true taste. To the more particular investigation of this quality a Chapter is devoted.

The opposite imperfection is awkwardness.

7. Propriety of gesture, called also truth of gesture, or natural gesture. This consists in the judicious use of gestures best suited to illustrate or to express the sentiment. Propriety of gesture is generally founded on some natural connexion between the sentiment and the action. Significant gestures are strictly connected with the sentiment.

The opposite imperfections are false, contradictory, or unsuitable gestures.

8. Precision, or correctness of gesture. This arises from the just preparation, the due force, and the correct timing of the action: when the preparation is neither too much abridged, nor too pompously displayed; when the stroke of the gesture is made with such a degree of force as suits the character of the sentiment; and when it is correctly marked on the precise syllable to be enforced. Precision of gesture gives the same effect to action, as neatness of articulation gives to speech.

The opposite imperfections are the indecision, uncertainty, and incorrectness arising from vague and sawing gestures, which, far from illustrating, render doubtful the sense of the sentiments which they accompany, and distract the spectator.

There are three general modes of public speaking, each of which requires a different style of gesture; namely,

1. The Epic.

2. The Rhetorical.

3. The Colloquial.

1. Epic gesture demands every natural and acquired power, on the part of the speaker: to it belong Magnificence, Boldness, Energy, Variety, Simplicity, Grace, Propriety, and Precision. The compositions which require epic gesture, in delivery, are tragedy, epic poetry, lyric odes, and sublime description.

2. Rhetorical gesture requires, principally, Energy Variety, Simplicity, and Precision. Grace is desirable; Magnificence is rarely wanting, but may sometimes have place. Propriety, in a limited sense, should be observed. Boldness is inadmissible; because the orator is not, like the player, subjected to any unexpected circumstances. He is not, therefore, at liberty to express surprise, or any other passion, by bold gestures or attitudes.

3. Colloquial gesture, when concerned in the higher scenes of polite life, requires, principally, Simplicity and Grace; Precision will follow of course; it may occasionally demand something of Energy and Variety Magnificence and Boldness are inadmissible.

The gesture of the public speaker must vary considerably with the different circumstances of his situation, of his sentiments, and of his audience. If the mere information or instruction of his audience be his sole object, as when the evidences of religion and the grounds of Christian duties are to be explained from the pulpit, or when the details of calculation and finance are to be laid before Congress, or when facts are weighed and laws are argued in the courts of justice, his gestures should be of that class which is called discriminating gestures. These he should exercise with simplicity and precision. He should strip them of all the parade of preparation, and of the graces of transition, and give them only that degree of variety which shall guard them against disgusting sameness. This is far removed from theatrical gesture; it rather approaches the colloquial style. Nothing could be more incongruous than for a public speaker, in either of the foregoing situations, to introduce the parade and magnificence of theatrical gesture. The charge which is sometimes made against public speakers, of being theatrical in their gesture, probably arises more from some unsuitableness in their manner to the matter, than from any thing of uncommon majesty, boldness, or grace in their action.

When the public speaker aims at persuasion, as in discourses from the pulpit for public charities, or on extraordinary occasions in Congress, or at the bar, when the advocate desires to influence the opinions of a jury, he will naturally use more graceful, more flowing, and more varied gesture. But he should not fall into the action of the theatre. He may be graceful, but he should be simple; he may be energetic, but he should not affect gestures too strongly significant, much less attempt surprise by attitudes. All his gestures should be regulated by manly decorum, suitable to his situation, to the character of his hearers, and to the just expression of his sentiments.

CHAPTER XII.

SIGNIFICANT GESTURES.

THE most important of the significant gestures are the following:

The Head and Face.

The hanging down of the head denotes shame, or grief.

The holding of it up, pride or courage.

To nod forwards implies assent.

To toss the head back, dissent.

The inclination of the head implies diffidence or lan

guor.

The head is averted, in dislike or horror.

It leans forward, in attention.

The Eyes.

The eyes are raised, in prayer.

They weep, in sorrow.

They burn, in anger.

They are downcast or averted, in shame or grief

They are cast on vacancy, in thought.

They are cast in various directions, in doubt and anxiety.

The Arms.

The placing of the hand on the head, indicates pain or distress.

On the eyes, shame or sorrow.

On the lips, an injunction of silence.

On the breast, an appeal to conscience.

The hand is waved, or flourished, in joy or contempt Both hands are held supine, or they are applied, or clasped, in prayer.

Both are held prone, in blessing.

They are clasped, or wrung, in affliction.

They are held forward, and received, in friendship.

The Body.

The body, held erect, indicates steadiness and courage.
Thrown back, pride.

Stooping forward, condescension or compassion.
Bending, reverence or respect.

Prostration, the utmost humility or abasement.

The Lower Limbs.

7. The firm position of the lower limbs signifies courage, or obstinacy.

Bended knees indicate timidity, or weakness.

The lower limbs advance, in desire or courage.
They retire, in aversion or fear.

Start, in terror.

Stamp, in authority or anger.

Kneel, in submission and prayer.

These are a few of the simple gestures which may be termed significant.

CHAPTER XIII.

GRACE.

"GRACE," says lord Kames, "may be defined, that agreeable appearance which arises from elegance of motion, and from a countenance expressive of dignity. Expressions of other mental qualities are not essential to that appearance, but they heighten it greatly."

The gracefulness of rhetorical action depends partly on the person, and partly on the mind. Some are so happily formed that all their motions are graceful ;* and some minds are so noble, that they impart genuine grace to the most uncouth forms: both these cases, however, are comparatively rare.

Grace, like the ideal beauty of the painter, and of the sculptor, is not commonly to be found in the individual living model, but to be collected from the various excellencies of the many.

Neither true grace, nor consummate eloquence, can be acquired by those who are totally deficient in natural qualifications; yet they to whom nature has not denied some portion of talents, may improve in both, precisely in proportion to the degree of their application. The grace of oratorical action consists, chiefly, in the facility, the freedom, the variety, and the simplicity of those gestures which illustrate the discourse.

Action, to be graceful, should be performed with facility; because the appearance of great effort is incompatible with ease, which is a constituent of grace. It should also be performed with freedom: no gestures can be graceful which are either confined by external circumstances, or restrained by the mind. If an orator should address an assembly from a narrow window, it

* Grace was in all her steps, heaven in her eye,
In every action, dignity and love. - Milton.