecture-Room,-to make frequent trial of this exercise. Let him take Brutus's speech, for example, particularly observing the pauses as I have marked them; let him commence, the first day, by walking slowly while he recites aloud with the proper inflections, &c., but not with too great an effort of voice, as much of the speech as is so marked, (p. 148.) Let him continue this exercise daily, gradually increasing in exertion of voice, and rapidity of walk, and I will undertake that, in a very short time, (provided there be no disease in his lungs,) he shall be able not only to execute the whole of that speech while walking in the open air, but that he shall be able at length to speak it clearly, distinctly, and forcibly, while running gently up-hill.

This exercise will also, infallibly, tend to the im

provement of his general carriage; for, the effort of speaking whilst walking will compel him, instinctively, to hold his body straight and to expand his chest, for the more easy delivery of his voice, which cannot have fair play with a stooping body or rounded shoulders. To speak well, easily, and powerfully, the body must be erect, the chest expanded, the legs firmly set under the hips, to support the body, and form a good fulcrum for the efforts of the voice.

And this is the first step towards Gesture.

The next is to acquire an easy and free use of the arms; and a pliancy of wrist. In this, the fencing-master is the best assistant. His practice will correct the prevailing awkwardness of gesture which consists in keeping the elbows glued, (if I may say so,) to the side; and working the arm in a continued angular movement, most unsightly, and utterly irreconcileable with power or grace of action.

Next, let the speaker always bear in mind, that the object of gesture is to assist or enforce the words which it accompanies. Gesture is, in fact, the ally of speech. Its province is to second the voice. "Action and utterance" go together: Shakspeare has so placed them; and the action must be akin to the utterance; the gesture must be relative to the words. Gesture, therefore, must not be vague, unmeaning, motionless; or it will be a mere "sawing of the air." It must have purport and force; it must be, as it were, an animated comment on the text which it accompanies.

To effect this, the following hints may be of some service in guiding the young speaker to a correct and

pleasing system of action; at the same time, I must repeat, it is next to impossible to teach gesture by written instructions: three practical lessons with a good and experienced professor will do more towards giving the pupil ease, grace, and force of action, than all the books and plates in the world. My own pupils have found some aid from the following

Sketch of a System of Gesture.

ALL GESTURE is

ACTIVE (or passionate)-i. e. dictated by, and expressing the action, or affection of the speaker's mind; or, DEMONSTRATIVE (or descriptive)—of some object, action, or scene spoken of or referred to.

GESTURE is made up of

1. POSITION of the BoDy, which must be properly balanced and firmly fixed, whether advanced (adv.) or retired (ret.)—that is, at rest.

2. The FORM of the HAND, which defines the nature of the gesture.

3. The POSITION or direction of the ARM; and,

4. The MOTION of the ARM-which defines the extent and limit of the gesture.

5. The STROKE or BEAT from the WRIST-which (being made on the emphatic word or expression, or the one to which the gesture, if descriptive, refers,) finishes and perfects the action.

EXPRESSION OF FACE

Nor should the FACE and EYE be silent, or idle: they must assist the gesture and movement of body, arm, hand, by a corresponding expression,-whether of inquiry or denial,—calmness or excitement, sorrow, joy, triumph, scorn, defiance, pity, anger, &c. It is the harmonious combination and expression of the WHOLE MAN that make powerful and graceful gesture.

ATTITUDE is the extravagance or exaggeration of gesture, under the most powerful excitement of PASSION; its study and practice belong to the Actor, and are therefore not introduced here.

SIGN.

n.

p.

TABLE OF GESTURE.

FORM OF THE HAND.

Natural-(the form in
which the hand is held
out to shake hands)..

Prone-the reverse of
the natural hand."...

Supine

the natural

hand in tension...

cl. Closed, or clenched...

i.

USE, OR EXPRESSION.

Used in addressing, appealing to, exhorting, entreating, representing.

Forbidding, rejecting, denying, abjuring, commanding, crushing, destroying.

This form is a stronger expres{sion of the natural hand, forforce. Used only in strong passion: or as a descriptive gesture of extraordinary force.

Index finger, marking
or pointing (the other
fingers being closed).marking, reproving.
Used occasionally for variety.

(Advising, arguing, instructing,
impressing, warning, pointing,

L. Left hand...

B. Both hands...

cls. Clasped.

Used in addressing large assemblies, or in violent feeling; or extended action (descriptive.) In prayer.

POSITION OF THE ARM.

e. elevated.
f. forwards.
d. downwards.
u. upwards.

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NOTE. The position of the arm is regulated according to the situation (above or below the speaker) of those addressed,-or elevation or depression of the feeling expressed, or object described.

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NOTE. The motion of the arm, by its direction and rapidity, expresses the triumph, or depression, or energy of the orator's feelings, or the position of the object described.

REMARKS.

The initial letters enable the student or speaker to mark, in a written speech, any gestures he may think appropriate: thus, B. n. h. f. w. would signify, Both hands natural, horizontal, forwards, waving-the proper gesture for such words as, "Romans, countrymen, and lovers!”

B. n. f. e. Both hands natural, forwards, elevated—is the gesture of "SUPPLICATION."

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