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RAYMOND'S ORATOR'S MANUAL. 
 
 A Practical and Philosophical Treatise on Vocal Culture, Em- 
 phasis and Gesture, together with Selections for Declama- 
 tion and Reading. Designed as a Text-Book for Schools 
 and Colleges, and for Public Speakers and Readers who are 
 obliged to study without an Instructor. By George L. 
 Raymond, M. A., Professor of Oratory, Princeton College, 
 N.J. 
 
 " I want to introduce it Into my school. I consider It the 
 best American book upon Technical Elocution. It has also 
 leadings toward a philosophy of expression that no other book 
 written by an American has presented. It will go Into my 
 Senior Class as a Text-Book. Send me copies for Intro- 
 duction."— if oses True Brown, Pres't of the Boston School 
 of Oratory. 
 
 '* The freshest, clearest, most complete and soundly 
 philosophical work on a public speaker's training that it i as 
 been our fortune to meet. In form and substance It Is admir- 
 able. . . . A faithful study and practice of the principles 
 and examples of this book will result In a natural, graceful 
 atd eflfectlve style of public speaking."— From a notice in 
 The Christian Union by J. W. Chukchill, Prof, of Elocution, 
 Andover Theological Seminary. 
 
 BACON'S MANUAL OF GESTURE. 
 
 with over 100 Figures, embracing a Complete System of 
 Notation, together with the Principles of Interpretation 
 and Selections for Practice. 
 
 " The work comprehends all that Is valuable on the sub- 
 ject of gesture."— R. L. Cumnock, Prof, of Elocution, North- 
 western University. 
 
 " There has been no work on the subject yet offered to 
 the public which approaches It for exhaustlveness and com- 
 pleteness of detail It Is of the utmost value, not 
 
 merely to students, but to lawyers, clergymen, teachers and 
 public speakers, and its Importance as an assistant In the 
 formation of a correct and appropiiate style of action can 
 hardly be over-estimated."- PAiiarfcZpAia Inquirer. 
 
 JOHN C. BUCKBEE k CO., PUBLISHERS, 
 
 122 & 124 WABASH AVE., CHICAGO. 
 
MANUALOFGESTURE; 
 
 EMBRACING A COMPLETE 
 
 SYSTEM OF NOTATION, 
 
 TOGETHER WITH THE 
 
 PRINCIPLES OF INTERPRETATION 
 
 SELECTIONS FOR PRACTICE. 
 
 By albert M. BACON, A. M. 
 
 PROFESSOR OF ElloCUTION. 
 
 Association's mystic power combines 
 Internal passion with external signs." 
 
 Lloyd's Actor. 
 
 SEVENTH EDITION. 
 
 CHICAGO: 
 J. C. BUCKBEE & COMPANY, PUBLISHERS 
 
 122 AND 124 WABASH AVENUE. 
 
• • • « • t • 
 
 «»*«crc « 
 • • • • • •• 
 
 
 iM 
 
 A-f 
 
 iCDUOATION DEPT 
 
 Entered according to Act of Congress, in the year 187*, by 
 
 SAMUEL C. GRIGGS, 
 in the office of the Librarian of Congress, at Washington. 
 
 WOmfUEY/ 
 
PREFACE 
 
 Agreeable sounds and harmonious action — one addressing the ear, 
 and the other the eye — combine to perfect the orator. 
 
 In the department of vocal culture there is no lack of text -books. 
 Dr. Rush, in his masterly work entitled The Philosophy of the Human 
 Voice, has furnished the most ample facilities for the cultivation 
 of the vocal powers; and for those who 6nd his book too elaborate, 
 Prof. William Russell has published his Orthophony : or. Vocal Culture, 
 in which the subject is rendered simple and practical. These, and 
 other similar works, furnish the requisite means of acquiring the 
 principles and rules of vocal culture. 
 
 With respect to the department of gesture, however, the case is 
 far different. The want of a complete text - book is seriously felt by 
 the student of oratory. To this want the deficiency of public speakers 
 quite generally, in regard to this subject, is mainly attributable. 
 
 Among the writers of antiquity, Quintilian, in his Institutes of 
 Oratory, has written the most and the best upon this subject. 
 
 Rev. Gilbert Austin, an eminent elocutionist of London, issued in 
 A. D. 1806 his Chironomia, a quarto volume of six hundred pages, 
 more than two -thirds of which is devoted to the subject of gesture. 
 This is the most valuable as well as the most extensive, treatise ever 
 written upon this branch of oratory. 
 
 The present volume is based upon the work of Mr. Austin. The 
 system of notation here adopted is substantially the same as that 
 invented by him, and contained in the Chironomia. As regards the 
 
 ivi209484 
 
IV PREFACE. 
 
 interpretation of gesture, which is a prominent feature of this work, 
 the author claims to have more fully developed and thoroughly system- 
 atized this branch of the subject than any other author has attempted 
 to do. 
 
 This Manual was originally prepared, in manuscript, for the use 
 of my own pupils while engaged in teaching elocution in New 
 England. A limited edition was afterwards published in pamphlet 
 form. The work has now been carefully revised, much enlarged, and 
 illustrated with cuts. In the interpretation of gesture, new definitions 
 and new combinations, with more copious examples, have been added. 
 
 I am much indebted to Prof. William Russell, the eminent elocu 
 tionist and accomplished scholar, for his hearty co-operation and 
 valuable suggestions in the preparation of this volume. Both from 
 his published works and from frequent personal interviews, I have 
 received important aid. 
 
 A. M. BACON. 
 
 Chicago, Nov, 30, 1872. 
 
CONTENTS. 
 
 PAGE. 
 
 CHAPTER I. 
 Rhetorical Delivery _ 5 
 
 CHAPTER II. 
 Gesture , -- 25 
 
 CHAPTER III. 
 Notation of Gesture - . 40 
 
 CHAPTER IV. 
 Right Hand Supine S3 
 
 CHAPTER V. 
 Both Hands Supine 80 
 
 CHAPTER VI. 
 Right Hand Prone 96 
 
 CHAPTER VII. 
 Both Hands Prone 108 
 
 CHAPTER VIII. 
 The Vertical Hand _ 114 
 
 CHAPTER IX. 
 Special Gestures 122 
 
 CHAPTER X. 
 Conclusion 146 
 
 Miscellaneous Examples 163 
 
 Selections for Practice 190 
 
 Index of Interpretation ... 261 
 
 I* 
 
CHAPTER I, 
 
 RHETORICAL DELIVERY. 
 
 Rhetorical Delivery includes the management of 
 the voice, the gesture, the attitude, and the expression 
 of the countenance. 
 
 The advantage of a natural, graceful, and effective 
 delivery is second in importance only to the sentiments 
 and language of a public speaker. Indeed, so great 
 have been the achievements of the oratorical art, so 
 marked the success of those who have thoroughly cul - 
 tivated it, as contrasted with others of equal, or even 
 superior talents in other respects, but deficient in this, 
 that many have been led to attach more importance to 
 delivery than to composition. The public speaker who 
 neglects this part of an orator's education certainly 
 suffers great loss. He may be esteemed for his learning, 
 and command the appreciation of those who listen to 
 his wise and judicious sayings, who admire the many 
 excellencies of his production, and he may rest satisfied 
 with this measure of success ; but the added power of 
 a winning and persuasive delivery would greatly in- 
 crease the efficiency of his public efforts. 
 
 The words of Cicero, coming down througli the 
 centuries, should have weight with us in our compara- 
 
6 MAKUAL OF GESTURE. 
 
 tive neglect of this subject. In his work on celebrated 
 orators he says : " It is of little consequence that you 
 prepare what is to be spoken, unless you are able to 
 deliver your speech with freedom and grace. Nor is 
 even that sufficient, unless what is spoken be delivered 
 by the voice, by the countenance, and by the gesture 
 in such a manner as to give it a higher relish." Refer- 
 ing to the tones of voice, to gesture, and the expression 
 of the countenance, he says: "It is hardly possible to 
 express of how great consequence is the manner in 
 which the orator avails himself of all these. For even 
 indifferent speakers, by the dignity of their action,* 
 have frequently reaped the fruits of eloquence ; whilst 
 those whose language is that of an orator, often on 
 account of the awkwardness of their action, have been 
 reckoned indifferent speakers." 
 
 Quintilian, also, in his observations upon Hortentius, 
 says: "If delivery can produce such an effect as to 
 excite anger, tears, and solicitude in subjects we know 
 to be fictitious and vain, how much more powerful must 
 it be when we are persuaded in reality ? Nay, I ven- 
 ture to pronounce that even an indifferent oration,, 
 recommended by the force of action, would have more 
 effect than the best if destitute of this enforcement." 
 Again he says: "Unquestionably, since mere words 
 have, in themselves, a powerful efficacy, and since the 
 voice adds to what is said its own influence, and since 
 gesture and emotion have also their peculiar signifi- 
 
 * It should be here observed that, with the ancients, action was synonomous 
 with delivery^ and embraced voice, gesture, attitude, and facial expression. We use 
 the term to indicate only that part of delivery which addresses itself to the eye. 
 
RHETORICAL DELIVERY. 7 
 
 cance, something perfect must be produced when all 
 are combined together." 
 
 The acknowledged ability of Lord Chesterfield to 
 judge in such matters will give weight to the following 
 quotation from him: " If you would either please in a 
 private company or persuade in a public assembly, air, 
 looks, gestures, graces, enunciation, proper accents, just 
 emphasis, and tuneful cadences, are full as necessary as 
 the matter itself." 
 
 The importance of a good delivery may be con- 
 sidered with reference to three departments of oratory : 
 Deliberative, Judicial and Sacred. The other purposes 
 which the art may be made to serve will be found 
 nearly related to one or another of these. 
 
 The statesman, who in some measure is held responsi- 
 ble for the welfare of the state, needs to supplement 
 other qualifications with such oratorical resources as 
 shall not only fit him for the ordinary demands of 
 public service, but render him equal to any emergency. 
 Amidst the turmoil of revolution or the conflict of 
 nations, it may be his mission to roll back the tide of 
 war, and, like the son of Hermes, 
 
 " With siren tongue and speaking eyes, 
 Hush the noise and soothe to peace." 
 
 The advocate, who, before judges and jurors, stands 
 to vindicate the rights of his fellow -man, and ofttimes 
 to plead for his life, hazards too much if he ignore 
 the oratorical art. To say nothing of opportunities for 
 rising to eminence in his profession, he may, by the 
 industrious cultivation of this art, render to humanity 
 a far more important service. 
 
8 MANUAL OF GESTUBE. 
 
 But more than all, the minister of the Gospel, whose 
 high vocation is to preach to a lost world the glad 
 tidings of salvation, and lead men to believe in Jesus 
 Christ, that they may be saved from wrath and ruin ; 
 the messenger of God who stands between the living 
 and the dead to utter words of such tremendous import 
 as to affect the eternal destiny of every one of his 
 hearers ; the bearer of this high and holy commission 
 should most certainly strive for the acquisition of every 
 element of pulpit power. In addition to his faith in 
 God, and the requisite knowledge of the Scriptures, 
 and of men, and of whatsoever things are needful to fit 
 him for his work, and to enable him clearly to illustrate 
 Bible truth, he should by all means labor to possess 
 himself of the undoubted advantages of a powerful 
 and persuasive delivery. In presenting his message, he 
 should at least interpose no obstacle in the way of its 
 easy access to the ear, the vestibule of the soul. He 
 should not weary his congregation by indistinctness of 
 enunciation or want of vocal power ; compelling them 
 to expend in the effort to catch the words, that atten- 
 tion which should be given to the thought. He must 
 avoid offending the ear with harsh, or in anywise disa- 
 greeable tones, and the eye by ungainly postures, or 
 by awkward, or unmeaning, or superfluous gestures. 
 Above all, he should never grieve the Divine Master, 
 make the angels weep, and disgust his fellow -men by 
 any ostentatious display of his oratory in the pulpit. 
 
 More attention to the graces of dehvery would aug- 
 ment the power of the modern pulpit. Said Cicero, to 
 some of his learned contemporaries, " It is not genius. 
 
RHETORICAL DELIVERY. » 
 
 it is the genius of oratory that you want." This 
 remark, as well as the following lines from John Byrom, 
 respecting the English clergy, will apply to some theo- 
 logians of the present day : 
 
 " In point of sermons, 'tis confest 
 Our English clergy make the best ; 
 But this appears, we must confess. 
 Not from the pulpit, but the press. 
 They manage, with disjointed skill, 
 The matter well, the manner ill ; 
 And, what seems paradox at first, 
 They make the best, and preach the worst." 
 
 Addison also complains of the general neglect of 
 this subject in his time. He says; ''Our preachers 
 stand stock still in the pulpit, and will not so much as 
 move a finger to set off the best sermons in the world. 
 We meet with the same speaking statues at our bars, 
 and in all public places of debate. Our words flow 
 from us in a smooth, continued stream, without those 
 strainings of the voice, motions of the body, and 
 majesty of the hand, which are so much celebrated in 
 the orators of Greece and Rome. We talk of life and 
 death in cold blood, and keep our temper in a discourse 
 which turns upon everything that is dear to us." 
 While this description of English orators may, to some 
 extent, find its counterpart in our own country, the 
 tendency, in many cases, is to the opposite extreme. 
 Hamlet's instructions to the players, guarding them 
 against extravagance on the one hand, and tameness on 
 the other, are quite as serviceable to the orator as to the 
 actor ; 
 
10 MANUAL OF GESTUKE. 
 
 " Speak the speech, I pray you, as I pronounced it to 
 you, trippingly on the tongue ; but if you mouth it, as 
 many of our players do, I had as lief the town crier 
 spoke my lines. Nor do not saw the air too much with 
 your hand, thus ; but use all gently : for in the very 
 torrent, tempest, and (as I may say) whirlwind of your 
 passion, you must acquire and beget a temperance that 
 may give it smoothness. * * * Be not too tame 
 neither, but let your own discretion be your tutor ; suit 
 the action to the word, the word to the action, with 
 this special observance, that you o'erstep not the 
 modesty of nature; for anything so overdone is from 
 the purpose of playing, whose end, both at the first, 
 and now, was, and is, to hold, as 't were, the mirror up 
 to Nature ; to show Virtue her own feature. Scorn her 
 own image, and the very age and body of the time his 
 form and pressure. * * * Now, this overdone, or 
 come tardy off, though it make the unskillful laugh, 
 cannot but make the judicious grieve." 
 
 Objections are not unfrequently raised against the 
 systematic study of oratory. Eloquence, we are told, 
 is the gift of Nature, and must be left to her direction. 
 But Nature, unaided by Art, has never yet produced a 
 perfect orator, nor has she approached perfection. The 
 great orators of both ancient and modern times have 
 diligently studied the rules of the art until they 
 acquired the grace of cultivated nature. To say that 
 there is no excellence in this department without the 
 study of rules, would be a libel upon nature and a con- 
 tradiction of history; but to say that the highest 
 excellence can only be attained by the most assiduous 
 
BHETORICAL DELIVERY. 11 
 
 culture, is to assert a truth which the history of orators 
 and oratory most fully confirms. The incessant labors 
 of Demosthenes, of ^schines, of Hortentius, of Isoc- 
 rates, and Gracchus, show that these men agreed with 
 Oicero in the behef that to be an orator, something 
 more is needed than to he horn. 
 
 If it belongs to nature to furnish the world with 
 ready-made orators, why does she not do it? Where 
 are they ? Nature will perform her part ; but, obviously, 
 it is no more her province to produce finished orators 
 than finished scholars or artists. What every one knows 
 to be true in regard to painting, poetry and music, is 
 also true of oratory : we find in these the bestowment 
 of natural gifts, and the necessity of cultivation ; with 
 a degree of attainment proportionate to the industry 
 and perseverance of the recipient. 
 
 Some have objected to the study of oratory, on the 
 ground that it tends to form an unnatural style of de- 
 livery. In some instances this may be the tendency ; 
 but the fault lies not in the art, but in the imperfect 
 acquisition of it. The rules of any art, only partially 
 learned and feebly followed, or even strictly followed 
 without facility of execution, will produce the same 
 result. The meager attention paid to this subject in 
 our literary institutions will never develop the oratorical 
 talent of the country. Twenty -four lessons in vocal 
 culture, interspersed with a few hints on gesture, will 
 hardly suffice to complete the work nature has begun. 
 And yet comparatively few receive even this. Six years 
 is thought to be little enough to devote to the classics ; 
 while in the department of oratory, great results are 
 
12 MANUAL OF GESTURE. 
 
 expected from a very small amount of labor. Six years 
 in Greek, and six weeks in elocution ! So long as this 
 is held to be the true relative proportion, we shall con- 
 tinue to hear that elocutionary training tends to un- 
 naturalness ; but when this branch of education shall 
 be elevated to its true position, and carried along, side 
 by side, with other branches, we shall hear no more 
 of an objection which applies only to a superficial 
 knowledge of the subject. It is not true that those 
 who have perseveringly devoted themselves to oratory 
 have so signally failed ; but, on the other hand, the 
 most natural speakers and actors are known to be the 
 most diligent students of rhetorical and dramatic de- 
 livery. According to the position assumed by the 
 objector, Demosthenes, having pursued this study 
 farther than any other man, either in ancient or modern 
 times, should stand out in history as the most mechani- 
 cal, unnatural and ineffective public speaker that the 
 world has ever produced ; but since the great Athenian 
 is universally acknowledged to be the most graceful, 
 natural, and effective among the world's greatest 
 orators, we may well conclude this objection to be 
 unfounded. 
 
 We sometimes meet with those who, without special 
 elocutionary instruction, exhibit in their delivery a 
 natural force, freedom and grace, far surpassing many 
 others who have devoted themselves to this department. 
 Some have construed this into an argument against the 
 systematic study of oratory. But the argument proves 
 too much. It bears with equal force against other 
 branches whose utility is unquestioned. There are 
 
RHETORICAL DELIVERY. 13 
 
 n-athematical geniuses who can accomplish more with- 
 out the rules of the science than many others can with 
 them. The same is true of other branches of learning. 
 But shall they all, on this account, be discarded? If 
 not, why then single out and make an exception with 
 respect to oratory? 
 
 There have been men who never pursued a college 
 course, and yet such have been their achievements in 
 life that their names will survive those of the great 
 majority of graduates a thousand generations, and even 
 outlive the names of all the colleges of their time. 
 But who would think of mentioning this as an 
 argument against the utility of colleges? Because 
 nature has bestowed peculiar gifts upon a few, shall 
 we, therefore, say that there is no acquired excel- 
 lence? As well condemn the science of agriculture 
 because some soils yield more spontaneously than 
 others do with the most careful cultivation. But let it 
 be remembered that those who are by nature endowed 
 with the highest oratorical talents will achieve the most 
 brilliant success in the diligent study of eloquence ; as 
 that soil which is naturally most productive, will most 
 richly reward its liberal cultivator. 
 
 The success of those who have applied themselves to 
 the study of oratory fully attests the value of the art. 
 Among these, Demosthenes ranks the highest. For the 
 encouragement of those who look upon a high degree 
 of excellence in this department as the peculiar mark 
 of genius, and, therefore, unattainable by them, it may 
 be mentioned that it was only by great perseverance, 
 and after repeated and mortifying failures, that Demos- 
 
14 MANUAL OF GESTURE. 
 
 thenes succeeded at all. Plutarch relates of him that, 
 upon one occasion, while complaining to Satyrus of his 
 want of success, notwithstanding his continued efforts, 
 the latter asked him to recite some lines of Euripides 
 or Sophocles. When he had complied, Satyrus repeated 
 them over after him, but with such tones and gestures 
 as to show the value of elocutionary training. "And 
 being persuaded how much of ornament and grace is 
 added to the speech by the delivery, he considered of 
 little or no value the labor of any man Avho neglected 
 the pronunciation and the gesture suited to the words." 
 Accordingly, he built a subterranean study, in which 
 he daily exercised his voice. Here he would remain 
 for two or three months at a time, and he even shaved 
 one side of his head that he might compel retirement. 
 The success of Demosthenes furnishes the most illus- 
 trious example on record of what may be accomplished 
 by close and continued application. Such was the 
 esteem in which he was held by his own countrymen 
 that, " when he was to plead, all ingenious men flocked 
 to Athens from the remotest parts of Greece, as to the 
 most celebrated spectacle of the world." The Romans 
 also regarded him with the highest admiration, as may 
 be inferred from the exclamation of Cicero: "Let us 
 imitate Demosthenes I * * * What else, I beseech 
 you, do we attempt, or what more do we wish? Yet, 
 still, we shall never reach his perfections I " The mere 
 reading of his orations conveys no adequate idea of the 
 effect produced by their delivery. Says Valerius Maxi- 
 mus: "In Demosthenes, is wanting a great part of 
 Demosthenes, since he must be read and cannot be 
 heard." 
 
BHETORICAL DELIVERY. 16 
 
 Cicero, who enjoyed a reputation in Rome, similar to 
 that of Demosthenes in Greece, seems to have exem- 
 plified his own definition of eloquence, — The art of 
 gainirig others to our opinions. His biographer tells us 
 that no other ancient orator could so easily and 
 naturally turn the feelings of an audience in any de- 
 sired direction. With his consummate oratory, he 
 electrified the Roman senate. By the power of his 
 eloquence, he delayed for a time the downfall of the 
 Republic. 
 
 The success of Cicero, like that of Demosthenes, v/as 
 the result of close application to the study of rules, 
 and persevering practice in the art of delivery. " They 
 were the most assiduous, the most rigorous, the most 
 literal self- cultivators, in the humblest and minutest 
 details, of practical elocution." 
 
 jEschines, a celebrated Athenian orator, and rival of 
 Demosthenes, excelled in extemporaneous oratory, of 
 which he was called the inventor. Being at the head 
 of one of the political parties of Attica, he had many 
 fierce contests with Demosthenes, who was the leader 
 of the opposite party. Demosthenes himself acknowl- 
 edged the agreeable quality and volume of his rival's 
 voice, and the graces of his manner in the tribune. 
 jEschines afterwards founded a school of oratory at 
 Rhodes, which became celebrated throughout the world. 
 
 • Hortentius, a personal friend of Cicero, although not 
 possessed of the highest order of talents in other re- 
 spects, was, on account of the graces of his delivery, 
 accounted the rival of Cicero. Quintillian says '' there 
 was something in him which strangely pleased when he 
 
16 MANUAL OF GESTUBE. 
 
 spoke, which those who perused his orations could not 
 find." 
 
 William Pitt, so distinguished in the British Parlia- 
 ment for his majestic and overpowering eloquence, 
 acquired his power of extemporizing by a severe course 
 of training at Oxford, where he gained a high reputa- 
 tion, not only for talent, but for skill in elocution. It 
 is said that after entering parliament he remained silent 
 for nearly a year, carefully studying the character of 
 the house. For the following description of Pitt we 
 are indebted to Lord Macaulay : — " His figure, when 
 he first appeared in parliament, was strikingly graceful 
 and commanding, his features high and noble, his eyes 
 full of fire. His voice, even when it sank to a whisper, 
 was heard to the remotest benches ; when he strained 
 it to its full extent, the sound rose like the swell of the 
 organ of a great cathedral, shook the house with its 
 peal, and was heard through the lobbies and down stair- 
 cases, to the Court of Requests and the precincts of 
 Westminster Hall. He cultivated all these eminent 
 advantages with the most assiduous care. His action 
 is described by a very malignant observer as equal to 
 that of Garrick. His play of countenance was wonder- 
 ful; he frequently disconcerted a hostile orator by a 
 single glance of indignation or scorn. Every tone, from 
 the thrilling cry to the impassioned aside, was perfectly 
 at his command." 
 
 The younger Pitt, for a considerable time the leading 
 spirit in the House of Commons, was also distinguished 
 for his oratorical accomplishments. It is said that " he 
 could pour forth a long succession of round and stately 
 
RHETOBICAL DELIVERY. 17 
 
 periods without premeditation, without ever pausing 
 for a word, without ever repeating a word, in a voice of 
 silver clearness, and with a pronunciation so articulate 
 that not a letter was slurred over." We are told that 
 his father had trained him from infancy in the art of 
 managing his voice, which was naturally clear and 
 deep-toned, and that his whole education had been 
 directed to the point of making him a great parliament- 
 ary orator. 
 
 Tlie eloquence of Fox was of that higher type 
 which consists of " reason and passion fused together." 
 Mackintosh says : — *' He certainly possessed above all 
 moderns that union of reason, simplicity and vehemence 
 which formed the prince of orators. He was the most 
 Demosthenean speaker since Demosthenes." Says Dr. 
 Johnson : '* Here is a man who has divided a kingdom 
 with Caesar, so that it was a doubt which the nation 
 should be ruled by, the sceptre of George IH, or the 
 tongue of Mr. Fox." Edmund Burke calls him ''the 
 most brilliant and successful debater the world ever 
 saw," an opinion which was admitted even by his 
 enemies. 
 
 Lord Erskine, acknowledged to be the greatest of 
 English advocates, is another example of the succes^s 
 attending the study of oratory. His eminence, it is 
 true, was suddenly achieved, but was, nevertheless, the 
 result of previous preparation. We are told that he 
 studied some of the best models of oratory till he almost 
 knew them by heart, and also passed many evenings in 
 a debating association, where, after the example of Pitt 
 and Burke, he trained his talents to that surpassing 
 
18 MAKtJAL OF GESTURE. 
 
 strength which afterward gained him the high reputa- 
 tion he enjoyed as an advocate. One source of Erskine's 
 power over a jury, lay in his extraordinary ability to 
 read the countenances of his hearers, and adapt himself 
 to their varying emotions. 
 
 A remarkable instance of native genius, combined 
 with self-culture, is found in the extraordinary history 
 of Patrick Henry. With little aid from the schools, he 
 rose head and shoulders above his contemporaries, and 
 roused three millions of people to the cry of ^^ Liberty or 
 death .^" He was recognized as " the champion of consti- 
 tutional liberty," and " the mouth-piece of the Revolu- 
 i;ion." According to his own account, the first oratorical 
 aspirations of young Henry were awakened at the age 
 of fourteen, while listening to the wonderful eloquence 
 of Rev. Samuel Davies, the great orator of the Presby- 
 terian church. We afterwards find him studying 
 human nature while engaged in his father's store ; ex- 
 citing debates among the country people who frequented 
 the place, relating stories and anecdotes, and then de- 
 ciphering the various emotions expressed in their coun- 
 tenances. By such methods he doubtless acquired that 
 knowledge of the passions and their outward signs, 
 which enabled him in so extraordinary a manner to 
 express feeling by a simple movement of the features. 
 " The stern face would relax and grow soft, pensive, 
 and gentle ; or a withering rage would burn in the fiery 
 eye ; or eyes, mouth and voice would convey to the 
 listener emotions of the tenderest pathos." Hence, he 
 was enabled to influence, as he did, the minds of jurors, 
 over whom he is said to have exercised '' a species of 
 
RHETORICAL DELIVERY. 19 
 
 magnetic fascination which took their reason captive, 
 and decided the result without reference to the merits 
 of the case." His eloquence has been described as 
 " Shakespeare and Garrick combined." 
 
 Henry Clay was, unquestionably, the most consum- 
 mate orator of his time. The charm of his eloquence 
 was felt even beyond the line of personal contact. 
 Multitudes who never heard the sound of his voice, 
 were drawn by his magnetic influence. Without being 
 elected to the highest official position, Henry Clay, 
 like Daniel Webster, rose majestically above that posi- 
 tion. But for the clashing of opinions, but for political 
 prejudices and party preferences, the eloquence of Clay 
 would have won every heart in the nation. Aside 
 from his pure and lofty patriotism, he possessed that 
 rare faculty, which, if made the test of eloquence 
 would so far modify Cicero's definition as to make it 
 the art of winning others to ourselves. The great Ken- 
 tuckian won his hearers first to himself, and then to his 
 opinions. Such was the suavity of his address, that an 
 eminent political antagonist is said to have refused an 
 introduction to him lest he should be *' magnetized and 
 mollified, as others had been, by personal contact." 
 
 Clay began early in life to cultivate his speaking 
 powers. We give his own language addressed to a 
 graduating class of law students : " I owe my success 
 in life to one single fact, namely, that at an early age I 
 commenced, and continued for some years, the practice 
 of daily reading and speaking the contents of some his- 
 torical or scientific book. * * * * It is to this 
 early practice of the art of all arts that I am indebted 
 
20 MANUAL OF GESTURE. 
 
 for the primary and leading impulses that stimulated 
 my progress, and have shaped and moulded my entire 
 destiny." 
 
 The eloquence of Daniel Webster was the eloquence 
 of matter rather than manner. Some one has said that 
 "his words weighed a pound apiece." His speeches 
 read better than Clay's. In the senate Webster was 
 the thunder, Clay was the lightning. Webster was 
 distinguished for force and earnestness; hence he made 
 frequent use of the clinched hand, " the sledge-hammer 
 gesture." Clay's delivery was remarkable for ease and 
 grace. His favorite gesture was the pointing finger. 
 One of his hearers remarked that his arguments seemed 
 to drop from the end of his finger. 
 
 The oratory of Edward Everett combined, in a very 
 high degree, the exquisite finish of the writer with the 
 artistic culture of the speaker. What Cicero says of 
 Hortentius may be said of Mr. Everett, that his delivery 
 had " even more of art than was sufficient for an orator." 
 His action was "faultily faultless." 
 
 Those who speak without regard to the rules of art 
 would do well to study such a model as Mr. Everett ; 
 while those who are faulty in the opposite direction — 
 whose delivery exhibits more conformity to rules than 
 freedom and grace — had better study John B. Gough, 
 who maybe styled Edward Everett's oratorical antipode. 
 
 Wendell Phillips ranks among the foremost of Amer- 
 ican orators. His delivery is simple and natural ; con- 
 versational rather than declamatory. His musical voice 
 and graceful action give pleasure to the ear and the 
 eye. He always interests his audience, not only because 
 
BHETORICAL DELIVERY. 21 
 
 he has something to say, but because of the ease and 
 grace with which he says it. When fully aroused upon 
 great occasions, he carries everything before him. Mr. 
 Phillips' manner before an audience is earnestly recom- 
 mended to those public speakers who are exhausting 
 themselves by over-exertion. By adopting a moderate 
 style of delivery, many a man might regain his wasted 
 energies, and make the business of speaking what it 
 should be, a healthful exercise both for body and 
 mind. 
 
 John B. Gough's oratory is emphatically sui generis. 
 Its like is not to be found in either hemisphere. His 
 marvelous influence over an audience is due to his 
 knowledge of human nature, his faith in mankind, his 
 power of imitation and description, added to his warm 
 and generous sympathies — the orator's touch-stone, the 
 key to the popular heart. As regards his style of 
 delivery, Mr. Gough may be said to be above rules. 
 The exacting professional elocutionist may find much 
 to criticize ; but to confine such a man as Gough to the 
 rules of the schools, would be unwise ; and to make 
 those rules the test of his merit, would be unjust. 
 
 The pulpit presents the widest and the most produc- 
 tive field for the exercise of oratorical talent. The 
 themes here discussed are not only inexhaustible, but 
 they are the most elevating that can possibly employ 
 the human mind. The sacred orator, therefore, has an 
 immense advantage over the secular. If the orators of 
 Greece and Rome carried their art to so high a degree 
 of perfection, and produced such wonderful results 
 before the introduction of Christianity, how great 
 
22 MANUAL OF GESTURE. 
 
 should be the success of those who discourse upon the 
 exalted themes of the Christian religion. 
 
 Pulpit oratory derives its importance from the con- 
 sideration that preaching is the divinely appointed 
 means of saving men. 
 
 The most eloquent preacher in the early church was 
 Chrysostom, "the golden-mouthed," who was a diligent 
 student of the Greek masters of oratory. One of the 
 most remarkable examples of pulpit eloquence on 
 record is that of George Whitefield, whose preaching 
 attracted vast multitudes, both in England and Amer- 
 ica. He combined in an eminent degree a natural 
 grace of manner and highly cultivated oratory with 
 that holy zeal which is the highest type of eloquence. 
 " His voice," says Southey, "excelled both in melody 
 and compass, and its fine modulations were accom- 
 panied by that grace of action which he possessed in 
 an eminent degree, and which has been said to be 
 the chief requisite of an orator." Says another writer : 
 " His voice was marvelously rich, sweet and sonorous. 
 His eloquence has rarely been surpassed. It was a 
 natural gift improved by diligent study. * * * * 
 His gestures and the play of his features were full of 
 dramatic power." This advantage he doubtless gained 
 from Garrick, from whom it is stated he took lessons. 
 
 To his natural gifts and graces Whitefield added the 
 power which lay hidden in his favorite maxim, to 
 preach as Apelles painted, for eternity. " Would 
 ministers preach for eternity," he says, " they would 
 act the part of true Christian orators, for then they 
 would endeavor to move the affections and warm the 
 
RHETORICAL DELIVERY. 23 
 
 lieart, and not constrain their hearers to suspect that 
 they dealt in the false commerce of unfelt truth." 
 
 In the education of an orator the elements of delivery 
 should first be taught separately, and then combined in 
 reading and declamation. After being thoroughly 
 drilled in articulation, and properly instructed in the 
 management of the breath, so as to speak without 
 difficulty, and without injury to the vocal organs, the 
 student should attend carefully to the various elements 
 of speech ; as quality, force, stress, time, pitch and 
 slide ; as well as to attitude, gesture, and the expres- 
 sion of the countenance. He should so thoroughly 
 master all these as to be able to dismiss from the mind 
 every thought of rules while in the act of speaking. 
 Prescribed rules are but the scaffolding which is to be 
 removed when the building is finished. The rules of 
 delivery, like those of grammar and rhetoric, should be 
 so familiar to the orator as to be strictly observed, 
 while the mind is wholly engrossed with the subject- 
 matter. Then may we look for 
 
 •' The grace of action, the adapted mien, 
 Faithful as nature to the varied scene ; 
 Th' expressive glance, whose subtle comment draws 
 Entranced attention, and a mute applause ; 
 Gesture that marks with force and feeling fraught ; 
 A sense in silence, and a will in thought : 
 Harmonious speech, whose pure and liquid tone 
 Gives verse a music, scarce confessed its own." 
 
 Let no one suppose that real eloquence can be 
 attained by mere conformity to the rules of art. Art 
 produces the body of eloquence, which, however well 
 formed and beautiful in its outward appearance, must, 
 
24 MANUAL OF GESTURE. 
 
 nevertheless, have breathed into it the breath of life. 
 Eloquence, which is the culmination of oratory, has 
 been defined as " logic on fire." Daniel Webster says 
 of it, '' It comes, if it come at all, like the outbreaking 
 of a fountain from the earth, or the bursting forth of 
 volcanic fires, with spontaneous, original, native force." 
 
 The study of oratory evidently presupposes a knowl- 
 edge of such branches as are needful to supply the 
 orator with subject-matter, and also an acquaintance 
 with the structure of language, the principles of logic, 
 and the rules of composition ; and yet all these pos- 
 sessed in the highest degree, and combined with the 
 graces of the most finished oratory are, of themselves, 
 insufficient to make true eloquence. They need to be 
 supplemented with still higher qualities. To quote 
 again from Webster, there must be " the high purpose, 
 the firm resolve, the dauntless spirit, speaking on the 
 tongue, beaming from the eye, informing every feature, 
 and urging the whole man onward, right onward to his 
 object." 
 
 But since these conditions may be met, the student 
 has no occasion to despair. The advocate is supposed 
 to be sufficiently zealous for his client, the legislator 
 for his country, and the minister of Christ for a lost 
 world, as to inspire all these with genuine eloquence. 
 
CHAPTER 11. 
 
 GESTURE. 
 
 Gesture embraces the various postures and motions 
 of the body ; as the head, shoulders and trunk ; the 
 arms, hands and fingers ; the lower limbs and feet. It 
 is the language of nature ; and hence, like the expres- 
 sion of the countenance is a universal language. While 
 the spoken or written language of on6 nation must be 
 learned by the people of another before they can com- 
 municate with each other in words, these visible signs 
 are understood by all alike. A verbal threat has a dif- 
 ferent word for each nationality ; but the uplifted 
 clinched hand and the angry look has the same mean- 
 ing in all countries. So in the expression of friendly 
 feeling. The assurance of good will spoken in the ear 
 of a foreigner may be utterly misapprehended ; while 
 the outstretched hands accompanied with a conciliatory 
 attitude and genial countenance are quite intelligible. 
 
 This subject is well illustrated by the ancient panto- 
 mimes, who, without the aid of words, recited entire 
 dramas, and delivered the various fables of the gods 
 and heroes of antiquity, making their gestures perfectly 
 intelligible to the whole Roman people, as well as to 
 foreigners. It is related that a barbarian prince visiting 
 
26 MANUAL OF GESTURE. 
 
 Rome in Nero's time, after witnessing one of these exhi- 
 bitions, requested the Emperor to allow him to take 
 home with him the principal actor, saying that he 
 had many visitors from neighboring provinces whose 
 language he could not understand, that it was difficult 
 to procure interpreters, and he thought that by the aid 
 of this pantomime he could easily make himself under- 
 stood by all. 
 
 In like manner the deaf mute communicates by 
 visible signs ; and the infant knows a smile from a 
 frown long before words have any meaning. It not 
 unfrequently happens in a public assembly that some 
 forcible or significant gesture makes a deeper impres- 
 sion than the language which accompanies it. 
 
 In order to persuade men and move them to action, 
 it is obviously better to address the eye and the ear 
 than the ear alone ; and if so, then it should be done in 
 the best manner possible. With the hands, to which 
 Quintilian attributes the faculty of universal language, 
 we invite or repel, accept or reject, give or withhold, 
 welcome or deprecate. By them we indicate number 
 and quantity, and express abundance or destitution, 
 exultation or dejection. With a motion of the hand 
 we appeal, challenge, warn, threaten and scorn. In 
 the Egyptian hieroglyphics language is symbolized by a 
 hand placed under a tongue. Cressolius speaks of the 
 hand as " the admirable contrivance of the divine artist 
 — the minister of wisdom and reason;" and adds, 
 " Without the hand no eloquence." 
 
 The organic connection of the vocal powers with cer- 
 tain muscles of the body demands the employment of 
 
GESTURE. 27 
 
 gesture as an accompaniment of animated speech. 
 Oratorical speaking is a compound motion of the lungs, 
 the muscles of the glottis, and of the abdomen ; and, 
 when accompanied with gesture, the muscles of the 
 chest also. It is manifest that the action of these' 
 muscles should be corellated with appropriate tones and 
 gestures ; this corellation takes place in the emphatic 
 utterance of the following command : 
 
 " Forward, the Light Brigade ! " 
 
 the hand being thrown forward simultaneously with 
 the forcible expulsion of the voice. 
 
 The necessary connection between muscular and 
 nervous action should also be recognized, and turned 
 to account by the orator. On the one hand, nervous 
 excitement expresses itself by the muscles of the body ; 
 on the other hand, the nervous system is aroused by 
 muscular exertion. The lethargic speaker may, there- 
 fore, wake himself up by an energetic period of ges- 
 ture. 
 
 The degree of perfection to which the art of gesture 
 was carried by the ancients is shown from the challenge 
 of Cicero by Roscius, the latter contending that he 
 could express the same idea in a greater variety of 
 ways by his gestures than the former could by the use 
 of words. 
 
 It is to be regretted that this art, as perfected by the 
 old masters of Greece and Rome, was not preserved, 
 that along with their orations we might study their style 
 of dehvery ; but they seem to have had no method of 
 recording either tones or gestures, and hence the elo- 
 quence with which it is said they "shook distant 
 
28 MANUAL OF GESTURE. 
 
 thrones, and made the extremities of the earth treml)le," 
 must be reckoned among the lost arts. 
 
 " The pliant muscles of the various face, 
 The mien that gave each sentence strength and grace, 
 The tuneful voice, the eye that spoke the mind, 
 Are gone, nor leave a single trace behind." 
 
 By the aid of a system of notation, such as Mr. Austin 
 has given us in his Chironomia, the entire action of an 
 orator may l)e faithfully recorded. Gesture is thus 
 reduced to a science ; and the student is relieved from 
 the necessity of inventing for himself a system of action 
 which, to say the least, is a needless '' waste of inge- 
 nuity," at well as of time. 
 
 In the general classification of Gesture we have : 
 
 I. Designative or Discriminating Gestures, used for 
 indicating or pointing out, and for discriminating be- 
 tween different objects. These may emj)loy the index 
 finger : 
 
 Ex. — Thou art the man ; (Fig. 8i.) 
 
 ( )r the open hand : 
 
 Ex. — I refer the matter to these friends at my right. (Fig. i6.) 
 
 II. Descriptive Gestures, which serve to describe 
 objects and to represent numbers and space : 
 
 Ex. — Darkness covered the entire land. 
 
 Here the outward sweep of the prone hands, to the line 
 horizontal lateral^ describes the act of covering, and also 
 shoAvs the extent of the darkness. {See fir/. 49.) 
 
 III. Significant Gestures ; such as placing the hand 
 on the head to indicate distress, or the finger on the 
 lips to enjoin silence ; throwing up the bands to express 
 
GESTURE. 29 
 
 surprise, or reaching them forward in supplication ; 
 dropping the head in shame, or holding it up in pride, 
 or nodding in assent or salutation ; bending the body 
 forward in reverence, throwing it back in pride, or 
 holding it erect in courage ; advancing in entreaty, 
 retiring in fear, starting in terror, and stamping in 
 authority, — these and similar postures and motions fall 
 under the head of Significant Gestures, the most of 
 which are called attitudes. 
 
 IV. Assertive Gestures ; employed not for designa- 
 tion or description, but for mere assertion, either 
 emphatic or unemphatic ; as, " The laws must be 
 obeyed." {See jigs. 8, 9.) 
 
 V. Figurative Gestures, or Gestures of Analogy. 
 The interpretation of these is based upon the analogy 
 between mere physical, and intellectual or moral con- 
 ditions. The expression of ideas by means of visible 
 signs necessarily involves this principle. For an illus- 
 tration, apply the same gesture to the following sen- 
 tences : 
 
 1. This is the letter I brought you. 
 
 2. This is the subject we are to consider. 
 
 Here the same position and movement of the hand 
 presents, first, a visible object, and then a mental prop- 
 osition. 
 
 Compare the following examples : 
 
 1. Arrest that criminal. 
 
 2. Arrest that fugitive thought. 
 
 In this case we employ the gesture right hand hori- 
 zontal front prone^ to describe both the physical act and 
 the corresponding mental conception. (^See fig, 36.) 
 
30 MANUAL OF GESTURE. 
 
 Notice also the following : 
 
 1. We deposit this body in the earth. 
 
 2. All personal feeling he deposited upon the altar of his country. 
 
 Both the physical and the moral idea of deposition 
 are here expressed with both hands descending front 
 supine. (^Fig. 22.) 
 
 This analogy may be quite remote. 
 
 Ex. — I. The youth wandered far from the parental roof, 
 2. Blind unbelief is sure to err. 
 
 To err is to wander from the truth ; hence we assign to 
 the second, as well as to the first, the gesture of wander- 
 ing — right hand horizontal lateral supine. {Fig. 16.) 
 
 Whether an idea is expressed literally or figuratively, 
 the gesture is the same. 
 
 The student will observe the coincidence between 
 the class of gestures last mentioned and some of the 
 preceding. A gesture of analogy, for instance, may 
 also be a descriptive gesture. Take the example, 
 " Darkness covered the entire land ; " substitute spiritual 
 for literal darkness, and the gesture is purely figurative, 
 but no less descriptive than before. 
 
 By another principle of division, gestures may be 
 classified according to the style of delivery. Mr. Aus- 
 tin gives three different styles : Epic, Rhetorical and 
 Colloquial ; and describes the various qualities which 
 belong to them. The qualities of gesture, as enumer- 
 ated by him, are Magnificence, Boldness, Energy, 
 Variety, Simplicity, Grace, Propriety, and Precision. 
 The following descriptions are, for the most part, taken 
 from the Chironomia : 
 
 Magnificence of Gesture consists in the ample space 
 
GESTURE. 31 
 
 through which the arm and hand are made to move. 
 The motions of the head are free, and the inflections of 
 the body manly and dignified, and the feet traverse a 
 considerable space with firmness and force. The oppo- 
 site faults are short and constrained gestures, with stiff- 
 ness of the body, and doubtful or timid movements. 
 
 Boldness consists in that elevated courage and self- 
 confidence which ventures to hazard any action pro- 
 ductive of a grand or striking effect. In this sort of 
 gesture, unexpected positions, elevations and transi- 
 tions, surprise at once by their novelty and grace, and 
 thus illustrate or enforce ideas with irresistible effect. 
 The opposite fault is tameness, which hazards nothing, 
 and is timid and doubtful of its powers. 
 
 Energy consists in the firmness and decision of the 
 whole action, and in the support which the voice 
 receives from the precision of the stroke of the gesture. 
 The opposite faults are feebleness and indecision. 
 
 Variety consists in the ability of readily adapting 
 suitable gestures to each sentiment, so as to avoid 
 recurring too frequently to favorite gestures. The 
 opposite faults are sameness and barrenness of gesture, 
 analogous to monotony of voice. 
 
 Simplicity consists in using such gestures as appear 
 the natural result of the situation and sentiments ; 
 neither going beyond the just extent of the feelings, 
 nor falling short of it. The opposite fault is affectation. 
 
 Grace of Gesture is the result of all other perfections, 
 and consists chiefly in the facility, freedom, variety and 
 simplicity of the action. It is attained by persevering 
 practice after the best models and according to the 
 
32 MANUAL OF GESTURE. 
 
 truest taste. The opposite faults are awkwardness and 
 rusticity. 
 
 Propriety, called also Truth of Gesture, or Natural 
 Gesture, consists in the judicious use of those move- 
 ments which are best suited to the sentiment. The 
 opposite imperfections are false, contradictory or unsuit- 
 able gestures. 
 
 Precision of Gesture arises from the just preparation, 
 the due force, and the correct timing of the action. 
 The preparation is neither too much abridged nor too 
 pompously displayed. The stroke is made with that 
 degree of force which suits the character of the senti- 
 ment and speaker, and occurs on the precise syllable to 
 be enforced. Precision gives the same effect to action 
 that neatness of articulation gives to speech. The op- 
 posite faults are the indecision and uncertainty arising 
 from vague and sawing gestures, which obscure the 
 sentiment and distract the spectator. 
 
 Epic Gesture requires all these qualities in perfection. 
 The compositions requiring epic gesture are tragedy, 
 epic poetry, lyric odes, and sublime description. 
 
 Rhetorical Gesture requires principally energy, 
 variety, simplicity and precision. Grace is desirable ; 
 boldness and magnificence may sometimes have place. 
 
 Colloquial Gesture principally requires simplicity and 
 grace. Precision will naturally follow. Energy and 
 variety may be sometimes demanded ; magnificeuce 
 and l)oldness are inadmissible. In Colloquial Gesture 
 the elbow instead of the shoulder becomes the center 
 of motion ; hence the movements are shorter and less 
 flowing, neither is the action so frequent as in the 
 rhetorical style. 
 
gesturf:. 38 
 
 Position. — In the study of rhetorical action, Position 
 is the first thing to be attended to. Says Mr. Austin : 
 '' Graceful position precedes graceful action." Facility 
 of movement is essential to both ; hence the public 
 speaker should stand erect and firm ; not rigid, but easy 
 and natural, with the weight of the body resting mainly 
 upon one foot, so that the other may be readily used in 
 changing the position, as occasion may require. The 
 supporting limb should be straight, and the knee of the 
 other slightly bent. 
 
 The positions suited to the ordinary purposes of pub- 
 lic speaking are few and simple. They may be desig- 
 nated as follows : 
 
 First Position. — Right foot advanced, the left sup- 
 porting the weight of the body. 
 
 Second Position, — Right foot advanced, supporting 
 the body. 
 
 Third Position. — Left foot advanced, the ri^ht sup- 
 porting. 
 
 Fourth Position. — Left foot advanced, supporting. 
 
 The feet should be placed with the toes turned out- 
 ward, making an angle of about seventy degrees in the 
 retired positions, and ninety in the advanced. The 
 space between the feet should be three or four inches, 
 or about the breadth of the foot. This, however, applies 
 to the positions adapted to reading or to unimpassionod 
 speaking. In impassioned delivery these positions may 
 l)e so modified as virtually to increase their number. 
 The spaces will be wider, and the angles will vary to 
 suit the purpose of the speaker. 
 
34 MANUAL OF GESTUHE. 
 
 Fig. 1. Fig. 2. 
 
 Figure 1 represents the first position. The principal 
 weight of the body rests upon the foot that is deeply 
 shaded in the. plan. The other foot, lightly shaded, 
 rests lightly upon the floor. (^See also jig. 8.) 
 
 The change from the first to the second position is 
 made by stepping forward with the right foot, about 
 half its length, and throwing the principal weight 
 upon it ; only that part of the left which is shaded in 
 the plan, as shown in fig. 2, resting upon the floor. 
 (^See also fig. 9.) The third and fourth positions are 
 simply the reverse of these. 
 
 Earnest appeal, bold assertion, and impassioned 
 speech carry the body forward to one of the advanced 
 positions. 
 
 Calm, unimpassioned discourse, also firmness, and 
 resistance, take one of the retired positions. 
 
 From each of the positions given above four steps 
 may be made with the foot not supporting the body. 
 The central feet in fig. 3 stand in the first position, 
 the right foot, being free to move, may advance, retire. 
 
GESTURE. 
 
 36 
 
 traverse to the right and to the left ; the various steps 
 finishing as numbered and shaded in the diagram. The 
 lines traced by the free foot are each marked with a star. 
 
 •indlP 
 
 "S 
 
 M 
 
 %^ 
 
 2nd p. 
 
 \ 
 
 IsER. 
 
 >^ 
 
 SrdP 
 
 Fig 3. 
 
 / 
 
 >^ 
 
 ixtr 
 
 
 ' r --^W 
 
 istR 
 
 UtI 
 
 Fig. 4. 
 Fig. 4 shows the corresponding steps from the second 
 position. It will be observed that here, in crossing, the 
 
'?>f\ ISfAKTTAL OF GESTURE. 
 
 free foot passes behind the other, whereas in crossing 
 from the first position it passes before the other. 
 Neither of these steps should be made except in rare 
 cases. 
 
 The following directions from Mr. Austin should be 
 carefully observed : 
 
 " In changing the positions of the feet, the motions 
 are to be made with the utmost simplicity. The speaker 
 must advance, retire, or change, almost imperceptibly ; 
 and it is to be particularly observed that changes should 
 not be too frequent, as this gives the idea of anxiety, or 
 instability." 
 
 The following is also taken from the Chironomia : 
 
 '' The trunk of the body is to be well balanced and 
 sustained erect upon the supporting limb. Whatever 
 the speaker's position may be, he should present him- 
 self, as Quintilian expresses it — a^quo pectore — with the 
 breast fully fronting his audience, and never ifi the 
 fencing attitude of one side exposed. What Cicero 
 calls the virilis flexus laterum — the manly inclination of 
 the sides — should also be attended to ; for, without this 
 position, tlu bod}^ will seem awkward and ill balanced. 
 The inclination of the sides withdraws the upper part 
 of the body from the direction of the sustaining limb, 
 and inclines it the other way, Avhilst it throws the lower 
 part of the body strongly on the line of the supporting 
 foot. In this position the figure forms that gentle curve 
 or waving line which painters and statuaries consider 
 as appropriate to grace. 
 
 '' The gesture of the arms and hands must receive a 
 a slight accompanying movement of the trunk, and not 
 
GESTURE. 37 
 
 proceed from it as from a rigid log. Whilst care is 
 taken to avoid affected and ridiculous contortions, there 
 must be a manly and free exertion of the muscles of the 
 whole body, the general consent of which, is indispens- 
 able to graceful action." 
 
 The remarks of Professor Russell will also be service- 
 able to the student : 
 
 "•' The true time of movement is in exact coincidence 
 with emphasis, and falls appropriately on the accented 
 syllable of the emphatic word. The voice and the 
 bodily frame are thus kept in simultaneous action witli 
 the mind. Movement so performed never obtrudes 
 itself on the attention, but becomes a natural part of 
 the whole delivery. The changes of position should 
 always be made (except only the retiring movement, 
 at the close of a paragraph, or of a division of the sub- 
 ject) during the act of speaking^ and not at the pauses." 
 
 The position of the head should be natural and easy ; 
 neither so far back as to give the idea of haughtiness, 
 thus showing a want of respect for the audience, nor 
 so far forward as to imply submissiveness and a want of 
 self-respect. The head should move easily, but not 
 rapidly, from side to side. 
 
 In the mechanical execution of gesture we employ 
 straight lines and curves ; as in geometry, to which the 
 laws of gesture are referable. Straight lines, which 
 indicate directness of thought, are employed to express 
 bold, energetic and abrupt ideas. The curved lines are 
 used in more calm and quiet states of mind, to express 
 gentle and genial thoughts and emotions, and are also 
 adapted to the boldest flights of oratory. 
 
38 MAKUAL OP GESTURE. 
 
 Gestures are quick or slow, and range through large 
 or small space, accordmg to the character of the dis- 
 course, and the feelings and circumstances of the 
 speaker. In the unimpassioned, or mere narrative or 
 didactic parts of a discourse, gestures should be few in 
 number, limited in space, and moderate in time ; but 
 as the subject gathers interest and the speaker warms, 
 they should be more profuse, varied and energetic. 
 The action should be accommodated also to the size of 
 the room and the number of the audience. The fol- 
 lowing general directions w^ill be a sufficient guide : 
 
 Forcible utterances and vehement emotions are ex- 
 pressed with quick time ; calm, quiet, and subdued 
 thoughts and feelings, with slow time. 
 
 Solemn and deliberate assertions require large space 
 and slow movement; lively expressions limited space 
 and quick movement. 
 
 " The gesture of the public speaker must vary with 
 his circumstances. If the object be merely to instruct 
 his audience, he will limit himself to a very small 
 degree of gesture. He will avoid all parade of prep- 
 aration, and all the, graces of transition, and give only 
 that degree of variety that is necessary to relieve his 
 gestures from sameness. This is far removed from the 
 theatrical, and nearly approaches the colloquial style. 
 When the speaker aims to persuade, and upon extra- 
 ordinary occasions, he will naturally use more graceful, 
 more flowing, and more varied gestures." — Austin. 
 
 It is not designed that this study shall necessarily 
 increase the number of gestures Avhich the student has 
 been accustomed to use. What most speakers need is. 
 
GESTURE. 39 
 
 not a greater number, but a greater variety. The con- 
 stant recurrence of two or three different motions shows 
 a poverty of resource that may find its remedy in a 
 better acquaintance with the laws of expression. On 
 the other hand many need to study this subject that 
 they may abridge their action, like the awkward youth 
 whose father sent him to the dancing master, that he 
 migfht learn to stand still. 
 
CHAPTER III. 
 
 NOTATION OF GESTURE. 
 
 The lines of gesture take three general directions — 
 descending, horizontal, and ascending. Each of these 
 has four subdivisions — front, oblique, lateral, and oblique 
 backwards. The descending gestures carry the hand 
 forty-five degrees below the horizontal line ; the ascend- 
 ing, forty -five above. The points designated by the 
 
 four subdivisions are 
 also forty-five degrees 
 apart. This entire sys- 
 tem is represented in 
 ///. 5. The vertical lines 
 nearest the speaker 
 (1,1) are lines in front; 
 the next lines — forty- 
 five degrees to the 
 right and left of these 
 (2, 2) are the oblique; 
 forty-five degrees far- 
 ther are the lateral 
 (3,3) ; and back of these 
 the same distance, the 
 X^iG. 5. dotted lines (4, 4) are 
 
NOTATION OF GESTURE. 41 
 
 the oblique hackward». In the transverse direction the 
 circular lines (5, 6, 7) are called respectively descending^ 
 horizontal and ascending. The points where these lines 
 intersect each other, furnish the names of the gestures 
 so far as relates to the direction of the arm ; and these 
 several directions are indicated by the initial letters : 
 d. f., descending front ; d. o., descending oblique ; d. 1., 
 descending lateral ; d. o. b., descending oblique back- 
 wards. The same order is followed on the next line 
 above : h. f., horizontal front, etc. ; and above this we 
 have a. f., ascending front, etc. This gives us twelve 
 gestures with the right hand supine. When the gesture 
 takes the prone or the vertical position of the hand, the 
 letter p. or v. is added to the notation ; and where both 
 hands are to be employed, this is indicated by prefix- 
 />. A., thus : b. h. d. f. p. is to be read, both hands descend- 
 ing front prone. The other combinations will be readily 
 formed from the table of abbreviations. 
 
 By thus changing the position of the hands, and 
 executing the gestures with one hand and with both, 
 we have a system embracing fifty-six different gestures 
 (exclusive of thirty-two with the left hand, which are 
 admissible in rare cases). These, executed in various 
 ways — in straight lines and curves, through large and 
 small space, with quick and slow movement, and accom- 
 panied with an endless variety of changes in attitude 
 and facial expression, together with the movements 
 denominated special gestures, furnish a vocabulary of 
 gesture commensurate with the realm of thought and 
 feeling. 
 
 The descending gestm-e» belong to the sphere of the 
 
42 IMANUAL OF GESTURE. 
 
 Will, and, therefore, predominate in strong resolve and 
 determination, in bold and emphatic assertion, and 
 vehement argumentation. 
 
 The horizontal lines belong more especially to the 
 realm of Intellect, and are employed in general thought, 
 and in historical and geographical allusions. 
 
 The ascending gestures belong to the Imagination. 
 These are employed in sublimity and general elevation 
 — ^physical, intellectual and moral. 
 
 The gestures in front are generally direct and per- 
 sonal, and also more emphatic than others. 
 
 The oblique gestures are more general in their appli- 
 cation, and less emphatic than those in front. 
 
 The lateral gestures, except in special cases, as in 
 aversion, repulsion, and, it may be, in special designa- 
 tion, are still less emphatic. 
 
 The gestures oblique backwards indicate remoteness, 
 and are occasionally used to extend an idea farther 
 than can be well expressed in the lateral line. 
 
 The analysis of gesture shows three minor move- 
 ments : Preparatory, Executionary and Return. These 
 taken together constitute a Period of gesture ; or a 
 period may embrace a combination of gestures, begin- 
 ning with the preparation, extending through a series, 
 and finishing with the return movement. 
 
 Preparation. — The hand, in preparation for the 
 gesture, is brought up on the oblique line, that is, mid- 
 way between the front and the lateral. In general, 
 it should not be raised above the head. In lifting the 
 hand, special care should be taken (except in colloquial 
 gestures) to make the shoulder, and not the elbow, the 
 
NOTATION OF GESTUBE. 
 
 48 
 
 Fig. 6. 
 
 center of motion. In other words, 
 lift the whole arm, and not merely 
 the fore-arm. Let the hand pass 
 through all the space designated by 
 the curved line in fig. 6. In prac- 
 ticing this movement, it is well at 
 first to pause at the horizontal line 
 (2), and then make the angle by 
 bringing the hand to the head (3). 
 The careful observance of this direc- 
 tion will aid very much in securing 
 freedom of action. Indeed, the grace 
 and effectiveness of oratorical action 
 depend largely upon the proper 
 execution of the prej)aratory movement. It must be 
 well timed, and in harmony with the rhetoric as well 
 as with the sentiment. Except in comic and tragic 
 recitation, there should be no sudden jerking of the 
 arm ; nor, as a rule, should the hand be thrust out with- 
 out some preparatory action. In demonstration, calm 
 reasoning and simple narrative, where little gesture is 
 needed, and that of a moderate style, the hand should 
 seldom be raised to the head, but may be arrested at 
 any point above the descending line of gesture, accord- 
 ing to the sentiment and circumstances. Animated 
 delivery, and especially emphatic utterance, require a 
 corresponding fulness and force of preparation. 
 
 Examples.— 1. I cordially accede to your request, 
 r. h.d. f. 
 
 Here the hand in preparation is raised scarcely above 
 the terminal point of the gesture. 
 
 3 
 
44 MANUAL OF GESTURE. 
 
 2. This position I will maintain to the last. 
 
 r.h.d.f. 
 
 This lifts the hand to the head, in order to gain 
 space through which to bring it down with greater 
 emphasis. Compare the uplifted hand in fig. 6 with 
 figs. 8 and 9. 
 
 The preparation is also deliberate or rapid, according 
 •to the sentiment or the degree of emphasis required. 
 
 Ex. — I. Treasurest up unto thyself wrath against the day of wrath? 
 
 r. h. h. f. 
 
 In this case the deliberate lifting of the hand to the 
 head should correspond with the deliberate utterance of 
 the words preceding day^ upon which the gesture 
 occurs. Prolonged preparation excites attention and 
 enforces gesture. 
 
 2. Freedom calls you ! Quick, be ready. 
 
 b.h.h.o. 
 
 In this example, the hands are suddenly thrown up- 
 ward on the first word; the preparation is then arrested 
 until the last word is reached, when they are brought 
 down forcibly upon that word. The uplifting of the 
 hands in this case, as in many others, is both a prepara- 
 tory and an expressive act. The preparation is some- 
 times even more expressive than the gesture which 
 follows. 
 
 It should be carefully observed that that part of a 
 sentence which precedes the emphatic word usually 
 takes the preparation. 
 
 When the gesture occurs upon the first word in the 
 sentence, there should be a pause in the voice previous 
 to uttering that word, to allow time for the preparatory 
 action. 
 
 Ex. — 1. Fade flowers ! fade ; nature will have it so. 
 d.o. p. rep. d.o. 
 
NOTATION OF GESTURE. 46 
 
 2. I^ash, fruitless war, from wanton glory wag'd, 
 r.h.d.f. r.h.d.l. r.h.h.l. 
 
 Is only splendid murder. 
 b. h. d. f. 
 
 3. What I threat you me with telling of the king? 
 
 h.f. h.o. 
 
 The preparation frequently occurs upon a single 
 syllable, the gesture proper taking the succeeding syl- 
 lable. 
 
 Ex. — Away Wxih private wrongs, 
 d. 1. imp. 
 
 Arreated Preparation. — After the hand is raised in 
 preparation for the gesture, the effect may sometimes 
 be heightened by arresting or suspending the action 
 (luring a rhetorical pause in speech, or while uttering 
 some significant word, phrase or sentence. The sub- 
 ject of a sentence often requires an arrested prejjaration, 
 the action being consummated in the predicate. In the 
 following passage : 
 
 " As the heaven is high above the earth, so great is His int-rcy 
 toward theni that fear Him," •°- 
 
 the hand is slowly raised upon the first clause ; the 
 preparation is then arrested until the emphatic word is 
 readied, >vhen the hand is brought down to the descend- 
 ing oblique. The effect of suspending the action in this 
 manner is analogous to the rhetorical pause in speech. 
 The ExECUTiONARY Movement, or gesture proper, is 
 made upon the emphatic word, phrase or sentence, the 
 ietus^ or emphatic stroke^ at the terminus, occurring upon 
 the accented syllable. As the hand approaches its 
 destined point, by an additional movement of the wrist 
 joint it springs with increased velocity to the termina- 
 tion, and thus marks with precision the accented syl- 
 
46 MANUAL OF GESTURE. 
 
 lable. With respect to the space and time of the action, 
 the same rules which govern the preparation, apply 
 with equal force to the executionary movement. Action 
 not suited to the word is better omitted. A single 
 example will serve to illustrate the importance of cor- 
 rectly timing the gesture : 
 
 " Spread wide around the heaven-breathing calm." 
 
 Apply to these words the gesture both hands horizon- 
 tal lateral prone {Fig. 49), pronouncing very slowly, 
 and then increase the rate of utterance until there is 
 no time for that deliberate movement of the hands 
 which the sentiment requires. It will be seen that 
 with too slow an utterance the gesture is finished too 
 soon for the words ; and with rapid speaking the ges- 
 ture must either be more animated than the descriptive 
 idea will allow, or fall so far behind the words as to 
 appear affected and puerile. " The most flowing and 
 beautiful motions," says Mr. Austin, "the grandest 
 preparations, and the finest transitions of gesture, ill 
 applied and out of time, lose their natural character 
 of grace, and become indecorous, ridiculous, or offen- 
 sive." 
 
 In the Return Movement, after a gesture or a series 
 of gestures is completed, the muscles should relax so as 
 to allow the hand to fall naturally and easily. Like 
 the preparation, this may sometimes serve as an expres- 
 sive act. Entire cessation or nonentity may occasion- 
 ally be expressed more effectively by dropping the 
 hand upon certain words, than by any other movement. 
 
 Ex. — I. He loosed the steed ; his slack hand/V/. 
 
 drop. 
 
NOTATIOK OF GESTURE. 47 
 
 2. Like the lily, 
 
 d.o. 
 That once was mistress of the field, that flourished, 
 h. o. imp. 
 
 I'll hang my head and perish. 
 drop. 
 
 3. The time for tender thoughts and soft-endearments 
 
 \% fled away and gone. 
 d. 1. drop. 
 
 To secure ease and grace of action, all the joints of 
 the arm and hand — the shoulder, the elbow, the wrist, 
 and the finger — must move with perfect freedom. 
 "Without the free use of the wrist-joint, particularly, 
 there can be no grace. The effective execution of the 
 emphatic stroke at the terminus of the gesture, depends 
 largely upon the flexibility of the wrist-joint. While 
 the student of Elocution should study strength and 
 manliness before grace, he should, at the same time, 
 carefully avoid ungraceful action. 
 
 Repeating the Gesture. — When the idea is 
 repeated, either in the same or in other words, or when 
 successive reference is made to the same person, place, 
 or thing, the gesture may be repeated. 
 
 Ex. — Which show the works of the law written in their hearts ; their 
 
 conscience also bearing witness, ^' °" 
 
 repeat. 
 
 This is often done merely for emphasis. The repeated 
 gesture should then be larger and more forcible than 
 the first ; the preparation carrying the hand higher, 
 and still higher, as the increasing emphasis demands. 
 
 ^C\. — I. On them, Huzzars ! in thunder ox\ them wheel ! 
 b. h. h. f. repeat, 
 
 2. Charge ! Chester, Charge I On, Stanly, on I 
 r. h, h. f, rep. r. h.h, f, rep, 
 
 3. Nearer, clearer, deadlier than before, 
 b. h d. f. rep. rep. 
 
48 MANUAL OF GESTUBE. 
 
 This persistency of gesture, judiciously used, is very 
 effective ; but must not be carried into mannerism. 
 " Do not saw the air thus." 
 
 Impulse. — When less emphasis is required, instead 
 of repeating the gesture, there may be a slight impulse 
 — a repetition of the wrist movement. The pupil, how- 
 ever, must be cautioned against excess in this direction. 
 The habit of constantly repeating the ictus of the ges- 
 ture is a fault of oratory. 
 
 SusTENTATiON OF GESTURE. — After the stroke of 
 the gesture upon the emphatic word, the hand should 
 remain in position until the full effect is produced. To 
 drop it too soon, weakens the gesture. 
 
 Ex. — I, I appeal to you, sir, for the decision, 
 r. h. h. f. sus. 
 
 Here the gesture should be sustained until the whole 
 sentence is completed. Keep the hand in the position 
 horizontal front, as if waiting for the decision. 
 
 2. How vain all outward efforts to supply 
 
 r.h.h.l. 
 
 The soul with joy ! 
 
 sus. to the close. 
 
 3. Tradition's pages 
 r. h. h. o. b. 
 
 Tell not the planting of the parent tree. 
 
 sus. 
 
 In the last examples the gesture is sustained beyond 
 the usual limit ; when the sentiment admits of it, the 
 effect is heightened thereby. Like the arrested prep- 
 aration, this maybe called a rhetorical pause in gesture. 
 
 The following abbreviations embrace the system of 
 notation to be used in recording gesture according to 
 the plan of this Manual. In notating gestures the s. may 
 be omitted from the supine hand, and r. h. from ges- 
 
NOTATION OF GESTUKE. 4S 
 
 tures to be made with the right hand singly, or these 
 may be expressed, at the option of the student. When 
 the position of the hand is not notated, it is to be under- 
 stood supine ; and when it is not indicated whether 
 one or both hands are to be used, the right hand is 
 understood. 
 
 d. f., descending front. 
 
 d. o., '• oblique. 
 
 d. 1., •* lateral. 
 
 d. o. b., '' oblique backwards. 
 
 h. f., horizontal front. 
 
 h. o., '' oblique. 
 
 ' h. 1., '' lateral. 
 
 h. o. b., " oblique backwards. 
 
 a. f., ascending front. 
 
 a. o., '' oblique. 
 
 a. L, '' lateral. 
 
 a. o. b., " o})li([ue backwards, 
 r. h., right hand. 
 
 1. li., left hand. 
 
 b. h., both hands. 
 s., supine. 
 
 ])., prone. 
 
 v., vertical. 
 
 i. or ind., index linger. 
 
 iq)l., uplifted. 
 
 par., parallel. 
 
 cli., clinched. 
 
 cla., clasped. 
 
 ap., applied. 
 
 fol., folded. 
 
 cro., crossed. 
 
 prep., preparation. 
 
 rep., repeat. 
 
 imp., impulse. 
 
 sus., sustain. 
 
 tr., tremor. 
 
50 MAKITAL OF GESTURE. 
 
 The initial letters placed under a given word indicate 
 the gesture for that word ; as, 
 
 Humility and modesty are cardinal virtues, 
 prep. r. h. h. o. s. imp. sus. 
 
 This notation indicates that the hand is to be lifted, in 
 preparation for the gesture, upon humility ; that the 
 gesture right hand horizontal oblique supine occurs 
 upon modesty ; that an impulse of the hand, or partial 
 repetition of the gesture, is made upon cardinal ; and 
 that the action is to be sustained to the close of the 
 sentence. This, however, may be abridged. The prep- 
 paration and the sustentation seldom need to be notated, 
 and the letters h. o. would suffice, in this case, for the 
 gesture, the right hand supine being understood. 
 
 The gestures which a given example is specially 
 intended to illustrate occur upon the capitalized 
 words. Other gestures in the same example are indi- 
 cated by the letters placed under the italicized words. 
 As a rule, only the former need be noticed at first. 
 After the student shall have gone carefully through 
 the book, executing the gestures occurring upon the 
 capitalized words, and studying their interpretations, 
 he will find great advantage from a review, in which 
 these gestures shall again be executed with their com- 
 binations, as indicated by the words in italics. 
 
 It will be observed that when no other gesture occurs 
 in the example except the one illustrating the principle 
 under consideration, the notation is omitted, the capital 
 letters being a sufficient guide. When a single gesture 
 is assigned to a phrase or clause, it is intended that the 
 executionary movement shall be made to extend over 
 all the words embraced. 
 
NOTATION OF GESTTJBE. 51 
 
 Although different examples are generally given for 
 the different gestures throughout these pages, it will 
 not unfrequently occur that a given passage would be 
 as appropriately expressed with some other gesture than 
 the one assigned to it. This must be determined by 
 the state of the speaker's mind, or by the circumstances 
 in which the language is spoken. Passages ordinarily 
 requiring only a moderate degree of emphasis might, in 
 other circumstances, employ more emphatic gestures. 
 Language in itself unemotional, may, under certain 
 conditions, become highly impassioned, and require 
 corresponding action. The index finger, or even the 
 clinched hand, may then be employed, when at other 
 times the open hand would sufiice ; both hands may be 
 used instead of one ; the straight line may take the 
 place of the curve, and vice versa. Indeed, no two per- 
 sons, however well acquainted with the subject, would 
 be likely to employ precisely the same gestures through- 
 out a given recitation, although they might equally 
 conform to the laws of expression. Differences might 
 arise, not only from different conceptions of the author's 
 meaning in some passage rendered, but from a dis- 
 similarity of temperament, taste, mood, or surroundings. 
 
 To suppose that, in every instance, a given sentence 
 or paragraph must necessarily be expressed with a cer- 
 tain style of gesture, and that any deviation from this 
 would be false or inappropriate, Avould not only be 
 radically erroneous, but would greatly embarrass, if not 
 wholly discourage, the student of oratory. While the 
 general principles laid down in this treatise should 
 govern in the choice of gesture, there is still a wide 
 3* 
 
52 MANUAL OF GESTURE. 
 
 margin for the exercise of individual taste and judgment 
 in the matter of suiting the action to the word. 
 
 The gestures here described, with their various 
 applications and accompanying examples will, it is 
 believed, if carefully studied, suggest the appropriate 
 style of action in every case that may arise. The sub- 
 ject, however, is of necessity inexhaustible. The student 
 will therefore find ample scope for the exercise of liis 
 ingenuity in discovering new combinations, and in 
 bringing out the finer shades of expression. 
 
CHAPTER IV. 
 
 RIGHT HAND SUPINE. 
 
 Fifj. T. 
 
 In these gestures the hand is not entirely supine, but 
 sh)ping from the thumb about thirty degrees ; the fore 
 finger should be straight, the others slightly relaxed ; 
 the two middle fingers close together and the other 
 lingers somewhat separated from them. The* hand 
 should be well opened ; when partly closed the gesture 
 is weakened. The palm of the hand, when presented 
 to the audience, possesses great power of expresion. 
 
 Right Hand Descending Front Supine. 
 
 (Figs. 8, 9, 10.) 
 
 I. This gesture is emplo3^ed in Emphatic, Particular 
 Assertion, embracing that which is urgent, necessary, 
 inevitable, or impossible. 
 
54 
 
 MANUAL OF GESTURE. 
 
 Regarded as mere assertion, the affirmative and the 
 negative forms are governed by the same law. 
 
 Fig. 8. 
 
 Fig. 9. 
 
 Fig. 10. 
 
 Examples. — i. This doctrine is founded upon, and consistent with the 
 
 TRUTH. 
 
 2. It MUST be so, Plato ; thou reasonest well. 
 
 d. f. rep. 
 
 3. This preposition must not be entertained for a single 
 
 MOMENT, 
 
 4. The war is inevitable. 
 
 5. This can never be. 
 
 6. Under existing circumstances war is IMPOSSIBLE. 
 
 II. Emphatic Resolve or Determination. 
 
 Ex. — I. This sentiment I will maintain with the last breath of life. 
 2. To such usurpation I will never submit. 
 
 III. Imperative or Forcible Demand. 
 
 Ex. — I. I demand an immediate surrender. 
 
 2. I demand complete reparation for the injury. 
 
 ly. Emphatic Question, whether Grammatical or 
 Rhetorical. 
 
RIGHT HAND SUPINE. 55 
 
 Ex. — I. Do you POSITIVELY affirm this ? 
 
 2. Hath not God made foolish the wisdom of this world? 
 
 3. Why should Rome fall a moment ere her time ? 
 
 In the foregoing examples the hand is raised to the 
 head and brought down forcibly upon the emphatic 
 word. See jigs. 8 and 9. In the following, under con- 
 cession, submission, etc., the hand is but slightly raised 
 in preparation, and the gesture is executed with slow 
 movement. See fig. 10. Thus it is shown that in 
 the same notation, a very different, or even opposite 
 effect may be produced by a different mode of execu- 
 tion. 
 
 V. Concession ; as, 
 
 I GRANT this principle. 
 
 VI. Submission ; as, 
 
 I SUBMIT to your terms. 
 
 VII. Humility; 
 
 Ex. — I. I humbly confess my fault. 
 
 2. *• Sir," said I, " or Madam, truly your forgiveness I implore." 
 
 (^Mock Humility.) 
 
 3. I kiss the very ground under your feet. 
 
 Before taking up the next gesture in the system — 
 descending oblique — it is well to observe that, in 
 general, the relation of the oblique to the front line of 
 gesture, descending, horizontal and ascending, may be 
 stated thus : 
 
 Front. 
 
 Particular, 
 Specific, 
 Unity, 
 Personal, 
 Very Emphatic. 
 
 Oblique. 
 
 General, 
 
 Generic, 
 
 Plurality, 
 
 Impersonal, 
 
 Emphatic. 
 
56 
 
 MANUAL OF GESTURE. 
 
 Right Hand Descending Oblique Supine. 
 
 (Fig. II.) 
 
 I. Emphatic General Assertion, 
 whether affirmative or negative. 
 
 Examples. 
 
 1. These are the fundamental principles of 
 knowledge. 
 
 2. These things are CERTAINLY true. 
 
 3. Of all mistakes none are so fatal as those 
 
 we inci:r through prejudice. 
 imp. 
 
 4. These statements are entirely without foun- 
 dation. 
 
 5. The assertions of my opponent are false in 
 .xpjp -1 -i every particular. 
 
 II. This gesture, usually in combination with some 
 other, serves to mark with emphasis words opposed to, 
 or compared Avith each other. 
 
 ExAMi'LLs. — I. What cannot h^ prevented, must be endured. 
 
 h. o. d. o. 
 
 2. What is done, cannot be undone. 
 
 h. o. d. o. 
 
 3. There is a material difference between giving, and fok- 
 
 d.o. 
 
 GIVING. 
 
 h.o. 
 
 4. He who is intelligent, will be INTELLIGIBLE. 
 
 h. o. d. o. 
 
 5. Prosperity o-azwi- friends, adversity TRIES them. 
 
 h.o. d.o. 
 
 6. We are weak, and ye are strong. 
 
 h.o. d.o. 
 
 Similar ideas, but more specific, or personal, or de- 
 livered with greater emphasis, prefer the line in front; 
 as. 
 
 Must we in vcr.ir person crowu the author of the public calamities, 
 h.f. 
 or musl we destruV liim? 
 d. f. 
 
RIGHT HAND SUPINE. 57 
 
 III. In common with other descending lines, this 
 gesture is used in Consummation and Finality ; also to 
 enforce the Predominant Idea. These two applications 
 generally coincide ; that is, the predominant idea is 
 emphasized, and the action completed by the same 
 downward stroke. 
 
 While the action may be consummated in any line of 
 gesture suited to the sentiment, as shown in many 
 examples in this book, the preference is most frequently 
 given to the descending gestures. The closing idea, 
 by the law of rhetoric the predominant one, is thus 
 marked with force, and the effect rendered more com- 
 plete ; as. 
 
 Who builds on less than an immortal base, 
 
 a. o. 
 P'ond as he seems, condemns his joys to DEATH, 
 h.l. d.o. 
 
 In other circumstances, as when the concluding idea 
 is more emphatic, or when it involves a particular 
 instead of a general assertion, the descending front 
 may be the gesture of consummation and finality. 
 The following quotation, closing with an emphatic 
 particular assertion, falls under this head : 
 
 I tell you though you, though all the luorhi, though an angel from 
 
 heaven, should declare the truth of it, I cannot UELIEVE it. 
 a. o. d . f. 
 
 The descending lateral not unfrequently serves to 
 consummate the action, but in cases that are coincident 
 with other uses of that gesture, as explained elsewhere. 
 
 In the following examples the descending gesture is 
 employed simply to enforce the predominent idea. 
 The simultaneous consummation of the action is merely 
 incidental : 
 
58 
 
 MANUAL OF GESTURE. 
 
 1. Honor and virtue, nay even interest demands a different course. 
 
 h.o. d. o. 
 
 2. T\iQ people demand peace ; yea, the army itself demands it. 
 
 h.o. d.o. 
 
 3. Let any man resolve to do right 7ioiu, leaving then to do as it can, 
 
 h. f. h. o. 
 
 and if he were to live to the age of Methuselah, he would 
 never do wrong. • 
 
 The following notation serves the same purpose as 
 the above. In this case, however, the direct personal 
 address chooses the line in front : 
 
 King Agrippa, believest thou the prophets ? I know that thou 
 h.f. rep. d. f. 
 
 believest. 
 
 lY. General Concession. 
 
 Ex. — I concede these points. 
 
 This requires small preparation and slow movement. 
 
 V. Submission, Humility, etc. 
 
 Ex. — The Turk was dreaming of the hour 
 
 When Greece, her knee in suppliance bent, 
 
 h. o. d. o. 
 
 Should tremble at his power, 
 imp. 
 
 Right Hand Descending Lateral Supine. 
 
 (Fig. 12.) 
 
 I. Refusal, Rejection, Emphatic 
 Removal. 
 
 Ex. — I. I refuse the offer. 
 
 2. Away with an idea so absurd ! 
 
 Except in rejection, removal, 
 etc., this gesture is generally less 
 emphatic than the descending ob- 
 lique, but is more emphatic than 
 the horizontal lateral. 
 
 II. Negation or Denial. 
 
 Ex. — I. The moistened eye, the trembling lip, 
 FiGr, 12. "A-re not the signs of doubt or fear. 
 
BIGHT HAND SUPINE. 59 
 
 2. He DISCLAIMS the authority of the king. 
 
 3. To thine own self ho. true, 
 
 h.f. 
 And it must follow as the night the day, 
 
 h.o. 
 Thou canst not then be false to any man. 
 
 d.I. 
 
 III. Concession, Relinquishment, Withdrawal, De- 
 clension, and kindred ideas. 
 
 Ex.— I. I concede all that my opponent claims. 
 
 The wave of concession makes a full sweep of the hand 
 and arm. 
 
 2. Caesar was an honorable man. 
 A concession of Mark Antony. 
 
 There should be here, simultaneously with the move- 
 ment of the hand, a forward inclination of the body — 
 the natural expression of yielding. 
 
 3. For the sake of peace, I am willing to concede every reason- 
 
 able DEMAND. 
 
 4. I RELINQUISH any such expectation. 
 
 5. I WITHDRAW my motion. 
 
 6. I DECLINE the offer. 
 
 IV. Extreme Humility, Submission, Condescension, 
 Obsequiousness. 
 
 Ex. — I. I beg a thousand pardons from your majesty. 
 
 2. Your very humble servant, sir. 
 
 3. Must I stand 
 
 And CROUCH beneath your testy humor. 
 
 sus. 
 
 4. Thanks to God 
 For such a ROYAL lady. 
 
 V. Privation, Destitution, Diminution, Nonentity. 
 
 Ex, — I. They were but a feeble band, 
 
60 MAKUAL OF GESTURE. 
 
 2. Merit like his, the fortune of the mind, beggars all wealth. 
 
 h. o. imp. d. 1. sus. 
 
 3. An empire thou couldst crush, command, rebuild, 
 
 b. h.h.l, b.h.d.o.p, b.h.h.o. b.h.d.o. 
 
 But govern not thy PETTIEST passion. 
 d.l. ^ 
 
 4. They tell us, sir, that we are weak, 
 
 5. Shall we gather strength by irresolution and inaction ? 
 
 6. The army was reduced to utter destitution. 
 
 7. He was deprived of every advantage. 
 
 8. Treasures of wickedness profit nothing. 
 
 9. Who steals my purse, steals trash. 
 
 h. o. d.l. 
 
 10. The tvine of life is drawn, and the mere lees 
 
 h. 1. d.l. 
 
 Is left, this vault to brag of. 
 drop. 
 
 11. But yesterday, the word of Caesar might 
 
 h. 0. 
 Have stood against the world; now lies he there, 
 
 h. 1. d. o. ind. 
 
 And none so poor to do him reverence, 
 d. 1. sus. 
 
 12. Thy joys 
 
 Are placed in trifles, fashions, follies, toys. 
 
 Let the hand move slowly through the series. 
 
 13. All that tread 
 
 The globe are but a handfull to the tribes 
 
 h.l. d.L 
 
 That slumber in its bosom. 
 
 b. h. d. o. p. 
 
 VI. Abasement, Debasement, and kindred ideas. 
 
 Ex. — I. For I know that in me, (that is, in my flesh,) dwelleth 
 NO good thing. 
 
 2. The inebriate descends to the level of the brute. 
 
 3. Minds, 
 
 By nature great, are conscious of their greatness, 
 
 h. o. d. o. 
 
 And hold it mean to borrow ought from flattery. 
 d. 1. imp. 
 
BIGHT HAND SUPINE. 61 
 
 4. Real glory 
 
 a. o. 
 Springs from the silent conquest of ourselves, 
 
 b.h.d.o. 
 And without that, the conqueror is nought 
 
 But the first slave. 
 d. 1. 
 
 5. A courtier's dependent is a beggar's dog. 
 
 6. The Lord bringeth the counsel of the heathen to nought. 
 
 VII. Scorn, Derision, Mockery, Contempt, Detesta- 
 tion, etc. 
 
 Ex. — I. Thou makest us a reproach to our neighbors, a scorn and 
 
 h. 1. 
 DERISION to them that are round about us. 
 d. I. 
 
 2. O, when I am safe in my sylvan home, 
 
 h.o. 
 I MOCK at the pride of Greece and Rome, 
 d.l. 
 
 VIII. Hopelessness, Extremity. 
 
 Ex. — I. There is no HOPE of success. 
 
 2. It were utterly useless to resist. 
 
 3. It is in VAIN, sir, to extenuate the matter. 
 
 4. It is now TOO LATE to retire from the contest. 
 
 5. Delay is had, doubt worse, desponding worst. 
 
 d. f. d. o. d. 1. 
 
 6. Life ill-preserved, is WORSE than badly lost. 
 
 h. o. d. 1. 
 
 7. Love can hope, where reason would despair. 
 
 a. f. d. L 
 
 8. He has gone to his rest — gone, to return no more. 
 
 Right Hand Descending Oblique Backwards, Supine. 
 
 (Fig. 13.) 
 
 I. Emphatic or Vehement Rejection. 
 
 Ex. — Away with an idea so abhorrent to humanity ! 
 
62 
 
 MANUAL OF GESTURE. 
 
 Fig. 13. 
 
 II. Sometimes employed in Nega- 
 tion, and for other purposes usually 
 assigned to the descending lateral, — 
 to complete a series, to effect a cli- 
 max, or to express greater degree. 
 
 Ex. — I. Let another man praise thee, and not 
 
 h. o. h. 1. 
 
 thine own mouth ; a stranger, and not 
 
 h.o. b. d.o.b. 
 
 THINE OWN LIPS. 
 
 2. There is no 7vork, nor device, nor knowl- 
 d. f. d.o. d. 1. 
 
 edge, nor wisdom, in the grave, 
 
 d. o. b. imp. 
 
 whither thou goest. 
 
 Right Hand Horizontal Front, Supine. 
 
 (Fig. 14.) 
 
 I. Direct Personal Address — Appeal, Challenge, 
 Command, Exhortation, Interrogation, etc., etc. 
 
 Ex. — I. I appeal to you, sir, for the decision. 
 
 2. I challenge investigation. 
 
 3. Give me good proofs of what you have 
 alleged. 
 
 4. Charge ! 
 
 r.h.h.f. 
 
 Chester, 
 
 Charge ! On ! 
 
 rep. r.h.h.f. 
 
 Stanley, On ! 
 
 rep. 
 
 Fig. 14. 
 
 The fourth example requires an 
 energetic forward motion of the body, 
 and a corresponding fullness in the 
 arm movement, the effect being quite 
 different from that shown in the cut. 
 
 5. Stand 
 
 Firm for your country, and become a man, 
 h. f. rep. 
 
 Honor'd and lov'd. 
 rep. 
 
RIGHT HAND SUPINE. 63 
 
 6. I court others in verse, but love thee in prose. 
 
 h. 1. h. f. 
 
 They have my whimsies, but thou hast my heart. 
 h.l. h.f. 
 
 7. This, above all, to thine own self be true. 
 
 h. f. rep. 
 
 8. Whatsoever thy hand findeth to do, do it with thy might. 
 
 h.f. d.f. 
 
 9. Know THYSELF. 
 
 10. Think for thyself one good idea, 
 
 h. f. rep. 
 But known to be thine own, 
 rep. 
 Is better than a thotisand \Atz.xvt^ 
 h.l. 
 From fields by others sown, 
 imp. 
 
 11. Do you CONFESS the bond? 
 
 12. And why beholdest thou the viote that is in thy brother's eye, 
 
 h. 1. imp. 
 
 but considerest not the BEAM that is in thine own eye? 
 h. f. imp. 
 
 II. Unemphatic Particular Assertion. 
 
 Ex. — Living I shall assert it, dying I shall assert it. 
 h.f. d.f. 
 
 Here we have the unemphatic as compared with the 
 emphatic. 
 
 III. Presentation. This may refer to visible objects, 
 or to time, space, or thought. 
 
 Ex. — I. With this hand I signed the pledge. 
 
 2. The world at this moment is regarding us with a vnlling, but 
 
 h.f. h. o. 
 
 something of a fearful admiration, 
 d. o. 
 This is the place, the center of the grove. 
 
 h. f. rep. 
 
 3. This is the proposition to be discussed. 
 
 4. Did this in Caesar seem ambitious? 
 
 h. f. imp. 
 
 5. The Jews require a sign, and the Greeks seek after wisaom; but 
 
 h.l. h.o. b. 
 
 we preach Christ crucified. 
 h.f. 
 
64 MAKUAL OF GESTURE. 
 
 The ideas of the Jews and Greeks are rejected, and 
 something else presented instead; hence the contrast 
 in gesture — ^presentation as opposed to rejection ; not 
 
 that^ but this. 
 
 h. 1. h. f. 
 
 IV. Directness, Boldness, Integrity. 
 
 Ex. — I. True as the steel of their tried blades. 
 
 2. I speak the truth, the whole truth, and nothing but the 
 
 truth. ^•^- ''"P- d-f- 
 
 For emphatic distinction, the action here, as in many 
 similar cases, is consummated in the descending line. 
 
 3. W 2iS \\. ambition that induced Regukis to return to Carthage? 
 
 h. o. 
 
 No; but a love of couittry and respect for truth — an act of 
 d.o. h. 1. h. f. 
 
 moral sublimity arising out of the firmest integrity. 
 a. o. h. f. 
 
 V. Impulsion, Forward Motion. 
 
 Ex. — I. True eloquence urges the whole man onward, right onward 
 
 to his object. ^•^- , ^ep. with 
 
 •' larger prep. 
 
 2. On, Comrades, On ! 
 
 h. f. rep. 
 
 3. Forward, the Light Brigade ! 
 
 The coincidence of this with a preceding applicatiop 
 — that of command — renders the action doubly expres^ 
 sive. 
 
 VI. Futurity. 
 
 Ex. — I. The future lies before us. 
 
 2. Anticipation forward points the view. 
 
RIGHT HAND SUPINE. 
 
 65 
 
 Right Hand Horizontal Oblique Supine. 
 
 (Fig. 15.) 
 
 I. General Address, as distin- 
 guished from particular personal ad- 
 dress, which takes the line in front ; 
 Presentation, etc. 
 Ex. — I. Conscript Fathers, I do not rise to 
 
 h.o. 
 waste the night in words. 
 h.l. 
 
 2. Fellow-citizens, I congratulate you 
 
 on the return of this anniversary. 
 
 3. For the truth of my statement, I appeal 
 
 to THESE WITNESSES. 
 
 4. These are my sentiments, gentlemen, 
 e. I now submit these questions to YOU, 
 
 my friends. 
 
 6. Speak the speech, I pray you, as I pro- 
 h.o. imp. 
 
 nounced it to you. 
 
 II., General Reference as distinguished from particu- 
 lar personal reference ; Respectful Reference. 
 
 Ex. — I. For the justice of this principle, I refer you to the decisions of 
 h. f. 
 
 the COURTS, 
 h.o. 
 
 2. Then must the Jew be merciful. 
 
 The grammatical third person singular is embraced 
 in the term general as employed in this treatise. It 
 Portia were using the form of the second person — Then 
 must thou be merciful, Shylock — this direct personal 
 address would call for the gesture in front. This rule, 
 however, is by no means invariable, as may be seen 
 from many of the examples given elsewhere. Gesture 
 inclines to the line in front by the law of emphasis 
 
 Fig. 15. 
 
66 MANUAL OF GESTURE. 
 
 alone, regardless of every other law. In many other 
 cases, also, as in classification, comparison and contrast, 
 it is found convenient to make exceptions to the rule. 
 
 3. I acknowledge my sincere regard for the honorable gentleman 
 who preceded me. 
 
 III. Unemphatic General Assertion, or Expression of 
 General Thought. Appropriate in Interrogation, etc. 
 
 Ex. — I. Man is mortal. 
 
 2. All men are created equal. 
 
 3. What was the object of his ambition ? 
 
 4. Who knows the joys of friendship? 
 
 The attention of the student is here called to the 
 prominence which should be given to the present ges- 
 ture — horizontal oblique — together with the descending 
 oblique, in general assertion. Sentences may often be 
 treated as mere assertions, even though they contain 
 some word suggestive of a descriptive or designative 
 gesture. 
 
 In particular, and very emphatic assertion, as previ- 
 ously shown, the corresponding front lines are preferred, 
 and these four gestures, although employed for various 
 other purposes, may, by way of distinction, be called 
 assertive gestures, and classified as follows : 
 
 Horizontal front, unemphatic particular assertion ; 
 Horizontal oblique, unemphatic o^eneral assertion ; 
 Descending front, emphatic particular assertion ; 
 Descending oblique, emphatic general assertion. 
 
 In didactic and argumentative discourse, these ges- 
 tures predominate. However, as the delivery becomes 
 more emotional or impassioned, the left hand will be 
 
RIGHT HAND SUPINE. 67 
 
 brought in as an accompaniment to the right, as will 
 be shown under both hands supine, 
 
 IV. Closely allied to the preceding designation, we 
 have for this gesture the Suspension of Thought. The 
 horizontal oblique is thus employed in connection with 
 some other gesture which is added to continue or to 
 complete the expression. 
 
 Ex. — I. Before reinforcements could be sent, the battle was lost. 
 h. o. d.o. 
 
 2. The steed at hand, why longer tarry ? 
 
 h o. d. o. 
 
 3. That RICHES are to be preferred to wisdom, no one will openly 
 
 h.o. imp. d.o. 
 
 assert. 
 
 4. The brave man will conquer, ox perish in the attempt. 
 
 h.o. d.o. 
 
 5. To smile upon those we should censure, and to countenance 
 
 h. o. imp. h. 1. 
 
 such as are guilty of bad actions, is bringing guilt upon our- 
 selves. '"^P- ^•*'- 
 
 Antithesis and Comparison properly fall under this 
 head. To illustrate these the examples are continued : 
 
 6. The prodigal robs his heir ; the miser robs himself. 
 
 h.o. d.o. 
 
 7. He that cannot bear a jest, should not make one. 
 
 h.o. d.o. 
 
 8. All who have been great and good without Christianity, would 
 
 h. o. 
 have been much greater and better with it. 
 
 d.o. 
 
 Also Hypothetical Clauses : 
 
 9. If the war be continued, the public treasury will be exhausted, 
 
 h.o. d.o. 
 
 10. If sheep and OXEN could atone for men, 
 prep. h. o. 
 
 Ah ! at how cheap a rate the rich might sin ! 
 r.h. upl. d.o. 
 
 Other gestures are sometimes brought in to extend 
 the suspension of thought ; as, 
 4 
 
68 MANUAL OF GESTURE. 
 
 11. If ONE man can do much good, if two can do more, and if three 
 
 h. f. h. o. 
 
 can go FAR BEYOND two ; what may we not expect three 
 
 h. 1. 
 hundred thousand to accomplish ? 
 b.h.h.l. 
 
 12. Whatever tends to promote the principles of virtue, and 
 
 h.f. 
 strengthen the bonds of brotherhood — whatever tends to 
 h.o. 
 
 CALM THE RUFFLED FEELINGS and REGULATE THE PASSIONS, 
 h. o. p. h.l.p. 
 
 is undoubtedly a source of happutess. 
 d.o. 
 
 To this head may also be referred those cases in 
 which the subject of an unimpassioned sentence occurs 
 upon the horizontal oblique, the predicate usually taking 
 an emphatic downward stroke : 
 
 13. The LOVE OF MONEY is the root oi all evil. 
 
 h.o. d.o. 
 
 14. Tyrants, when reason and argument make against them, have 
 
 h.o. rep. 
 
 recourse to violence to silence their opponents, 
 d.o. 
 
 15. Nations, as well as men, fail in nothing which they boldly 
 
 h.o. imp. 6.jti. 
 
 undertake. 
 
 It will be observed that much prominence is given to 
 the gesture horizontal oblique supine. This and the 
 corresponding gesture in the descending line are more 
 frequently employed than any others in this system . 
 
 Right Hand Horizontal Lateral Supine. 
 
 (Fig. 16.) 
 
 For the full effect of the curve, the movements ter- 
 minating in the lateral positions — descending, horizontal 
 and ascending — are made with a full sweep of the hand, 
 which is first carried to the corresponding oblique line, 
 
RIGHT HAND SUPINE. 
 
 69 
 
 Fig. 16. 
 
 and thence outward to the lateral, thus : for the de- 
 scending lateral, first make the descending oblique 
 (omitting the emphatic stroke 
 at its terminus), and then carry 
 the hand around to the descend- 
 ing lateral ; for the horizontal 
 lateral, give the horizontal ob- 
 lique, and sweep outward thence 
 to the horizontal lateral ; for the 
 ascending lateral, move to the 
 ascending oblique, and continue 
 the action to the ascending lat- 
 eral ; carefully avoiding, in each 
 case, the angle which would be 
 formed by allowing the hand to 
 pause at the oblique extremity, 
 and making the motions continuous and curvilineal. 
 The close observance of these directions will prove an 
 effectual safeguard against the prevalent fault of divest- 
 ing this class of gestures of their gracefulness and ex- 
 pressive power. 
 
 In the interpretation of this gesture we have, 
 I. Extension in time and space, and, by analogy, 
 extension in thought. 
 
 Allusion to numbers and space frequently uses this 
 in preference to the corresponding gesture with both 
 hands. 
 
 Ex. — I. From infancy to old age. 
 
 2. Days, MO>rrHS, years and ages shall circle away. 
 
 Slow movement extending through the series. 
 
 3. From the center all around TO THE sea, I am lord of the 
 
 fowl and the brute. 
 
70 MANUAL OF GESTURE. 
 
 4. His capacious mind ranged over the whole subject. 
 
 5. Shall TRIBULATION, OR DISTRESS, OR PERSECUTION, OR FAMINE, 
 
 OR NAKEDNESS, OR PERIL, OR SWORD? 
 
 Slow movement throughout. This takes the supine 
 on account of its interrogatory character. Tribulation, 
 distress, etc., in themselves considered, would require 
 the prone hand. The terms here employed, though 
 numerous and descriptive, are merged in a sweeping 
 unity of effect ; so of the gesture. 
 
 6. Where is the wise ? Where is the scribe ? Where is the disputer 
 
 h.f. h.o. h.l. 
 
 OF this world ? 
 
 Here the lateral gesture is brought in to complete 
 the series. The thought may be extended either by 
 one sweeping gesture, as in Ex. 5, or by using the 
 lateral in connection with the front and oblique, as in 
 Ex. 6. 
 
 7. The morning was pure and sunny, the fields were white with 
 
 h. f. 
 
 daisies, and BEES HUMMED ABOUT every bank. 
 h.o. h.l. 
 
 8. A proverb is the wit of one, and the wisdom of many. 
 
 h.o. h.l. 
 
 II. Descriptive Reference. AVhile objects may be 
 descriptively referred to with any other gesture, the 
 horizontal lateral^ because of its greater prominence in 
 this respect, is worthy of special notice. 
 
 Ex. — I. The breeze of morning wafted incense ON THE AIR. 
 
 2. O'ER THE RIVER, THE VILLAGE, THE FIELD, AND THE WOOD. 
 
 This requires a full preparation, and large outward 
 sweep. Nor must the hand be allowed to pause with 
 the rhetorical pauses in the voice. 
 
 III. Disclosing, Revealing, Showing, Displaying, etc. 
 
RIGHT HAND SUPINE. 71 
 
 Ex. — I. His faults lie open to the laws. 
 
 2. O, what a goodly outside falsehood hath ! 
 
 3. Professing themselves to be wise, they became fools. 
 
 4. This world is all a FLEETING show. 
 
 h.l. 
 
 In the last example the gesture expresses a complex 
 idea — transition and display. 
 
 IV. Distant Reference — distance in time or space. 
 
 Ex. — I. Methinks I saw thee straying on the beach. 
 
 2. The brave abroad fight for the wise at hoTiie. 
 
 h.l. h.f. 
 
 3. Our absent friends are remembered in these festive seasons. 
 
 4. Search the records of our EARLY history for a parallel to this. 
 
 5. The blessed to-day are as completely so 
 
 h.f. d.o. 
 
 As who began three thousand years ago. 
 
 h.l. 
 
 V. Removal, Withdrawal, Transition, etc. 
 
 This being the gesture of distance — distance in a 
 greater or less degree — it is often used in referring to 
 tliat and iho%e^ as distinguished from this and ihese^ 
 which incline to the front and oblique. Here and there 
 follow the same law. 
 
 Frequently used in connection with the horizontal 
 front, or, it may be, some other gesture, to express 
 Antithesis, or Parallelism. 
 
 Ex. — I. The objection to this measure is now removed. 
 
 2. Go, say I sent thee forth to purchase honor. 
 
 imp. 
 
 3. Through floods and through forests he bounded aw AY. 
 
 4. Man may dismiss COMPASSION from his heart, 
 
 h.o. 
 
 sus. 
 
 But God will never, 
 d.o. 
 
72 MANUAL OF GESTURE. 
 
 5. His cares flew away, 
 
 h.l. 
 And visions of happiness danced o'er his mind. 
 
 a. o. 
 
 6. He WITHDREW from the cares of the world. 
 
 7. The fashion of this world passeth away. 
 
 8. The man that wandereth out of the way of UNDERSTANDING, 
 
 shall remain in the congregation of the dead. ^- '• 
 
 d.l. 
 
 9. And of Zion it shall be said, This and that man was born in 
 
 her. ^- f- ^- 1- 
 
 10. Some place the bliss in action, some in ease— 
 
 h.l. h.o. 
 
 Those call it pleasure, and contentment these, 
 h.l. h.o. 
 
 11. Call imperfection what thou /<2«ryj-/ such, 
 
 h.o. 
 Say, here he gives too little, there too much. 
 h.f. imp. h.l. imp. 
 
 12. The wise man is happy when he gains his own approbation, the 
 
 h. f. imp. 
 
 FOOL when he gains that of others. 
 
 h.l 
 
 imp. 
 
 13. A man's first care should be to avoid the reproaches of his own 
 
 h. f. imp. 
 
 heart ; his next, to escape the censure of the world. 
 
 h.l. 
 
 14. When our vices leave us, we flatter ourselves we leave them. 
 
 h.l. d.l. 
 
 15. The wicked flee when no man pursueth : but the righteous 
 
 h.L 
 are bold as a lion. 
 d.o. 
 
 VI. Unemphatic Negation. 
 
 This comes from the primary idea of removal. To 
 deny a proposition is to remove it from the mind. 
 " We posite by an affirmative ; we remove by a nega- 
 tive." 
 
 Ex. — I. Galio cared for none of these things. 
 
 2 Caesar was not more ambitious than CiCERO, 
 3. We shall not fight our battles alone. 
 
RIGHT HAND SUPINE. 73 
 
 That is, Galio dismissed the whole affair from his 
 thoughts ; we remove from our minds the proposition 
 that Caesar was more ambitious than Cicero ; we put 
 away the discouraging thought of fighting our battles 
 alone : hence the gesture of removal. 
 
 4. I have not stopped mine ears to their demands. 
 
 5. Angels, contented yf\\.\i their fame in Heaven, seek not the praise 
 
 of MEN. ^'°' '""P- 
 
 h.l. 
 
 (^Negation as opposed to affirmation.) 
 
 6. Not that I loved Csesar less, but that I loved Rome more. 
 
 h.l. d.o. 
 
 7. You were paid \.o fight against Alexander, not to rail at him. 
 
 d.o. h.l. 
 
 8. True politeness is not a mere compliance with arbitrary custom, 
 
 h.o. h.l. 
 
 it is the expression of a refined benevolence. 
 
 d.o. 
 
 What may be termed the weak negative, in contrast 
 with the strong negative, may be expressed by a moder- 
 ate upward, downward, or horizontal wave, according 
 to its degree of sublimity, energy, or moderation. 
 
 VII. Remission. 
 
 Ex. — I freely forgive you. 
 
 The same language uttered with greater emphasis 
 would take the descending lateral ; and if accompanied 
 with strong emotion, both hands. 
 
 VIII. Concession, in a moderate degree. 
 
 Ex -I. I acknowledge his greatness as a military leader, but I doubt 
 
 the sincerity of his intentions. • * 
 
 d.l. 
 
 2. Others may be wiser, but none are more amiable. 
 
 h.l. d.o. 
 
 3. The miracles that Moses performed may have convinced 
 
 h.o. h.l. 
 
 Pharaoh, but at first they humbled not his pride. 
 
 d.o. 
 
74 MANUAL OF GESTURE. 
 
 4. He who lacks decision of character, may win the love, but he 
 h.o. h.l. 
 
 certainly cannot gain the respect of his fellow-men. 
 d.o. 
 
 IX. Disregard, Diminution, Humor, Derision, Ridi- 
 cule, Mockery, Irony, Sarcasm, etc., when unemphatic. 
 When emphatic they take the descending line. 
 
 This is the gesture of slighting, rather than of con- 
 temning. The latter usually prefers the descending 
 line. 
 
 The lateral gesture indicates breadth ; and rhetoricians 
 speak of the " breadth of humor." 
 
 In derision, ridicule, etc., we remove, or set aside, 
 whatever is inconsistent with reason ; hence we employ 
 the gesture of Removal. 
 
 Ex. — I. I have very little regard for such assertions. 
 
 2. The gay will laugh when thou art gone. 
 
 3. Merry is the bird's life, in the pleasant spring : 
 
 sus. 
 
 4. Full WELL they laughed v/ith counterfeited glee. 
 
 h. 1. imp. 
 
 5. Let \\\Q. fools who follow fortune live upon her smiles. 
 
 h. o. h. 1. 
 
 6. Dreams are the children of an idle BRAIN. 
 Begot of nothing but fantasy. 
 
 7. And what is friendship but a name, 
 
 A charm that lulls to sleep. ' ' 
 d.L 
 
 8. Fools are only laughed at — wits are hated. 
 
 h.l. d.l. 
 
 9. What fairer cloak than courtesy for fraud ? 
 
 10. What is ambition ? 'T is a glorious CHEAT. 
 
 h.o. h.l. 
 
 11. Courageous chief! The first in flight from pain 
 
 12. It has been said that this law is a measure oi peace ! Yes ! such 
 
 peace as the wolf gives to the LAMB ! ^' °' 
 
 h.l. 
 
RIGHT HAND SUPINE. 
 
 75 
 
 Right Hand Horizontal Oblique Backwards Supine. 
 
 (Fig. 17.) 
 
 I. Remote Reference — remoteness 
 in time or space. 
 
 It will be observed that this com- 
 pletes the series, — horizontal front, 
 personal reference ; horizontal oblique, 
 general reference ; horizontal lateral, 
 distant reference ; horizontal oblique 
 backwards, remote reference. 
 
 These several relations may also be 
 stated thus : h. f., present ; h. o., near; 
 h. 1., distant; h. o. b., remote. Fig. 17. 
 
 Ex. — I. Turning his back upon country, kith and kin, he wandered FAR 
 AWAY TO FOREIGN LANDS. 
 
 2. Tradition's pages 
 Tell not the planting of the parent tree. 
 
 3. Search the records of the remotest antiquity for a parallel to 
 
 this. 
 
 4. The ashes of my ancestors, 
 
 h.o.b. 
 If intermingled in the tomb with ^tngs, 
 
 b.h.d.f. 
 Could hardly be distinguished, 
 drop. 
 
 II. Retrogression. 
 
 Ex. — The children of Ephraim, being armed, and carrying boxvs, turned 
 h. o. imp. h. o. b. 
 
 BACK in the day of battle. 
 
 In addition to the applications here given, the gestures 
 oblique backwards, in the descending, the horizontal, 
 and the ascending lines, are sometimes used in connec- 
 tion with the corresponding lateral gestures merely to 
 complete a series, or to express greater degree. 
 
76 
 
 MANUAL OF GESTURE. 
 
 Right Hand Ascending Front Supine. 
 
 (Fig. i8.) 
 
 I. Elevation — physical, intellectual, 
 or moral; Sacredness, Sublimity, Sub' 
 lime Apostrophe. 
 
 Ex. — I. Climb to the mountain top. 
 
 2. Aspire to the highest and noblest attain- 
 ments. 
 
 The superlative degree usually prefers the line in front. 
 
 3. Wisdom sits alone, 
 
 Topmost in heaven, 
 rep. 
 
 4. Thou Sun ! of this great world both eye 
 and soul ! 
 
 II. Sacred Address. 
 Ex. — I. Thou art my Father. 
 
 2. I appeal to the great Searcher of hearts 
 for the truth of what I utter. 
 
 III. Sacred Reference — Direct Reference to God, or 
 His throne. 
 
 Ex. — I. 'T was God who fixed the rolling spheres. 
 
 2. The throne of eternity is a throne of mercy and love. 
 
 IV. Futurity, Sublime Anticipation. 
 
 The future as related to time, when not associated 
 with sublimity, usually employs the horizontal gesture : 
 the future as related to eternity — a blissful eternity — 
 the ascending. 
 
 Ex. — I. For ever shall His throne endure. 
 
 If, in this case, it should suit the purpose of the 
 speaker to emphasize the assertion rather than to em- 
 ploy a gesture suggestive of futurity, he would of course 
 
 Fig. 18. 
 
RIGHT HAND SUPINE. 77 
 
 choose the downward, instead of the upward motion, 
 dimply tr'^ating the sentence as an emphatic assertion. 
 
 a. On Jordan s stormy banks I stand, 
 h. f. 
 And cast a wishful eye 
 The eyes upraised. 
 
 To Canaan's fair and happy land, 
 a. f. 
 Where vay possessions lie. 
 b. h.a. o. 
 
 3. O, holy Star of Hope ! 
 a.f. 
 
 The objects of hope lying above and beyond us, 
 suggest this gesture in the present case. 
 
 Right Hand Ascending Oblique Supine. 
 
 (Fig. 19.) 
 
 I. General Sublimity. 
 
 Ex. — I. Day gilds the mountain tops. 
 
 2. Aspire after the rewards of a truly noble 
 
 ambition. 
 
 3. Hark ! the herald angels sing, 
 r. h. upL a. o. 
 
 II. General Sacred Reference. 
 
 Ex. — The Scriptures represent God as the Father of 
 all mercies. 
 
 Fig. 19. 
 
78 
 
 MANUAL OF GESTURE. 
 
 Right Hand Ascending Lateral Supine. 
 
 (Fig. 20.) 
 
 I. Elevation, Sacredness, or 
 Sublimity, combined with Ex- 
 tension or Distance. 
 
 Since the ascending gestures 
 express elevation, sacredness 
 and sublimity, and the lateral 
 indicate extension and distance, 
 the ascending lateral gives this 
 combination. 
 
 Ex. — I. From star to star thy glory- 
 prep. 
 
 shines. 
 
 SUS. 
 
 2. And mountain top to DISTANT 
 prep, 
 mountain top repeats the 
 
 sounding joy. 
 
 Fig. 20. 
 
 II. Descri^jtive Reference combined with Elevation 
 or Sublimity, Sublime Classification, and Enumeration. 
 
 Ex.— The Sim, the moon, the stars His majesty proclaim, 
 a. f. a. o. a. 1. sus. 
 
 Or, the whole may be embraced in one sweep of the 
 hand, terminating in the ascending lateral. 
 
 III. Victory, Triumph, Exultation. 
 
 Ex.— I. In dreams his song of triumph heard. 
 
 2. His few surviving comrades saw 
 
 His smile when rang their proud hurrah ! 
 h.o. a- 1- 
 
RIGHT HAND SUPINE. 
 
 79 
 
 Right Hand Ascending Oblique Backwards Supine. 
 
 (Fig. 21.) 
 
 I. Remoteness in time or space, associated with Ele- 
 vation or Sublimity. 
 
 Ex. — I. This glorious scheme was projected 
 from the foundation of the world. 
 
 2. You may, if it be God's will, gain our 
 h.o. 
 barren and rugged mountains; but, 
 
 a.l. 
 like our ancestors of old, we will 
 
 h.o.b. 
 take refuge in wilder and more 
 
 a.o. b. 
 DISTANT solitudes, 
 rep. 
 
 II. Victory, Triumph, Exulta- 
 tion, the arm making a wider sweep 
 than in the lateral, to express a 
 higher degree of exultation, or to 
 effect a climax. 
 
 Ex. — I. Shout, shout ALOUD for joy ! 
 
 Fig. 21. 
 
 2, We shall come off conquerors, and more than conquerors, 
 a. 1. a. o. b. 
 
CHAPTER V. 
 
 BOTH HANDS SUPINE. 
 
 Both hands are employed to indicate space and num- 
 bers. The latter is based upon the geometrical idea of 
 representing numbers by space. By analogy we use 
 both hands to express the expansion of thought and 
 feeling. They do not, as many young speakers suppose, 
 add emphasis ; but give to the expression warmth, ex- 
 pansion, or entireness. Their too frequent use is a 
 fault, tending to weaken the action. 
 
 Genial and joyous emotions frequently require both 
 hands. 
 
 Example. — O, the transporting rapturous scene 
 
 b. h. a. f. 
 
 That rises to my sight, 
 
 Sweet fields arrayed in living green, 
 b.h.a. 1. 
 And rivers of DELIGHT, 
 b.h. a. o. 
 
 To express the joyousness of this language, one hand 
 would be too sparing. 
 
 In Impassioned Discourse we have the union of force 
 and feeling — Impassioned Emphasis- — which calls for 
 both hands ; unimpasssioned emphasis requiring only 
 one hand. The right hand is the symbol of authority 
 and power ; hence, it is adapted to accompany forcible 
 utterance. 
 
BOTH HANDS SUPINE. 
 
 81 
 
 Both Hands Descending Front Supine. 
 
 (Fig. 22.) 
 
 I. Impassioned Particular Assertion, 
 whether affirmative or negative. 
 
 Ex. — I. This principle is as firm as the solid rock. 
 
 2. The assertion of my opponent is utterly 
 
 FALSE. 
 
 3. Give me liberty, or give me death. 
 
 b. h. a. o. b. h. d. f. 
 
 II. Deposition, Surrender, etc. 
 
 Ex. — I. We will resign 
 
 Thy sacred dust to earth's cold breast. 
 
 The student will observe that the 
 gesture, as applied to this example, is 
 intended to describe the act of deposit- Fig. 22. 
 ing the body, rather than the subsequent 
 idea of its being covered beneath the earth ; hence the 
 hands are supine instead of prone. 
 
 2. All /^rji7«rt/ feeling he deposited upon the altar of his counrty. 
 b.h.h.f. b.h.d.f. 
 
 In partial deposition, or surrender, the arms are bent 
 at the elbows ; to produce the fullest effect they should 
 be straight. In proportion as we bend the arms we 
 withhold the offering. The arm is a tongue that speaks 
 what is in the soul, full or feeble. 
 
 III. Humility, Submission. 
 
 These are expressed in different degrees, according as 
 the body is more or less inclined forward. 
 
 Ex. — 1. {First degree) I SUBMIT. 
 
 2. {Second degree.) I RESPECTFULLY submit. 
 
 3. ( Third degree.) I HUMBLY submit. 
 
 4. Here I stand your slave. 
 
82 
 
 MANUAL OF GESTTTRE. 
 
 5. Here I kneel : 
 
 If e'er my will did trespass 'gainst his love, 
 Either in discourse, or thought, or actual deed. 
 
 ly. Depth or Descent. 
 
 Ex. — I. Errors, like straws, upon the surface flow ; 
 
 h. o. p. 
 He who would search for pearls, must dive below. 
 
 b. h. d. f. 
 
 2. Deep calleth unto deep at the noise of thy water spouts. 
 
 3. Thou hast laid me in the lowest pit. 
 
 4. Yea, though I pass through the Valley of the Shadow of death, I 
 
 will fear no evil. 
 
 5. O DEATH, where is thy sting? 
 
 6. A fire is kindled in mine anger, and shall burn unto the lowest 
 
 Hell. 
 
 7. Into the mouth of Hell rode the six hundred. 
 
 8. They spend their days in luealth, and in a moment go down to 
 
 the grave. b.h.h.o. 
 
 b.h.d.f. 
 
 References like these, tending to narrow and confine 
 the action, naturally employ this gesture. 
 
 Both Hands Descending Oblique Supine. 
 
 (Fig. 23.) 
 
 I. Emphatic assertion in connection 
 with numbers, or space. 
 
 Ex. — I. The mind doth shape itself to its own 
 
 wants, and can bear all things. 
 b.h.h.f. b. h.d.o. 
 
 This notation must be considered 
 with reference to the emphasis rather 
 than to the descriptive effect; other- 
 wise, all things would take b. h. h. 1. 
 
 2. Yet millions x\Q\ev think a NOBLE thought, 
 b.h.h.o. b. h.d.o. 
 
 By the law of analogy, reference 
 to nohle thoughts^ as such, would re- 
 
 Fig. 23. 
 
BOTH HANDS SUPINE. 8S 
 
 quire the ascending gesture, but in the present case the 
 emphatic negation takes precedence, and employs the 
 descending line. 
 
 II. Impassioned General Assertion, whether affirm- 
 ative or negative. 
 
 Ex. — I. These are the worst of abuses. 
 
 2. These allegations are utterly UNTRUE. 
 
 III. Consummation and Finalty. 
 
 When thus employed — for completeness of effect — 
 this gesture may also coincide with either of the pre- 
 ceding applications ; that is to say, the expression may 
 be consummated in an empliatic assertion associated 
 with numbers or space, or in an impassioned emphatic 
 general assertion ; or there may be a coincidence of all 
 three. 
 
 Ex. 
 
 Let the sea roar, and ihe fulness thereof; the world, and they 
 b.h.h.o. b.h.h. 1. b. h. h.o. 
 
 that DWELL therein, 
 b. h. d. o. 
 
 2. Without counsel, purposes are disappointed ; but in the multitude 
 
 h.o. d. o. b. h. h. o. 
 
 of counsellors they are established. 
 b. h.d.o. 
 
 3. His terrors keep the world in awe; 
 
 r. h. h.o. p. 
 His justice guards his holy law; 
 
 r.h.h.l.p. 
 His love reveals a smiling face ; 
 b.h.h.o. 
 His truth and promise SEAL the grace, 
 b. h.d.o. 
 
 i V. General Deposition, or Surrender. 
 
 \\\. — I. We commit these bodies to the earth. 
 
 2. Every personal advantage he surrendered to the common good. 
 li h.h.o. b. h.d. o. 
 
 V. Concession. 
 Ex. — We CONCEDE these points. 
 
84 
 
 MAKUAL OF GESTURE. 
 
 VI. Humility, General Submission. 
 
 Ex. — I. We humbly confess our faults. 
 
 2. It grieves me to the soul 
 
 To see how man submits to man's control. 
 
 To express humility, the hands should descend lowei 
 than in the ordinary descending gesture. There shoul(3 
 also be a corresponding inclination of the body forward. 
 
 Both Hands Descending Lateral Supine. 
 
 (Fig. 24.) 
 
 In the execution of this gesture avoid keeping the elbows too near the body — a 
 posture suited only to comedy. 
 
 Fig. 24. 
 
 I. Depth and Extent com- 
 bined. Expansion, Separa- 
 tion. 
 
 Ex. — I. The dread volcano ministers 
 
 good. 
 h.l. 
 
 d.o. 
 
 Its smothered flames might 
 
 undermine the WORLD, 
 b. h.d.l. 
 
 2. Wide is the gate and broad 
 b. h. d. 1. rep. 
 
 is the way that leadeth to 
 
 destruction. 
 
 imp. 
 
 3. And there were sudden part- 
 
 b. h.d.l. 
 INGS, such as press 
 
 The life from out young hearts. 
 
 b. h. d. f. 
 
 II. Descent, combined with numbers or space ; hence. 
 Abundance, Fullness, Completeness. Descending 
 streams of Divine goodness prompt this gesture. 
 
 Ex. — I. Here pardon, life and joy divine, 
 
 b. h.a. o. 
 
 In rich profusion flow, 
 b. h.d.l. 
 
BOTH HANDS SUPINE. 85 
 
 2. Bring ye all the tithes into the storehouse, that there may be 
 
 b. h. h. f. 
 meat in mine house, and prove me now herewith, saith the 
 imp. rep. 
 
 Lord of hosts, if I will not open you the windows of heaven 
 
 b. h.a. o. 
 
 and pour you out a blessing, that there shall not be ROOM 
 
 b. h.d. 1. 
 
 ENOUGH TO RECEIVE IT. 
 
 III. Removal. So employed in impassioned discourse, 
 and in connection with numbers or space. 
 
 Ex. — I. Every obstacle to this measure is for ever swept away. 
 2. All the foundations of the earth are OUT of course. 
 
 IV. Remission, in the fullest degree. 
 
 Ex. — And sinners plunged beneath that flood, 
 
 b.h.d.o. 
 
 Lose all their guilty stains. 
 b.h.d.l. 
 
 V. Concession in the fullest degree. 
 
 Ex. — I concede every point claimed in the argument. 
 
 VI. Submission, Extreme Humility. 
 
 Ex. — I. I submit myself entirely to your disposal. 
 
 2. Ye worlds and every living thing, 
 b. h. a. o. b. h. a. \. 
 
 Fulfill his high command ; 
 b.h.h.o. 
 Pay grateful homage to your king, 
 b. h. d.o. 
 
 And OWN his ruling hand. 
 b.h.d.l. 
 
 VII. Absolute Renunciation, Relinquishment, Utter 
 Abandonment, Hopelessness. The gesture of extremity. 
 
 Ex. — I. I utterly renounce all the supposed advant^es of such a station. 
 _ . , , , sus 
 
 2. O, you mighty gods! 
 
 b. h. a. o. 
 This world I do renounce ; and in your sight, 
 
 b.h.d.l. 
 Shake patiently my great affliction off. 
 
 rep 
 
 3. I utterly relinquish any such expectation. 
 
86 MANUAL OF GESTtJEE. 
 
 The philosophy of this notation will appear by a com- 
 parison of the last example above with the following : 
 
 I do most fondly cheeish these expectations. 
 
 b.h.h.f. 
 
 4. If thou dost slander her and torture me, 
 
 r. h. h. f. ind. rep. 
 
 Never /^-oy more; abandon all remorse. 
 rep. b. h. d. 1. 
 
 5. How unsearchable are His judgments, and His ways PAST finding 
 
 ^^^ b.h.d.f. b.h.d.l. 
 
 The impossibility of finding out the ways of the 
 Infinite suggests here the gesture of hopelessness. 
 
 6. Plunged in a gulf of dark despair, 
 
 b. h.d. f. 
 We wretched sinners lay, 
 
 Without one cheerful beam of hope, 
 b.h.d.l. 
 Or SPARK of glimmering day. 
 imp. 
 
 7- All is LOST ! 
 
 Under a high state of excitement, despair would be 
 more fully expressed with the hands prone, or with the 
 clinched hands, or, in extreme cases, pressed upon the 
 forehead. 
 
 VIII. Privation, Destitution, Diminution, etc. 
 
 Ex. — I. All, when life is new, 
 
 r. h. h. o. 
 Commence with feelings warm, and prospects high, 
 
 b. h. h. o b. h.a. o. 
 
 But time strips our illusions of their hue. 
 b.h.d.l. 
 
 2. This cruel war has reduced the nation to bankruptcy. 
 
 q. All this boasted knowledge of the world, 
 
 b.h.h.o. 
 
 To me seems but to mean acquaintance with 
 
 Low things, or evil, or indifferent. 
 
 b.h.d.f. prep. b.h.d.l. 
 
 4. Look how we ^W7^<?/ here below, 
 b.h.d.f. 
 
 Fond of these trifling toys. 
 b.h.d.l. 
 
BOTH HANDS SUPmE. 
 
 87 
 
 5, I have seen all the works that are under the sun, and behold all 
 is VANITY and vexation of spirit. .... 
 
 b. h.d.I. 
 
 rep. 
 
 IX. Cessation, Destruction, Annihilation, Non- 
 existence. 
 
 Ex. — I. This vast and solid earth, that blazing supt, 
 b. h.h. 1. a. f. ind. 
 
 Those skies through which it rolls must all have END. 
 b.h.a.o. b. h.d.I. 
 
 2. Still, monarchs dream 
 
 Of universal empire growing up 
 
 b.h.h.l. 
 From universal ruin. 
 b. h.d.I. 
 
 Accompanied with strong emotion, or under any cir- 
 cumstances calling for a purely descriptive effect, refer- 
 ence to universal ruin would require the prone hands. 
 
 3. He saw nothing around him but utter VACUITY. 
 
 Both Hands Horizontal Front Supine. 
 
 (Fig. 25.) 
 
 I. Earnest Entreaty. 
 
 Ex. — Listen, I implore you, to the voice of reason. 
 
 Earnest entreaty assumes an advanced 
 position, inclining the body forward more 
 or less, according to the degree of earnest- 
 ness. 
 
 II. Bold Challenge. 
 
 Ex. — I. I challenge you to your proofs. 
 2. Come, Rhoderic Dhu, 
 
 And of his clan the boldest two. 
 
 If there be three in all your company, dare 
 r. h. h. o. 
 face me on the bloody sands, let them 
 
 come ON. r.h.h.l.ind. 
 
 b. h. h. f. 
 
 Fig. 26. 
 
88 MANUAL OF GESTURE. 
 
 Bold challenge assumes a retired position, bracing 
 the body for resistance. Neither Rhoderic Dhu nor the 
 gladiators of Capua are here welcomed to a feast, but 
 challenged to a fight. The distinction consists not so 
 much in the notation of the gesture as in the manner of 
 its execution, which affects the whole posture of the 
 body. 
 
 3. Here I stand for impeachment or trial ! I dare accusation ! I 
 h. f. d. f. h. f. 
 
 DEFY the honorable gentleman ! I defy the Government ! I 
 b. h.h.f. b.h. h.o. 
 
 defy the \y\\o\^ phalanx ! Let them come FORTH ! 
 b.h.h.l. b. h.h.f. 
 
 III. Bold Command. 
 
 jtv'x. — 1. Press bravely onward ! 
 
 2. On ! On ! — was still his stern exclaim. 
 
 On the repeated word the gesture should be repeated, 
 with larger preparation and more force both of voice 
 and action. 
 
 IV. Impulsion, Propulsion. 
 
 Ex. — I. Onward they march embattled, to the sound 
 b. h.h.f. 
 Of martial harmony. 
 b. h. a. o. 
 
 2. Then rushed the steeds to battle driven. 
 
 imp. 
 
 3. Destruction rushes dreadful to the field, 
 
 b.h.h.l. 
 
 And bathes itself in blood, 
 b. h. d. f. 
 
 V. Contiguity — Applicable either to friendly meet- 
 ing, or to hostile opposition. 
 
 Ex. — I. The rich and the poor meet together. 
 
 2. Mercy and truth are MET together, righteousness and peace 
 
 have kissed each other. 
 
 3. The eager armies met to TRY their cause. 
 
 4. Front to front, 
 
 Bring thou this fiend of Scotland and mjself. 
 
BOTH HANDS SUPINE. 
 
 89 
 
 5. When Greek MEETS Greek, then comes the tug of war. 
 
 6. Confront the battery's jaws of flame. 
 
 7. Wisdom and fortune combatting together ; ' 
 
 b. h. h. f. 
 
 If that the former dare but what it can, 
 rep. rep. 
 
 No chance may shake it. 
 b. h.d. f. 
 
 VI. Presentation. 
 
 Ex. — I. These are the facts upon which I base my argument. 
 
 sus. 
 
 2, Home, kindred, friends, and country — THESE are ties with which 
 we never part. *"'• b.h.h.f. 
 
 b.h.d. f. 
 
 Here we first enumerate a series, sweeping through it 
 with one hand in descriptive reference, and then, as it 
 were, gather up and present the whole with both hands. 
 For greater emphasis, as well as for completeness of 
 effect, the action is finished in the descending line. 
 
 Both Hands Horizontal Oblique Supine. 
 
 (Fig. 26.) 
 
 The general tendency here to 
 spread -the hands too wide apart 
 should be carefully avoided. Half 
 way between the front and the 
 lateral is the rule. Better a little 
 inside, than outside of this line. 
 
 I. General Address — Appeal, 
 Command, Exhortation, Welcome, 
 etc. 
 
 Ex. — I. Fellow-citizens: I appeal to your 
 better JUDGMENT for the decision 
 of this question. 
 2. To arms ! To arms ! A thousand 
 voices cried. "^^^P" 
 
 Fig. 26. 
 
90 MANUAL OF GESTURE. 
 
 3, Arm, warriors, arm for the fight. 
 
 4. Come ON, then ; be men. 
 
 5, Come FORTH, O ye children of gladness, come ! 
 
 6, Welcome once more to your early home ! 
 
 sus. 
 
 7. Our hearts and our hands are open to receive you. 
 
 8. Friends, Romans, Countrymen, lend me your ears. 
 
 prep. b. h. h. o. rep. 
 
 II. Opening, Disclosing, Revealing, etc. 
 
 Ex. — I. In the last great day the books shall be opened. 
 
 2. The secret thoughts of our hearts shall be revealed. 
 
 3. His love reveals a smiling face. 
 
 III. Fulness, Abundance, and, by analogy, genial and 
 expansive ideas generally. 
 
 Ex. — I. The Lord fulfill all thy petitions. 
 
 2. In the house of the righteous is much treasure. 
 
 3. The field of honorable labor lies before us. 
 
 4. This is my own, my native land. 
 
 5. Mingles with the friendly bowl^ 
 
 r. h. h. o. 
 The feast of REASON and the flow of SOUL, 
 b. h.h. o. rep. 
 
 6. The world is bright before thee. 
 
 7. Christianity breathes love and peace and good will to man. 
 
 prep. 
 
 IV. Comparison and Contrast, Resemblance, Paral- 
 lelism, etc. 
 
 Ex, — I. Take these things and compare them. 
 
 sus. 
 
 2. In the day of prosperity ho. joyful, but in the day of adversity 
 
 a. o. 
 
 consider : God also hath set the one over against the other. 
 h. f. ind. prep. b. h. h. o. 
 
 3. To Him the darkness and the light are both alike. 
 
 4. Our Great Advocate is allied to both parties in this controversy. 
 
 V. Forward Motion. When less emphatic, or when 
 
BOTH HANDS SUPINE. 
 
 91 
 
 embracing more space, this frequently prefers the 
 oblique to the front. 
 
 Ex. — I. Roll on, thou deep and dark blue ocean — roll. 
 
 rep. 
 
 2. The eternal surge 
 Of time and tide rolls on. 
 
 3. Life bears us on like the current of a mighty river. 
 
 4. Advance, then, ye future generations. 
 
 Both Hands Horizontal Lateral Supine, 
 
 (Fig. 27.) 
 
 I. Large Numbers or 
 Spac€, Universality, Ut- 
 most Expansion, Universal 
 Appeal, Challenge, etc. 
 
 Ex. — I. Is not the king's name 
 FORTY THOUSAND names? 
 
 2. They yet slept in the wide 
 ABYSS OF possibility. 
 
 3. How many pleasant faces 
 shed their light on every 
 side. 
 
 4. Let the sea roar, and the 
 
 b.h.h.o. 
 fulness thereof, 
 b.h.h.l. 
 
 5. Knowledge or wealth to few are given, 
 
 r. h. h. 1. 
 But mark \vovfjust the ways of Heaven : 
 
 h. o. ind. 
 True joy to all is free, 
 b.h.h.l. 
 
 6. These glorious truths shall be diffused throughout the whole 
 
 WORLD. 
 
 7. All the ends of the earth have seen the salvation of our God. 
 
 8. Let every thing that h?^tb BREATH praise the Lord. 
 
 Fig. 27, 
 
92 MANUAL OF GESTURE. 
 
 9. I appeal to the impartial judgment of all mankind. 
 
 10. Come one, come all ! this rock shall fly 
 b. h. h.l. r.h.d.o.b. 
 From its firm base as soon as I, 
 sus. 
 
 Large expansion generally prefers both hands, but 
 may, under tranquil circumstances, sometimes be indi- 
 cated with one hand. In moderate expansion, one hand 
 is usually adequate. 
 
 Universality in unity may, for the most part, be ex- 
 pressed with one hand ; universality in plurality gen- 
 erally requires both hands. 
 
 II. Unfolding, Displaying, etc. 
 
 Ex.— I. The landscape, outstretching in loveliness, lay on the lap 
 of the year in the beauty of May. 
 
 2. His pui-poses will ripen /izj/, 
 
 b. h. h. o. 
 
 Unfolding every hour. 
 b. h. h.l. 
 
 3. One of the chief objects of interest was the magnificent display 
 
 OF national banners. 
 
 4. Look on this beautiful world and read the truth in her fair 
 
 pages. ^-^^-h-^- ^-^^-h-f- 
 
 sus. 
 
 5. All the proud virtue of this vauntlng world 
 
 b.h.h.I. 
 
 Fawns on success and power, howeer acquired, 
 b.h.d.o. b.h.d.l. 
 
 Both Hands Ascending Front Supine. 
 
 (Fig. 28.) 
 
 I. Earnest Sacred Address — Appeal, Adoration, 
 Ascription, Praise, Thanksgiving, Confession, Suppli- 
 cation, etc. 
 
 Ex. — I. We appeal to Thee, Thou righteous Judge. 
 2. Father Supreme, Thou ONLY God ! 
 
BOTH HANDS SUPINE. 
 
 98 
 
 3. We render Thee praise and thanksgiaing. 
 
 4. Against Thee, Thee only have I sinned^ 
 
 and done this evil in Thy sight. 
 
 5. Lord, I have called DAILY upon Thee, I 
 
 have STRETCHED OUT MY HANDS UntO 
 
 Thee. 
 
 6. Hear my cry, and give ear to the voice of 
 
 my supplication. 
 
 7. Into Thine hand I commit my spirit. 
 
 The object here is to lay down the 
 general principles of gesture, leaving 
 the individual to determine for himself, 
 according to his own feelings and sense 
 of propriety, how much action to em- 
 ploy in addressing the Deity. The older divines were 
 more demonstrative in this respect than those of the 
 present day. Such gestures are more common in oblique 
 than in direct discourse ; as, 
 
 my bleeding country save ! " 
 
 Fig. 28. 
 
 O, Heaven !" he cried, 
 b. h. a. f. 
 
 rep. 
 
 II. Sacred Reference. 
 
 Ex. — I. In contemplation of created things, by steps we may ascend to 
 r\QYi ^* ^" ^' °* ^^°^ P^'cp- 
 
 b. h. a.'f. 
 
 2. Pay thy vows unto the Most High. 
 
 3. Of Him, and through Him, and to Him are all things, 
 b. h.a. f. rep. rep. sus. 
 
 III. Elevation, Sacredness, Sublimity. 
 
 Ex, — I. Auspicious Hope ! in thy sweet garden grow 
 b. h. a. f. 
 
 Wreaths for each toil, a charm for every woe. 
 rep. b. h. d. o. 
 
 2. O, sacred Truth, thy triumphs ceased zwhW^. 
 
 b.h.a.f. b. h.d.f. 
 
 3. And hence, in middle heaven remote, is seen 
 
 The mount of God, in awful glory bright. 
 
94 
 
 MANUAL OF GESTURE. 
 
 Both Hands Ascending Oblique Supine. 
 
 (Fig. 29.) 
 
 Fig. 29. 
 
 General Elevation and Sub- 
 limity, Sublime Apostrophe, Devo- 
 tional Address. 
 
 Ex. — I. Behold the everlasting hills. 
 
 2. The gathering clouds, like meeting 
 
 ARMIES, come on apace. 
 
 3. Mutual love, the crown of all our 
 
 b. h. h.o. b. h.a. o. 
 BLISS. 
 
 4. Legions of angels shall guard you 
 
 home. 
 
 5. Hail, holy Light ! offspring of 
 
 Heaven, first-born. 
 
 6. Ye stars, which are the poetry of 
 
 Heaven. 
 
 7. The windows of Heaven were opened. 
 
 8. Open unto me the gates of righteousness. 
 
 9. O Liberty, 
 
 b. h. a. o. 
 Parent of happiness, celestial born ; 
 rep. 
 
 When the first man became a living soul, 
 
 His sacred genius thou, 
 rep. 
 
 10. Hail ! universal Lord ! 
 
 Many of the uses assigned to the horizontal line qI 
 gesture, as fulness, abundance, comparison, etc., when 
 combined Avith elevation or sublimity, would, of course, 
 take the ascending instead of the horizontal. 
 
. BOTH HANDS SUPINB. 95 
 
 Both Hands Ascending Lateral Supine. 
 
 (Fig. 30.) 
 
 I. Elevation, Sacredness, or 
 Sublimity, conjbined with the 
 Utmost Expansion, or with very 
 large numbers or space. 
 
 Ex. — I. Hail to the joyous day ! with 
 b. h. a. o. 
 
 purple clouds 
 
 The WHOLE HORIZON glows, 
 b.h.a.l. 
 
 2. Jehovah dwells in light and glory 
 
 INEFFABLE. 
 
 3. O'er all those wide-extended 
 
 PLAINS 
 
 Shines one eternal day. 
 
 4. Here oft FiG. 30. 
 The sons of bliss take morn or evening pastime, 
 Delighted to behold ten thousand worlds 
 
 Around their suns revolving in the vast external space. 
 
 5. One sun by day, by night ten thousand shine, 
 r.h.a. f. b.h.a.l. 
 
 6. Heaven opened wide 
 Her ever-during gates. 
 
 Here we have opening without external force, there- 
 fore the hands are supine. The emotion of joy may be 
 added by quickening the movement. 
 
 II. Joy or Exultation in the highest degree. The 
 boldest style of Triumph. 
 
 Ex. — I. Joy, joy forever ! my task is done — 
 
 The gates are passed and Heaven is won ' 
 
 2. Cherubic legiotis guard him home, 
 
 b. h.a. o. 
 
 And shout him welcome to the skies ! 
 b.h.a.l. 
 
 3. Through the vast of heaven 
 
 It sounded, and the faithful armies rung 
 Hosanna to the Highest ! 
 
CHAPTER VI. 
 
 RIGHT HAND PRONE. 
 
 Fig. 31. 
 
 The primary signification of the prone hand is Super- 
 position or Superincumbency. First, we have the 
 physical representation of one thing placed or lying 
 upon another, as in the following example : 
 
 The thunder clouds closed o'er it. 
 b. h. h. o. prone. 
 
 Analogous to this is the intellectual or moral condi- 
 
 o 
 
 tion ; as. 
 
 The cloud of adversity threw its gloom over all his prospects. 
 
 r. h. h. 1. prone. 
 
 Tracing the analogy still farther, we come to the 
 realm of feeling and emotion. While the supine hand 
 expresses naked truth — the bare thought, or intellectual 
 idea — the prone clothes the thought with some repres- 
 sive emotion, as scorn, grief, sadness, or any sentiment 
 of a grave, solemn or subdued character. 
 
RIGHT HAND PRONE. 97 
 
 Compare the following examples : 
 
 1. I REJECT the imputation. 
 
 r. h. d.I. supine. 
 
 2. I reject the imputation with scorn. 
 
 r. h. d.I. prone. 
 
 Compare also the following : 
 
 1. He was an eye witness to that scene. 
 
 r. h. h. 1. supine. 
 
 2. He was an eye witness to that solemn scene. 
 
 r. h. h. 1. prone. 
 
 Associations requiring the prone position of the hand 
 may be expressed in words, or suggested by the con- 
 text, or they may grow out of the speaker's feelings, or 
 his knowledge of accompanying circumstances. The 
 idea of superposition — physical or moral — may exist 
 only by implication, as when the object referred to is 
 supposed to be beneath some other object. 
 
 The relation of the prone to the supine hand may, in 
 general terms, be thus stated : • 
 
 The supine hand is communicative, and has the power 
 of address ; the prone is repressive. 
 
 The supine is permissory ; the prone is prohibitory. 
 
 The supine is impulsive ; the prone is compulsive. 
 
 The supine is genial ; the prone is aversive. 
 
 The signification of the prone hand as compared with 
 the supine is further illustrated by the following ex- 
 amples : 
 
 1. Speak forth. ' 
 
 r. h. h. f. supine. 
 
 2. Keep silence. 
 
 r. h. h. f. prone. 
 
 3. 'T was MUSICAL, but SADLY sweet. 
 
 r. h. a. o. supine, r. h. a. o. prone. 
 
98 
 
 MANUAL O^ G^STtJBE. 
 
 4. A talebearer revealeth secrets ; but he that is of a faithful 
 
 r. h, h, o. supine. 
 
 spirit CONCEALETH the matter, 
 r. h. h. o. prone. 
 
 5. And it opened its fan-like leaves to THE LIGHT, 
 
 r. h. h. 1. supine. 
 
 And CLOSED them beneath the kisses of night, 
 r. h. h. 1. prone. sus. 
 
 6. Now green in YOUTH, now withering on the ground. 
 
 r. h. h. o. supine r. h. d. o. prone. 
 
 7. Hush ! breathe it not aloud, 
 
 h. f. prone. h. o. prone. 
 
 The wild WINDS must not hear it ! Yet again 
 
 h. L prone. h. f. supine. 
 
 I tell thee — we are free ! 
 
 b. h. h. 1. supine. 
 
 Right Hand Descending Front Prone. 
 
 (Fig. 32.) 
 
 Fig. 32. 
 
 I. Suppression, Depression, Dejec- 
 tion, and kindred ideas. 
 
 Ex. — I. Put DOWN the unworthy feeling. 
 
 2. Even Genius itself then feels rebuked 
 and SUBDUED as in the presence of 
 higher qualities. 
 
 II. Imprecation, Destruction. 
 
 Ex. — I. May curses blast thy arm, 
 
 2. Thy money perish with thee ! 
 
 3. Dust thou art, and unto dust shall thou 
 
 return. 
 
 4. Down with the tyrant. 
 
BIGHT HAND PRONE. 
 
 99 
 
 Right Hand Descending Oblique Prone. 
 
 (Fig. 33.) 
 
 I. Superposition, physical or moral. 
 
 Ex. — I. Yet on the rose's humble bed, 
 
 The sweetest dews of night are shed. 
 
 2. The storm of grief bears hard upon his 
 
 youth, 
 And BENDS him Hke a drooping flower 
 to earth. 
 
 3. Death lies on her like an untimely 
 
 d. o. p. 
 FROST 
 imp. 
 Upon the sweetest flower of all the field. 
 
 4. Like shiep they are laid in the grave ; 
 
 DEATH shall feed on them. 
 
 5. These lofty trees wave not \^%% proudly 
 
 h.o. h.l. 
 
 That their ancestors moulder beneath 
 them. ^-^-P- 
 
 6. Truth crushed to EARTH shall rise again. 
 
 d. o. p. h.o, 
 
 7. Religion raises men above themselves ; irreligion sinks them 
 
 beneath the brutes. *• °- 
 d. o. p. 
 
 Fig. 33. 
 
 That power is used not to benefit mankind, but to crush them, 
 h. 1. s. d. o. p. 
 
 8 
 
 II. Prostration 
 Ex. — I 
 
 Lo ! the tyrant prostrate on the DUST, 
 d.o. ind. d.o. p. 
 
 2. Like the dust before the whirlwind tliose men fly 
 a. 1. s. 
 That prostrate on the ground of FORTUNE lie. 
 
 d. o. p. 
 
 III. Suppression, Repression, etc., generalized. 
 
 Ex. — I. Let every true patriot REPRESS such a feeling. - 
 
 2. Their spirits were depressed by the weight of adversity. 
 
 3. The enemy was completely subdued. 
 
 5» 
 
100 
 
 MANUAL OF GESTTJ&E. 
 
 4. Man on his brother's heart hath trod. 
 
 5. Thou shalt tread upon the lion and adder : the young lion and 
 
 the dragon shalt thou trample under FEET. 
 
 IV. General Imprecation, Utter Destruction, Destruc- 
 tion by Violence. 
 
 Ex. — I. Be ready, gods, with all your thunder-\jo\X.%, 
 b. h. a. o. rep. 
 
 Dash him to pieces ! 
 r. h, d. o. p. 
 
 2. Blasted be such hopes ! 
 
 3. They shall be punished with everlasting DESTRUCTION. 
 
 Right Hand Descending Lateral Prone. 
 
 (Fig. 34.) 
 
 I. Superposition. 
 
 Ex. — I. The hand of affection shall smooth 
 THE TURF for your last pillow. 
 2. Blessed is the man whose transgres- 
 sion is forgiven, whose sin is 
 
 COVERED. ^•'•^• 
 
 II. Cessation, Dissolution — Des- 
 truction without violence. 
 
 Ex. — I. The tumult ceased ! 
 
 2, Gradual sinks the breeze into 
 A perfect calm. 
 
 Slow movement of the hand outward and down- 
 ward throughout the entire sentence. 
 
 3. Fled is the blasted verdure of the 
 
 fields. 
 
 Here, as in the preceding example, the preparation 
 precedes the voice ; but in this case the entire gesture 
 is rapidly executed upon the first word. 
 
 4. I buried sorrow for his death in the grave with him. 
 
 Reference to the grave may be made with any of the 
 
 Fig. 34. 
 
RIGHT HAND 1>R0NE. lOl 
 
 descending gestures, the hand supine or prone, accord- 
 ing to the associated idea or the degree of emotion. 
 
 5. Thus is my summer worn away and wasted. 
 
 6. How the innocent, 
 
 h. o. s. 
 As in a gentle slumber, pass away ! 
 d.l, p. 
 
 T. At His rebuke the billows die. 
 r. h. and eyes uplifted. 
 
 8. Earth, that nourished thee, shall claim 
 h.f. 
 
 Thy growth to be resolved to earth again. 
 
 d.l. p. 
 
 III. Scorn, Contempt, Scornful Denial, or Rejection. 
 
 Ex. — I. I SCORN the base insinuation. 
 
 2. I reject the offer with disdain. 
 
 3. I despise an action so mean. 
 
 Right Hand Descending Oblique Backwards Prone. 
 
 (Fig. 35.) 
 
 Abhorrence, Detestation, Abhor- 
 rent Repression, Scornful and Con- 
 temptuous Rejection, etc. 
 
 Ex. — I. Thy threats I scorn; thy mercies I 
 
 despise. ^- '• P- 
 
 d.o. b. p. 
 
 2. Tell me I hate the bowl ; 
 
 d.o. 
 Hate is 3i feeble word : 
 d.l. 
 I loathe, ABHOR, 
 d.l. p. d.o.b. p. 
 
 3. Down, tempting fiend ! 
 
 4. I reject the imputation with scorn and 
 
 contempt. Fig. 35. 
 
 In the third example the face and eyes are turned 
 in the direction of the gesture ; in the other examples 
 they are averted, as in fig. 35. 
 
102 
 
 MANUAL OF GESTURE. 
 
 Fig 
 
 Ex.— I. 
 
 2. 
 3. 
 4. 
 
 5. 
 
 6. 
 
 7. 
 8. 
 
 9- 
 10. 
 II. 
 12. 
 13- 
 14. 
 15- 
 16. 
 17- 
 
 Right Hand Horizontal Front Prone. 
 
 (Fig. 36.) 
 
 I. Restraining, Arresting, Refraining, 
 Seizing, Checking, Prohibiting, and the 
 like ; usually in connection with direct 
 personal address. The accompanying 
 figure shows this gesture in its mildest 
 form, as adapted to unemphatic speech, 
 as in the example '' Step softly," etc. 
 In more emphatic utterance, the hand 
 and arm, and, it may be, the whole 
 body, are projected forward with a de- 
 gree of energy proportioned to the senti- 
 
 or. ment. 
 
 . 36. 
 
 Restrain the unhallowed propensity. 
 
 Arrest the wandering thought. 
 
 Refrain, I entreat you, refrain from such a course. 
 
 Seize the fleeting angel fast, nor let him go. 
 
 Check the raging passion. 
 
 Hush, boding voice ! 
 
 Peace ! be still ! 
 
 Step softly, that the blind mole hear not a foot-fall. 
 
 Speak gently ! 
 
 Tread lightly, speak low, the old man is dying. 
 
 Be not rash with thy mouth. 
 
 Teach not thy lips such scorn. 
 
 Stay thy impious hand ! 
 
 Stand, Bayard ! Stand ! 
 
 O, Hamlet, speak no more. 
 h.f.s. h. f.p. 
 
 I FORBID the alliance. 
 
 Touch not, taste not, handle not. 
 
BIGHT HAND PRONE. 
 
 103 
 
 II. Sacredness, Solemnity, Awe, or whatever tends to 
 subdue the feelmgs. 
 
 Ex. — I. Take off thy shoes from off thy feet : the place whereon thou 
 standest is holy ground. 
 
 2. Let the awe of the divine hand be upon you. 
 
 3. Down the dark future, through long GENERATIONS, 
 
 The echoing sounds grow fainter, and then cease. 
 
 drop. 
 
 4. O, blindness to the future ! kindly given 
 
 h.f. p. h.o. s. 
 
 That each may Jill the circle marked by Heaven. 
 h.l.s. 
 
 III. Execration. 
 
 Ex. — I. The worm of conscience still be-gnaw thy soul ! 
 
 2. Proud city thou art doomed ! the curse of Jove, a living, lasting 
 CURSE is on thee ! 
 
 IV. Deprecation. 
 
 Ex. — Let not thine anger burn against thy servant. 
 
 Right Hand Horizontal Oblique Prone 
 
 (Fig. 37.) 
 
 I. Restraining, Arresting, etc., as in 
 the preceding gesture, generalized. 
 
 Ex. — I. I charge you as men, and as Christians, to 
 iay a restraint upon all such dispositions. 
 2. Friendship has a power 
 
 To soothe affliction in her darkest hour. 
 
 II. Sacredness, Solemnity, Awe, Sad- 
 ness, etc., generalized. 
 
 Ex. — I. How solemn these scenes ! 
 
 2. His terrors keep the world in awe ! 
 
 In this second example, the language 
 is regarded as but a slight remove from 
 didactic discourse : hence we employ 
 
 Fig. 37. 
 
104 
 
 MANUAL OF GESTURE. 
 
 this mild form of gesture. The emotion of awe may 
 demand quite a different style of action, as will be seen 
 hereafter. 
 
 3. Speechless he stood, and pale. 
 
 4. As a cloud darkens the sky, so sorrow casts a gloom over the SOUL. 
 
 a. o.p. h. o. p. 
 
 Right Hand Horizontal Lateral Prone. 
 
 (Fig. 38.) 
 
 I. Extension in time, space or 
 thought, combined with Superpo- 
 sition, Superincumbency, or with 
 analogous mental or moral condi- 
 tions; Descriptive Reference. 
 
 Ex. — I. The golden light of evening lay over 
 
 THE WHOLE VALLEY. 
 
 2. The cloud of adversity threw its 
 
 gloom OVER ALL HIS PROSPECTS. 
 
 3. From the center to the far off horizon 
 of his POWER he could see nothmg 
 but the DESOLATIONS he had 
 made. 
 
 4. Now fades the glimmering land- 
 scape on the sight. 
 
 Fig. 88. 
 
 5. The silent heart which ^rz>/ assails, 
 h.o.p. 
 Treads soft and lonesome o'er the vale. 
 h. L p. 
 
 II. Distant Reference combined with Superposition, 
 or with Repression, Gloom, Dejection, etc. 
 
 In referring to a distant locality, the straight line is 
 sometimes more effective than the curve, for the execu- 
 tionary movement. In extension, the curve is neces- 
 
RIGHT HAND PRONE. 105 
 
 sary in order to indicate the intervening space. The 
 line from the head to the hand, in fig. 38, may, therefore, 
 curve or not, according to circumstances. 
 
 Ex. — I. Something of sadness wrapped the spot. 
 
 2. When far from the parental roof, the youth paused and REFLECTED 
 
 upon his course. 
 
 3. Mercy wept over the melancholy scene ! 
 
 4. What pale distress afflicts those wretched isles ! 
 
 h.l.p. 
 
 There hope ne'er dawns, and pleasure never SMILES. 
 
 5. With eyes upraised, as one inspired. 
 Pale Melancholy sat retired. 
 
 III. Removal, Withdrawal, etc. 
 
 Ex. — I. Put AWAY from thee a fro ward mouth. 
 
 2. When the ivicked rise, men HIDE themselves. 
 
 h. o. h. 1. p. 
 
 3. The sun withdrew his cheering ray. 
 
 Right Hand Horizontal Oblique Backwards Prone. 
 
 (Fig. 39.) 
 
 This gesture is employed much 
 the same as the preceding one, ex- 
 cept that it expresses ideas requir- 
 ing a wider sweep of the hand. Its 
 special signification is Remoteness 
 in time or space, combined with 
 Superposition, or with any repres- 
 sive emotions. 
 
 Ex. — The wickedness of the antediluvian 
 
 h.o. b. p. 
 
 world provoked the judgments pf 
 
 Heaven, 
 a. f. p. 
 
 Fig. 89. 
 
106 MANUAL OF GESTURE. 
 
 Right Hand Ascending Front Prone. 
 
 (Fig. 40.) 
 
 Supernal Restraint, or Prohibition. 
 
 Ex. — Justice cries forbear ! 
 
 Fig. 40. Fig. 41. Fig. 42. 
 
 Right Hand Ascending Oblique Prone. 
 
 (Fig. 41.) 
 
 I. Elevation, combined with Superposition, or Repres- 
 sion, or analogous ideas. 
 
 Ex. — I. The rising moon has HID the stars. 
 
 2. And THOU, pale moon ! turn paler at the sound, 
 r. h. a. o. r. h. a. o. p. 
 
 II. Supernal Restraint, or Prohibition generalized. 
 
 Ex. — Ye gods, WITHHOLD your wrath ! 
 
 Right Hand Ascending Lateral Prone. 
 
 (Fig. 42.) 
 
 Elevation or Sublimity combined with Distance or 
 Extension, and associated with Superposition or Repres- 
 sion. 
 
EIGHT HAND PRONE. 
 
 lOT 
 
 Ex. — I. The mountain top was wrapped in mists. 
 
 2. So darkly glooms yon thunder cloud, 
 
 a. 1. ind. 
 
 That SWATHES AS WITH A PURPLE SHROUD, 
 
 a. 1. p. 
 Benledi's distant hill. 
 a. 1. ind. 
 
 3. I had a dream that was not all a dream ; 
 
 raise and drop the hand. 
 
 The bright sun was extinguished, and the stars 
 d.o.p 
 
 Did wander, darkling in the eternal space 
 
 a. L p. 
 
 Rayless zxiA pathless, and the icy earth 
 drop. 
 
 Swung blind and blackening in the moonless air. 
 
 a. 1. p. 
 
 Right Hand Ascending Oblique Bacicwards Prone. 
 
 (Fig. 43.) 
 
 Remoteness in time or space com- 
 })inecl with Elevation or Sublimity, 
 and associated with Superposition, or 
 with any repressive emotion. 
 
 Ex. — I. Wrapped in the mists of the remotest 
 
 ANTJQUITY. 
 
 2. On my flight, through utter and through 
 
 middle darkness borne. 
 
 3. The law was given amidst the thunder- 
 
 ings of Sinai. 
 
 Fig. 43. 
 
CHAPTER VII. 
 
 BOTH HANDS PRONE. 
 Both Hands Descending Front Prone. 
 
 (Fig. 44.) 
 
 Superposition, Suppression, etc. 
 
 Examples. — i, {Gentle E^notion.) Green be the turf above thee. 
 
 2. Lie LIGHTLY on her, Earth — her step was light on thee. 
 
 3. ( Vehement Emotion^ Buried be the unworthy thought 
 
 for ever ! 
 
 Fig. 44. Fig. 45. 
 
 Both Hands Descending Oblique Prone. 
 
 (Fig. 45.) 
 
 I. Superposition, Suppression. Embracing larger 
 numbers or more space than the gesture in front. 
 
BOTH HANDS PRONE. 
 
 109 
 
 Ex. — I. Buried be all such thoughts. 
 
 2. lo prevail in the cause that is dearer than life, 
 b. h. Ii. o. 
 
 Or be crush'd in its ruins to die ! 
 b. h. d. o. p. 
 
 II. Prostration. 
 
 Ex. — I. They forthwith to the place 
 
 Repairing where he judged them, prostrate fell 
 
 Before him reverent. 
 imp. 
 
 2. Sons of dust, in REVERENCE bow ! 
 b. h.h.o. b. h.d.o. p. 
 
 Both Hands Descending Lateral Prone. 
 
 (Fig. 46.) 
 
 I. Superposition or Superin- 
 cumbency, physical or moral. 
 
 Ex. — I. Thou hast forgiven the iniquity of 
 Thy people ; Thou hast covered 
 all their sin. 
 
 2. If we attempt to compass the 
 
 idea of eternity, we are over- 
 
 b.h.a.l. b.h.d.l.p. 
 
 WHELMED by the contempla- 
 tion of a theme so vast. 
 
 3. The golden sun, 
 
 a. f. 
 The planets, all the infinite host 
 a. o. 
 of heaven, 
 b.h.a.l. 
 Are shining on the sad abodes of 
 
 DEATH. 
 
 b.h.d.l.p. 
 
 II. Privation, Deprivation, Divestiifg, and the like, 
 when accompanied with strong emotion, prefer the 
 prone to the supine, and express themselves with this 
 style of gesture. 
 
 Fig. 46. 
 
no 
 
 MANUAL OF GESTUKE. 
 
 Ex. — I. Alas ! how poor and little worth, 
 b. h, upl. 
 Are ail these glittering toys of earth. 
 
 2. O may I no longer dreaming, 
 Idly WASTE my golden days ! 
 
 To describe, here, the slow process of wasting, there 
 should be a softening or smoothing of the gesture — 
 a slow motion of the hands. 
 
 III. Cessation, Dissolution, Utter Destruction, etc. 
 
 Ex. — I. Here let the tumults of passion forever cease ! 
 
 2. This great fabric shall be dissolved ! 
 
 3. He uttered his voice, the earth melted. 
 
 a.f. 
 
 4. Death levels all things in his march. 
 
 5. All things decay with time. 
 
 IV. Extreme Humility, Self-abasement. 
 
 Ex. — Wherefor I abhor myself, and repent in dust and ASHES. 
 
 V. Renunciation, Hopeless Relinquishment, Utter 
 Abandonment, Despair. 
 
 Ex. — I, I utterly renounce all hope. 
 
 2. Without shedding of blood there is no remission. 
 
 Both Hands Horizontal Front Prone. 
 
 (Fig. 47.) 
 
 I. Superposition, etc. 
 
 Ex. — On horror's head horrors ACCUMULATE. 
 
 II. Benediction (upon an individ- 
 ual). 
 
 Ex. — A father's choicest blessings rest on thee. 
 
 III. Execration. 
 
 Ex. — Take with thee thy most heavy curse, 
 
 Which in the day of battle tire thee more 
 Than all the complete armour that thou 
 wear'st ! 
 
 IV. Deprecation. 
 
 T^ .„ Ex. — Pause ! I implore you, pause ! 
 
 Fig. 47. ^ ^ 
 
BOTH HANDS PRONE. 
 
 Ill 
 
 Both Hands Horizontal Oblique Prone. 
 
 (Fig. 48.) 
 
 I. Superposition. 
 
 Ex. — The veil of night came slowly DOWN. 
 
 II. Benediction. 
 
 Ex. — Heaven's choicest blessings rest upon you all. 
 
 III. Execration. 
 
 E.K. — Heaven's heaviest CURSE shall fall on you. 
 
 Fig. 48. 
 
 Fig. 49. 
 
 Both Hands Horizontal Lateral Prone. 
 
 (Fig. 49.) 
 
 Extension combined with Superposition; hence, 
 Diffusion, Desolation. 
 
 Ex.— I. O'er all the peaceful world the smile of heaven shall lie. 
 
 2. Spread wide around the heaven breathing calm. 
 
 3. Gold sowed the world with every ill. 
 
 4. Horror wide extends 
 His desolate domain. 
 
112 
 
 MANUAL OF GESTUBE. 
 
 Both Hands Ascending Front Prone. 
 
 (Fig. 50.) 
 
 I. Sacred Ascription, or Attribution. 
 
 Ex. — Thou art clothed with light as with a garment. 
 
 II. Sacred Deprecation. 
 
 Ex. — Withhold thy merited wrath. 
 
 Fig 50. 
 
 Fig. 51. 
 
 Both Hands Ascending Oblique Prone. 
 
 (Fig. 51.) 
 
 I. Superposition, etc. 
 
 Ex. — I. Hung be the heavens with black. 
 
 2. Save me and hover over me with your wings, 
 b. h. a. o. b. h. a. o. p. 
 
 Ye heavenly guards ! 
 
 II. Sacred Ascription. 
 
 Ex. — Glory and honor and might and dominion and tower be unto 
 Him that sitteth upon the throne. 
 
 III. Sacred or Sublime Deprecation. 
 
 Ex. — Ye gods, restrain your wrath. 
 
BOTH HANDS PRONE. 
 
 113 
 
 Both Hands Ascending Lateral Prone. 
 
 (Fig. 53.) 
 
 Elevation or Sublimity, 
 and Extension or Expan- 
 sion, combined with Super- 
 position. 
 
 Ex. — I. And let the triple rainbow 
 rest o'kr all the moun- 
 tain TOPS. 
 
 - 2. The floor of Heaven BK- 
 
 STREWN WITH GOLDEN 
 STARS. 
 
 Fig. 52. 
 
CHAPTER VIII. 
 
 THE VERTICAL HAND. 
 
 Fig. 53. 
 
 While the prone hand puts down, the vertical drives 
 away. The former makes the repressive gesture, the 
 latter the repellant. Owing to the impracticability of 
 using the vertical hand in the descending lines, such 
 gestures are excluded from this system. We therefore 
 commence with the horizontal. 
 
 Right Hand Horizontal Front Vertical 
 
 (Fig. 54.) 
 
 Repulsion. 
 
 Example. — Back to thy punishment, false fugitive J 
 
THE VERTICAL HAND. 
 
 115 
 
 Right Hand Horizontal Oblique Vertical. 
 
 (Fig. 55.) 
 
 Aversion, General Repulsion. 
 
 Ex.- I. He generously extended the arm of power to ward off the blow. 
 
 2. Drive back the bold invaders ! 
 
 3. The face of the Lord is against them that do evil. 
 
 4. Murder rcvosifottl, as in the best it is ; 
 
 r. h.d.o.p. r. h.d.o. s. 
 
 But this MOST FOUL, strange and unnatural. 
 r. h. h.o. V. r. h. d. o. p. 
 
 Fig. 54. 
 
 Fig, 65, 
 
 Fig. m. 
 
 Right Hand Horizontal Lateral Vertical. 
 
 (Fig. 56.) 
 
 Removal, Repulsion, Aversion. 
 
 In intense aversion the face should be turned away 
 from the object. 
 
 Ex. — I. Thou tempting fiend, avaunt ! 
 2. I REPEL the base insinuation. 
 6 
 
116 
 
 MANUAL OF GESTURE. 
 
 3. I hate and ABHOR lying, but Thy law do I love. 
 
 h.l.v. b. h. h. f. s. 
 
 4. Hence, Jealousy ; thou fatal lying fiend, 
 Thou false seducer of our hearts, begone ! 
 
 5. O, that way MADNESS lies ; let me shun that ; 
 
 no MORE of that. 
 
 While the notation of this last example indicates a 
 repetition of the gesture upon certain words, it should 
 be observed that language of this kind admits of a suc- 
 cession of nervous repetitions, without reference to the 
 emphatic words. Impatience frequently manifests itself 
 in this manner. 
 
 Right Hand Horizontal Oblique Backwards Vertical. 
 
 (Fig. 57.) 
 
 I. Removal, Retrogression, etc. 
 Usually associated with Remoteness. 
 
 Ex. — I. We BANISH you our territories. 
 
 2. When driven by oppression s rod, 
 h. 1. V. 
 
 Our fathers fled beyond the sea. 
 
 h o. b. V. 
 
 II. Repulsion, specially Abhorrent 
 Repulsion. 
 
 Ex. — I. When mine enemies are turned back, 
 
 h. o. b. V. 
 
 they shall fall and perish at thy presence, 
 d. o. b. p. 
 
 2. Get thee behind me, Satan ! 
 
 Fig. 57. 
 
 Right Hand Ascending Front Vertical. 
 
 'Fig. sS.^ 
 
 Sacred Depreca iai. 
 
 Ex. — Avert Thy sore disijleasure. 
 
THE VERTICAL HAND. 
 
 117 
 
 Right Hand Ascending Oblique Vertical. 
 
 (Fig. 59.) 
 
 Sacred or Sublime Deprecation. 
 
 Ex. — Forbid it, Heaven. 
 
 It will be observed that this language is impersonal ; 
 hence it prefers the oblique to the front. 
 
 Fig. 58. 
 
 Fig. 59. 
 
 Fig. 60. 
 
 Right Hand Ascending Lateral Vertical. 
 
 (Fig. 60.) 
 
 Aversion, Repulsion, or Removal, etc., combined with 
 Elevation. 
 
 Ex. — I. Away, delusive phantom ! 
 
 2. Fly HENCE, ye idle brood of folly ! 
 
 3. The strong arm of the mighty Conqueror repelled the Prince 
 
 of the Power of the air. 
 
 4. The silent hour steals on, 
 
 slow prep. 
 
 And flaky darkness breaks within the east. 
 
118 
 
 MANUAL OF GESTURE. 
 
 Right Hand Ascending Oblique Backwards Vertical. 
 
 (Fig. 6i.) 
 
 Repulsion and Elevation, Abhorrent Repulsion. 
 
 Ex. — Hence, horrible shadow ! 
 Unreal mockery, hence ! 
 
 Fig. 61. 
 
 Fig. 62. 
 
 Fig. 63. 
 
 Both Hands Horizontal Front Vertical 
 
 (Figs. 62, 63.) 
 
 I. Forcible Repulsion. 
 
 Ex. — I. The torrent roar'd, and we did buffet it 
 b.h.h.o.s. b.h. h.f.V. 
 
 With LUSTY sinews ; throwing it aside, 
 
 rep. b.h.h.o.v. 
 
 And STEMMING it with hearts of controversy, 
 b.h. h.f.V. 
 2. Thou impious mocker, HENCE ! 
 
 II. This gesture, in common with the corresponding 
 oblique (b. h. h. o. v.) is the natural expression of Fear 
 and Terror. The hands are first drawn near to the face, 
 
THE VERTICAL HAND. 
 
 119 
 
 and then thrust forcibly towards the object, while the 
 body starts back. See fig. 63. 
 
 Ex. — Whence and what art thou, execrable shape ! 
 
 Both Hands Horizontal Oblique Vertical 
 
 (Fig. 64.) 
 
 General Repulsion, Fear, etc. 
 
 Ex. — I. Far from our hearts be so inhuman a 
 feeling. 
 
 2. Repel the base invaders. 
 
 Fig. 64. 
 
 Fig. 65. 
 
 Fig. 66. 
 
120 
 
 MAlSrUAL OF GESTUEE. 
 
 Both Hands Horizontal Lateral Vertical. 
 
 (Fig. 66.) 
 
 Expansion, Disruption, Dispersion. 
 
 In emphatic or impassioned discourse the hands, in 
 preparation for this gesture, may sometimes cross the 
 breast, as in fig. 65. In general, however, the ordinary 
 preparation Avill suffice. When the hands cross the 
 body, as shown in the cut, they should not be allowed 
 to rest in this position, but should pass and repass each 
 other more or less rapidly, according to the force and 
 rapidity of the accompanying utterance. 
 
 Ex. — I. The gate of Death in sunder breaks ! 
 2. And if the night 
 
 Have gathered aught of evil or concealed, 
 Disperse it, as now light dispels the dark. 
 
 Both Hands Ascending Front Vertical. 
 
 (Fig. 67.) 
 
 Earnest Sacred Deprecation. 
 
 Ex. — Avert, O God, the frown of Thine indignation. 
 
 Fig. 67. 
 
 Fig. 68. 
 
THE VERTICAL HAND. 
 
 121 
 
 Both Hands Ascending Oblique Vertical. 
 
 (Fig. 68.) 
 
 I. Deprecation combined with Elevation or Sublimity. 
 
 Ex. — Let me not NAME it to you, ye chaste stars, 
 
 II. Fear, Terror, etc. 
 
 Ex. — I. How DREADFUL is this place ! 
 
 2. Angels and ministers of grace, defend us! 
 
 3. Alarmed, afraid, 
 
 I see the flashes of Thy lightning wild ! 
 
 Both Hands Ascending Lateral Vertical. 
 
 (Fig. 69.) 
 
 Elevation and Expansion 
 combined, Dispersion, Disrup- 
 tion. 
 
 The hands, in preparation for 
 this gesture, sometimes cross the 
 body as in fig. 65. 
 
 Ex. — I. The mists of morning are dis- 
 persed by the rising sun. 
 
 2. Melt and dispel, ye spectre 
 
 doubts. 
 
 3. lU Rsrs the wild cry of terror and 
 
 dismay ! 
 
 Fig. 69. 
 
CHAPTER IX. 
 
 SPECIAL GESTURES. 
 
 In addition to the systematic gestures described in 
 the preceding chapters, we have what may be called 
 Special Gestures. These are so numerous as to pre- 
 clude an exhaustive enumeration. The following are 
 the most important ; 
 
 Fig. 70. 
 
 Right Hand Uplifted Vertical. 
 
 (Fig. 70.) 
 
 The vertical hand is here presented 
 with the palm nearly facing the left 
 of the speaker, instead of being out- 
 ward as those in Chapter VIII. The 
 position of the hand and arm at the 
 terminus of this gesture is similar to 
 the ordinary preparation (compare 
 figs. 6 and 70). By virtue of its 
 peculiar signification, however, this 
 constitutes a distinct gesture. It 
 should be specially observed that 
 here the hand is brought up to the 
 terminal jDoint witliout any prepara- 
 tory action, Avhile in the systematic 
 
SPECIAL GESTURES. 123 
 
 gestures, and some others, it is brought down to the 
 point indicated in tlie notation, having been previously 
 raised higher in preparation. The hand is raised with 
 the palm downward, until it nearly reaches the destined 
 point, when there is an additional turn of the wrist- 
 joint, which finishes the gesture by throwing the hand 
 into the vertical position. The freedom of the wrist in 
 the execution of this last movement gives additional 
 effect. 
 
 Fig. 70 shows the uplifted hand as brought up on the 
 front line to the position ascending front. It may take 
 the front or oblique, according to the sentiment. The 
 front implies more elevation, and the oblique more 
 expansion. Sacredness and solemnity generally prefer 
 the front, sublimity the oblique. In moderate expres- 
 sion the hand may be arrested at the horizontal line, 
 thus giving four gestures under this head ; ascending 
 front, ascending oblique, horizontal front, horizontal 
 oblique. 
 
 The uplifted hand has the following significations : 
 I. Adjuration, Oath, Solemn Declaration. 
 Examples.— I. I adjure thee, by the living God, that thou come 
 
 r. h. upl.a. f, V. 
 out of her. 
 r. h.d.f.s. 
 
 2. I SWEAR I will not see it lost! 
 r. h. upl. a. f. V. d. f. 
 
 3. I have sworn an oath, that I will have my bond. 
 
 r.h. upl.a. f.v. r.h.d, f. cli. 
 
 4. By all my hopes, most falsely doth he lie ! 
 
 r. h. upl. a. f. V. r. h. d. f. cH. 
 
 5. Rouse, ye Romans ! rouse, ye slaves I Once again I 
 
 b. h, h.o. b, h.d.o. 
 
 SWEAR the Eternal City shall he free, 
 r. h. upl. a. f. V. d. f. 
 
 6* 
 
124 MANUAL OF GESTURE. 
 
 6. Blessed is the man whose transgression is forgiven. 
 r. h. upl. a. o. V. d. o. 
 
 II. The uplifted hand serves to Arrest Attention, as 
 in the exclamations, Hark ! See 1 and the like. It also 
 accompanies an Arousing Call or Command, and is used 
 in Exclamations generally. 
 
 Ex. — I. Hark to the joyous strain ! 
 
 2. Ho ! sound the tocsin from the tower, 
 r. h. upl. a. o. V. r. h.a. o. ind. 
 
 3. Quick ! man the life-boat ! 
 
 r. h. upl. a. o. V. r. h.h.o. ind. 
 
 4. How MISERABLE is man when the foot of the conqueror is on his 
 
 r. h. upl. a. o. V. d. o. ind. 
 
 neck, 
 
 What black despair, what horror fills his heart ! 
 r. h. upl. h. o. V. r. h. upl. a. o. v. 
 
 In arresting attention, when the emotion is sudden 
 and vivid, the index finger may take the place of the 
 open hand. In this case the hand is suddenly raised, 
 the finger pointing to the hearer, the eye at the same 
 instant turning in the direction of the sound. 
 
 Ex. — Hark ! heard ye not that piercing cry ? 
 
 III. Arrested Preparation. The uplifted hand may, 
 either by accident or design, become the preparation 
 for a gesture. 
 
 Ex. — I. How great the love that Him inclined to bleed and^/V for me! 
 r. h. upl. a. o. d.o. 
 
 2. As I LIVE, saith the Lord, I have no pleasure in the death of the 
 r. h. upl. a. f. d. f. 
 
 wicked. 
 
 In these examples the hand is raised in exclamation 
 and in solemn affirmation, the sustained gesture serving, 
 incidentally, as an arrested preparation, until the hand 
 is brought down upon the emphatic word. See also 
 the examples under Adjuration, etc. 
 
SPECIAL GESTURES. 
 
 125 
 
 Both Hands Uplifted Vertical. 
 
 (Fig. 71.) 
 
 This also takes the front and the oblique, ascending 
 or horizontal according to the sentiment. Fig. 71 
 exhibits the ascending oblique ; the palms nearly face 
 each other. 
 
 I. Serious, Earnest, Sublime and Sacred Aspira- 
 tions; Awe, Wonder, Surprise, Admiration, Pity, Horror, 
 etc., when moderate, employ this 
 style of gesture in the horizontal line ; 
 when extreme, they use the ascend- 
 ing. Profound Reverence, Adoration, 
 Blessing, and other forms of sacred 
 or solemn address, also employ the 
 uplifted hands. 
 
 Ex. — I. O THAT THIS LOVELY VALE WERE MINE.' 
 b. h. upl. h. o. V. 
 
 2. How BEAUTIFUL is all this visible world ! 
 
 b. h. upl. h.o. V. 
 
 3. In winter AWFUL Thou ! 
 
 b. h. upl. a. o. V. 
 
 4. Great God, how infinite Thou art ! 
 
 b. h. upl. a. f. V. • 
 
 5. Great and marvelous are Thy works. 
 
 b. h. upl. a. o. V. 
 
 Fig. 71, 
 
 In profound reverence and awe the hands are raised 
 very slowly, and for a considerable time held motion- 
 less ; the eyes, at the same time, are upraised, the 
 whole posture harmonizing with the general character 
 of the discourse. 
 
 6. O HOW BEAUTIFUL is this midnight scene ! 
 b. h. upl. a. o. V. 
 
126 MANUAL OF GESTURE. 
 
 7. Scene sublime ! ^ 
 
 b. h, upl. a. o. V. 
 
 Where the rich earth presents her golden treasure. 
 
 b. h.h.o. s. 
 
 8. The floods have lifted up their voice. 
 
 b. h. upl. a. o. V. 
 
 9. O, HORRIBLE ! horrible ! most horrible ! 
 
 b. h. upl. a. o. V. 
 
 ID. Holy, Holy, Holy, Lord God of Sabaoth ! 
 
 11. Blessed be Thy name, O Lord most high. 
 
 b. h. upl. a. f. V. 
 
 12. Blessed are all they that put their trust in Him. 
 ^ b. h. upl. a. o. V. b. h. a. f. s. 
 
 13. Heaven and earth will witness, 
 
 b. h. upl. a. o. V. 
 
 If Rcyne must fall, we are innocent. 
 b. h.h.o. b. h.d.o. 
 
 It will be observed that the same notation is given 
 for sentiments entirely different from each other, as 
 surprise and pity, admiration and horror. These appar- 
 ent incongruities will be adjusted by the various modes 
 of execution, as quick or slow, and the accompanying 
 variations in voice, attitude and facial expression. 
 
 II. Benediction, especially when brief. The horizontal 
 elevation is sufficient. 
 
 Ex. — Heaven grant you success. > 
 
 In more full and solemn benediction, the regular 
 gesture, b. h. h. o. p., or the uplifted prone, is preferable. 
 
 III. An Arousing Call or Summons is accompanied 
 by an upward sweep of the hands, corresponding with 
 the present gesture. 
 
 Ex. — Rise ! or Greece for ever falls I 
 b. h. upl. b. h.d.o. 
 
 Up ! or freedom breathes her last ! 
 b. h. upl. b. h.d.o. 
 
SPECIAL GESTURES. 
 
 127 
 
 Both Hands Uplifted Vertical, Palms Outward. 
 
 (Fig. 72.) 
 
 Here also the hands are 
 elevated more or less, accord- 
 ing to the degree of emotion. 
 Fig. 72 shows the gesture in 
 its most expressive form. Fig. 
 64 will serve to illustrate the 
 same gesture in the horizon- 
 tal elevation, supposing the 
 hands to be thus raised with- 
 out any preparatory move- 
 ment. In common with the 
 uplifted vertical, this is the 
 natural language of Surprise, 
 and usually takes precedence 
 when surprise deepens into 
 astonishment. Also employed 
 in exclamations of Rapture. 
 
 Fig. 72. 
 
 Ex. — I. *' Land ! Land !" cry the sailors. 
 
 2. With sudden start the miser wakes. 
 
 3. Then ope's his chest, with treasure stored, 
 
 b.h.d.f. 
 
 And stands in rapture o'er his hoard, 
 b. h. upl. a. o. V. out. 
 
 The corresponding gesture with one hand is often 
 used to express a moderate degree of surprise or fear. 
 See right hand in fig. 80. 
 
128 
 
 MAKUAL OF GESTURE. 
 
 Fig. 73. 
 
 Both Hands Uplifted Supine. 
 
 (Fig. 73.) 
 
 I. This is employed to des- 
 cribe the act of lifting up ; 
 being opposite in effect to 
 putting down with the prone 
 hand. 
 
 Ex. — With the lever of prayer resting 
 
 on the fulcrum of faith, we can 
 
 move the world, and LIFT IT 
 b. h. h.l. b. h.upl.s. 
 
 UP TO God. 
 
 II. Admiration, when it 
 arises from some extraordi- 
 nary or unexpected circum- 
 stance, expresses itself in this 
 manner. The hands are then 
 thrown up suddenly, the face 
 and eyes being upraised at 
 the same time. 
 
 Ex.- 
 
 Rapturous sight ! 
 
 Fresh bursts the New World from the darkness of night ! 
 b. h.h.o. 
 
 O VISIONS OF GLORY ! how dazzling it seems ! 
 b. h. upl. s. 
 
 Right Hand Uplifted Prone. 
 
 The hand is raised with the palm downward, retain- 
 ing the prone position throughout, the arm, wrist and 
 hand being moved as one. The degree of elevation 
 varies with the sentiment. 
 
 Wonder, Surprise, Pity, etc., in a moderate degree, 
 are sometimes expressed in this manner ; the action 
 being less than in the vertical, since it lacks the addi' 
 
SPECIAL GESTtJEES. 
 
 129 
 
 tional wrist movement. Regret is indicated by feel^l}' 
 raising and dropping the hand. 
 Fx.— I. Alas ! poor Ycrick ! 
 
 raise. drop. 
 
 2. Ah Eloquence ! thou wast undone. 
 
 raise. drop. 
 
 Both Hands Uplifted Prone. 
 
 This may follow either the front or the oblique line, and 
 be elevated to the horizontal or to the ascending plane. 
 
 I. Appropriate in Benediction and other forms of 
 Solemn Discourse. When the hands are raised slowly, 
 the effect is more solemn than in the regular prone gest- 
 ure as applied to benediction, etc. 
 
 Ex. — [.\postolic benediction.] 
 
 II. The feeble raising and dropping of both hands 
 sometimes occurs in the expression of grief. 
 
 Ex. — Farewell ! a long farewell to all my greatness, 
 raise. drop. 
 
 Both Hands Supine Parallel. 
 
 (Figs. 74, 75, 76.) 
 
 Fig. 74. 
 
 Fig. 75. 
 
 Fig. 76. 
 
130 
 
 MAKUAL OF GESTUltE. 
 
 This may be made in any of the following directions : 
 Descending oblique, to the right or left. (Fig. 74.) 
 Descending lateral, 
 Horizontal oblique, 
 
 Horizontal lateral, '- " " (Fig. 75.) 
 
 Ascending oblique, '"• " '' (Fig. 70.) 
 
 Ascending lateral. 
 
 These are sometimes employed in impassioned refer- 
 ence, or any reference to the right or left of the speaker, 
 where one hand is inadequate to the full expression, 
 and needs to be supplemented by the other hand. 
 
 Ex. — I. Take her up tenderly, 
 
 b. h. d. o. s. par. 
 
 Lift her with care, 
 
 b. h. h. o.s. par. 
 
 2. There lies he ! go and look ! 
 
 b. h.d.l. s.par. rep. 
 
 3. Death's chain is on your champion. 
 
 b. h.d. 1. s. par. 
 
 4. These are the homes of peaceful industry. 
 
 b. h. h. 1. s. par. 
 
 5. Higher, higher let us climb up the steep of knowledge. 
 
 b. h. a. o.par, 
 
 6. I dare him to his proofs ! 
 
 b. h. h. o. par. 
 
 7. Cannon to right of them, 
 
 b. h. h.l. par. (rieht) 
 
 Cannon to left of them, 
 b. h. h. 1. par. (left) 
 
 This style of gesture is also admissible in the direction 
 oblique backwards. 
 
 Ex. — Cannon behind theni. 
 
 The supine hands accompanied with an attitude 
 of courage and manliness, is preferable to the vertical 
 hands, which some would employ, in order to express 
 the emotion of terror at beholding this dreadful charge. 
 The orator should possess himself of the courage of 
 
SPECIAl. GESTUEES. 
 
 131 
 
 " the noble six hundred," rather than to act the part of 
 a terrified witness of the scene. 
 
 Both Hands Prone Parallel 
 
 (Fig. 77.) 
 
 In these the arms assume the same 
 relative positions, and move in the 
 same directions, as in the parallel 
 supine just described ; the only dif- 
 ference being in the position of the 
 hands. Fig. 77 represents the hori- 
 zontal oblique. They are similar in 
 application, with the additional power 
 of expressing superposition and re- 
 pressive emotions. 
 
 Ex. — The Lord hath laid on him the iniquity of 
 us all. ^- ^- ^- °- P- P"- 
 
 Both Hands Vertical Parallel. 
 
 (Figs. 78, 79.) 
 
 Fig. 77. 
 
 Fig. 78. 
 
 Fig. 79. 
 
132 
 
 MAKUAL OF GESTURE. 
 
 These correspond with the preceding, except the 
 position of the hands, and their being limited to the 
 horizontal and the ascending lines. Employed in 
 Forcible Repulsion, in circumstances where both hands 
 are required at either side of the speaker. Fig. T8 
 shows this gesture in the horizontal oblique, and 79 in 
 the horizontal lateral. 
 
 Ex. — Hence, hideous spectre. 
 
 b. h. h. o. V. par. 
 
 The student may apply this style of action to many of 
 the examples given under the regular vertical gestures, 
 selecting the more impassioned sentences. 
 
 These three forms of parallel gestures — supine, prone 
 and vertical — are analogous to what Austin terms prin- 
 cipal and subordinate gestures ; though they differ' 
 essentially from them in that both hands are here kept 
 on the same plane, whereas Austin would have the 
 principal gesture elevated one position higher than the 
 subordinate, as when the left hand is 
 in the direction descending oblique, 
 and the right in the horizontal lateral. 
 While no objection is here made to 
 the style of action just mentioned, so 
 far as the subordinate gesture is en- 
 tirely involuntary — a faint echo, as it 
 were, of the principal — as,for instance, 
 in fig. 80, such gestures are purposely 
 omitted from this treatise. Although 
 admissible in some cases, they need 
 not be made prominent in a system 
 of rhetorical action. 
 Fig. 80. 
 
SPECIAL GBSTIJRES. 
 
 133 
 
 Index Finger. 
 
 (Figs. 8i, 82, 83.) 
 
 Fig. 81. 
 
 Fig. 82. 
 
 Fig. 83. 
 
 I. The index finger, pointing in any direction suited 
 to the occasion, is employed in Indication, from which 
 it receives its name, in Special Designation, Specific 
 Reference, Close Discrimination, Precision, Emphatic 
 Designation, etc., serving not only to point out particu- 
 lar persons and objects, but, analogically, to call atten- 
 tion to particular ideas. The open hand in its outward 
 sweep, is used to extend the thought ; the index finger, 
 to limit it. Compare the notation of the two following 
 sentences : 
 
 1. Let us survey the entire field. 
 
 r, h.h.l.s. 
 
 2. Let us closely observe this point. 
 
 h.f. ind. 
 
 The following miscellaneous examples will illustrate 
 
134 MANUAL OF GESTURE. 
 
 the use of the index finger, according to the applica- 
 tions given above : 
 
 1. The full-orbed moon has reached no higher 
 
 Than yon old CHURCH'S mossy spire, 
 h. o. ind. 
 
 2. Mark yonder pomp of costly fashion 
 
 h.l.ind. 
 
 3. In yonder grave a Druid lies. 
 
 h. 1. ind. sus. 
 
 4. Her fancy followed him through foaming waves. 
 To distant SHORES. h.l.s. 
 
 h.l.ind. 
 
 5. Hush ! Hark to that sound stealing faint through the wood, 
 h. o. p. h. l.ind. 
 
 Huiih is always authoritative, and employs the repres- 
 sive gesture ; harh is the call for attention, and is merely 
 earnest. 
 
 6. But LOOK, the morn in russet mantle clad, 
 
 a. f. ind. 
 
 Walks o'er the dew of yonder eastern hill. 
 
 7. See yon nsmg SUN. 
 
 h. f. ind. 
 
 8. See yon setting sun. 
 
 h. o. b. ind. 
 
 9. See on yon darkening heights bold Franklin tread. 
 
 a. 1. ind. 
 
 10. The puissant Michael vanquished Apollyon upon the summit of 
 
 the everlasting hills. a.o.b.ind. 
 
 imp. 
 
 11. He led the tyrant Death in chains. 
 
 d.o. ind. 
 
 12. He pierces through the realms of light. 
 
 a. o. ind. 
 
 13. Flashes of lightning played around the distant horizon. (Fig.83.) 
 
 h.Lind. 
 
 14. Sin may gratify, but repentance stings. 
 
 h. o. s. h. o. ind. 
 
 15. The keen eye of the statesman penetrated the future. 
 
 h. f. ind. 
 
 16. For proof of my assertion, I point you back to days of the 
 
 prophets. 
 h.o. b. ind. 
 
SPECIAL GESTURES. 
 
 17. I 've touched the highest point of all my greatness. 
 
 a. f. ind, 
 
 18. A spirit of evil flashing down, 
 
 d. l.ind. 
 
 With the lurid light of a fiery crown. 
 
 19. A mere air-drawn dagger of the fancy. 
 
 a. l.ind. 
 
 20. Hope, like the glim'ring taper's light, 
 a. f. ind. 
 
 Adorns and cheers the way. 
 a. o. s. 
 
 21. So Faith and Hope the self-same objects spy. 
 
 a. f. ind. 
 
 22. Beyottd is all abyss, 
 
 a. f. p. 
 Eternity, whose end no eye can reach, 
 a. f. ind. 
 
 23. And Nathan said to David, thou art the man. 
 
 h. f. ind. 
 
 24. Clarence has come ! false ! fleetingJ perjured Clarence ! 
 
 h. f. ind. rep. rep. rep. 
 
 25. O that men's ears should be 
 
 To counsel deaf, but not to flattery. 
 h.o. ind. h.Lind. 
 
 26. See, how he sets his countenance for deceit. 
 
 h. o. ind. 
 And promises a lie before he speaks. 
 rep. 
 
 27. Guards, seize 
 
 h. f. p. 
 
 This traitor, and convey him to the tower, 
 There let him learn obedience. h. l.ind. 
 rep. 
 
 28. Read thy doom in the flowers which fade and die. 
 
 d. o. ind. 
 
 29. O, cursed lust o{ gold I when for thy sake 
 
 b h.d.o. 
 The wretch throws up his interest in both worlds ; 
 
 b.h.d.l. 
 First hanged in this, then DAMN'd in that to come, 
 h.o. ind. d.o. ind. 
 
 30. There 's the marble, there 's the chisel ; 
 
 h.o. ind. d.o. ind. •> 
 
 Take them, work them at thy ivill ; 
 h. f. s. rep. 
 
186 MANUAL OF GESTURE. 
 
 Thou ALONE must shape thy future, — 
 h.f.ind. 
 Heaven give thee strength and skill. 
 r. h. upl. d. o. s. 
 
 31. He dares not touch a hair of Cataline. 
 
 h. o. ind. 
 
 32. Mark the perfect man. 
 
 h. o. ind. 
 
 33. This is the point to which I call your special ATTENTION, 
 h.f.ind. rep. 
 
 34. If this measure be adopted — mark my word — our country will 
 
 h^ ruined ^■^•^- ^■^•'"^• 
 
 d. f. s. 
 
 35. We hsiVG promised, but recollect, under certain restrictions. 
 
 d.o. s. h, o. ind. rep. 
 
 36. Let the thought be deeply engraved upon your heart, that 
 
 h. f. ind. 
 every moment which flies, is irrecoverably lost. 
 rep. rep. 
 
 II. The index finger is used in Reproach, Scorn, 
 Contempt, Derision, etc. The hand is then inverted, 
 as in fig. 82. In earnest and serious discoure, it is side- 
 wise, as in fig. 81. 
 Ex. — I. Thou slave! 
 
 h.f.ind. 
 
 2. Yon trembling coward, who forsook his master. 
 
 h. o. b. ind. 
 
 3. There were FALSE prophets among the people. 
 
 h. I. ind. 
 
 4. Vipers ! that creep where man disdains to climb. 
 
 d. 1. ind. d. 1. p. 
 
 5. Behold the traitor ! 
 
 h.o. ind. 
 
 6. Thou crawling WORM ! 
 
 d.o. ind. 
 
 7. One murder makes a villain, 
 h.f.ind. h. 1. ind. 
 
 Millions a hero. 
 b. h. h. o. a. o. s. 
 
 8. Some sky-ward flight of superstition. 
 
 a. 1. ind. 
 
 9. The perpetrator of so base an act merits only the finger of 
 
 scorn. 
 b.l,iad. 
 
SPECIAL GESTURES. 137 
 
 III. Cautioning, Warning, Threatening, AutLoiitative 
 Prohibition or Prohibitory Warning. 
 
 The index finger thus employed is more forcible and 
 defiant than the open hand. 
 
 In warning and threatening there may be an accom- 
 panying tremor of the finger. 
 
 Ex. — I. Timely advised^ the coming evil shun. 
 h.o. s. h.o. ind. 
 
 2. Let every man take heed how he buildeth ihereiipon. 
 
 h. o.ind. 
 
 3. Lay not that flattering unction to your soul. 
 
 h.f.ind. 
 
 4. Bitterly shall you rue your folly. 
 
 h. f. ind. 
 
 5. If thou speakest false, 
 
 h.f.ind. 
 Upon the next tree shalt thou hang alive, 
 
 h. o. ind. rep. 
 
 Till FAMINE cling thee, 
 rep. 
 
 6. Lay not your hand upon the constitution. 
 
 h. f. ind. 
 
 In mild expression generally, and in emphatic dis- 
 course sometimes, prohibition prefers the prone hand. 
 
 7. LocHiEL ! Lochiel ! beware of the day 
 
 h. f. ind. rep. 
 
 When the Lowlands shall meet thee in battle array ! 
 rep. 
 
 8. Take fast hold of instruction ; let her not go ; keep her, for 
 
 h. f. ind. rep. rep. 
 
 she is thy life. 
 d. f. ind. 
 
 Note. — The gesture upon life is made in the descending line for special emphasis, 
 and for consummation. To regard it as a gesture of designation in the sense of sug- 
 gesting locality, would, of course, render the action entirely inappropriate. Unjust 
 criticism based upon such misinterpretation, however, is likely to grow out of a super- 
 ficial knowledge of the subject. 
 
 9. Look not thou upon the wink, when it is kkd, when it giveth his 
 
 h. f. ind. rep. 
 
 COLOR in the cup, when it .moveth itself aright. At the last 
 rep. h.o. s. 
 
 it biteth like a serpent and stingeth like an adder. 
 d. o.ind. d. Kind. 
 
138 
 
 MANUAL OF GESTURE. 
 
 IV. Special Emphasis, Emphatic Assertion or Em- 
 phatic Distinction. 
 
 When thus used with energy the index finger is more 
 emphatic than the open hand. In emphatic assertion it 
 is generally confined to the descending lines, but when 
 it serves the double purpose of special designation and 
 special emphasis — emphatic designation — it may, as 
 before stated, take any direction. 
 
 Examples of Special Emphasis : 
 
 1. I repeat it, sir, I will never submit. 
 
 d. f. ind. 
 
 2. The truth of this whole statement I do most emphatically DENY. 
 
 h.f. ind. d. f. ind. 
 
 3. The tyrannous and bloody act is done. 
 
 d. f. ind. 
 
 In this use of the index finger the gesture must be 
 forcibly executed, or the effect will be different from 
 what is here intended : there will be danger of nullify- 
 ing the action by running the gesture into one of desig- 
 nation, when there is no special object pointed out. 
 
 Right Hand Uplifted, Fore-Arm Vertical, and Index Finger 
 Pointing Vertical. 
 
 (Fig. 84.) 
 
 The peculiar character of this gesture 
 distinguishes it from the pointing ges- 
 tures just described. It is used in Cau- 
 tioning, Solemn Warning, and Threaten- 
 ing. 
 
 In Rogers' description of Genevra's 
 picture we have it illustrated : 
 
 " She sits inclining forward as to speak, 
 Her lips half open, and her finger up, 
 As though she said, ' Beware ! ' " 
 
 This mode of expression is specially 
 •p Q^A appropriate in sacred discourse. 
 
SPECIAL GESTURES. 
 
 139 
 
 Ex. — I. Stand in awe and sin not, 
 
 sus. 
 2. Vengeance is Mine ; I will repay, saith the Lord. 
 
 sus. 
 
 Clinched Hand. 
 
 (Fig. 85.) 
 
 I. Used in any line for Ex- 
 treme Emphasis, Vehement 
 Declaration, Fierce Determina- 
 tion, Desperate Resolve. Often 
 used in very emphatic assertion. 
 
 We have three degrees of 
 emphasis: the open hand, the ^^^' ^^' 
 
 index finger, the clinched hand ; which may be de- 
 nominated respectively Emphasis, Special Emphasis, 
 and Extreme Emphasis. 
 
 Ex. — I. Treason has done his worst. 
 d. f. di. 
 
 2. Let us do or die. 
 
 d. f. cli. 
 
 3. And when we have resisted to the lasf, we will starve in the 
 
 r. h.d.o.s. d.f.cli. 
 
 wastes of the glaciers. Ay, men, women and children, we will 
 
 b. h.h.o. 
 all be frozen into annihilation together ere one free Switzer 
 
 b. h. d.o. cli. 
 will acknowledge a foreign master. 
 r. h. h. o. cli. 
 
 4. I '11 have my bond : I will not hear thee speak ; 
 
 r.h. d.f.cli. r.h.d.l. p. 
 
 I '11 have my bond, and therefore speak no more. 
 r.h. d.f.cli. r.h.d.l. p. 
 
 The following example presents in their order the 
 three degrees of emphasis above referred to ; 
 
 To such usurpation I will never submit ; I repeat it, sir, I will 
 
 d.f.s. 
 never submit; I will die first, 
 d. f. ind. d. f, cli. 
 
 7 
 
140 MANUAL OF GESTURE. 
 
 The more usual method, however, in such cases, is to 
 limit the action to one of these forms — the open hand, 
 the index, finger, or the clinched hand — and effect the 
 climax by raising the hand higher and bringing it down 
 more forcibly with each successive stroke. 
 
 II. The clinched hand is used in any line to express 
 Violent Anger, Threatening, Defiance, etc. 
 
 Ex. — I. Wo to the hand that fails to rear, 
 r. h. a. f. cli. 
 At this dread sign, the ready spear. 
 
 SUS. 
 
 2. As a Roman, here in your very capital I defy you. 
 
 h.f. ind. h.f. cli 
 
 3. Thy threats, thy mercies I defy, 
 
 h. f. cli. 
 
 And give thee in thy teeth the lie. 
 h.f. ind. 
 
 4. If thou but FROWN on me, or stir thy FOOT, 
 
 h.f. cli. rep. 
 
 Or teach thy hasty spleen to do me shame, 
 
 I '11 strike thee dead. ""^P- 
 
 d.f.cli. 
 
 In more moderate discourse the idea of frowning 
 might be expressed with the- prone hand ; but this 
 would be inadequate to the vehemence of the present 
 language. 
 
 III. Seizing, Grasping, etc. 
 
 Ex. — Then, starting from the ground once more, he seized the monarch's 
 rein, « * * a. o cli. 
 
 And with a fierce, o'er-mastering grasp, the rearing war-horse led. 
 
 a. o. cli. 
 
 Both Hands Clinched. 
 
 This is admissible in Vehement Declaration and highly 
 Impassioned Oratory. 
 
 Ex. — I. Rather than submit to such usurpation, I would suffer a thousand 
 deaths. b.h. d.f.cli. 
 
 2. I '11 fight, till from my bones the flesh be hack'd. 
 
 b. h. d. 1. cli. 
 
SPECIAL GESTURES. 
 
 141 
 
 Hands Applied. 
 
 (Fig. 86.) 
 
 The palms are prebsed together as shown in the cut. 
 Often used in Adoration. 
 
 Ex.— Holy, holy, holy Lord God of Sabaoth. 
 b. h.a. f. ap. . sus. 
 
 Fig. 86. 
 
 Fig. 87. 
 
 Hands Clasped. 
 
 (Fig. 87.) 
 
 The hands are raised to the horizontal oblique, the 
 palms facing each other, brought together and clasped, 
 then drawn up to the chest, from Avhich they are pro- 
 jected outward — descending, horizontal, or ascending — 
 as occasion may require. In following this direction 
 there need be no appearance of measured exactness ; a 
 fault which facility of execution must exclude from all 
 gesture. 
 
 The clasped hands indicate strong emotion. They 
 are appropriate in Supplication and Earnest Entreaty. 
 Also the language of Distress. 
 
142 
 
 MANUAL OF GESTUllE. 
 
 Ex. — I. For Heaven's sake, Hubert, let me not be bound, 
 
 b. h. h. f. cla. sus. 
 
 2. O Lord, rebuke me not in Thy wrath, 
 b. h. a. f. cla. 
 
 3. O ! my son Absalom ! my son, my son Absalom ! Would God 
 
 b. h. h.f. cla. rep. b. h. a. f. cla. 
 
 I had died for thee, O Absalom, my son, my sott. 
 b. h. h.f. cla. rep. b. h.a. f. cla. b. h. d. f. cla. 
 
 Hands Folded. 
 
 (Fig. 88.) 
 
 Fig. 88. 
 
 The fingers of the right 
 hand are laid between the 
 thumb and fore-finger of 
 the left, the right thumb 
 crossing the left. 
 
 Expressive of Humility 
 or Self-Abasement, and 
 sometimes employed in 
 Sacred Address. 
 
 Ex. — Behold, I am vile ! 
 
 Hands Crossed. 
 
 (Fig. 89.) 
 
 Fig. 89. 
 
SPECIAL GESTURES. 143 
 
 One hand is placed upon the breast, and the other 
 laid upon it. The eyes are at the same time slowly 
 cast down, and the head bowed in Humility or Venera- 
 tion. 
 
 Ex. — I acknowledge my transgression. 
 
 The Hand on the Heart. 
 
 Reference to the speaker's own feelings, and Imper- 
 sonation as well, lays the hand on the heart. Powerful 
 emotion presses it hard ; fierce passion clinches it. In 
 generous and genial emotions the fingers should be 
 spread apart ; in subdued emotions they are kept close 
 together. 
 
 Ex. — I. I feel within me 
 
 A PEACE above all earthly dignities, 
 A still and quiet conscience. 
 
 2. Let my heart be still a moment and this mystery explore. 
 
 3. I speak from the fulness of my heart. 
 
 4. Thou hast given to that poor, gentle, timid shepherd lad, muscles 
 
 of iron and a heart of flint. ^- ^- ^- ^- ''" 
 
 r. h on heart cli. 
 
 Both hands are sometimes placed on the heart, one 
 covering the other. 
 
 Ex. — What is this absorbs me quite ; 
 b. h. upl. 
 
 Steals my senses, shuts my sight 
 b. h.a. o p. b. h. h. \. p. 
 
 Drowns my spirit ? 
 
 b. h.on heart. 
 
 As a rule, the speaker in referring to the hearts of 
 others, should not employ this gesture. In the follow- 
 ing example, for instance, 
 
 They hushed their very hearts, that saw its horror and amaze. 
 
 The horizontal oblique prone is the most appropriate 
 gesture. 
 
144 MANUAL OF GESTURE. 
 
 The Left Hand. 
 
 The gestures assigned to the right hand may also be 
 executed with the left, but only when absolutely neces- 
 sary. As a rule, when one hand is employed singly, 
 the preference should be given to the right. In refer- 
 ring to persons or objects at the left of the speaker, the 
 left hand may be used. It should be remembered, 
 however, that as an instrument of gesture, it is inferior, 
 subordinate and occasional. Manly force prefers the 
 right hand, which is, normally, the expressive hand ; 
 the left being a peculiarity and specialty. | Its chief use 
 is to accompany the right in expansion and warmth. 
 To be constantly alternating between the right and 
 left hand is a serious fault of gesture. There is, indeed, 
 no necessity for it. In referring to the points of com- 
 pass, the public speaker is not bound to give the exact 
 directions. Upon this point, Austin says, " Avoid here 
 literal and mechanical exactness." The contrast is all 
 that can be required, and even in this he need not be 
 punctilious. When a series of objects is presented, 
 sufficient variety may be given by simply changing the 
 lines of gesture ; as when one member of the series is 
 assigned to the line in front, a second to the oblique, a 
 third to the lateral, and, it may be, a fourth to the 
 oblique backwards ; and this upon the descending, the 
 horizontal, or the ascending plane. These divisions 
 and subdivisions furnish the most ample scope for 
 enumeration, classification and description. Observe 
 the following notation : 
 
 Ex. — I, They shall come from the east, and from the WEST, 
 prftu r. h. h. 1. 
 
SPECIAL GESTUBES. 145 
 
 Or, 
 
 They shall come from the east, and from the west. 
 prep. b. h. h. 1. 
 
 Or, to be more specific : 
 
 They shall come from the east and from the 7i<est. 
 r. h. h. f. r.h.h.o.b. 
 
 2. He shall have dominion, also, from sea to SEA, and from the 
 prep. r- h. h. 1. 
 
 river to the ENDS OF the earth. 
 prep. b. h. h. 1. 
 
 3. Fear not, for I am with thee ; I will bring thy seed from the 
 
 r. h. h. 1. r. h.h.o. 
 
 east, and gather thee from the west ; I will say to the ttorth 
 
 r. h.h.l. b. h. h. 1. par. left. r. h. h. f. 
 
 give up; and to the south, keep not back ; bring my sons 
 
 rep. r.h.h.o.b. r. h.d.o.b. 
 
 from far, and my daughters from the ends of the earth ; even 
 
 r. h.h.l. r.h.h.o.b. 
 
 every one that is called by my name, 
 b.h.h.l. 
 
 4. Whatsoever thy hand findeth to do, do it with \hy might; for there 
 
 h.o. d.o. 
 
 is no work, nor device, nor knowledge, nor wisdom in \}^t grave 
 h.f. d.o. d.l. d. o. b. rep. 
 
 whither thou goest. 
 
 t;. If men of eminence are exposed to censure on the one hand, 
 
 h. f. 
 
 they are as much liable to flattery on the other, 
 h.l. 
 
 Even in the last example the expression as notated is 
 sufficiently definite. When more exactness is required, 
 however, the left hand may be used singly ; a practice 
 never allowed by ancient orators, doubtless owing to 
 the necessity of holding upon the left hand the folds of 
 the toga, a cumbi'ous robe they were accustomed to 
 wear. 
 
CHAPTER X. 
 
 CONCLUSION. 
 
 Transition of Gesture. 
 
 In giving the elements of the subject it has been 
 found most convenient to consider the hand at rest just 
 previous to the execution of a given gesture ; but in 
 actual practice there are frequent transitions combining 
 several different motions into a single period of gesture, 
 as in the following notation : 
 
 No fearing, 7to doubting thy soldier shall know, 
 prep. h. 1. sus. 
 
 When here stands his country, diXid yonder her foe; 
 prep. h. f. sus, prep. h. 1. ind. sus. 
 
 One look at the bright sun, one prayer to the sky, 
 prep. a. f. prep. b. h. a. o. 
 
 One glance where our <5fl!««^r waves glorious on high ; 
 prep. a. f. ind. 
 
 Then on, as the young lion bounds on his prey, 
 prep. b. h. h. f. sus. 
 
 Let the sword flash on high, fling the scabbard away ; 
 prep. a. o. ind. d.l. 
 
 Roll on, like the ihtmderbolt over the plain ! 
 b.h. h. f. rep. sus. 
 
 We come back in glory, or we come not again, 
 prep. b. h. a. 1. prep. b. h. d. o. 
 
 See illustrations on pages 258, 259, 260. 
 
 It will be observed here that the right hand does not 
 fall to rest until the whole stanza is completed. Nor 
 does it take the shortest line from one gesture to 
 another, but first makes a new preparation, by being 
 
COKCLITSIOK. 14T 
 
 brought to a higher point, or a point nearer the body, 
 from which it proceeds to the next position indicated 
 in the notation. This new preparation may carry the 
 hand to the head, or to a lower point ; it may consist 
 in a simple movement of the wrist. 
 
 The dotted line in fig. 90 corresponds with the line 
 of preparation shown in fig. 6 ; the shorter curves are 
 a series of preparations as applied to three successive 
 gestures — d. o., h. o., and a. o. — in which the hand fol- 
 lows a line which successively returns upon itself. 
 
 Fig. 90. 
 
 In fig. 91 the same principle is applied in the trans- 
 verse direction. Observe that these lines, like those in 
 fig. 90, are traced by one who faces the reader ; hence 
 they appear reversed. The lines will vary with the 
 energy of the discourse. In tranquil delivery, the hand 
 may pass from gesture to gesture by a simple curve, 
 like that shown in the first diagram, fig. 91. The letters 
 f. o. 1. ob. represent the different terminations — front, 
 oblique, lateral, and oblique backwards. The second 
 diagram in the same figure shows a more graceful 
 transition, in which the hand moves in double curves, 
 similar to Hogarth's line of beauty. Such motions are 
 7* 
 
148 MANUAL OF GESTURE. 
 
 adapted to a more elaborate oratorical style. The acute 
 angles at the point of contact between the preparatory 
 and executionary movements, as shown in the last 
 diagram, are the result of more emphatic expression. 
 
 In making the transition from one hand to both, the 
 left hand should be brought up from the place of rest 
 simultaneously with the new preparatory movement 
 performed by the right. In like manner, the transition 
 from both hands to one is made by dropping the left 
 hand at the same instant the right moves in prep- 
 aration for the next gesture. To illustrate, suppose the 
 right hand to be at the point h. L, and the left at rest 
 (fig. 16), the gesture next required is b. h. h. 1. (fig. 27). 
 This transition is made by bringing the right hand from 
 h. 1. towards the head, and simultaneously raising the 
 left to a corresponding elevation, as for instance, in fig. 
 71, fi'om which both hands are carried outward to the 
 lateral line. Now suppose the next gesture to be 
 r. h. a. f. (fig. 18), the right hand is brought from h.l. 
 towards the head while the left is falling to rest. 
 
 The Place of Gesture. 
 
 While it is obvious that the gesture occurs upon the 
 emphatic word, it is well to consider its place with refer- 
 ence to the subject and predicate. 
 
 I. The gesture usually occurs upon the predicate, 
 the subject taking the preparation. 
 
 Ex. — I. Our aim is happiness. 
 h.o. 
 2. The quality of mercy is NOT strained. 
 
 h. 1. 
 
 II. The subject takes the gesture when it is more 
 important than the predicate. 
 
CONCLUSION. 149 
 
 Ex. — The ENTIRE RESOURCES OF THE GOVERNMENT were brought into 
 b.h.h.l. 
 requisition. 
 
 III. When the subject and predicate are sufficiently 
 important, a gesture may occur upon each. 
 
 Ex. — The voice of the living speaker makes an impression on the mind 
 h. o, 
 much STRONGER than can be made by the perusal of any writing. 
 d. o. rep. 
 
 IV. Of two or more subjects or predicates, the gesture 
 generally falls upon the last. ^ 
 
 Ex. — Truth, honor justice, were his motives, 
 h.o. 
 
 V. A gesture may be made upon each of several sub- 
 jects or predicates when they are sufficiently important, 
 or when accompanied by strong qualifying words. 
 
 Ex. — The cloud-capt towers, the gorgeous palaces, 
 b. h. a. f. b. h. a. o. 
 
 The solemn temples, the great globe itself, 
 
 b. h. upl. a. o. b. h.h.L 
 
 Yea, all which it INHABIT shall dissolve, 
 imp. b. h.d. 1. p. 
 
 And like this insubstantial pageant faded, 
 r. h.h.L p. 
 
 Leave not a wreck behind, 
 drop. 
 
 It is sometimes advantageous, instead of a gesture 
 upon each member of a series — words, clauses or sen- 
 tences — to alternate between them, assigning the prep- 
 aration to the intervening members. 
 
 Ex. — I. To ARMS ! they come ! the Greek ! the Greek ! 
 
 b. h.h.f. b.h.h.l. par. prep. b.h.h.l. par. 
 
 2. The battle, sir, is not to the strong alone ; it is to the vigilent, 
 
 the active, the brave. ^- '■ ^- °- 
 
 prep. d.o. 
 
 3. Now if any man build upon this foundation GOLD, silver, 
 
 d. f. prep. 
 
 PRECIOUS stones, WOOD, hay, STUBBLE, every man's work 
 
 d. o. d. 1. prep. d. o. b. prep, 
 
 shall be made manifest, 
 d.o. 
 
150 MANUAL OF GESTURE. 
 
 With respect to the grammatical construction, the 
 gesture most frequently occurs either upon the substan- 
 tive or the verb, or else upon the adjective belonging 
 to the former, or the adverb modifying the latter. 
 Ex. — I. Adversity is the school of piety. 
 
 h. o. d. o. 
 
 2. The true spirit of religion cheers as well as composes the soul. 
 
 h. o. d. o. 
 
 3. Exercise and temperance strengthen even an indifferent con- 
 
 stitution. ^- °- 
 
 4. To love WISELY, rationally and prudently, is, in the opinion 
 
 prep. h.f. prep. h. o. 
 
 of lovers, not to love at all. 
 d. o. 
 
 The gesture often occurs upon the pronoun. 
 
 Ex. — Whom say ye that I am ? 
 h. o. 
 
 Sometimes upon the interjection. 
 
 Ex. — These were delightful days, but alas ! they are no more, 
 h. o. r. h. upL drop. 
 
 Climax. 
 
 Corresponding with the rhetorical climax, we have 
 climax in gesture. By the law of force, gesture goes 
 progressively inward and downward ; by the law of 
 feeling and expansion, progressively outward and up- 
 ward. The orator should obey the law of climax in 
 gesture, as well as in composition and voice. Indeed, 
 these are but the constituent parts of the unity of effect, 
 and should, therefore, harmonize with each other, as 
 well as with the general character of the discourse and 
 the circumstances of delivery. 
 
 In accordance with the law of climax, the elocutionist 
 will economize voice and action, as the rhetorician 
 economizes words. As the one reserves his strongest 
 
CONCLUSION. 151 
 
 terms for the most important ideas, so will the other 
 reserve his most forcible tones and gestures for the 
 most emphatic assertions. 
 
 The following examples will serve to illustrate, in 
 this connection, the principles which should govern in 
 the choice of gesture : 
 
 Climax of Force, 
 
 Ex. — I. I will noiy must not, dare not grant your wish, 
 r.h.d.l. r.h.d.o. r. h. d. f. 
 
 2. These abominable principles, and this more abominable avowal 
 
 r. h. h. o. r. h.d. o. 
 
 of them, demand the most decisive indignation. 
 
 r. h. d. f. 
 
 3. I have very little regard iov the assertion of my opponent ; it is 
 
 r. h. h. 1. 
 •w'xihowi foundation ; it is false ; utterly (ahe. 
 r.h.d.l. r.h.d.o. r. h. d. f. 
 
 4. They are all gone out of the way ; they are together become 
 
 r, h. h. 1. 
 
 unprofitable ; there is none that doeth good ; no, not one. 
 r.h.d.l. r.h.d.o. r.h.d.f. 
 
 Ex'pan^ion, 
 
 5. For the truth of this assertion, I appeal to you, Mr. Chairman ; 
 
 r. h. h. f. 
 I appeal to this audience ; yea, to the whole world. 
 b.h.h.o. b.h. h.l. 
 
 6. Vanity of vanities, saith the preacher, vanity of vanities ; all is 
 
 ^^,,ity^ r.h.d.l. b.h.d.o. b.h.d.l. 
 
 To use but one hand upon the last clause of this 
 passage, after having used both hands in the preceding 
 clause, would make an anti-climax, and weaken the 
 effect of the action. 
 
 7. lVa7>e, Munich ! all thy banners wave, 
 r.h.h.l. b.h, h.l. 
 
 8. Declare His glory among the heathen, His wonders among all 
 
 thepeopU, \>.\^.V.o. b.h. h.l. 
 
T52 MANUAL OF GESTURE. 
 
 9. Jehovah reigns ; His throne is high; 
 r. h. a. f. r. h. a. o. 
 
 His robes are light and majesty. 
 b.h. a.l. 
 
 10. He telleth the number of the stars ; He calleth them all by 
 
 their names. r. h. a. 1. 
 
 b.h. a.l. 
 
 11. Great is our Lord, and of great power ; His understanding is 
 b. h.a. f. b.h.a. o. 
 
 infinite. 
 b. h.a. 1. 
 
 12. Be glad in the Lord, and rejoice^ ye righteous ; and shout for joy, 
 
 b. h.a. f. b. h. a. o. b. h. a, 1. 
 
 all ye that are upright in heart. 
 
 Elevation. 
 
 13. Brief, brave and g/orious was his young career, 
 r.h.d.f. r.h.h.f r. h. a. o. 
 
 14. According to the eternal rules of celestial precedency, Virtue 
 
 takes place of at/ things. It is the nobility of Ange/s/ It is 
 b. h. d. o. b. h. a. o. 
 
 the majesty of God / 
 b. h. a. f. 
 
 The Rhetoric of Gesture, 
 
 Attention has already been called to the correspond- 
 ence between gesture and rhetoric. The climax and 
 the rhetorical pause have been noticed. Gesture is also 
 governed by the rhetorical figure. 
 
 Ex. — Thou art clothed with tight as with a garment, 
 b. h. a. f. p. 
 
 The prone hands are here preferred, as being suggest- 
 ive of apparel. " Thou dwellest in light," would be 
 expressed with the supine hands. So closely allied are 
 the two arts — construction and delivery — that the style 
 of rhetoric must govern the gesture generally. Imper- 
 ative and vivid styles demand frequent and forcible 
 action, and vice versa. Indeed, the rhetoric of gesture 
 should be carefully attended to. As a rule, gestures 
 
CONCLUSION. 153 
 
 should be connected and harmonious. Appropriate and 
 graceful action does not consist in isolated movements ; 
 the hand must not be allowed to drop after each em- 
 phatic word. On the contrary, the different movements 
 should sustain such a relation to each other as to pro- 
 duce a good effect on the whole. Harmony and unity 
 are essential elements of grace. Familiarity with this 
 branch of the subject will lead to the arrangement of 
 sentences with reference to the best effect in rhetorical 
 delivery. 
 
 Gesture Modified by Circumstances. 
 
 The style of gesture to be adopted in a given case 
 must be determined by the predominant idea, or the 
 effect desired. If, in the following passage, 
 
 I hate and abhor lying, 
 
 the speaker wishes simply to make an emphatic 
 assertion, he will use the descending oblique ; if he 
 would indicate the class to which the object of his 
 hatred belongs, he will employthe descending lateral — 
 the gesture of debasement ; if, however, the feeling of 
 abhorrence be such as to call for a gesture of intense 
 aversion, the descending oblique backwards prone would 
 be appropriate. Take the same example in connection 
 with its context : 
 
 1 hate and abhor lying ; but Thy law do I love. 
 rh.h.l. V. b.h.h.f. 
 
 The contrast here presented is better expressed with 
 still another style of gesture, as shown in the notation. 
 The idea which the hand expresses in this case is the 
 putting away of one thing and the choosing of another 
 in its stead. 
 
154 MANUAL OF GESTURE. 
 
 In the last line of Bernardo del Carpio, 
 
 His banner led the spears no more amid the hills of Spain, 
 
 one might wish to indicate, with the pointing finger, the 
 location of the hills of Spain, or treat the sentence as 
 an unemphatic negation, and employ the horizontal 
 lateral, or he might prefer to use the gesture of ces- 
 sation — descending lateral — to express the termination 
 of the young Avarrior's career. 
 Take the following couplet: 
 
 And will you rend our ancient love asunder, 
 
 b. h. h. o. s. 
 To join with men in scorning your poor friend? 
 b. h. d. o.s. 
 
 In choosing the gesture for this passage, the idea of 
 earnest interrogation must predominate over that of dis- 
 ruption in the first line, and aversion in the second. 
 Hence, instead of b. h. h. 1. v., and r. h. d. 1. p., we have 
 the notation given above. 
 
 Compare the following examples : 
 
 1. Bursts the wild cry of terror and dismay, 
 b. h. a. 1. V, 
 
 2. See through this air, this ocean, and this earth. 
 
 All matter quick and bursting into birth, 
 b.h.h.l.s. 
 
 In the first example the prevailing idea is that of dis- 
 ruption ; in the second it is that of birth : and these 
 must govern respectively the character of the gestures, 
 wh:.ch, although occurring upon like words, differ 
 essentially in form and signification. 
 
 As the language of appeal, the following sentence 
 would require the horizontal oblique : 
 
 Shall we now contaminate our fingers with base bribes? 
 
 But the force and depth of the emotion of contempt 
 
CONCLUSION. 155 
 
 absorbs the idea of a})peal, and expresses itself with the 
 descending lateral — both hands. 
 
 Victory and triumph usually find their appropriate 
 expression in the ascending gestures ; and yet, in the 
 following couplet : 
 
 The saints in all this glorious war 
 
 Shall conquer though they die, 
 a. o. rep. 
 
 the emphatic character of the language carries the hand 
 to the descending line. 
 
 The elevation and expansion of feeling which consti- 
 tute the emotion of joy, generally call for the ascending 
 lateral ; but the following sentence : 
 
 A thing of beauty is a joy forever, 
 
 may be simply treated as the presentation of a general 
 thought, and use the horizontal oblique. Observe here 
 the distinction between the subjective and the objective 
 — the inward excitement of an emotion, and the mere 
 talking about it. In oblique discourse, however, the 
 speaker often assumes an emotion or passion. Notice 
 also the following : 
 
 Give every man thine ear ; but few thy voice. 
 
 b. h.h. o. r. h.h.o. ind. 
 
 Take each man's censure ; but reserve ihy Judgment. 
 b.h.d.o. r. h.h.o. ind. 
 
 If this were regarded as purely didactic, the supine 
 hand would be retained throughout; but the shrewd 
 caution of Polonius makes the gesture of mere instruc- 
 tion give place to that of warning — index finger. 
 
 The orator needs carefully to guard against the viola- 
 tion of the principle just stated, never sacrificing the 
 greater for the less, but always adopting that style of 
 
166 MANUAL OF GESTURE. 
 
 action which is most effective ; for instance, at the 
 moment when he wishes to carry his point by forcible 
 argumentation, he must not allow himself to sacrifice 
 emphasis for any minor effect, as when he steps aside 
 to indulge in some descriptive action. There are times 
 when he cannot afford a descriptive gesture ; as there 
 are emergencies in which the military commander may 
 not stop to admire the beauties of the natural scenery 
 which chance to lie in his pathway, but, with impetuous 
 speed, must hasten forward to combat the enemy. 
 
 A gesture is sometimes modified by its relation to 
 other gestures, or by the combined effect of the action. 
 In the passage. 
 
 The Lord bringeth the counsel of the heathen to nought ; He 
 
 maketh the devices of the people of none effect. 
 
 d. 1. 
 
 The first clause, taken independently, and with mode- 
 rate emphasis, would employ the descending lateral to 
 express nonentity ; but since another clause of similar 
 import is added, the oblique is appropriated to the first, 
 in order to reserve the lateral for the second. 
 In the following appeal. 
 
 For the truth of this assertion, I appeal to these gentlemen before 
 
 me, to every one in this vast assembly, yea to the impartial 
 
 b. h.h.o. 
 judgment of all mankind. 
 b.h.h.l. 
 
 The first clause taken separately would use b. h. h. o. ; 
 and the second, either by itself, or in connection with 
 the first, b. h. h. 1. ; but when the three are combined, 
 by the law of rhetorical climax in delivery the largest 
 gesture is reserved for the largest idea. 
 
 In accordance with the same principle, both hands 
 
CONCLUSION. 157 
 
 are occasionally employed merely to preserve the har- 
 mony of the action — the preceding or the following idea 
 requiring the use of both hands. This, however, is by 
 no means an invariable rule, since the sudden transition 
 from one hand to both, and vice versa, is not only admis- 
 sible, but is often very effective. Some examples of this 
 may be seen in the pieces marked for practice. 
 
 The gesture should accord with the idea taken in its 
 full extent. Notice the second gesture in the notation 
 of the following passage : 
 
 With a// thy getting, get understanding. 
 b. h. h.o. b.h.d.o. 
 
 The last clause standing alone, would be adequately 
 expressed with one hand, but taken in connection with 
 the first, the idea is extended, and hence requires a 
 larger gesture. This also preserves the harmony of the 
 action, the first clause obviously requiring both hands. 
 
 Gesture is modified by individual character. What 
 is becoming to one, may not be so to another. This 
 remark applies to the frequency and variety, and to the 
 manner of execution. Different modes of thought call 
 for different modes of expression. The orator who 
 seldom steps beyond the bounds of calm reasoning, will 
 confine himself chiefly to the class called assertive gest- 
 ures, and will execute these with moderation ; while 
 one who is firm in his convictions, and possesses great 
 strength of will, naturally lifts the hand higher and 
 brings it down more forcibly ; and one possessing a 
 vivid imagination, will abound in descriptive gestures. 
 Some physical organizations are more favorable to 
 rhetorical action than others ; pliability of muscle and 
 
158 MANUAL OF GESTURE. 
 
 facility of motion generally will enable one to do what 
 would be quite unbecoming in another to attempt. Let 
 every one adopt that style of action which is best suited 
 to his own mental and physical organization, subject 
 always to the general laws of expression. 
 
 The Countenance. 
 
 The expression of the countenance is intimately 
 related to the subject of gesture. The mere motions 
 of the hands and arms without the appropriate facial 
 expression, and, indeed, without the appropriate attitude 
 and movement of the whole body, would result in 
 mechanical delivery void of grace or naturalness. The 
 face is a powerful auxiliary to the oratorical art. " By 
 the countenance," says Quintilian, " every feeling is 
 expressed. Upon the countenance the hearers depend, 
 and into it they examine before the speaker opens his 
 lips." 
 
 Says Lloyd : 
 
 " The strongest passion bolts into the face." 
 
 And the same author thus describes the expression 
 of the countenance : 
 
 " A single look more marks the internal woe, 
 Than all the windings of the lengthened o — h ! 
 Up to the face the quick sensation flies, 
 And darts its meaning from the speaking eyes ; 
 Love, transport, madness, anger, scorn, despair, 
 And all the passions, all the soul is there." 
 
 Lavater's observations upon the countenance are 
 valuable to the student of oratory. He makes the fol- 
 lowing distinction between physiognomy and pathog- 
 nomy : " Physiognomy," he says, " is the knowledge of 
 
CONCLUSION. 159 
 
 the signs of the powers and inclinations of men. Path- 
 ognomy is the knowledge of the signs of the passions. 
 Physiognomy, therefore, teaches the knowledge of the 
 character at rest, and pathognomy, of the character in 
 motion. All people read the countenance pathognomi- 
 cally (hence the expression of countenance necessary 
 to the orator), few indeed read it physiognomically." 
 
 It is not the design of the present work to embrace 
 a treatise upon facial expression. Some directions 
 regarding the eyes, however, are indispensable to the 
 study of gesture. 
 
 Among the three forms of visible expression — feat- 
 ures, attitude and gesture — the eye occupies a promi- 
 nent position. " It seems to share every emotion, and 
 to belong to the soul more than any other feature." 
 The expressive power of the eye is wonderful. The 
 faculty — natural or acquired — of seizing an audience, so 
 to speak, with the eye, and holding them in a visional 
 grasp, endows the orator with marvelous power. 
 
 As a rule, the eye should not accompany the gesture, 
 but should embrace the audience, traversing from left 
 to right, beginning with those nearest the speaker, and 
 going back to the farthest part of the house. 
 
 In impassioned poetry, the eye frequently accompanies 
 the gesture ; so also in vivid description. 
 
 Apostrophic address turns toward its object. 
 
 In special designation the eye may for an instant 
 glance toward the object pointed out. The rule in 
 such cases is, that in vivid emotion the eye should pre- 
 cede the hand ; in moderate emotion they move simul- 
 taneouslv. To look the audience in the face while 
 
160 MANUAL OF GESTUKE. 
 
 pointing them to a distant object, makes the truest elo- 
 quence. This, however, is not opposed to the moment- 
 ary glance just referred to, and which heightens the 
 effect. 
 
 In narrative and didactic discourse, as well as in all 
 warm, earnest and vivid address, the eye, for the most 
 part, ranges over the audience. 
 
 In strong resolve or fixed purpose, or in the statement 
 of a definite proposition, it is fixed. 
 
 In intense emotion of a grand, solemn, or sublime 
 character, when expressive of steadfastness, the eyes 
 should remain fixed. 
 
 In profound solemnity and awe, they are upraised 
 and fixed. 
 
 In shame or grief, they are downcast or averted. 
 
 In thought, they are cast on vacancy. 
 
 In doubt and anxiety, they turn in various directions. 
 
 The public reader should occasionally direct his eyes 
 from the book or manuscript to the audience. 
 
 It may appear to some that so much attention to the 
 details of gesture as is recommended in this treatise is 
 unnecessary or impracticable ; that it will hinder the 
 freedom of action, or interfere with the' fluency of 
 speech, or draw the mind of the speaker from his subject 
 matter, or allure him from the main purpose of his dis- 
 course, or cause the hearer to observe the manner more 
 than the matter. It may be well to remind those who 
 imagine all or any of these objections, that the same 
 
CONCLUSION. 161 
 
 attention is necessary in the acquisition of every other 
 branch pertaining to public speaking ; that the orator 
 is expected to frame his arguments with reference to 
 the established rules of logic, arrange his thoughts 
 according to the laws of rhetoric, construct his sentences 
 with due regard to their grammatical government and 
 agreement, give to ever}^ word its just pronounciation, 
 and even to each letter its proper sound and full value ; 
 and that all these details are attended to during the 
 most rapid utterance, and even in the vehemence of 
 impassioned delivery, where the mind is entirely 
 engrossed with the subject matter of the discourse, and 
 the whole soul absorbed in the effort to accomplish the 
 main purpose, whether it be to instruct, to convince, or 
 to persuade ; and, furthermore, that during the entire 
 discourse neither speaker nor hearer gives a moment's 
 thought to the rules of logic, rlietoric, or grammar. 
 And why should not the rules of elocution, including 
 both voice and gesture, be added to the list, and ob- 
 served in the same manner ? 
 
MISCELLANEOUS EXAMPLES. 
 
 I. 
 
 I 've seen the moon climb the mountain's brow, 
 
 a. o. ind. 
 I 've watched the mists o'er the river stealing; 
 
 h. 1. p. 
 But ne'er did I feel in my breast till now, 
 
 h. on heart. 
 So deep, so calm, and so holy a feeling: 
 
 rep. rep, a. o. 
 
 'T is soft as the thrill which memory throws 
 
 Athwart the soul in the hour of repose. 
 h.l.p. d.l. 
 
 II. 
 
 His throne is on the mountain top, 
 a. o. ind. rep. 
 
 His field the boundless air, 
 b.h.h.o. b.h.h.L 
 
 And hoary hills that proudly prop 
 b. h. a. o. 
 The skies, his dwellings are. 
 b. h.a. 1. b. h.a. o. 
 
 III. 
 
 I am the Rider of the ivind, 
 h.f. 
 The Stirrer of the storm ! 
 a. o. 
 The hurricane I left behind 
 h. 1. 
 Is yet with lightning warm ; 
 a. 1. ind. 
 8 
 
164 MANUAL OF GESTURE. 
 
 To speed to thee, o'er shore and sea, 
 b. h.h. f. b, h.h.o. 
 
 I swept upon the blast. 
 
 b. h. a. o.' 
 
 IV. 
 
 Fill the bright goblet, spread the festive board : 
 h.f. h.l. 
 
 Summon the gay, the noble and the fair ! 
 b. h. h. f. prep. b. h. h.l. 
 
 V. 
 
 ! sweet and beautiful is flight, 
 b. h. upl.* b. h. a. o. 
 
 When the silver moon is high, 
 
 a. o. ind. 
 And countless stars like glittering gems 
 
 b. h. a. o. 
 Hang sparkling in the sky ; 
 
 rep. 
 While the balmy breath of the summer breeze 
 
 b.h.h.f. 
 Comes whispering down the glen ; 
 b. h. d. f. 
 And one fond voice alone is heard, 
 h. o. ind. 
 
 1 night is lovely then, 
 b. h. upl. b. h. h. o. 
 
 VI. 
 
 Sullen, methinks, and slow the morning breaks, 
 
 a. 1. V. 
 As if the sun were listless to appear, 
 rep. 
 
 And dark designs hang heavy on the day. 
 ^ b. h.h.o. p. 
 
 VII. 
 
 Night wanes — the vapors round the mountains curl'd 
 
 h. 1. p. b. h.a. 1. p. 
 
 Melt into morn, and light awakes the world. 
 b. h.h.l.p. b.h.a.l. 
 
 How sweet and soothing is this hour of calm ! • 
 
 b. h. upl. a. o. b. h.h.o. p. eyes upl. 
 
 * Reference to the uplifted hand, unless otherwise designated, is to be understood 
 vertical, as on pages 122, 125. 
 
MISCELLANEOUS EXAMPLES. 166 
 
 VIII. 
 
 How vain are all hereditary honors, 
 h.l. 
 
 Those poor possessions from another's deeds, 
 
 Unless our own just virtues form our title, 
 
 b.h.h.'o. 
 And give a sanction to our fond assumptions. 
 
 b.h.d.o. 
 
 IX. 
 
 And what is most commended at this time, 
 
 b.h.h.o. 
 Succeeding ages may account a crime! 
 
 b.h.d.o. 
 
 The soul, of origin divine, 
 a. o. 
 God's glorious image, freed from clay, 
 
 a. f. h. 1. 
 
 In heavens eternal sphere shall shine 
 
 b. h.a. 1. 
 
 A star of day ! 
 a. o. ind. 
 The sun is but a spark of fire, 
 a. f. a. 1. ind. 
 
 A transient meteor in the sky ; 
 a. 1. 
 The soul immortal as its sire, 
 a. o. ind. a. f. ind. 
 
 Shall never die. 
 d.o. ind. 
 
 XL 
 
 The stars shall fade away, the sun himself grow dim with age, 
 b. h.a. o. V. 
 and nature sink in years ; but this shall flourish in immortal youth, 
 
 b. h. d. 1. p. a. o. 
 
 unhurt amid the war of elements, the wreck of matter and the crash 
 b. h. a. o. b. h. h. 1. 
 
 of worlds. 
 
166 MANUAL OF GESTURE. 
 
 XII. 
 
 Are you an actor in this busy scene, or are you an idle spectator i 
 h.f. h.l. 
 
 XIII. 
 
 War ! War ! — aloud with general voice they cry. 
 b. h. h. o. rep. b. h. h. 1. 
 
 XIV. 
 
 Thou tremblest, and the whiteness in thy cheek 
 h. f. p. h. f. 
 
 Is apter than thy tongue to tell thy errand, 
 rep. 
 
 XV. 
 
 Hence! home! you idle creatures, get you home! 
 h. o. V. h.l.v. h.o. b, V. 
 
 XVI. 
 
 Take holy earth, all that my soul holds dear. 
 b. h. d. f. rep. 
 
 XVII. 
 
 The Grave, dread thing! 
 
 d. f. p. a. f. V. (eyes upraised.) 
 Men shiver when thou 'rt named : Nature appalVd, 
 
 b.h. d. o. b. h. upl. a. o. 
 
 Shakes off her wonted firmness. Ah ! how dark 
 , b. h. d.l. p. b.h. a. o. p. 
 
 Thy long-extended realms, and rueful wastes ! 
 
 b.h. h.l. p. b.h.d. 1. p. 
 
 Where nought but silence reigns, and night, dark night, 
 
 b. h. upl. a. o. b.h. h.l. p. 
 
 Dark as was Chaos, ere the infant Suit 
 
 b. h, upl. a. o. a. f. ind. 
 
 Was rolled together, or had tried his beams 
 
 Athwart the gloom profound. The sickly taper, 
 b. h. a. f. h. f. ind. 
 
 By glimm'ring through thy low-brow'd misty vaults, 
 
 b. h. d. f. 
 
 Furr'd round with mouldy damps, and ropy slime, 
 --- b. h.d.l. p. 
 
 Lets fall a supernumerary horror, 
 b. h.upl.a. o. 
 
 And only serves to make thy night more irksome. 
 
 b. h. h.o. p. 
 
MISCELLANEOUS EXAMPLES. 167 
 
 XVIIL 
 
 I could a tale unfold, whose lightest word 
 
 h. o. ind. 
 Would harrow up thy soul, freeze thy blood, 
 h.f.ind. d.f. 
 
 Make thy two eyes, like stars, start from their spheres^ 
 
 b. h. h. 1. very quick. 
 
 Thy knotted and combined locks to pari, 
 
 b.h.d.o. 
 
 And each particular hair to stand on end, 
 
 h. o. ind. rep. 
 
 Like quills upon the fretful porcupine. 
 h. 1. ind. 
 
 XIX. 
 
 The temples of the gods, the gods themselves, will justify the cry, 
 b. h. a. o. rep. b. h. o.. o. 
 
 and swell the general sound. Revenue ! Revenge ! Revenge ! 
 b. h. h. 1. . d. o. cli. prep. rep. 
 
 XX. 
 
 We 've sworn by our country's assaulters, 
 
 h. 1. cli. 
 By the virgins they 've dragged from our altars, 
 
 b. h. d. I. par. 
 By our massacred patriots, our children in chains, 
 b. h.h.o. b.h.d.o. 
 
 By our heroes of old and their blood in our veins, 
 
 h. o.b. b.h.d.o. cli. 
 
 That living, we will be victorious, 
 
 a. o. cli. 
 Or that dying, our deaths shall be glorious. 
 b, h. d.f. cli. b. h. a. o. 
 
 XXI. 
 
 The physical universe may be regarded as exhibiting, at once, all 
 h. o. 
 its splendid varieties of events, and uniting, as it were, in a single 
 
 b. h. a. o. b.h.h.f. 
 
 moment, the wonders of eternity. Combine, by your imagination, all 
 
 rep. b. h. a. 1. b. h.h.o. rep. 
 
 the fairest appearances of things. Suppose that you see, at once, all the 
 b. h. h. 1. b. h. h. f. 
 
 hours of the day, and all the seasons of the year ; a morning of spring 
 b. h.h.o. b.h.h.l. b. h.h.o. 
 
168 MANUAL OF GESTURE. 
 
 and a morning of autumn, a night brilliant with stars, and a night 
 
 b.h.d.o. b. h,a. o. 
 
 obscure with clouds ; meadows enamelled with Jlowers ; fields waving 
 
 b. h. a. o. p. b. h. d. f. 
 
 with harvests ; woods, heavy with the frosts of winter : you will then 
 
 b. h.h.o. b.h.h.l.p. 
 
 have a just notion of the spectacle of the universe. 
 
 b.h.h.l. 
 
 XXII. 
 
 I am charged with pride and ambition. The charge is true, and I 
 
 h.o. d. 1. 
 
 glory in its truth. Whoever achieved anything great in letters, arts 
 a. o. h.o. 
 
 or arms who was not ambitious ? Ccesar was not more ambitious than 
 h. 1. imp. h. f. 
 
 Cicero : it was but in another way. Let the ambition be a noble one, 
 h.l. d.l. a.o. 
 
 and who shall blame it? 
 h.o. 
 
 XXIII. 
 
 The greatest glory of a free-born people, 
 
 b. h.h.o. 
 Is to transmit that freedom to their children. 
 
 b. h. d. o.. 
 
 XXIV. 
 
 Mr. Chairman, I call on your interference to put a stop to this 
 h.f. d.f, 
 
 uproar. 
 
 XXV. 
 
 Such, where ye find, seize fast, and hither bring, 
 h.o. h.o. p. d.o. 
 
 XXVI. 
 
 The great King of kings 
 h. o. ind. 
 Hath in the table of His law commanded, 
 
 h. f, ind. 
 That thou shalt do no murder ; wilt thou then 
 
 d. o. ind. 
 Spu^n at His edict, and fulfil a man's? 
 d.l. cLo. 
 
MISCELLANEOUS EXAMPLES. 169 
 
 xxvn. 
 
 I died no felon death — 
 
 d.l. 
 A warrior s weapon freed a warrior's soul. 
 h.o. h.I. 
 
 XXVIIL 
 
 Peace is despai/cL 
 d.l. 
 For who can think submission I War, then, war 
 d, o. h. f. rep. 
 
 Open or understood, must be resolved. 
 
 d.f. 
 
 XXIX. 
 
 'T is not in mortals to command success ; 
 
 d. o. rep. 
 
 But we '11 do more, Sempronius, we '11 deserve it. 
 b. h.d. o. rep. 
 
 XXX. 
 
 Speak of a man as you find him, 
 
 h.f. 
 And heed not what others may say. 
 h. 1. 
 
 XXXI. 
 
 Can ministers still presume to expect support in their infatuation? 
 
 Can Parliament be so dead to its dignity and duty, as to give its sup- 
 fa. h. h. o. b. h. d. o. 
 port to measures thus intruded and forced upon it ? 
 
 b.h.d.f. 
 
 XXXIL 
 
 Vain hopes and empty joys of human kind, 
 
 d.o. d.l. 
 
 Proud of the present, to the future blind. 
 h. f. h. o. p. 
 
 XXXIII. 
 
 Thus pleasures fade away, 
 h.I. 
 
 Youth, talents, beauty, thus decay, 
 d.l. 
 
 And leave us dark, forlorn, and grey. 
 r. h. upl. d.U 
 
170 MANUAL OF GESTURE. 
 
 XXXIV. 
 
 When beauty triumphs, ah beware ! 
 h. o. h.o. ind. 
 
 Her smile is hope! her frown despair! 
 a. f. d. f. 
 
 XXXV. 
 
 Who that surveys this span of earth we press, 
 b. h. d. o. 
 
 This speck of life in time's great wilderness, 
 d.f. ind. b.h.h. 1. 
 
 This narrow isthmus 'twixt two boundless seas, 
 d.f. b.h.h.l. 
 
 The past, the future, two eternities ! 
 h o. b. h.f. b. h. a.l. 
 
 Would sully the bright spot or leave it bare, 
 
 d.f. p. d. 1. 
 
 When he might build him a proud temple there, 
 
 b.h. a. o. 
 
 A name, that long shall hallow all its space, 
 
 b.h. a.l. 
 
 And be each purer soul's high resting place. 
 
 b. h. a. f. 
 
 XXXVI. 
 
 How can it enter the thoughts of man that the soul, which is 
 h.o. h.f. 
 
 capable of such immense perfections, and of receiving new improve- 
 
 a. o. 
 ments to all eternity, shall fall away into nothing almost as soon as 
 a. 1. d. o. 
 
 created. 
 d.l. 
 
 XXXVII. 
 
 Our thoughts are boundless, though our frames are frail, 
 b.h.h.l. b.h.d.o. 
 
 Our souls immortal, though our limbs decay ; 
 b. h. a. o. b. h. d. 1. 
 
 Though darkened in this poor life by a veil 
 h.o. p. 
 Of suffering, dying matter, we shall play 
 b.h. d.l. p. 
 
 In truth's eternal sunbeams; on the way 
 b.h. a. 0. 
 
MISCELLANEOUS EXAMPLES. 171 
 
 To Heaven's high capital our cars shall roll ; 
 
 b. h. a. f. 
 
 The temple of the Power whom all obey, 
 
 b. h. d. o. 
 
 That is the mark we tend to, for the soul 
 a f. ind. 
 
 Can take no lower flight, and seek no meaner goal, 
 d.o. d.l. 
 
 XXXVIIL 
 
 See through this air, this ocean, and this earth, 
 
 b.h.h.l. 
 All matter quick, and bursting into birth, 
 b.h.h.o. b.h.h.l. 
 
 Above, how high ! progressive life may go ! 
 b, h. a. f. 
 
 Around, how wide ! how deep extend below ! 
 
 b.h.h.l. b. h.d. f. rep. 
 
 Vast chain of being ! which from God began, 
 b.h.h.l. a.f. 
 
 Nature's ethereal, human, angel, man, 
 
 h.f. 
 Beast, bird, Jish, insect, what no eye can see, 
 
 h.l. d.l. 
 
 No glass can reach, from infinite to tliee, 
 
 h.l. imp. b. h.a. 1. h.f. 
 
 From thee to nothing. 
 h. f. d. 1. 
 
 XXXIX. 
 
 From cloud to cloud the rending lightnings rage s 
 
 b.h.a. o.v. b.h.a. l.v. 
 
 Till, in the furious elemental war 
 
 Dissolvd, the whole precipitated mass 
 b.h.a.I.v. 
 
 Unbroken floods and solid torrents pour, 
 b.h.h.o. p. b. h.d.o. 
 
 XL.* 
 
 I went by the field of the slothful, and by the vineyard of the man 
 h.o. 
 
 void of understanding ; and lo, it was all grown over with thorns, and 
 h.l. h.l. ind. d.o. p. 
 
   While the Scriptures and sacred hymns are here used for illustration, it is not 
 with a view of recommending the employment of gesture in their public reading ; 
 but only when they are quoted by the public speaker, and form a part of the {'vis- 
 course. 
 
 8* 
 
172 MANUAL OF GESTURE. 
 
 nettles had covered the face thereof, and the stone wall thereof was 
 d.l. p. 
 
 broken down. Then I saw and considered it well : I looked upon it, 
 d.o. b. p. d.f. ind. 
 
 and received instruction. Yet a little sleep, a little slumber, a Uttle 
 rep. d. f, d. o. 
 
 folding of the hands to sleep : so shall thy poverty come as one that 
 
 hands folded. h. f. ind. 
 
 travaileth ; and thy want as an ar?ned man. 
 h.l.ind. h.o. d.o. ind. 
 
 XLI. 
 
 They cried unto the Lord in their trouble, and He delivered them 
 b. h. a. f. 
 out of their distresses. 
 b. h.d.l. 
 
 XLII. 
 
 Were the whole realm of nature mine, 
 
 b.h. h.l. 
 That were a present far too small ; 
 b.h. d.o. 
 Love so amazing, so divine, 
 b. h.upl.a. o. b. h.a. f. 
 
 Demands my soul, m}^ life, my_ all. 
 b. h. h. f. 
 
 b.h. d.o. b.h. d.l. 
 
 XLin. 
 
 He who reigns on high 
 
 Upholds the earth, and spreads abroad the sky, 
 b.h.h.f. b.h.a.l. 
 
 With none His name and power will He divide, 
 
 d.f. 
 For He is God and there is none beside, 
 a f. d. 1. 
 
 XLIV. 
 
 It chills my blood to hear the blest Supreme 
 
 b.h. d.f. 
 Rudely appealed to on each trifling theme ; 
 b.h. d.o. 
 Maintain your ra7ik, vulgarity despise, 
 
 d. f. d. 1. 
 
 To swear is neither brave, polite, nor wise ; 
 d. f. d. o. d. 1. 
 
MISCELLANEOUS EXAMPLES. 173 
 
 You would not swear upon a bed of death / 
 
 d.f. 
 
 Bervare ! your Maker now may stop your breath, 
 h. o. ind. d.f. ind. 
 
 XLV. 
 
 A scomer seeketh wisdom, and findeth it not: but knowledge is 
 h. o. ind. h. o. d. o. 
 
 easy unto him that understandeth. 
 d.l. 
 
 XLVL 
 
 The getting of treasure by a lying tongue is a vanity tossed to and 
 
 n.o. h. 1. 
 
 fro of them that seek death. 
 d.o. 
 
 XLVIL 
 
 There is that maketh himself rich, yet hath nothing : there is that 
 
 h. o. drop, 
 
 maketh himself /^£>r, yet hath great riches. 
 d.l. b. h.d.o. 
 
 XLVIII. 
 
 I have rejoiced in the way of Thy testimonies as much as in all 
 
 a. o. 
 riches. 
 b.h.h.o. 
 
 XLIX. 
 
 Better is a little with the fear of the Lord, than great treasure and 
 d.l. h.l. 
 
 trouble therewith. 
 d.l. 
 
 If thou hast done foolishly in lifting up thyself, or if thou hast 
 d.o. a.o. 
 
 thought evil, lay thine hand upon thy mouth, 
 h. o. h. f. p. 
 
 LL 
 
 The Lord hath made all things for Himself : yea even the wicked 
 
 b. h. a. f. b. h. d. f. 
 
 for the day of evil. 
 rep. 
 
174 MANUAL OF GESTURE. 
 
 LII. 
 
 The dark places of the earth are full of the habitations of cruelty. 
 h. 1. d. 1. 
 
 LIII. 
 
 The Lord doth build up Jerusalem : He gathereth together the out- 
 h.o. b. h.h. o. 
 
 casts of Israel. He healeth the broken in heart, and bindeth up their 
 
 h.o. p. b.h. d.o. 
 
 wounds. He telleth the number of the stars ; He calleth them all by 
 
 a. 1. 
 their names. Great is our Lord, and of gredii power ; His understand- 
 b.h.a. 1. b. h. a. f. b. h. a. o. 
 
 ing is infinite. The Lord lifteth up the meek ; He casteth the wicked 
 b. h.a. 1. h.o. 
 
 down to the ground. 
 d. o. p. 
 
 LIV. 
 
 Open thy mouth, judge righteously, and plead the cause of the poor 
 h. o. d. o. b. h. h. o. 
 
 and needy. 
 
 LV. 
 
 With the Lord there is mercy, and with Him is plenteous redemption. 
 h.o. b.h.h. 1. 
 
 And He shall redeem Israel from all his iniquities. 
 b.h. h.o. b.h. d.o. 
 
 LVI. 
 
 The tongue of the just is choice silver : the heart of the wicked is 
 h. o. d. o. h. 1. 
 
 little worth. 
 d.l. 
 
 LVII. 
 
 Faithful are the wounds of a friend ; but the kisses of an enemy 
 d. f. h. f. h. o. 
 
 are deceitful. 
 d.l. 
 
 LVIII. 
 
 Rivers of waters run down mine eyes, because they keep not Thy 
 b.h. d.o. drop. 
 
 law. 
 
MISCELLANEOUS EXAMPLES. 175 
 
 LIX. 
 
 My zeal hath consumed me, because mine enemies have forgotten 
 b.h.d.f. b. h.d.l. 
 
 Thy words. 
 
 LX. 
 
 Rejoice, O young man, in thy youth ; and let thy heart cheer thee 
 h. f. rep. h. o. 
 
 in the days of thy youth, and walk in the ways of thine heart and in 
 
 h. f. 
 the sight of thine eyes : but know thou, that for a// these things 
 
 h.o. h. f. ind. b. h.h.o. 
 
 God will bring thee into judgment, 
 r. h. upl. ind. sus. 
 
 LXL 
 
 A friend cannot be known in prosperity, and an enemy cannot be 
 h.o. h. I. d.o. 
 
 hidden in adversity. 
 d.l. 
 
 LXIL • 
 
 There is not a just man upon earth, that doeth good and sinneth 
 
 d.o. - d.l. 
 
 not. 
 
 LXIIL 
 
 Get wisdom, get understanding : forget it not ; neither decline from 
 h f. ind. h.o. ind. rep. d. o. ind. 
 
 the words of my mouth. Forsake her not, and she shall preserve thee ; 
 h. f. ind. d. o. 
 
 love her, and she shall keep thee. Wisdom is the principal thing ; 
 h.f. d. f. h.o. d.o. 
 
 therefore get wisdom : and with all thy getting get understanding. 
 
 h.o. b. h.h.o. b. h.d.o. 
 
 Exalt her, and she shall promote thee : she shall bring thee to honor, 
 
 a. f. a. o. a. 1. 
 
 when thou dost embrace her. She shall give to thine head an oina- 
 h.o. a. o. 
 
 ment of grace : a crown of glory shall she deliver to thee. 
 
 LXIV. 
 
 Without counsel purposes are disappointed : but in the multitude of 
 h.o. d.o. b. h.h.o. 
 
 counsellors they are established. 
 b. h.d.o. 
 
176 MANUAL OF GESTURE. 
 
 LXV. 
 
 Commit thy works unto the Lord, and thy thoughts shall be estab- 
 a. f. d. f. 
 
 lished. 
 
 LXVI. 
 
 There are many devices in a man's heart ; nevertheless the counse) 
 h.o. 
 of the Lord, that shall stand. 
 a. f. h. f. 
 
 LXVII. 
 
 He came unto His own, and His own received Him not. 
 b. h.h. f. b.h.d. o. 
 
 Lxvni. 
 
 I have seen the wicked in great power, and spreading himself like 
 
 a. o. 
 a green bay tree. Yet he passed away, and lo, he was not : yea I 
 
 a. 1. h. 1. d. o. ind. 
 
 sought him, but he could not be found. 
 h.o. d.l. 
 
 LXIX. 
 
 He that gathereth in summer is a wise son : but he that sleepeth 
 h.o. d. o. h. 1. 
 
 in harvest is a son that causeth shame. 
 
 d.l. 
 
 LXX. 
 
 Except the Lord build the house, they labor in vain that build it. 
 a.f. d.l. 
 
 LXXI. 
 
 The Lord will not cast off His people, neither will He forsake His 
 dfl. h.l. 
 
 inheritance. 
 
 LXXIL 
 
 Blessings are upon the head of the just ; but violence covereth the 
 b. h. h. o. rep. d. o. p. 
 
 mouth of the wicked. 
 rep. 
 
>nSCELLANEONS EXAMPLES. 177 
 
 LXXIII. 
 
 The wise in heart will receive commandments : but a prating fool 
 h. o. d. o. h. 1. 
 
 •hall fall. 
 d.l. 
 
 LXXIV. 
 
 Beware of false prophets, which come to you in sheep's clothing ; 
 h.o. d.l. 
 
 but inwardly they are ravening wolves. 
 
 d. f. 
 
 LXXV. 
 
 He that saith unto the wicked, thou art righteous; him shall the 
 h.o. rep. 
 
 people curse, nations shall abhor him. 
 d. o. ind. h. 1. d.o. b. 
 
 LXXVI. 
 
 .• but the 
 h.o. * d.o. h. 1. 
 
 In all labor there is profit : but the talk of the lips tendeth only 
 
 to poverty. 
 d.l. 
 
 LXVII. 
 
 Hell and destruction are never full ; so the eyes of man are never 
 b.h.d.o. b.h.d.l. b.h.h.o. 
 
 satisfied. 
 b.h.d.o, 
 
 LXXVIII. 
 
 Every prudent man dealeth with knowledge : but a fool layeth open 
 
 h.o. 
 his folly. 
 d. 1. 
 
 LXXIX. 
 
 As for man, his days are as grass : as a flower of the field, so he 
 h. f. d.f. d.o. 
 
 flourisheth. For the wind passeth over it, and it is gone ; and the place 
 
 d.l. p. drop. no action. 
 
 thereof shall know it no more. 
 
 LXXX. 
 
 He hath remembered His covenant for ever, the word which He 
 
 h. o. 
 commanded to a thousand generations. 
 b.h.h. 1. 
 
178 MANUAL OF GESTURE. 
 
 LXXXI. 
 
 In the transgression of an evil man there is a snare : but the 
 
 h.o. d. o. 
 
 righteous doth sing and rejoice. 
 h. f. a. o. 
 
 LXXXII. 
 
 The poor and the deceitful man meet together : the Lord lighteneth 
 
 b.h.h.f 
 both their eyes. 
 b. h.h.o. 
 
 LXXXIII. 
 
 "What shall it profit a man, if he shall gain the whole world, and 
 b. h.h.o. b. h.h.l. 
 
 lose his own soul? Or what shall a man give in exchange for his soul? 
 b.h.d.l. b.h.d.o. 
 
 LXXXIV. 
 
 Here mercy's boundless ocean flows, 
 
 b h.h.l. 
 To cleanse our guilt and heal our woes ; 
 
 b.h.d.o. 
 
 Pardon and life and endless peace, 
 b. h.h.o. 
 
 How rich the gift ! how free the grace ! 
 b.h. upl. a. o. b. h.h.l. 
 
 LXXXV. 
 
 Tune your harps anew, ye seraphs ; 
 b. h. a. o, 
 
 Join to sing the pleasing theme : 
 rep. 
 All in earth and Heaven uniting, 
 b. h.h.o. b.h. a. o. 
 
 Join to praise ImmanueVs name, 
 b.h.a.f. 
 
 LXXXVI. 
 
 There is a time, we know not when, 
 
 ho. p. 
 
 A point, we know not where, 
 h.l.p. 
 
 That marks the destiny of men, 
 h.o. ind. 
 
 To glory or despair ; 
 ^ ^ d.l.ind. 
 
MISCELLANEOUS EXAMPLES, 179 
 
 There is a line, by us unseen, 
 h. f. ind. 
 
 That crosses every path, 
 h. o. ind. 
 The hidden boundary between 
 
 God's patience and His wrath. 
 r. h. upl. d.o. 
 
 LXXXVII. 
 
 The names of all His saints He bears, 
 b. h. a. o. 
 
 Deep graven on His heart ; 
 
 ^^ b.h.a.f. 
 
 Nor shall the meanest Christian say 
 
 d. 1. 
 
 That he hath lost his part. 
 
 drop. 
 
 Those characters shall fair abide, 
 b. h. a. o. 
 
 Our everlasting trust, 
 b. h. d. f. 
 When gems, and monuments, and crowns, 
 
 b, h. upl. a. o. 
 
 Are mouldered down to dust. 
 b.h.d. l.p. 
 
 LXXXVHL 
 
 Now there are diversities of gifts, but the same Spirit. And there 
 h. o. a. o. 
 
 are differences of administrations, but the same Lord. And there are 
 h. 1. h. f. 
 
 diversities of operations, but it is the same God which worketh all in all. 
 h.o. a.f. b.h.h. 1. 
 
 LXXXIX. 
 
 Thy kingdom is an everlasting kingdom, and Thy dominion endureth 
 b. h. h.o. 
 throughout all generations. 
 b.h.h.l. 
 
 xc. 
 
 The eyes of the Lord are in every place, beholding the m/ and the 
 
 b. h. h. 1. 
 good. 
 rep. 
 
180 MANUAL OF GESTURE. 
 
 XCI. 
 
 He clave the rocks in the wilderness^ and gave them drink as out 
 
 h.l. 
 
 of the great depths. He brought streams also out of the rock, and 
 d.l. b.h.h.f. 
 
 caused waters to run down like rivers. 
 
 b. h. d. f. 
 
 XCII. 
 
 Turn ye, turn ye, for why will ye die? 
 
 b. h h f. b.h. 
 
 xcin. 
 
 And the rain descended and the floods came, and the winds blew, and 
 b.h.a. f. p. b. h. a. o. p. b. h. a. 1. p. 
 
 beat upon that house; and it fell: and great was the fall of it. 
 b. h. h f. p. b. h. d. o. p, drop. 
 
 XCIV. 
 
 Who hath ascended up into Heaven, or descended? Who hath 
 h f. a. f. d.f. 
 
 gathered the winds in His fists? Who hath bound the waters in a 
 
 a. o. b. h. h. o. 
 
 garment? Who hath established all the ends of the earth? 
 
 b.h. h.l. 
 
 XCV. 
 
 O may I no longer dreaming, 
 
 Idly waste my golden days ; 
 b.h.h. 1. p. 
 But each precious hour redeeming, 
 h. o. 
 Upward, onward, press my way. 
 a. f. b. h. h. f. 
 
 XCVI. 
 
 In thoughts from the visions of the night, when deep sleep falleth 
 
 r. h. upl. h. o. p. 
 
 on men, fear came upon me, and trembling, which made all my bones 
 
 r. h. upl. tremor. 
 
 to shake. Then a spirit passed before my face ; the hair of my flesh 
 
 b. h. upl. tr. h. f. 
 
 stood up: it stood still, but I could not discern the form thereof: an 
 
 r. h. upl. h. f. p. drop. 
 
MISCELLANEOUS EXAMPLES. 181 
 
 image was before mine eyes, there was silence^ and I heard a voice, 
 
 h . f. ' drop, 
 
 saving, Shall mortal man be more just than God? Shall a man be 
 
 ^ ^ d.o. a.f. h.l. 
 
 more pure than his Maker? 
 a. 1. 
 
 xcvn. 
 
 The heathen are sunk down in the pit that they made ; in the net 
 d. o. p. 
 
 which they hid is their own foot taken. 
 b. h.d.o. b. h.d. f. 
 
 XCVIIL 
 
 Let them all be confounded and turned back that hate Zion. 
 d. o. p. d. 1. p. 
 
 XCIX. 
 
 Zion awake; thy strength renew; 
 b. h. a. o. b. h. h. o. 
 
 Put on thy robes of beauteous hue ; 
 
 b. h.a. o. 
 
 Church of our God, arise and shine. 
 b. h.a.l. 
 
 Bright with the beams of truth divine. 
 
 Soon shall thy radiance stream afar, 
 
 b. h. h. 1. 
 
 Wide as the heathen nations are ; 
 imp. 
 
 Gentiles and kings thy light shall view; 
 
 b. h. a. o. 
 All shall admire and love thee too. 
 b. h.a.l. 
 
 C. 
 
 Jerusalem is builded as a city that is compact together. 
 
 CL 
 
 Thy testimonies are wonderful : therefore my soul doth keep them, 
 b. h.a. o. b. h.h.o. 
 
182 MANUAL OF GESTURE. 
 
 CII. 
 
 Open Thou mine eyes that I may behold wondrous things out of 
 b. h.a, o. b. h.a. 1. 
 
 Thy law. 
 
 cm. 
 
 That which hath been is now ; and that which is to be hath already 
 h.l. h. f. a.f. d.f. 
 
 been ; and God requireth that which is past. 
 a. f. h. 1. 
 
 CIV. 
 
 The Lord on high is mightier than the noise of many waters, yea 
 
 b. h. h.o. 
 than the mighty waves of the sea. 
 
 b.h. h.l. 
 
 CV. 
 
 The Lord is great, and greatly to be praised: He is to be feared 
 
 above all gods. For all the gods of the nations are idols : but the 
 
 b. h. a. o. d. 1. 
 
 Lord made the heavens. Honor and majesty are before Him : strength 
 
 b. h. a. o. b. h. a. f. 
 
 and beauty are in His sanctuary. * * * q that men would 
 b.h. h.o. 
 
 praise the Lord for His goodness, and for His wonderful works to the 
 
 b. h. a. o. b.h. h.o. 
 
 children of men. 
 
 CVL 
 
 That which is far off and exceeding deep, who can find it out ? 
 h.l. b.h. d.f. h.o. 
 
 CVIL 
 
 Amazing sight ! the Saviour stands 
 b. h. upl.a. o. h. f. p. 
 
 And knocks at every door I 
 h. o. p. 
 
 Ten thousand blessings in His hands, 
 b.h. h.o. 
 
 To satisfy the poor. 
 d.h.d.o. 
 
MISCELLANEOUS EXAMPLES. 183 
 
 cvin. 
 
 Enter ye in at the strait gate ; for zvide is the gate, and broad is the 
 b.h.h.f. b. h.h.o. b.h.h.l. 
 
 way that leadeth to destruction, and many there be which go in thereat 
 b.h.d.o. b.h.d.l. 
 
 because strait is the gate and narrow is the way which leadeth unto 
 b.h.h.f. 
 
 life, and feiv there be that find it. 
 b.h.a.f. b.lud.f. 
 
 CIX. 
 
 Enter not into the path of the wicked, and go not in the way of 
 ^ h.f.ind. ^ ^ 
 
 evil men. Avoid it, pass not by it, turn from it, and pass away. 
 h.i.ind. h.l. p. h. 1. ind. h. 1. p. d.l.p. 
 
 ex. 
 
 When the wicked are multiplied, transgression increaseth. 
 b. h.h.o. b.h.d.o. 
 
 CXL 
 
 A man's pride shall bring him loiv : but honor shall uphold the 
 h.o. d. o, a. o. rep. 
 
 humble in spirit. 
 
 cxn. 
 
 Boast not thyself of to-morrow ; for thou knowest not what a day 
 h.f.ind. d.o. 
 
 may bring forth. 
 
 cxin. 
 
 Like floods the angry nations rise, 
 b.h.h.o. 
 
 And aim their rage against the skies ; 
 
 b.h.a.o. 
 Vain floods, that aim their rage so high ; 
 
 At His rebuke the billows die. 
 d.l.p. 
 
184 MANUAL OF GESTURE. 
 
 CXIV. 
 
 Hark ! a brazen voice 
 r. h. upl. ind. 
 
 Swells from the valley, like the clarion 
 h.l. ind. h.o. ind. 
 
 That calls to battle. 
 
 CXV. 
 
 This doctrine, as long as I have breath, I shall oppose. 
 h.f. rep. d.f. 
 
 CXVI. 
 
 It may be said that disease generally begins that equality which 
 
 h. o. 
 death completes. 
 d. o. 
 
 CXVII. 
 
 Clearness, force and earnestness are the qualities which produce 
 d.o. 
 conviction. 
 
 CXVIII. 
 
 Grace was in all her steps, heaven in her eye, 
 h.o. imp. a. o. 
 
 In every gesture dignity and love. 
 d.o. 
 
 CXIX. 
 
 Know thou this truth {enough for man to know), 
 h. f. h. 1. 
 
 Virtue alone is happiness, 
 d.o. 
 
 cxx. 
 
 Begone, I will not hear thy vain excuse, 
 h.l. p. d.l. p. 
 
 But as thou lov'st thy life, make spetd from hence, 
 h. f. ind. h. 1. 
 
 CXXI. 
 
 Why should we count our life by years, 
 
 h. o. 
 
 Since years are short and pass away 
 
 h. 1. 
 
MISCELLANEOUS EXAMPLES. 185 
 
 CXXII. 
 
 I 've touch'd the highest point of all my greatness 
 a. f. md. 
 
 And from that full meridian of my glory, 
 
 a. f. 
 I haste now to my setting. I shall fall, 
 h. 1. p. 
 
 Like a bright exhalation in the- evening; 
 
 h.l. ind. 
 
 And no man see me more, 
 drop. 
 
 cxxin. 
 
 All flesh is grass, and all its glory /odes. 
 b.h.d.o. b.h.d.l. 
 
 CXXIV. 
 
 And what is friendship but a name, 
 h.o. h.l. 
 
 A charm that lulls to sleep : 
 d.I. 
 
 A sliade that follows wealth or fame, 
 h.l. 
 
 And leaves the wretch to weep. 
 d.I. 
 
 CXXV. 
 
 Lighter than the whirlwind' s blast, 
 a.l. 
 
 He vanished from our eyes, 
 drop, 
 
 CXXVL 
 
 I had a seeming friend ; I gave him gifts, 
 
 h.o. h.l. 
 
 And he was gone. 
 drop. 
 
 CXXVIL 
 
 What is glory? What is fame? 
 
 a. o. a. 1. 
 
 The echo of a long lost name, 
 
 d.I. p. 
 A breath, an idle hoia's brief talk ; 
 h.l. d.I. 
 
186 MANUAL OF GESTURE. 
 
 A flower that blossoms for a day, 
 
 h.l. 
 Dying next morrow, 
 drop. 
 
 A stream that hurries on its way. 
 h.l. 
 
 Singing of sorrow, 
 drop. 
 
 CXXVIII. 
 
 Hail horrors I hail, 
 b. h. a. o. rep. 
 
 Infernal world, and thou, profoundest hell, 
 b. h. h.o. b. h. d.f. 
 
 Receive thy new possessor. 
 rep. 
 
 CXXIX. 
 
 Can you raise the dead? 
 d.f. 
 
 Pursue and overtake the wings of time? 
 
 a. o. 
 And bring about again the hours, the days. 
 
 The years that made me happy ! 
 h. I. 
 
 CXXX. 
 
 Rise, fathers ! rise I \ is Rome demands your help, 
 b.h.h.o. b.h.a.o. h. 1. 
 
 CXXXI. 
 
 My heart is withered at that piteous sight, 
 r. h.on heart. 
 
 CXXXII. 
 
 The dying agonies of one who dies to save him, 
 
 d. f. 
 Excite no sympathy in his breast, 
 d. 1. 
 
 CXXXIII. 
 
 Unnumbered suppliants crowd preferment's gate, 
 
 b.h.h.o. b.h.h.f. 
 
 Athirst for wealth, and burning to be great, 
 b. h. a. o. 
 
 Delusive fortune hears the incessant call, 
 r. h. h. 1. ind. 
 
 They mount, they shine — evaporate and fall, 
 b.h.h.f. b.h.a.o. b. h. h. 1. drop. 
 
MISCELLANEOUS EXAMPLES. 187 
 
 CXXXIV. 
 
 Through many a clime 'tis mine to go, 
 h. 1, 
 
 With many a retrospection curst, 
 h. I. p. 
 
 And all my solace is to know, 
 h. o. 
 
 Whateer betides, I 've known the worst. 
 
 h.l. d.o. 
 
 What is the worst? Nay, do not ask, 
 
 h. f. h. 1. p. 
 
 In pity from the search forbear : 
 
 h.f p. imp. 
 
 Smile on — nor venture to unmask 
 h.o. 
 
 Man's heart, and view the hell that's there, 
 d.f. 
 
 cxxxv. 
 
 The quality of mercy is not strain' d ; 
 
 h. 1. 
 
 It droppeth, as the gentle rain from heaven, 
 
 a. o. 
 Upon the place beneath : it is t^uice bless'd ; 
 
 d.o. d.f. 
 
 It blesseth him that gives, and him that takes : 
 h.o. d.o. 
 
 T is mightiest in the mightiest; it becomes 
 
 a. o. 
 The throned monarch better than his crown : 
 
 a.l. h.l. 
 
 His sceptre shows the force of temporal power, 
 
 The attribute to awe and majesty, 
 
 a. o. 
 Wherein doth sit the dread and fear of kings : 
 
 h. o. 
 
 But mercy is above his sceptred sway, 
 a. o. 
 
 It is enthroned in the hearts of kings : 
 h.o. 
 
 It is an attribute to God Himself; 
 a.f. 
 
 And earthly power doth then show likest God's, 
 
 h.o. a. o. 
 
 When mercy seasons Justice. 
 h.o. 
 
188 MANUAL OF GESTUBE. 
 
 CXXXVI. 
 
 Of God she sung, and of the mild 
 
 a. f. 
 Attendant Mercy, that beside 
 a. o. 
 
 His awful throne forever smiled. 
 a.l. 
 
 CXXXVII. 
 
 Now fades the glimmering landscape on the sight, 
 b.h. h.l. p. 
 
 And all the air a solemn stillness holds, 
 b. h. upl. a. o. 
 
 Save where the beetle wheels his droning flight, 
 h.l.ind. 
 And drowsy tinklings lull the distant folds, 
 h.o.b. ind. d.o.b.p. 
 
 CXXXVIII. 
 
 The strife of fiends is on the battling clouds, 
 
 b. h. a. o. 
 The glare of hell is in these sulphurous lightnings ^ 
 
 b. h. d. o. b. h. a. o. 
 
 This is no earthly storm. 
 r. h. upl. a. o. d. 1. 
 
 CXXXIX. 
 
 United we stand ; divided we fall. 
 b. h. h. f. b. h. d. o. 
 
 CXL. 
 
 Time ! Time ! in thy triumphal flight 
 b. h. a. f. 
 How all life's phantoms fleet away ! 
 b.h. h.l. 
 
 CXLI. 
 
 Ye diff"erent sects who all declare, 
 b.h.h.o. 
 
 Lo Christ is here and Christ is there ; 
 
 h. f. h. 1. 
 
 Your stronger proofs divinely give, 
 
 d.o. 
 And tell me where the Christians live. 
 h. o. imp. 
 
MISCELLANEOUS EXAMPLES. 189 
 
 CXLIL 
 
 His heart is far from fraud, as heaven and earth, 
 h.l. b.h.h.l. 
 
 CXLIIL 
 
 If you were men, as men you are in show, 
 h.o. h.l. 
 
 You would not use a gentle lady so. 
 d. o. 
 
 CXLIV. 
 
 Time past, and time to come are not — 
 
 h. 1. h. f. d. I. 
 
 Time present is our lot. 
 d.f. 
 
 CXLV. 
 
 Press bravely onward! — not in vain 
 h.f. h.l. 
 
 Your generous trust in human kind ; 
 b.h. h.o. 
 
 The good which bloodshed could not gain, 
 d. 1. 
 Your peaceful zeal shall find, 
 b. h. d. o. 
 
SELECTIONS FOR PRACTICE, 
 
 The following selections, as well as the preceding 
 miscellaneous examples, have been chosen with special 
 reference to the system presented in this work. In 
 order more fully to illustrate the principles of the 
 science, the notation, for the most part, exhibits the 
 action in its full effect. It is by no means to be inferred, 
 however, that so many gestures as are here indicated 
 are absolutely necessary. Indeed, unless the words are 
 spoken with sufficient deliberation to give ample time 
 for the requisite transitions, and attended with the 
 proper accompaniments of attitude, facial expression 
 and tones of voice, this notation cannot be followed 
 with good effect. 
 
 THE BATTLE OF WATERLOO. 
 
 BYRON. 
 
 There was a sound of revelry by nighty 
 
 h.l.ind. 
 
 And Belgium's capital had gathered then 
 Her beauty and her chivalry ; and bright 
 
 b. h. h.o. 
 
 The lamps shone o'er fair women and hrave men. 
 
 b.h.h.l. 
 
SELECTIONS FOR PRACTICE. 191 
 
 A thousand hearts beat ha^pily^ and when 
 
 b. h.h.l. imp. 
 
 Music arose with its voluptuous swells 
 
 b. h. a. o. 
 
 Soft eyes looked love to eyes which spake again ; 
 
 b. h.h. o. imp. 
 
 And all went merry as a marriage hell : 
 
 b. h. a. o. 
 
 But hush! hark! a deep sound strikes like a rising knell! 
 
 h.o. p. h.f. ind. a. 1. ind. 
 
 Did ye not hear it ? No, 't was but the wind, 
 
 h. f. a. 1. 
 
 Or the car rattling o'er the stony street ; 
 
 h.l. 
 
 On with the dance ! Let joy be unconfined ; 
 
 b.h.h.f. b. h.h.l. 
 
 No sleep till morn, when Youth and Pleasure meet, 
 
 a. 1. b. h.h.o. 
 
 To chase the glowing hours with flying feet — 
 
 b. h. d. o. 
 
 But hark! — that heavy sound breaks in once more, 
 
 h.f. ind. h.l. ind. 
 
 As if the clouds its echo would repeat ; 
 
 b. h.a. o. imp. 
 
 And nearer, clearer, deadlier than before ! 
 
 b. h. d. f. rep. rep. 
 
 Arm ! Arm ! it is — it is — the cannon's opening roar ! 
 
 b. h. h. o. h. f. rep. h. 1. ind. 
 
 Ah ! then and there was hurrying to and fro, 
 
 b. h.h.o. 
 
 And gathering tears, and tremblings of distress, 
 
 b.h.d.o. b. h.d. 1. 
 
 And cheeks all pale, which, but an hour ago, 
 
 b. h. h. o. p. 
 
 Blushed at the praise of their own loveliness ; 
 
 b.h.d.o. 
 
 And there were sudden partings, such as press 
 
 b.h.d. I. 
 
 The life from out young hearts, and choking sighs 
 b.hd.f. 
 
192 MAKUAL OF GESTURE. 
 
 Which neer might be repeated ; who could guess 
 
 b. h. upl. drop. h. o. 
 
 If ever more should meet those mutual eyes, 
 
 b. h. h. f. 
 
 Since upon night so sweety such awful morn could rise ? 
 
 h, o. b. h. upl. drop. 
 
 And there was mounting in hot haste ; the steed, 
 
 h. h. h. f. imp. 
 
 The mustering squadron, and the clattering car, 
 
 b.h.h.o. b.h.h.f. 
 
 Went ponving forward with impetuous speed, 
 
 rep. rep. 
 
 And swiitly forming in the ranks of war : 
 
 b.h.h.o. 
 
 And the deep thunder, peal on peal afar ; 
 
 b. h. a. f. b. h. h. 1. par. 
 
 And near, the beat of the alarming drum 
 
 h. f. d. f. 
 
 Roused up the soldier, ere the morning star ; 
 
 h.l. a. 1. 
 
 While thronged the citizens with terror dumb, 
 
 b.h.h.o. b. h.d.o. 
 
 Or whispering with white lips — '' The/oe, They come ! 
 They COME!" b.h.h.i.par. 
 
 rep. 
 
 And Ardennes waves above them her green leaves, 
 
 b. h. a. o. 
 
 Dewy, with nature's tear-drops, — as they pass, 
 
 b. h. d.o. p. 
 
 Grieving — if aught inanimate e'er grieves — 
 
 b. h. upl. a. o. drop. 
 
 Over the unreturning brave — alas ! 
 
 b. h. d.o. p. 
 
 Ere evening to be trodden like the grass 
 
 h. h. d. o. p. imp. 
 
 Which now beneath them, but above shall grow 
 
 rep. b. h. upl. h. o. 
 
 In its next verdure, when this fiery mass 
 
 drop. 
 
SELECTIONS FOE PRACTICE. 193 
 
 Of living valor, rolling on the foe, 
 
 b. h. d. f. rep. 
 
 And burning with high hope^ shall moulder cold and low, 
 
 rep. b. h.a. o. drop. b.h.d.o.p. 
 
 Last noon beheld them full of lusty life^ 
 
 b. h. h. f. imp. 
 
 Last eve in Beauty's circle proudly gay^ 
 
 b.h.h.o. b.h. h.l. 
 
 The midnight brought the signal sound of strife^ 
 
 a. o. ind. 
 
 The morn, the marshalling in arms^ — the day 
 
 b.h.h.o. 
 
 Buttle s magnificently stern array ! 
 
 b. h. h. f. 
 
 The thunder clouds closed o'er it, which when rent^ 
 
 b. h. h. o. p. b. h. h. 1. p. 
 
 The earth is covered thick with other clay, 
 
 b.h.d.o.p. imp. 
 
 Which her OWN" clay shall cover, heaped and pent^ 
 
 b. h.d.f. p. b. h.a. o. par. h. h. d.f. p. 
 
 Rider and horse — friend, /oe — in one red burial blent. 
 
 rep. b.h.d.o.p. b.h.d.f.p. 
 
 THE LAUNCHING OF THE SHIP. 
 
 f- LONGFELLOW. 
 
 All is finished^ and at length 
 
 d.o. 
 
 Has come the bridal day 
 
 b.h.h.o. 
 
 Of beauty and of strength. 
 
 b.h. d.o. 
 
 To-day the vessel shall be launched ! 
 
 b.h. h.f. 
 
 With fleecy clouds the sky is blanched. 
 
 b. h. a. o. 
 
 And o'er the bay^ 
 
194 MANUAL OF GESTTtRE. 
 
 Slowly, in all its splendors dight, 
 
 b. h.h. o. 
 
 The great sun rises to behold the sight. 
 
 b.h.h.f. b.h.h.o. 
 
 The ocean old^ 
 
 b.h.h.o. 
 
 Centuries old, 
 
 b.h.d.o. 
 
 Strong as youths and as uncontrolled^ 
 
 h.l. d.l. 
 
 Paces restless to and fro, 
 
 b.h.h.f. 
 
 Up and down the sands of gold, 
 
 b. h. d. f. 
 
 His beating heart is not at rest. 
 
 d.l. 
 
 Audi far and wide, 
 
 b. h. h.l. 
 
 With ceaseless flow. 
 His beard of snow, 
 
 b.h.d.o. 
 
 Heaves with the heaving of his breast. 
 
 b.h.h.o. b.h.d.o. 
 
 He waits impatient for his bride. 
 
 h. h. h. f. 
 
 There she stands, 
 
 h. o. ind. 
 
 With her foot upon the sands, 
 
 d.o. 
 
 Decked with flags and streamers gay, 
 
 a. 1. 
 
 In honor of her marriage-day, 
 
 b. h. a. o. 
 
 Her snow-white signals, fluttering, blending, 
 
 a. o. ind. a. 1. b. h h. f. 
 
 Round her like a veil descending, 
 
 b.h.d,o. 
 
 Ready to be 
 
 b.h.h.f. 
 
 The bride of the gray old sea. 
 
 b. h. h. 1. 
 
SELECTIONS FOR PRACTICE. 195 
 
 Then the Master, 
 
 h. o. ind. 
 
 With a gesture of command, 
 Waved his hand; 
 
 a.l. 
 
 And at the word, 
 
 h. o. ind. 
 
 Loud and sudden, there was heard, 
 
 b. h. upl. 
 
 All around them and below, 
 
 b. h.h.l. b. h.d.o. 
 
 The sound of hammers, blow on blow, 
 
 d.o.cli. rep. 
 
 Knocking away the shores and spurs. 
 
 d.l.p. 
 
 And see ! she stirs ! 
 
 h. f.ind. h.f. 
 
 She starts — she moves — she seems to feel 
 
 b. h. h. f. rep. 
 
 The thrill of life along her keel, 
 
 b.h.d.f. 
 
 And, spurning with her foot the ground, 
 
 d.l.p. 
 
 With one exulting, joyous bound, 
 
 b. h. h. f. 
 
 She leaps into the ocean's arms. 
 
 b. h. d. f. 
 
 And lo ! from the assembled crowd 
 There rose a shout, prolonged and loud, 
 
 a. 1. rep. 
 
 That to the ocean seemed to say, 
 
 h.f. 
 
 " Take her, O bridegroom, old and gray ; 
 
 b. h. h. f. 
 
 Take her to thy protecting arms, 
 
 rep. 
 
 With all her youth and all her charms^ 
 
 b.h.h.o. 
 
196 MANUAL OF GESTURE. 
 
 How beautiful she is ! ho\Y fair 
 
 b. h. h. o. b.h.h.f. 
 
 She lies within those arms, that press 
 Her form with many a soft caress 
 
 b. h. d. f. 
 
 Of tenderness and watchful care ! 
 
 rep. 
 
 ^2i\\ forth into the sea, O ship ! 
 
 b. h. h. f. 
 
 Through wind and wave right onward steer ! 
 
 b.h.h.f. rep. 
 
 The moistened eye^ the trembling lip^ 
 
 h.o. h.l. 
 
 Are not the signs of doubt or fear. 
 
 Sail forth into the sea of life, 
 
 b.h.h.o. 
 
 O i^entle, loving, trusting wife, 
 
 b.h.d.f. 
 
 And safe from all adversity, 
 h.l. 
 
 Upon the bosom of that sea 
 
 b.h.h.o. 
 
 Thy comings and thy goings be ! 
 
 b.h.h. 1. 
 
 For ojentleness, and love, and trust, 
 
 b.h.h.o. 
 
 Prevail o'er angry wave and gust ; 
 
 b. h.h.i. 
 
 And in the wreck of noble lives, 
 
 b. h.a. o. 
 
 Something immortal still survives ! 
 
 b. h. a. f. 
 
 Thou too sail on, O Ship of State ! 
 
 h.f. 
 Sail on, O Union, strong and great ! 
 
 b. h. h. f. rep. 
 
SELECTIONS FOR PRACTICE. 197 
 
 Humanity^ with all its /ears, 
 
 b. h. h. o. b. h.d. o. 
 
 With all the hopes of future year 8^ 
 
 b. h. a. o. 
 
 Is hanging breathless on thy fate ! 
 
 b. h. h. f. 
 
 We know what Master laid thy keel, 
 
 h.o. 
 
 What workmen wrought thy ribs of steely 
 
 b.h.h.o. 
 
 Who made each mast and sail and rope^ 
 
 h. o. ind. 
 
 What anvils rang, what hammers beat, 
 
 h. 1. 
 
 In what a forge, and what a heat 
 Were shaped the anchors of thy hope. 
 
 Fear not each sudden sound and shock ; 
 
 b. h. h. f. 
 
 'Tis of the wave^ and not the rock; 
 
 d. o. h. 1. ind. 
 
 'T is but the flapping of the «a^7, 
 
 a.l. 
 
 And not a rent made by the gale. 
 
 h. o.b. 
 
 In spite of rock and tempest roar^ 
 
 a.l. 
 
 In spite of false lights on the shore ^ 
 
 h. 1. 
 
 Sail on^ HOT fear to breast the sea. 
 
 h. f. rep. 
 
 Our hearts, our hopes are all with thee : 
 
 b. h.h.f. b. h. a.f. b.h.h.o. 
 
 Our hearts, our hopes, our prayers, our tears, 
 
 b.h.h.o. b. h.a. o. b. h. a. f. b. h. d. o. 
 
 Out faith triumphant o'er our fears, 
 
 a. f. a. 1. 
 
 Are all with thee — are all with thee. 
 
 b. h.h.f. b.h.h.o. 
 
198 MAHTJAL OF GESTURE. 
 
 MARCO BOZZARIS. 
 
 HALLECK. 
 
 At midnight, in his guarded tent^ 
 
 h.l.ind. 
 
 The Turk was dreaming of the hour, 
 
 rep. 
 
 When Greece^ her knee in suppliance bent, 
 
 h. o. d. o. 
 
 Should tremble at his power : 
 
 rep. 
 
 In dreams^ through camp and court, he bore 
 
 h. o. 
 
 The trophies of a conqueror ; 
 
 a. o. 
 
 In dreams his song of triumph heard ; 
 
 a.l. 
 
 Then wore his monarch's signet ring : 
 
 h. o. ind. 
 
 Then pressed that monarch's throne — a Mng ; 
 
 h. o. a. o. 
 
 As wild his thoughts, and gay of wing^ 
 
 a.l. 
 
 As Uden^s garden .bird. 
 
 a. o. b. ind. 
 
 At midnight, in the forest shades, 
 
 h.l. 
 
 Bozzaris ranged his Suliote band 
 
 h. 1. ind. 
 
 True as the steel of their tried blades, 
 
 h. f. rep. 
 
 Heroes in heart and hand. 
 
 a. o. d. o. 
 
 There had the Persian's thousands stood, 
 
 b. h. h.o. 
 
 There had the glad earth drunk their blood, 
 
 b. h. d. f. 
 
 On old Plateaus day : 
 
 h. o. b. 
 
 And now there breathed that haunted air 
 
SELECTIONS FOR PRACTICE. 199 
 
 The sons of sires who conquered there, 
 
 b. h. a. o. 
 
 With arms to strike^ and souls to dare^ 
 
 h.o.cli. a.o.cli. 
 
 As quick^ as far as they. 
 
 d. o. cli. a. o. cli. 
 
 An hour pass'd on : the Turk awoke ; 
 
 h. h. upl. a. o. 
 
 That bright dream was his last ; 
 
 drop. 
 
 He woke — to hear his sentries shriek, 
 
 h. Kind. 
 
 " To arms! they come! the Greek ! the Greek!'"* 
 
 b. h.h.f. b.h.h.l.par. rep. 
 
 He woke — to die midst flame and smoke^ 
 
 d. o. b. h. a. o. 
 
 And shout, and groan, and sa6re-stroke, 
 
 h.l.ind. 
 
 And death-^hot^ falling thick and fast 
 
 b. h. a. o. 
 
 As lightnings from the mountain cloud ; 
 
 b. h. a. f. 
 
 And heard, with voice as trumpet loud, 
 
 a. 1. ind. 
 
 Bozzaris cheer his band : 
 
 h.l.ind. 
 
 " Strike ! till the last arm'd foe expires ; 
 
 h.f.cli. d.f.cli. 
 
 Strike ! for your altars and your fires ; 
 
 h. f. cli. d. o. cli. 
 
 Strike ! for the green graves of your sires ; 
 
 h.f.cli. h.l.cli. 
 
 God, and your native land!'' 
 
 h.i. 
 
 They fought like brave men, long and well; 
 
 h. o. d. o. 
 
 They piled that ground with Moslem slain ; 
 
 d. 1. p. 
 
 They conquered ; but Bozzaris fell^ 
 
 ao. d. o. p. 
 
200 MANUAL OF GESTURE. 
 
 Bleeding at every vein. 
 
 b.h.d.o. 
 
 His few surviving comrades saw 
 
 h.o. 
 
 His smile, when rang their proud hurrah ! 
 
 a.l. 
 
 And the red field was won; 
 
 h.l. 
 
 Then saAv in death his eyelids close, 
 
 d. o. p. 
 
 Calmly, as to a night's repose^ 
 
 d.l.p. 
 
 Like flowers at set of sun, 
 
 rep. 
 
 Come to the bridal chamber^ death ! 
 
 b. h. h. 1. par. 
 
 Come to the mother^ when she feels, 
 
 h.l. 
 
 For the first time, her first-born's breath; 
 
 rep. 
 
 Come Avhen the blessed seals 
 That close the pestilence are broke, 
 
 b.h.d.o. 
 
 And crowded cities wail its stroke ; 
 
 b. h.h. 1. 
 
 Come in consumption's ghastly form, 
 
 h. 1. ind. 
 
 The earthquake shock, the ocean storm ; 
 
 b. h. d. o. b. h. h, o. 
 
 Come when the heart beats high and warm, 
 
 With banquet-song, and dance, and wine^ 
 h.l. 
 
 And thou art terrible ! the tear, 
 
 a. o. V. 
 
 The groan, the knell, the pall, the bier ; 
 
 h.l. p. 
 
 And all we know, or dream, or fear ^ 
 
 b, h. a. o, V. 
 
 Of agony, are thine. 
 
 b. h. a. f. 
 
SELECTIONS FOR PRACTICE. 201 
 
 But, to the hero^ when his sword 
 
 a. I. 
 
 Has won the battle for the free^ 
 
 b.h.h.i. 
 
 Thy voice sounds like a prophet's word, 
 
 a. o. 
 
 And in its hollow tones are heard 
 The thanks of millions yet to be. 
 
 b. h. a. o. 
 
 Bozzaris ! with the storied brave, 
 d.f. 
 Greece nurtured, in her glory's timey 
 
 a. o. 
 
 Rest thee : there 's no prouder grave, 
 
 b. h.d.o. a. o. 
 
 Even in her own proud clime. 
 
 a. I. 
 
 We tell thy doom without a sigh; 
 
 h.l. 
 
 For thou art Freedom's now, and Fame's — 
 
 a. o. a. 1. 
 
 One of the few, the immortal names, 
 
 h. f. a. o. 
 
 That were not born to die. 
 
 d.o. 
 
 SPARTACUS TO THE GLADIATORS. 
 
 KELLOGG. 
 
 It had been a day of triumph in Capua. Lentulus, 
 returning with victorious eagles, had amused the pop- 
 ulace with the sports of the amphitheatre, to an extent 
 liitherto unknown even in that luxurious city. The 
 
 h.l. 
 
 shouts of revelry had died away ; the roar of the lion 
 
 d.l. d.l.ind. 
 
202 MANUAL OF GESTURE. 
 
 had ceased ; the last loiterer had retired from the 
 
 drop. 
 
 banquet^ and the lights in the palace of the victor were 
 
 l.h. h.l. l.h.a.o.b. 
 
 extinguished. The moon^ piercing the tissue of fleecy 
 
 1. h. d. o. b. a. f. ind. rep. 
 
 clouds, silvered the dew-drop on the corselet of the 
 
 h. 1. 
 
 Roman sentinel, and tipped the dark waters of Vol- 
 
 d.o. p. 
 
 turnus with wavy., tremulous light. It was a night of 
 d.i. p. 
 
 holy calm, when the zephyr sways the young spring 
 
 h. 1. 
 
 leaves^ and whispers among the hollow reeds its dreamy 
 
 d 1. 
 
 music. No sound was heard but the last sob of some 
 
 h.l. p. 
 
 weary wave^ telling the story to the pebbles of the 
 
 drop. 
 
 beach, and then all was still as the breast when the 
 
 d. 1. h. o. p. 
 
 spirit has departed. 
 
 drop. 
 
 In the deep recesses of the amphitheatre, a band of 
 
 b.h.h.o. 
 
 gladiators were crowded together — their muscles still 
 
 b. h. h. f. 
 knotted with the agony of conflict, the foam upon their 
 
 d.o.cli. h. f. ind. 
 
 lips, and the scowl of battle yet lingering upon their 
 
 b. h. h. f. 
 
 brows — when Spartacus, rising in the midst of that 
 
 h. o. 
 
 grim assemblage, thus addressed them : 
 
 rep. 
 
 " Ye call me chief; and ye do well to call him chief, 
 
 h. o. d. o. 
 
 who for twelve long years has met upon the arena 
 every shape of man or beast the broad empire of Borne 
 
SELECTIONS FOR PRACTICE. 203 
 
 could furnish, and who never yet lowered his arm. If 
 
 d.o. 
 
 there be one among you who can say, that ever in public 
 
 h.o. 
 
 fight or private brawls my actions did belie my tongue^ let 
 
 d.o. h.o. 
 
 him stand forth, and say it. If there be three in all your 
 
 h. f. h. o. 
 
 company dare face me on the bloody sands, let them 
 
 h.o. h.f. 
 
 come on. And yet I was not always thus — a hired 
 
 b. h. h. f. 
 
 butcher^ a savage chief of still more savage men ! 
 
 d.l. h.l. 
 
 " My ancestors came from old Sparta^ and settled 
 
 h.o. b. 
 
 among the vine-clad rocks and citron groves of Cyra- 
 
 h.i. 
 
 cella. My early life ran quiet as the brooks by which I 
 
 h. o. 
 
 sported ; and when, at noon, I gathered the sheep be- 
 
 d.i. 
 
 neath the shade, and played upon the shepherd's flute, 
 
 h.l. rep. 
 
 there was a friend, the son of a neighbor, to join me in 
 
 h.o. rep. d.o. 
 
 the pastime. We led our flocks to the same pasture, 
 
 h. 1. 
 
 and partook together our rustic meal. 
 
 d.o. 
 
 " One evening, after the sheep were folded, and we 
 were all seated beneath the myrtle which shaded our 
 
 b.h.d.o. 
 
 cottage, my grandsire, an old man, was telling of Mara- 
 
 h. o. 
 
 then, and Leuctra; and how, in ancient times, a little 
 
 h.l. h.o. b. 
 
 band of Spartans, in a defile of the mountains, had 
 
 h.l. 
 
 withstood a whole army. I did not then know what 
 
 b.h. h.l. 
 
204 MANUAL OF GESTUEE. 
 
 war was ; but my cheeks hurned ; I knew not why^ and 
 
 d. o. rep. d. 1. 
 
 I clasped the knees of that venerable man, until my 
 
 b. h. d. f. 
 
 mother^ parting the hair from off my forehead, kissed 
 
 h. o. h.l.p. h.o. 
 
 my throbbing temples, and bade me go to rest^ and 
 
 d.l. 
 
 think no more of those old tales and savage wars. 
 That very nighty the Romans landed on our coast. I 
 
 h. o. ind. h. 1. 
 
 saw the breast that had nourished me trampled by the 
 
 h.o. d. o. p. 
 
 hoof of the war-horse ; the bleeding body of mj father 
 
 h.o. 
 
 flung amid the blazing rafters of our dwelling/ 
 
 a. 1. 
 
 " To-day I killed a man in the arena ; and when I 
 
 d.o. 
 
 l)roke his helmet-clasps, behold/ he was mj friend. He 
 
 h. o. r. h. a. o. upl. d. o. 
 
 knew me, smiled faintly, gasped, and died — the same 
 
 d.o. 
 
 sweet smile upon his lips that I had marked, when, in 
 
 h.o. 
 
 adventurous boyhood, we scaled the lofty cliff to pluck 
 
 h.l. a.l. 
 
 the first ripe grapes, and bear them home in childish 
 
 rep. h. 1. 
 
 triumph ! I told the praetor that the dead man had 
 been my friend, generous and brave ; and I begged 
 
 h. o. d. o. 
 
 that I might bear away the body, to burn it on Si funeral 
 
 h. 1. a. 1. 
 
 pile, and mourn over its ashes. Ay ! upon my knees, 
 
 b. h. d. f. 
 
 amid the dust and blood of the arena, I begged that 
 
 rep. 
 
 poor boon, while all the assembled maids and matrons^ 
 
 b.h.h.o. 
 
SELECTIONS FOR PRACTICE. 205 
 
 and the holy virgins they call Vestahy and the rabble^ 
 
 rep. b. h. d. o. 
 
 shouted in derision deeming it rare sport, forsooth, to 
 
 b.h.h. 1. h.l. 
 
 see Rome's fiercest gladiator turn pale and tremble at 
 
 h.o. ind. d.o. ind. 
 
 the sight of that piece of bleeding clay ! And the 
 
 praetor drew back as I were pollution, and sternly said, 
 h.l. d.i. 
 
 * Let the carrion rot; there are no noble men but 
 
 d. o. b. h. o. 
 
 Romans ! ' And so, fellow-gladiators, must you, and so 
 
 d o. b. h. h. o. rep. 
 
 must /, die like dogs. 
 h.f. d.i. 
 
 " O, Rome ! Home ! thou hast been a tender nurse to 
 
 b. h. h.o. d.o. 
 
 me! Ay ! thou hast given, to that poor, gentle, timid 
 shepherd lad, who never knew a harsher tone than a 
 flute-note, muscles of iron and a heart oi flint ; taught 
 
 h.l. b. h.d.f. cli. r. h. on heart, cli. 
 
 him to drive the sword through plaited mail and link;, 
 of rugged brass, and warm it in the marrow of his foe ; 
 
 b. h.d.o. cli. d.o. cli. 
 
 to gaze into the glaring eye-balls of the fierce Numidian 
 lion, even as a boy upon a laughing girl ! And he shall 
 
 h.f. h.l. 
 
 pay thee back, until the yellow Tiber is red as frothing 
 
 d. f. cli. 
 
 wine, and in its deepest ooze thy life-blood lies curdled I 
 
 rep. rep. 
 
 " Ye stand here, now, like giants, as ye are ! The 
 
 b.h.h.o. 
 
 strength of 6ra8«-toughened sinews ; but to-morrow, 
 
 d.o. cli. h.o. 
 
 some Roman Adonis, breathing sweet perfume from his 
 h. 1. 
 
206 MANUAL OF GESTURE. 
 
 curly locks^ shall, with his lily fingers, pat your red 
 
 d-l- h. o.p. 
 
 brawn, and bet his sesterces upon your blood. Hark ! 
 
 d. 1. h.l.ind. 
 
 hear ye yon lion roaring in his den ? 'T is three days 
 
 rep. d. o. 
 
 since he tasted flesh ; but to-morrow he shall break his 
 
 h.o. 
 
 fast upon yours — and a dainty meal for him ye will be ! 
 
 d.o. d.l. 
 
 " If ye are beasts, then stand here like fat oxen, wait- 
 
 d. o. h.o. 
 
 ing for the butcher's knife ! If ye are men, follow me ! 
 
 h.l.ind. h.f. h.o. 
 
 Strike down yon guard, gain the mountain passes, and 
 
 h. 1 ind. a. 1. 
 
 there do bloody work, as did your sires at old Ther- 
 
 d.o.cli. h.l. 
 
 mopylcef Is Sparta deadf Is the old Grecian ^^ixit frozen 
 
 h.o. d.o. 
 
 in your veins, that ye do crouch and cower like a 
 belabored hound beneath his master's lash ? O, com- 
 
 h.l.ind. 
 
 rades ! warriors! Thracians ! — if we must fight, let us 
 
 b.h. h.o. b. h.h.l. b. h. h. o. 
 
 fight for ourselves! If we must slaughter, let us 
 
 b.h. d.o. b.h. h.o. 
 
 slaughter our oppressors! If we must die, let it be 
 
 b. h. d. o. rep. 
 
 under a clear sky, by the bright waters, in noble, 
 
 b. h.a. o. b.h. d.o. b. h. h. o. 
 
 honorable battle!'' 
 
 PARRHASIUS. 
 
 WILLIS. 
 
 Parrhasius stood, gazing forgetfully 
 Upon his canvass. There Prometheus lay, 
 
 h. f. ind. 
 
SELECTIONS FOR PRACTICE. 207 
 
 Chained to the cold rocks of Mount Caucasus, 
 The vultures at his vitals, and the links 
 
 h. f. V. 
 
 Of the lame Lemnian/es^^rm^ in his flesh ; 
 
 h.l.p. 
 
 And, as the painter's mind felt through the dim, 
 Rapt mystery^ and plucked the shadows wild 
 
 h. o. p. 
 
 Forth with his reaching /awc^, and with form 
 
 a. o. 
 
 And color clad them, his fine, earnest eye^ 
 
 h. f. p. h. o. ind. 
 
 Flashed with a passionate fire^ and the quick curl 
 
 a. o. ind. rep. 
 
 Of his thin nostril, and his quivering lip, 
 
 Were like the winged god's^ breathing from his flight. 
 
 a. o. ind. 
 
 " Bring me the captive now ! 
 
 h.l. ind. 
 
 My hand feels skillful^ and the shadows lift 
 
 h. o. r. h. upl. 
 
 From my waked spirit airily and swift ; 
 
 a. o. V. 
 
 And I could paint the bow 
 Upon the bended heavens ; around me play 
 
 a. o. 
 
 Colors of such divinity to-day. 
 
 a. 1. 
 
 " Ha! bind him on his hack! 
 
 r. h. upl. d. o. p. 
 
 Look ! as Prometheus in my picture here ! 
 
 h.f. ind. rep. 
 
 Quick! or he faints! stand with the cordial near! 
 
 r. h upl. d.o.ind. h. 1. ind. 
 
 Now, bend him to the rack! 
 
 d.f.ind. 
 
208 MANUAL OF GESTURE. 
 
 Press down the prisoned links into his flesh ! 
 
 d. f. p. 
 
 And tear agape that healing wound afresh ! 
 
 d.l. 
 
 ^'' So! let him writhe ! How long 
 
 d.l. p. 
 
 Will he live thus ? Quick, my good pencil, now 
 
 d. f. h. f. ind. 
 
 What a fine agon^ works upon his brow ! 
 
 d.o. 
 
 lla ! grey -haired, and so strong ! 
 
 r. h. upl. 
 
 How fearfully he stifles that short moan ! 
 
 d. o. p. 
 
 G-ods ! if I could but paint a dying groan ! 
 
 r. h. upl. a. o. h. f. 
 
 " ' Pity ' thee ^ ^ol do; 
 
 d.o. rep. 
 
 I pity the dumb victim at the altar ; 
 
 h.l.ind. 
 
 But does the robed priest for his pity falter ? 
 
 h.l. 
 
 I 'd rack thee, though I knew 
 
 d. o. ind. 
 
 A thousand lives were perishing in thine ; 
 
 d. o. cli. 
 
 What were ten thousand to a fame like mine ? 
 
 d.l. 
 
 " Ah ! there 's a deathless name ! 
 
 a. o. 
 
 A spirit that the smothering vault shall spurn, 
 
 d. 1. ind. 
 
 And, like a steadfast planet, mount and hum ; 
 
 a. o. ind. 
 
 And though its crown of flame 
 Consumed my brain to ashes as it won me ; 
 
 d. o. p. 
 
 By all the fiery stars I I 'd pluck it on me ! 
 
 b. h. upl. b.h.h.f.cli. 
 
SELECTIONS FOR PRACTICE. 209 
 
 " Ay, though it bid me rifle 
 My heart's last fount for its insatiate thirst ; 
 
 r. h. on heart, cli. 
 
 Though every life-strung nerve be maddened first ; 
 
 b. h.d.f.cli. 
 
 Though it should bid me stifle 
 The yearning in ray throat for my sweet child, 
 
 r. h.on throat, cli. 
 
 And taunt its mother till my brain went wild ! 
 
 d. 1. d. o. cli. 
 
 '' All ! I would do it all, 
 
 b. h. d. o. cli. 
 
 Sooner than die like a dull worm^ to rot ; 
 
 d.l.ind. rep. 
 
 Thrust foully in the earth to he forgot, 
 
 d. o. p. d.l. p. 
 
 Oh heavens ! but I appall 
 
 r. h. upl. 
 
 Your hearty old man ! forgive — ha ! on your lives 
 
 d.f. rep. r. h.upl. d. o. 
 
 Let him not faint ! rack him till he revives I 
 
 d.o. 
 
 " Vain — vain — give o'er. His eye 
 
 r. h.upl. d.l. p. d.o. b. p. d. o. ind. 
 
 Glazes apace. He does not feel you now. 
 
 drop. 
 
 Stand hack! I '11 paint the death dew on his brow! 
 
 d. 1. p. d. o. ind. 
 
 Gods ! if he do not die 
 
 r. h. upl. a. o. 
 
 But for one moment — one — till I eclipse 
 
 d. o. ind. rep. 
 
 Conception with the scorn of those calm lips ! 
 
 a. o. d.o. 
 
 " Shivering I Hark ! he mutters 
 
 r. h. upl. a. o. a. 1. ind. d.o. ind. 
 
 Brokenly now ; that was a difficult breath ; 
 
 d. o. ind. 
 
21 d MAiTtrAL 0^ GESTTTRfi. 
 
 Another f Wilt thou never come, oh, Death? 
 
 r. h. upl. d. o. 
 
 Look! how his temple flutters! 
 
 d. o. ind. 
 
 Is his heart still f Aha! lift up his head! 
 
 d. o. r. h. upl. d. o. 
 
 He shudders — gasps — Jove help him — so he 's dead ! 
 
 d. o. p. r. h. upl, rep., but higher. drop. 
 
 How like a mounting devil in the heart 
 
 d.f. 
 
 Rules this unreined ambition ! Let it once 
 
 d.o. 
 
 But play the monarchy and its haughty brow 
 
 h. o. 
 
 Glows with a beauty that bewilders thought 
 
 ho.p. f 
 
 And unthrones peace /orei^er. Putting on 
 
 d. 1. 
 
 The very pomp of Lucifer^ it turns 
 
 a. o. 
 
 The heart to ashes^ and with not a spring 
 
 d.o. 
 
 Left in the desert for the spirit's lip^ 
 
 d.l. h.o. 
 
 We look upon our splendor^ and forget 
 
 a. o. 
 
 The thirst of which we perish ! 
 
 d.o. 
 
 THE BURIAL OF SIR JOHN MOORE. 
 
 WOLFE. 
 
 Not a drum was heard, not a funeral note^ 
 
 h. o. ind. d.o. ind. 
 
 As his corse to the rampart we hurried ; 
 
 h. 1. 
 
 Not a soldier discharged his farewell shot 
 
 d. o. ind. 
 
 O'er the grave where our hero we buried. 
 
SELECTIOI^S FOR PRACTICE. 211 
 
 We buried him darkly at dead of nighty 
 
 h.l. imp. 
 
 The sods with our bayonets turning ; 
 
 d. o. 
 
 By the struggling moon-beams misty light, 
 
 a. o. 
 
 And the lantern dimly burning. 
 
 d. 1. ind 
 
 No useless coffin enclosed his breast, 
 
 d.l. 
 
 Nor in sheet nor in shroud we wound him ; 
 
 b. h.d.o. 
 
 But he lay like a warrior taking his rest^ 
 
 d.f. 
 
 With his martial cloak around him. 
 
 b.h.d.f. 
 
 Few and short were the prayers we said ; 
 
 h.l. 
 
 And we spake not a word of sorrow ; 
 
 d.l. 
 
 But we steadfastly gazed on the face of the dead, 
 
 b.h.d.f. 
 
 As we bitterly thought of the morrow, 
 
 h.f. 
 
 We thought, as we hollowed his narrow bed^ 
 
 b. h. d. f. 
 
 And smoothed down his lonely pillow, 
 
 b. h. d. o. p. 
 
 That the/(9g and the stranger would tread o'er his head, 
 
 h.o. hi. 
 
 And we far away on the billow. 
 
 h.o. b. 
 
 Lightly they '11 talk of the spirit that 's gone, 
 
 h. I. 
 
 And o'er his cold ashes upbraid him ; 
 
 d. o. 
 10 
 
212 MANUAL OF GESTURE. 
 
 But little he 11 reck, if they let him sleep on 
 
 d.i. ^ 
 
 In the grave where a Briton has laid him. 
 
 d.o. 
 
 But half of our heavy task was done, 
 
 d. o. 
 
 When the clock struck the hour for retiring ; 
 
 a. I. 
 
 And we heard the distant and random gun 
 
 h. I. ind. 
 
 That the foe was sullenly firing. 
 
 imp. 
 
 Slowl}^ and sadly we laid him down, 
 
 b. h. d. f. 
 
 From the field of his fame fresh and govt/ : 
 
 rep. 
 
 We carved not a line, we raised not a stone, 
 
 d. o. ind h.o. ind. 
 
 But we left him alone in his glory. 
 
 d. o. 
 
 HOHENLINDEN. 
 
 CAMPBELL. 
 
 On Linden, when the sun was low, 
 
 h.o. ind. h.l. ind. 
 
 All bloodless lay the untrodden snow; 
 
 d.l.p. 
 
 And dark as winter was the flow 
 Of Iser, rolling rapidly. 
 
 d. 1. 
 
 But Linden saw another sight, 
 
 h.o. 
 
 When the drum beat at dead of night, 
 
SELECTIONS FOB PRACTICE. 213 
 
 Commanding fires of deaths to light 
 
 b. h.d.f. b. h.a.o. 
 
 The darkness of her scenery. 
 
 By torch and trumpet fast arrayed^ 
 
 b. h. h.o 
 
 Each horseman drew his battle blade, 
 
 h. o. ind. 
 
 And furious every charger neighed 
 
 b. h. h. o. 
 
 To join the dreadful revelry. 
 
 b. h. h. f, 
 
 Then shook the hills with thunder riven, 
 
 b. h. a. o. 
 
 Then rushed the steed to battle driven, 
 
 b.h. h.f. 
 
 And louder than the bolts of Heaven, 
 
 b. h. a. o. 
 
 Far flashed the red artillery. 
 
 b. h.a. 1. 
 
 And redder yet those fires shall glow, 
 
 h.o. 
 
 On Linden's hills of blood-stained snow ; 
 And darker yet shall be the flow 
 
 d. o. p. 
 
 Of Iser rolling rapidly. 
 
 d.l. 
 
 'T is morn, but scarce yon lurid sun 
 
 h. f. ind. 
 
 Can pierce the war-clouds, rolling dun, 
 
 imp. 
 
 When furious Frank, and fiery ffun, 
 
 b. h. h. o. 
 
 Shout in their sulphurous canopy. 
 
 b. h a o. 
 
2l4 MANUAL OT GESTURE. 
 
 The combat deepens. On, ye brave, 
 
 b. h. h.o. b. h.h.f. 
 
 Who rush to glo?^ or the grave ! 
 
 b. h. a. o. b. h. d. 1. 
 
 Wave, Munich ! all thy banners wave, 
 
 h 1. b.h.h. 1. 
 
 And charge with all thy chivalry ! 
 
 b. h.h.f. 
 
 Ah ! few shall part where many meet 
 
 h. o. p. b. h. h. o. 
 
 P- 
 
 The snow shall be their winding sheet, 
 
 b.h. d. o. p. 
 
 And every turf beneath their /ee^ 
 
 b.h.d.o. 
 
 Shall be a soldier's sepulchre. 
 
 b.h.d.f. 
 
 CHARACTER OF NAPOLEON BONAPARTE. 
 
 CHANGING. 
 
 To bring together in a narrower compass what seem 
 to us the great leading features of the intellectual and 
 moral character of Napoleon Bonaparte, we may remark 
 that his intellect was distinguished by rapidity of 
 thought. He understood by a glance what most men, 
 
 h. o. ind. h. o. 
 
 and superior men, could only learn by study. He 
 
 d. o. 
 
 darted to a conclusion rather by intuition than reason- 
 
 h. f.ind. h.f. 
 
 ing. In war, which was the only subject of which he 
 was master, he seized in an instant on the great points 
 
 h.o. h.f. 
 
 of his own and his enemy's positions ; and combined at 
 
 b. h.h.f. 
 
SELECTIONS FOR PRACTICE. 215 
 
 once the movements by which an overpowering force 
 might be thrown with unexpected /wry on a vulnerable 
 
 b.h.d.f. 
 
 part of the hostile line, and the fate of an army be 
 decided in a day. He understood war as a science ; but 
 
 d.o. h.o. 
 
 his mind was too bold^ rapid, and irrepressible^ to be 
 
 h. f. d. f. 
 
 eyislaved by the technics of his profession. He found 
 
 d.o. 
 
 the old armies fighting by rule ; and he discovered the 
 
 h. f. 
 
 true characteristic of genius, which, without despisii 
 rules, knows when and how to break them. He under- 
 
 d.o. 
 
 stood thoroughly the immense moral power which is 
 
 b. h. h.o. 
 
 gained by originality and rapidity of operation. He 
 
 b.h.d.o. 
 
 astonished and paralysed his enemies by his unforeseen 
 
 h.l.p. 
 
 and impetuous assaults, by the suddenness with which 
 
 b.h.h.o. 
 
 the storm of battle burst upon them ; and, whilst giving 
 to his soldiers the advantages of modern discipline, 
 
 h.o. 
 
 breathed into them, by his quick and decisive move- 
 ments, the enthusiasm of ruder ages. This power of 
 
 , a. o. b. 
 
 disheartening the foe, and of spreading through his own 
 
 d.i. 
 
 ranks a confidence, and exhilarating courage, which 
 
 b. h. a. o. 
 
 made war a pastime, and seemed to make victory sure, 
 
 h.i. h.f. 
 
 distinguished Napoleon in an age of uncommon, military 
 
 h. o. 
 
216 MANUAL OF GESTUBE. 
 
 talent, and was one main instrument of his future 
 'power. 
 
 d. o. 
 
 The wonderful effecU of that rapidity of thought by 
 
 h. f. 
 
 which Bonaparte was marked, the signal success of his 
 
 h.o. 
 
 new mode of warfare, and the almost incredible speed 
 with which his fame was spread through nations^ had 
 
 h.l. 
 
 no small agency in fixing his character, and determining 
 
 h.f. 
 
 for a period the fate of empires. These stirring influ- 
 
 b.h.d.o. 
 
 ences infused a new consciousness of his own might. 
 
 d. o. 
 
 They gave intensity and audacity to his ambition ; gave 
 
 h.o. 
 
 form and substance to his indefinite visions of glory^ 
 
 a. o. 
 
 and raised his fiery hopes of empire. The burst of 
 
 b. h. a. o. 
 
 admiration which his early career called forth, must, in 
 
 b.h.h.l. 
 
 particular, have had an influence in imparting to his 
 ambition that modification by which it was characterised, 
 
 b. h.d.o. 
 
 and which contributed alike to its success and to its fall. 
 
 h.o. d.o. 
 
 He began with astonishing the world ; with producing 
 
 b.h.h.l. 
 
 a sudden and universal sensation^ such as modern times 
 
 rep. 
 
 had not witnessed. To astonish, as well as to swag, by 
 
 b. h.d.o. h.o. h.l. p. 
 
 his energies, became the great aim of his life. Hence- 
 
 d.o. 
 
 forth to rule Avas not enough for Bonaparte. He wanted 
 
 d.i. 
 
SELECTIONS FOR PRACTICE. 217 
 
 to amaze, to dazzle, to overpower men's souls, by striking, 
 
 r. h. upl. h.o. p. b. h. d. 1. 
 
 hold, magnificent, and unanticipated results. To govern 
 
 b.h.h.f. b. h.d.o. 
 
 ever so absolutely would not have satisfied him, if he 
 
 h.l. d.o. 
 
 must have governed silently. He wanted to reign 
 
 d.l. 
 
 through wonder and awe^ by the grandeur and terror of 
 
 r. h.upl. h. o. p. 
 
 his name, by displays of power which would rivet on 
 h.f. 
 
 him every eye, and make him the theme of every 
 
 b.h.h.f. 
 
 tongue. Power was his supreme object ; but a power 
 
 b.h.h.l. h.o. 
 
 which should be gazed at as well as felt, which should 
 
 h.f. h.o. 
 
 strike men as a prodigy, which should shake old thrones 
 
 d. o. 
 
 as an earthquake, and, by the suddenness of its new 
 
 b. h.d.o. 
 
 creations, should awaken something of the submissive 
 wonder which miraculous agency inspires. 
 
 r. h.upl. a. o. 
 
 Such seems to us to have been the distinction or 
 
 h.o. 
 
 characteristic modification of his love of fame. It was 
 
 rep. 
 
 a diseased passion for a kind of admiration, which, from 
 the principles of our nature, cannot be enduring, and 
 
 h.l. 
 
 which demands for its support perpetual and more 
 stimulating novelty. Mere esteem he would have scorned. 
 
 d.o. h.l. V. 
 
 Calm admiration, though universal and enduring, would 
 Wve been insipid. He wanted to electrify and over- 
 
 d.o. b.h.a.f. 
 
218 MANUAL OF GESTURE. 
 
 whelm. He lived for effect. The world was his theatre; 
 
 b.h.d.o.p. d.o. h. 1. 
 
 and he cared little Avhat part he played, if he might 
 
 d.i. 
 
 walk the sole hero on the stage, and call forth bursts of 
 
 a. o. 
 
 applause which would silence all other fame. In war, 
 
 b. h. a. o. b. h. d. o. p. 
 
 the triumphs which he coveted were those in which he 
 seemed to sweep away his foes like a whirlwind ; and 
 
 b. h. h. 1. V. par. 
 
 the immense and unparalleled sacrifice of his own 
 
 b.h.d.i. 
 
 soldiers, in the rapid marches and daring assaults to 
 which he owed his victories, in no degree diminished 
 
 d.o. 
 
 their worth to the victor. In peace, he delighted to 
 hurry through his dominions ; to multiply himself by his 
 
 h.l. b.h.h.o. 
 
 rapid movements ; to gather at a glance the capacities 
 
 h. o. ind. 
 
 of improvement which every important place possessed ; 
 
 b.h.d.o. 
 
 to suggest plans which would startle by their originality 
 
 r. h. upl. 
 
 and vastness ; to project, in an instant^ works which a 
 
 h.l. h.f. 
 
 life could not accomplish, and to leave behind the 
 
 h.l. 
 
 impression of a superhuman energy. 
 
 d.o. 
 
 Our sketch of Bonaparte would be imperfect indeed, 
 if we did not add, that he was characterised by nothing 
 more strongly than by the spirit of self -exaggeration. 
 
 b.h.h.o. 
 
 The singular energy of his intellect and will, through 
 
 h. o. 
 
SELECTIONS FOR PRACTICE. 219 
 
 which he had mastered so many rivals and /oe«, and 
 
 h.l. 
 
 overcome what seemed insuperable obstacles, inspired a 
 
 b.h.h.f. 
 
 a consciousness of being something more than man. 
 
 b.h.d.o. 
 
 His strong original tendencies to pride and self-exalta- 
 
 h. o. 
 
 tion^ fed and pampered by strange success and un- 
 bounded applause^ swelled into an almost insane con- 
 fa. h.h.i. 
 
 viction of superhuman greatness. In his own view, he 
 
 b. h. a. o. 
 
 stood apart from other men. He was not to be measured 
 
 h.l. h.o. 
 
 by the standard of humanity. He was not to be retarded 
 
 rep. 
 
 by difficulties, to which all others yielded. He was not 
 
 h.l. h.o. 
 
 to be subjected to laws and obligations which all others 
 were expected to obey. Nature and the human will 
 were to bend to his power. He was the child and 
 
 d.o. 
 
 favorite oi fortune ; and, if not the lord^ the chief object 
 
 h.o. h.l. d.o. 
 
 of destiny. His history shows a spirit of self-exaggera- 
 tion unrivalled in enlightened ages, and which reminds 
 
 d.o. 
 
 us of an Oriental king to whom incense had been burnt 
 
 h.o.b. 
 
 from his birth as to a deity. This was the chief source 
 
 d.o. 
 
 of his crimes. He wanted the sentiment of a common 
 
 d.f. 
 
 nature with his fellow-beings. He had no sympathies 
 
 h.o. d.l. 
 
 with his race. That feeling of brotherhood^ which is 
 
 h.o. 
 
220 MANUAL OF GESTUBE. 
 
 developed in truly great souls with peculiar energy, and 
 
 rep. 
 
 through which they give up themselves willing victims, 
 
 b.h.d.o. 
 
 joyful sacrifices^ to the interests of mankind, was wholly 
 
 rep. 
 
 unknown to him. His heart, amidst all its wild heatings^ 
 
 b. h. d. 1. h. o. rep. 
 
 never had one throh of disinterested love. The ties 
 
 h.l. 
 
 which bind man to man he broke asunder. The proper 
 b. h. h. f. b.h.d. 1. 
 
 happiness of a man, which consists in the victory of 
 moral energy and social affection over the selfish pas- 
 
 a. o. 
 
 sions, he cast away for the lonely joy of a despot. With 
 
 d.l. h.l.ind. 
 
 powers which might have made him a glorious repre- 
 sentative and minister of the beneficent Divinity^ and 
 
 a. o. 
 
 with natural sensibilities which might have been exalted 
 into sublime virtues^ he chose to separate himself from 
 
 b h a. o. h. 1. V. 
 
 his kind — to forego their love, esteem, and gratitude 
 
 d.l. 
 — that he might become their gaze^ their fear^ their 
 
 h. f h. o. V. 
 
 wonder ; and for this selfish, solitary good, parted with 
 
 h.l. h.f. 
 
 peace and imperishable renown. 
 
 d. o. 
 
 BERNARDO DEL CARPIO. 
 
 MRS. HEMANS. 
 
 The warrior lowed his crested head, and tamed his heart 
 
 of fire, "'"P- '•°'^- 
 
 And sued the haughty king to free his long-imprisoned 
 
 h.o. 
 
 Sire ; 
 
SELECTIONS FOR PRACTICE. 221 
 
 '* I bring thee here my fortress-kejs, I bring my captive 
 train, ^' ^' 
 
 h.o. 
 
 I pledge thee faith, my liege, my lord I — 01 break my 
 
 d.f. b.h.h.f.cla. 
 
 father's chain ! " 
 '* Ilise, rise ! even now thy father comes, a ransomed 
 
 r. h.upl. d.f. d.o. 
 
 man, this day ! 
 Mount thy good horse ; and thou and I will meet him 
 
 on his way." ' " *'•'• 
 
 Then lightly rose that loyal son, and hounded on his 
 
 steed, ^■°- 
 
 And urged, as if with lance in rest, the charger's foamy 
 h.f. 
 
 speed. 
 And lo ! from far, as on they pressed, there came a 
 
 h. f. ind. h. f. 
 
 glittering band, 
 
 h.o. 
 
 With one that 'midst them stately rode, as a leader in 
 
 the land; ^•°- 
 
 " Now haste, Bernardo, haste ! for there, in very truth, 
 
 h. f. rep. rep. 
 
 is he. 
 The father whom thy faithful heart hath yearned so 
 
 rep. 
 
 long to see." 
 d.f. 
 
 His dark eye flashed, his proud breast heaved, his cheek's 
 
 h. o. ind. h.o. 
 
 hue came and went ; 
 h.i. 
 
 He reached that gray-haired chieftain's side, and there, 
 
 dismounting, bent; ^'°' 
 
 d.o. 
 
222 MANUAL OF GESTURE. 
 
 A lowly knee to earth he bent, his father's hand he 
 
 d.o. 
 
 took — 
 
 h.o. 
 
 What was there in its touch that all his fiery spirit 
 
 d.o. 
 
 shook ? 
 
 That hand was cold — a frozen thing — it dropped from 
 
 h. o. p. rep, drop. 
 
 his like lead ! 
 He looked up to the face above — the face was of the 
 
 dead ! 
 A plume waved o'er the noble brow — the brow was 
 
 a. o. 
 
 fixed and white ; 
 
 r. h. upl. 
 
 He met^ at last, his father's eyes — but in them was no 
 
 h. o. drop. 
 
 sight ! 
 
 Up from the ground he sprang and gazed; but who 
 
 r. h. upl. h. f. 
 
 could paint that gaze ? 
 
 d. o. 
 
 They hushed their very hearts^ that saw its horror and 
 
 amaze— ^^P' 
 
 They might have chained him, as before that stony 
 
 form he stood ; ^- °' 
 For the power was stricken from his arm, and from his 
 
 lip the blood. '^'■^p- 
 
 " Father!^' at length he murmured low, and wept hke 
 
 r. h. upl. 
 
 childhood then : 
 
 d.o. 
 
SELECTIONS FOR PRACTICE. 223 
 
 Talk not of grief till thou hast seen the tears of warlike 
 
 men ! 
 He thought on all his glorious hopes ^ and all his young 
 
 renown — 
 
 a.l. 
 
 He flung his falchion from his side, and in the dust sat 
 down. ''•'• ^'''^ 
 
 Then covering with his steel-gloved hand his darkly- 
 mournful brow, 
 
 " No more, there is no more," he said, " to lift the sword 
 for, now ; 
 
 My king is false — my hope betrayed ! My father — O I 
 
 d.O. d. 1. 
 
 the worthy 
 
 r. h. upl. 
 
 The glory, and the loveliness are passed away from 
 earth ! ^"-"p- 
 
 " I thought to stand where banners waved, my sire, 
 
 beside thee yet ! *• **' 
 
 I would that there our kindred blood on Spain's free 
 
 soil had met ! ""■ '■ 
 
 Thou wouldst have known my spirit^ then — for thee 
 
 my fields were won ; ''• °' "p* 
 
 And thou hast perished in thy chains, as though thou 
 
 drop. 
 
 hadst no son ! '* 
 Then, starting hom. the ground once more, he seized the 
 
 r. h. upl. a. f. cli. 
 
 monarch's rein. 
 Amid the pale and wildered looks of all the courtier 
 train; 
 
224 MANUAL OF GESTURE. 
 
 And, with a fierce, o'ermastering grasp^ the rearing 
 
 war-horse led, ''^^" 
 
 And sternly set them face to face — the king before the 
 
 dead: ^•^•^•^• 
 
 rep. 
 
 " Came I not forth, upon thy pledge^ my father's hand 
 
 to kiss? ^•^• 
 
 Be stilly and gaze thou on^ false king ! and tell me what 
 
 h. f. p. rep. 
 
 is this? 
 
 d.o. 
 
 The voice, the glance, the heart I sought — give answer, 
 ^Aerg are they ? ^•°- ^•^• 
 
 d.o. ^ 
 
 If thou wouldst clear thj perjured soul, send life through 
 this cold clay? ^■^■''"^- ^■°- 
 
 " Into these glassy eyes put light — be still/ keep down 
 thine ire! ''^- ^-^p- '^'^p- 
 
 Bid these white lips a blessing speak — this earth is not 
 my sire— ^•°- ^•°- 
 
 Give me back him for whom I strove, for whom my 
 
 h.f. 
 
 blood was shed ! 
 
 d.f. 
 
 Thou canst not ? — and a king ! — his dust be mountains 
 
 h. f. d. f. b. h. h. f. p. 
 
 on thy head!" 
 He loosed the steed — his slack hand /(?Z? — upon the 
 
 h. o. drop. 
 
 silent face 
 He cast one long, deep, troubled look, then turned from 
 
 that sad place ; ^- " ^- "P"' ^""""'"^ '^' ^^'^ '" ''''■ 
 
 His hope was crushed, his after fate untold in martial 
 
 strain— '^^•p- ^•^• 
 
 His banner led the spears no more, amid the hills of 
 
 Spain. **' ^" 
 
SELECTIONS FOR PRACTICE. 225 
 
 THE INSPIRATION OF THE BIBLE. 
 
 EDW. "WTNTHROP. 
 
 Such is the intrinsic excellence of Christianity that it 
 is adapted to the wants of all^ and it provides for all, 
 
 h.l. d.o. 
 
 not only by its precepts and by its doctrines^ but also 
 
 h. 1. 
 
 by its evidence, 
 
 ^ d.o. 
 
 The poor man may know nothing of history, or 
 
 science, or philosophy ; he may have read scarcely any 
 
 h.l. 
 
 book but the Bible ; he may be totally unable to van- 
 d. 1. 
 
 quish the skeptic in the arena of public debate ; but he 
 
 h. o. 
 
 is nevertheless surrounded by a panoply which the 
 shafts of infidelity can never pierce. 
 
 d.o. 
 
 You may go to the home of the poor cottager^ whose 
 
 h.l.ind. 
 
 heart is deeply imbued with the spirit of vital Christi- 
 
 d.o. 
 
 anity ; you may see him gather his little family around 
 
 b. h. h.o. 
 
 him : he expounds to them the wholesome doctrines and 
 principles of the Bible, and if they want to know the 
 
 h.o. 
 
 evidence upon which he rests his faith of the divine 
 
 d.o. 
 
 origin of his religion, he can tell them, upon reading the 
 book which teaches Christianity, he finds not only a 
 perfectly true description of his own natural character, 
 
 h.o. 
 
226 MANUAL OF GESTURE. 
 
 but in the provisions of this religion a perfect adaptation 
 
 to all his needs. 
 h.i. 
 
 It is a religion by which to live — a religion by which 
 
 h. f. 
 
 to die ; a religion which cheers in darkness, relieves in 
 
 d.f. h.f. h.o. 
 
 perplexity, supports in adversity, keeps steadfast in 
 
 h. 1. h. f. 
 
 prosperity, and guides the inquirer to that blessed land 
 
 a. o. 
 
 where " the wicked cease from troubling, and the weary 
 
 d.o. 
 
 are at rest." 
 
 We entreat you, therefore, to give the Bible a wel- 
 
 h.o. 
 
 come — a cordial reception; obey its precepts, trust its 
 
 rep. d. o. h. f. 
 
 promises, and rely implicitly upon that Divine Redeemer^ 
 
 a. o. 
 
 whose religion brings glory to God in the highest^ and 
 
 b. h. a. f. 
 
 on earth, peace., and good will to men. 
 
 b. h. h.o. b. h.d.o. 
 
 Thus will you fulfill the noble end of your existence., 
 
 a. o. 
 
 and the great Grod of the universe will be your father 
 
 r. h. upl. 
 
 and your friend ; and when the last mighty convulsion 
 
 h. o. 
 
 shall shake the earth., and the sea^ and the sky, and the 
 
 b.h.h, 1. 
 
 fragments of a thousand barks^ richly freighted with 
 
 b.h. h.o. 
 
 intellect and learning., are scattered on the shores of 
 
 rep. 
 
 error and delusion., your vessel shall in safety outride 
 
 b. h. h. 1. p. b.h. a. o. 
 
 the storm, and enter in triumph the haven of eternal 
 rest. 
 
 b. h. a. f. 
 
SELECTIONS FOR PRACTICE. 227 
 
 THE BRIDGE OF SIGHS. 
 
 HOOD. 
 
 One more unfortunate, 
 Weary of breath, 
 Rashly importunate y 
 
 d.o. 
 
 Gone to her death! 
 d.i. 
 
 Take her up tenderly ^ 
 
 b. h. d. o. par. 
 
 Lift her with care ; 
 
 b. h. h.o. par. 
 
 Fashioned so slenderly, 
 
 h.o. 
 
 Young, and so fair ! 
 
 d.o. 
 
 Look at her garments 
 
 d. o. ind. 
 
 Clinging like cerements ; 
 Whilst the wave constantly 
 Brifs from her clothing ; 
 
 d.o. p. 
 
 Take her up instantly ^ 
 
 d. o. 
 
 Loving^ not loathing^ 
 
 imp. d.l. 
 
 Touch her not scornfully ^ 
 
 d.o. 
 
 Think of her mournfully , 
 
 h. o. p. 
 
 Gently and humanly ; 
 
 d.o. 
 
 Not of the stains of her — 
 d.l. 
 
228 MANUAL OF GESTURE. 
 
 All that remains of her 
 Now is pure womanly, 
 
 h.o. 
 
 Make no deep scrutiny 
 
 h. o. p. 
 
 Into her mutiny 
 Rash and undutiful ; 
 
 d. o. 
 
 Past all dishonor, 
 
 d.l. 
 
 Death has left on her 
 Only the heautifuL 
 
 h.o. 
 
 Loop up her tresses 
 
 d. o. ind. 
 
 Escaped from the comb, 
 Her fair auburn tresses ; 
 
 d. o. 
 
 While wonderment guesses 
 
 r. h. upl. 
 
 Where was her home ? 
 
 h. 1. 
 
 Who was her father^ 
 
 h.f. 
 
 Who was her mother f 
 
 h.o. 
 
 Had she a sister f 
 
 h.l. 
 
 Had she a brother f 
 
 d.o. 
 
 Or was there a dearer one 
 
 d. f. 
 
 Still, and a nearer one 
 
 rep. 
 
 Yet, than all other ? 
 
SELECTIONS FOR PRACTICE. 229 
 
 Alas ! for the rarity 
 
 r. h. upl. ) 
 
 Of Christian charity 
 Under the sun ! 
 Oh ! it was pitiful ! 
 
 h o. p. 
 
 Near a whole city full 
 
 b.h.h.o. 
 
 Home she had none ! 
 
 d.l. 
 
 Sisterly, brotherly, 
 Fatherly, motherly 
 
 h.l. 
 
 Feelings had changed : 
 
 d.o. 
 
 Love by harsh evidence 
 Thrown from its eminence : 
 
 d.l. 
 
 Even God's providence 
 
 r. h. upl. 
 
 Seeming estranged. 
 
 h.l. p. 
 
 When the lamps quiver 
 So far in the river^ 
 
 h.f.p. 
 
 With many a light 
 
 h.o. 
 
 From window and casement. 
 From garret to basement^ 
 
 d.o. 
 
 She stood with amazement, 
 
 r. h. upl. 
 
 Houseless by night. 
 
280 MANUAL OF GESTURE. 
 
 The bleak wind of March 
 Made her tremble and shiver ; 
 
 h. o p. 
 
 But not the dark arch, 
 
 h.I. 
 
 Or the black flowing river: 
 
 d.f. 
 
 Mad from lifers history, 
 
 h. o. 
 
 Glad to deaths mystery 
 
 d.o. 
 
 Swift to be "hurled — 
 Anywhere, anywhere, 
 
 h.I. 
 
 Out of the world — 
 
 d.l. 
 
 In she plunged boldly^ 
 
 b. h.d.f. 
 
 No matter how coldly 
 The rough river ran. 
 Take her up tenderly^ 
 
 b.h.d. o. par. 
 
 Lift her with care ; 
 
 b. h. h. o. par. 
 
 Fashioned so slenderly^ 
 
 h.o. 
 
 Young, and ^ofair! 
 
 d.o. 
 
 Ere her limbs frigidly 
 Stiffen too rigidly, 
 
 d. o. p. 
 
 Decently, kindly, 
 
 Smooth, and compose them , 
 
 d>o p. 
 
SELECTIONS FOB PRACTICE. 231 
 
 And her eyeB^ close them, 
 
 d. o. d. o. p. 
 
 Staring so blindly ! 
 
 d. o. p. 
 
 Dreadfully staring 
 
 d. f. 
 
 Through muddy impurity^ 
 
 h. f. p. 
 
 As when with the daring 
 Last look of despairing 
 
 r. h. upl. 
 
 Fixed on futurity, 
 
 h.f. 
 
 Perishing gloomily^ 
 
 d. o. p. 
 
 Spurred by contumely^ 
 Cold inhumanity y 
 
 h. o. p. 
 
 Burning insanity^ 
 
 d. o. ind. 
 
 Into her rest. — 
 
 Cross her hands humbly 
 
 d.o. p. 
 
 As if praying dumbly, 
 Over her breast. 
 
 Owning her weakness, 
 
 d.o. 
 
 Her evil behavior^ 
 
 d.l. 
 
 And leaving, with meekness^ 
 
 d.o. 
 
 Her sins to her Saviour ! 
 
232 MANUAL OF GESTURE. 
 
 THE BARON'S LAST BANQUET. 
 
 ALBERT G. GREENE. 
 
 O'er the low couch the setting sun had thrown his 
 latest ray^ 
 
 d. o. p. 
 
 Where, in his last strong agony, a dying warrior lay, — 
 
 d.o. 
 
 The stern old Baron Rudiger^ whose frame had ne'er 
 been hent ^•°- 
 
 d.o. 
 
 By wasting pain, till time and toil its iron strength had 
 
 spent. 
 d.i. 
 
 " They come around me here, and say my days of life 
 are o'er, ^'°' 
 
 d.o. 
 
 That I shall mount my noble steed and lead my band 
 
 no more ; ^" °" 
 
 h.l. 
 
 They come, and, to my beard, they dare to tell me now 
 that J, 
 
 h.f. 
 
 Their own liege lord and master born, that I — ha! ha! 
 
 — must die. ^-^ '■•^•"P'- 
 
 d.f. 
 
 "And what is death? I've dared it oft, before the 
 
 h. o. d.o. 
 
 Paynim spear ; 
 Think ye he 's entered at my gate — has come to seek 
 
 h. o. 
 
 me hereP 
 
 d.o. 
 
 I 've met him, faced him, scorned him, when the fight 
 
 h.f. rep. d. l.p. 
 
 was raging Ao^ ; — 
 
 d.o. 
 
SELECTIONS FOR PRACTICE. 283 
 
 1*11 try his might, I'll hrave his power! — defy^ and 
 
 h.f. rep. b. h.h.f. 
 
 fear him not I 
 
 b.h. d.f. 
 
 ''''Ho! soimd the tocsin from my tower, and fire the 
 
 r.h.upl. a. o. ind. 
 
 culverin ; 
 
 a.l.ind. 
 
 Bid each retainer arm with speed ; call every vassal in. 
 
 b. h.h.o. b. h. d. o. 
 
 Up with my banner on the wall, — the banquet-board 
 
 r.h.upl. h.o. 
 
 prepare, 
 Throw wide the portal of my hall, and bring my armor 
 
 h.l. h.o. ind. 
 
 there ! " 
 An hundred hands were busy then : the banquet forth 
 
 b.h. h.o. h.l. 
 
 was spread. 
 And rung the heavy oaken floor with many a martial 
 tread ; 
 
 b.h.d.b. 
 
 While from the rich, dark tracery, along the vaulted wall, 
 
 h.o. 
 
 Lights gleamed on harness, plume and spear, o'er the 
 
 h.o. ind. 
 
 proud old Gothic hall. 
 
 h.l. ind. 
 
 Fast hurrying through the outer gate, the mailed 
 
 h. o. 
 
 retainers poured, 
 
 rep. 
 
 On through the portal's frowning arch, and thronged 
 around the board ; ^- ^- ^- °- 
 
 While at its head, within his dark, carved, oaken chair 
 of state, ^ '• 
 
 imp. 
 
 Armed cap-a-pie, stern Rudiger, with girded/aZ<?Azow, sat. 
 
 h. 1. ind. rep. 
 
234 MANUAL OF GESTURE. 
 
 " Fill every leaker up, my men ! — pour forth the cheer- 
 ing wine ! ^•^- ^•°- 
 
 There's life and strength in every drop^ — thanksgiving 
 to the vine! ^•°- ^•^•^•°- 
 
 Are ye all there^ my vassals true? — mine eyes are 
 
 h. o. drop, 
 
 waxing dim : 
 Fill rounds my tried and fearless ones, each goblet to 
 
 h, o. 
 
 the hrim! 
 
 rep. 
 
 " Ye' re there^ but yet I see you not! — forth draw each 
 
 h. o. d. o. 
 
 trusty sword^ 
 
 h. o. ind. 
 
 And let me hear your faithful steel clash once around 
 my board! 
 
 b.h.h.o. 
 
 I hear it faintly ! — louder yet ! What clogs my heavy 
 
 r. h. ulp. h. o. d.o. 
 
 breath ? 
 Up^ all! — and shout for Budiger^ 'Defiance unto 
 
 b. h. upl. b. h, a. o. 
 
 death!''' 
 
 b. h. d. o. cli. 
 
 Bowl rang to howl^ steel clanged to steely and rose a 
 
 h. o. ind. h. 1. ind. 
 
 deafening cry, 
 That made the torches flare around, and shook the flags 
 
 1 • 1 a. 1. b.h.a.o. 
 
 on high : 
 " Ho ! cravens ! do ye fear him ? Slaves ! traitors ! 
 
 b. h. upl. b. h. h. o. rep. 
 
 have ye flown f 
 
 rep. 
 
 Ho ! cowards, have ye left me to meet him here alone ? 
 
 b.h.upl. b. h.d.o. 
 
SELECTIONS FOR PRACTICE. 235 
 
 " But I dfg/y him! — let him come!''^ Down rang the 
 
 h. f. cli. rep. d.o. 
 
 massy cup, 
 While from its sheath the ready blade came flashing 
 
 I ^p h. o. ind. 
 
 half-way up ; 
 And, with the black and heavy plumes scarce trembling 
 
 on his head, ^ °'^" 
 
 There, in his dark, carved, oaken chair^ old Rudiger 
 
 •Til h. o. ind. 
 
 sat — dead I 
 
 drop. 
 
 THE WOLVES. 
 
 J. T. TROWBRIDGE. 
 
 Ye that listen to stories told, 
 
 h.o. 
 
 When hearths are cheery and nights are cold, 
 Of the lone woodside, and the hungry pack^ 
 
 h. 1. 
 
 That howls on the fainting traveler's track, 
 
 imp. 
 
 The flame-red eye-halls that waylay 
 
 h. l.ind. 
 
 By the wintry moon, the belated sleigh ; 
 
 The lost child sought in the dismal wood^ 
 
 h.o. b. p. rep. 
 
 The little shoes^ and the stains of blood 
 
 d.l. d.l.p. 
 
 On the trampled snow, — ye that hear 
 With thrills oi pity, or chills oi fear, 
 
 h. 0. h. !, 
 
286 MAlinJAL OF GESTURE. 
 
 Wishing some kind angel had been sent 
 
 a. o. 
 
 To shield the hapless innocent, — 
 
 h. o. p. 
 
 Know ye the fiend that is crueler far 
 
 d.o. 
 
 Than the gaunt gray herds of the forest are ? 
 
 Swiftly vanish the wild fleet tracks 
 
 h.i. 
 
 Before the rifle and the woodman's axe. 
 But hark to the coming of unseen feet, 
 
 r. h. upl. h. o. p. 
 
 Pattering by night through the city street. 
 
 Each wolf that dies in the woodland brown, 
 
 h.i. 
 
 Lives a spectre^ and haunts the town ! 
 
 h. o. V. h. o. ind. 
 
 By square and market they slink and prowl^ 
 
 h.o. 
 
 In lane and alley they leap and howl ; 
 
 h.i. 
 
 All night long they snuff and snarl before 
 The patched window and the broken door. 
 
 d.o. d.l. 
 
 They paw the clapboards^ and claw the latch ; 
 
 h. f. p. h. o. p. 
 
 At every crevice they Avhine and scratch. 
 
 h.i. 
 
 Children, crouched in corners cold^ 
 
 h. o. p. 
 
 Shiver with tattered garments old ; 
 
 rep. 
 
SELECTIONS FOR PRACTICE. 237 
 
 They start from sleep with bitter pangs 
 
 r. h. upl. 
 
 At the touch of the phantom's viewless fangs. 
 
 h.o. p. 
 
 Weary the mother, and worn with strife^ 
 
 d. 1. d.o. 
 
 Still she watches and fights for life ; 
 
 d.f. 
 
 But her hand \& feeble and her weapon small, — 
 
 h. o. rep. 
 
 One little needle against them alL 
 
 h. f. h. 1. 
 
 In evil hour the daughter fled 
 
 h.l. 
 
 From her poor shelter, and wretched bed, 
 
 Through the city's pitiless solitude 
 
 To the door of sin, — the wolves pursued ! 
 
 h. o. ind. 
 
 Fierce the father, and grim with want, 
 
 h. f. h. o. p. 
 
 His heart was gnawed by the spectres gaunt, 
 
 h.l. p. 
 
 Frenzied, stealing forth by night, 
 
 d. o.cli. 
 
 With whetted knife for the desperate fight, 
 
 a. o.cli. 
 
 He thought to strike the spectres dead, — 
 
 d. o. cli. 
 
 But killed his brother man instead. 
 
 d.o. 
 
 O ye that listen to stories told, 
 
 h.o. 
 
 When hearths are cheery and nights are cold, 
 
238 MANUAL OF GESTURE. 
 
 Weep no more at the tales you hear, 
 h.i. 
 
 The danger is close^ and the wolves are near/ 
 
 h.f. 
 
 rep. 
 
 Shudder not at the rrmrderer's name, 
 
 h. f. p. 
 
 Marvel not at the maiden's shame ; 
 
 h. o, p. 
 
 Pass not by with averted eye, 
 
 h.l.p. 
 
 The door where the stricken children cry. 
 
 But when the beat of the unseen feet 
 Sounds by night through the city street. 
 
 Follow thou, where the spectres glide, 
 And stand, like Hope, at the mother's side ; 
 
 h.o. 
 
 And be thyself the angel sent 
 h.f. 
 
 To shield the hapless innocent. 
 
 h. o. p. 
 
 He gives but little who gives his tears ; 
 
 d.l. 
 
 He gives best who aids and cheers. 
 
 d.o. 
 
 He does well in the forest wild 
 
 h.l. 
 
 Who slai/8 the monster and saves the child ; 
 
 d.l. p. h.o. 
 
 He does better, and merits more, 
 
 d. o. rep. 
 
 Who drives the wolf from the poor man's door, 
 
 h. 1. V. 
 
SELECTIONS FOR PRACTICE. 239 
 
 ANTONY'S ADDRESS TO THE ROMANS. 
 
 SHAKSPEARE. 
 
 Friends, Romans, countrymen, lend me your ears ; 
 
 h.o. 
 
 I come to hury Csesar, not to praise him. 
 
 d.o. h.l. 
 
 The evil that men do lives after them ; 
 
 h.o. d.o. 
 
 The good is oft interred with their hones ; 
 
 h. o. d. o. p. 
 
 So let it be with Ccesar. The noble Brutus 
 
 d.o. h.o. 
 
 Hath told you Caesar was ambitious : 
 
 rep. 
 
 If it were so, it was a grievous fault, 
 
 h.l. 
 
 And grievously hath Caesar answered it. 
 
 d.o. 
 
 Here^ under leave of Brutus and the rest 
 
 h.f. h.o. 
 
 (For Brutus is an honorable man ; 
 
 d.l. 
 
 So are they all^ all honorable men), 
 
 b.h.d.o. b.h.d.l. 
 
 Come I to speak in Caesar's funeral. 
 
 h.f. 
 
 He was my friend^ faithful on^just to me ; 
 
 h. o. d. o. 
 
 But Brutus says he was ambitious ; 
 
 h. 1. rep. 
 
 And Brutus is an honorable man. 
 
 d.l. 
 
 He hath brought many captives home to Rome, 
 
 h. o. 
 
 Whose ransoms did the general coffers fill : 
 
 d.o. 
 
 Did this in Caesar seem ambitious ? 
 h.f. 
 
 When that the poor have cried, Caesar hath wept : 
 
 h. o. h.o. p. 
 
240 MANUAL OF GESTURE. 
 
 Ambition should be made of sterner stuff ; 
 
 d.o. 
 
 Yet Brutus says he was ambitious ; 
 
 h.o. 
 
 And Brutus is an honorable man. 
 
 d.o. 
 
 You did all see that on the Lupercal 
 I thrice presented him a kingly crown, 
 
 h.o. 
 
 Which he did thrice refuse. Was this ambition ? 
 
 d.l. h.f. 
 
 Yet Brutus says he was ambitious ; 
 
 h.o. 
 
 And sure he is an honorable man. 
 
 d.o. 
 
 I speak not to disprove what Brutus spoke, 
 
 d.l. 
 
 But here I am to speak what I do know. 
 
 d.f. 
 
 You all did love him once ; not without cause ; 
 
 h.o. h. 1. 
 
 What cause withholds you, then, to mourn for him ? 
 
 d.o. 
 
 O judgment ! thou art fled to brutish beasts, 
 
 h.f. d.l. 
 
 And men have lost their reason! Bear with me ; 
 
 rep. h.o. 
 
 My heart is in the cof&n there with Csesar, 
 
 d. o. p. 
 
 And I must pause till it come back to me. 
 
 d.o. 
 
 But yesterday, the word of Caesar might 
 
 h. o. 
 
 Have stood against the world : now lies he there, 
 
 h. 1. d. o. ind. 
 
 And none so poor to do him reverence, 
 d.l. 
 
 O masters ! if I were disposed to stir 
 
 b.h. h. o. 
 
 Your hearts and minds to mutiny and rage^ 
 
 rep. 
 
SELECTIONS FOE PRACTICE. 241 
 
 I should do Brutus wrong, and Cassiu^ wrong, 
 
 h f. h. o. 
 
 Who, you all know, are honorable men. 
 
 d.o. 
 
 I will not do them wrong ; I rather choose 
 hi. 
 
 To wrong the dead, to wrong mi/ self, and you, 
 
 d. o. h. on heart. h. o. 
 
 Than I will wrong such honorable men. 
 
 h.i. 
 
 But here 's a parchment with the seal of Caesar ; 
 h.f. 
 
 I found it in his closet ; 't is his will : 
 
 h, o. d. o. 
 
 Let but the commons hear this testament * 
 
 ho. 
 
 (Which, pardon me, I do not mean to read'), 
 
 h.i. 
 
 And they would go and kiss dead Caesar's wounds, 
 And dip their napkins in his sacred blood ; 
 
 rep. 
 
 Yea, beg a hair of him for memory, 
 
 h. o. 
 
 And, dying, mention it within their wills, 
 
 h.i. 
 
 Bequeathing it as a rich legacy 
 Unto their issue. 
 
 d.o. 
 
 If you have tears, prepare to shed them now. 
 
 h. o. d.o. 
 
 You all do know this mantle : I remember 
 
 h.f. 
 
 The first time ever Caesar put it on; 
 
 h.o, 
 
 *T was on a summer's evening, in his tent — 
 
 h.i. 
 
 That day he overcame the Nervii. 
 
 ^ d.o. 
 
 Look ! in this place ran Cassius' dagger through ; 
 
 h. f ind. rep. 
 
242 MANUAL OF GESTITRE. 
 
 See what a rent the envious Casca made ; 
 
 rep. 
 
 Through this^ the well-beloved Brutus stabbed ; 
 
 rep. 
 
 And, as he plucked his cursed steel away, 
 Mark how the hlood of Caesar followed it, 
 
 h. o. ind. 
 
 As rushing out of doors, to be resolved 
 
 h.l. 
 
 If Brutus so unkindly knocked or no ; 
 
 d. 1. 
 
 For Brutus, as you know, was Caesar's angel : 
 
 h. o. 
 
 Judge, O you gods, how dearly Caesar loved him ! 
 
 a. o. rep. 
 
 This was the most unkindest cut of all ; 
 
 d.o. 
 
 For, when the noble Caesar saw him stab. 
 Ingratitude, more strong than traitor's arms, 
 
 h.l. d.o. 
 
 Quite vanquished him. Then burst his mighty heart; 
 
 d.l. b. h.h.o. 
 
 And, in his mantle muffling up his /ace, 
 
 h. o. p. 
 
 Even at the base of Pompey's statue, 
 
 d. o. 
 
 Which all the while ran blood, great Caesar /^ZZ. 
 
 d.l. d.o. 
 
 Oh, what a fall was there, my countrymen ! 
 
 r. h. upl. 
 
 Then I, and gou, and all of us fell down, 
 
 h. on heart. h.o. b.h.d. o. 
 
 While bloody treason flourished over us. 
 
 a. 1. ind. 
 
 Oh, now you weep ; and, I perceive, you feel 
 
 h. o. p. 
 
 The dint oi pity : these are gracious drops. 
 
 h.l. p. d.l. 
 
 Kind souls, what, weep you, when you but behold 
 
 h. o. 
 
SELECTIONS FOR PRACTICE. 243 
 
 Our Caesar's vesture wounded ? Look you here ; 
 
 d.o. d. f. ind. 
 
 Here is himself^ marred, as you see, with traitors. 
 
 rep h. 1. 
 
 Good friends^ sweet friends, let me not stir you up 
 
 h.o. 
 
 To such a sudden flood of mutiny. 
 
 d.o. 
 
 Thev that have done this deed are honorable : 
 
 ^ d.i. 
 
 What private griefs they have, alas ! I know not^ 
 
 h. o. d. o. 
 
 That made them do it ; they are wise and honorable^ 
 
 h.i. 
 
 And will, no doubt, with reasons answer you. 
 
 d.o, 
 
 I come not, friends, to steal away your hearts ; 
 
 h.o. 
 
 I am no orator^ as Brutus is ; 
 
 h.l. imp. 
 
 But, as you know me all, a plain, blunt man, 
 
 h. f. 
 
 That love my friend, and that they know full well^ 
 
 h.o. d.o. 
 
 That gave me public leave to speak of him ; 
 
 rep. 
 
 For I have neither wit, nor words, nor worthy 
 
 d.i. 
 
 Action, nor utterance^ nor the power of speech., 
 
 d.o. d.i. 
 
 To stir men's blood : I only speak right on ; 
 
 h.f. 
 
 I tell you that which you yourselves do know ; 
 
 h. o. 
 
 Show you sweet Caesar's wounds., poor, poor dumb 
 
 mouths. 
 And bid them speak /or me ; but, were I Brutus., 
 
 d.o. h.o. 
 
 And Brutus Antony., there were an Antony 
 
 h. on heart. 
 
 Would ruffle up your spirits, and put a tongue 
 
 h.o. p. d.o. ind. 
 
 II* 
 
244 MANUAL OF GESTURE. 
 
 In every wound of Caesar, that should move 
 
 rep. 
 
 The stones of Rome to rise and mutiny. 
 
 d, o. cli. rep. 
 
 THE CHARGE OF THE LIGHT BRIGADE. 
 
 TENNYSON. 
 
 Half a league^ half a league, 
 
 r. h. upl. 
 
 Half a league onward^ 
 
 h. f. 
 
 All in the valley of Death 
 
 b.h. d.o. 
 
 Rode the six hundred. 
 " Forward^ the Light Brigade ! 
 
 h. f. 
 
 Charge for the guns .' " he said : 
 
 h. f. ind. 
 
 Into the valley of Death 
 
 b.h. d.o. 
 
 Rode the six hundred. 
 
 '-'• Forward^ the Light Brigade ! " 
 
 h.f. 
 
 Was there a man dismayed ? 
 
 h.o. 
 
 Not though the soldier knew 
 Some one had blundered: 
 
 d.o. 
 
 Theirs not to make reply ^ 
 
 Theirs not to reason why^ 
 d.i. 
 
 Theirs but to do and die^ 
 
 d.o. 
 
SELECTIONS FOR PRACTICE. 246 
 
 Into the valley of Death 
 
 b. h.d.o. 
 
 Rode the six hundred. 
 Cannon to right of them, 
 
 b. h. h. 1. par. (right.) 
 
 Cannon to left of them, 
 
 b. h. h. 1. par. (left.) 
 
 Cannon in front of them, 
 b. h.h.f. 
 
 Volleyed and thundered : 
 
 b. h. a. o. p. 
 
 Stormed at with shot and shell, 
 
 b. h. a. f. p. 
 
 Boldly they rode and well^ 
 
 b. h.h.f. b.h.d.f. 
 
 Into the jaws of Deaths 
 
 b. h.d.o. 
 
 Into the mouth of Hell^ 
 
 b.h.d.f. 
 
 Rode the six hundred. 
 Flashed all their sabres bare, 
 
 a. o. 
 
 Flashed as they turned in aiV, 
 
 a.l. 
 
 Sabring the gunners there, 
 
 h. o. ind. 
 
 Charging an army^ while 
 
 b.h.h.o. 
 
 All the world tvondered : 
 
 b. h.h. 1. 
 
 Plunged in the hattery-^vcioke^ 
 b. h.h.f. 
 
 Right through the line they broke ; 
 
 b.h.h.o. 
 
 Cossack and Russian 
 Reeled from the sabre-stroke 
 
 b. h. h. o. p. 
 
 Shattered and sundered, 
 
 b.h.d.l.p. 
 
246 MANUAL OF GESTURE. 
 
 Then they rode haek^ but not, 
 h.i. 
 
 Not the six hundred. 
 
 d.o. 
 
 Cannon to right of them, 
 
 b. h. h. 1. par. 
 
 Cannon to left of them, 
 
 b.h.h.l. par. (left.) 
 
 Cannon behind them 
 
 b. h. h. o. b. par. 
 
 Volleyed and thundered ; 
 
 b. h. a. o. p. 
 
 Stormed at with shot and shell, 
 
 b. h. a. f. p. 
 
 While horse and hero fell, 
 
 b. h.d.o. 
 
 They that had fought so well. 
 Came through the jaws of Deaths 
 
 rep. 
 
 Back from the mouth of Hell, 
 
 b.h.d.f. 
 
 All that was left of them — 
 
 d.l. 
 
 Left of six hundred. 
 
 drop. 
 
 When can their gloTjfade? 
 
 h.o. 
 
 Oh the wild charge they made ! 
 
 r. h. upl. 
 
 All the world wondered. 
 
 h.l. 
 
 Honor the charge they made ! 
 
 a. o. 
 
 Honor the Light Brigade, 
 
 h.o. 
 
 Noble Six Hundred ! 
 
 d.o. 
 
SELECTIONS FOR PRACTICE. 247 
 
 CATILINE'S DEFIANCE. 
 
 CROLY. 
 
 Conscript Fathers ! 
 
 h.o. 
 
 I do not rise to waste the night in words ; 
 
 h.i. 
 
 Let that plebeian talk ; 't is not my trade ; 
 
 h.o.ind. d. o. 
 
 But here I stand for rights — let him show joroo/s, — 
 
 d. f. h. o. 
 
 For Roman right ; though none, it seems, dare stand 
 
 d.f. 
 
 To take their share with me. Ay, cluster there ! 
 
 d.o. b. h.h.f. 
 
 Cling to your master^ judges, Romans, slaves I 
 
 rep. b. h. d. f. 
 
 His charge \^ false ; — I dare him to his proofs. 
 
 d.o. h.o. 
 
 You have my answer. Let my actions speak ! 
 
 h.f. h.o. 
 
 But this I will avow, that I have scorned, 
 
 h. f. d. f. 
 
 And still do scorn, to hide my sense of wrong ! 
 
 rep. 
 
 Who brands me on the forehead^ breaks my sword, 
 
 h. f. ind. rep. 
 
 Or lays the bloody scourge upon my back, 
 
 rep. 
 
 Wrongs me not half so much as he who shuts 
 
 d.o. 
 
 The gates of honor on me, — turning out 
 
 h. o. p. 
 
 The Roman from his birthright ; and, for what f 
 
 h. 1. p. h.o. 
 
 To fling your offices to every slave! 
 
 h.l. 
 
 Vipers, that creep where man disdains to climb, 
 
 d.l.ind, d.l.p. 
 
248 MANUAL OF GESTURE. 
 
 And, having wound their loathsome track to the top 
 Of this huge, moldering monument of Borne, 
 
 fore arm v. ind., pointing v. 
 
 Hang hissing at the nobler man below ! 
 
 arm in same position, ind. pointing downward. 
 
 Come, consecrated lictors, from your thrones ; 
 
 b. h. h. f. rep. 
 
 Fling down your scepters ; take the rod and axe, 
 
 d.l. h.o.cli. 
 
 And make the murder as you make the law ; 
 
 d.o. cli. h.o. 
 
 Banished from Rom,e ! What 's banished, but set free 
 
 d.o. 
 
 From daily contact of the things I loathe ? 
 
 d.l. 
 
 " Tried and convicted traitor!'' Who says this? 
 
 d.o. h.o. 
 
 Who '11 prove it, at his peril on my head ? 
 
 d. o. 
 
 " Banished ! " I thank you for 't. It breaks my chain! 
 
 h.o. d.o. d.l. 
 
 I held some slack allegiance till this hour ; 
 
 d.o. 
 
 But now my sword 's my own. Smile on, my lords ; 
 
 h.f. d.f. h.o. 
 
 I scorn to count w\i2ii feelings, withered hopes, 
 
 h.o. ind. h. on heart. rep. 
 
 Strong provocations, bitter, burning wrongs, 
 
 rep. rep. 
 
 I have within my heart's hot cells shut up, 
 
 rep. 
 
 To leave you in your lazy dignities. 
 
 h. o. p. 
 
 But here I stand and scoff you ! here I fling 
 
 h. o. ind. 
 
 Hatred and full defiance in your face ! 
 
 h. o. cli. 
 
 Your consul 's merciful. For this, all thanks, 
 
 d.o. d.l. 
 
 He dares not touch a hair of Catiline ! 
 
 h. 0. ind, rep. 
 
SELECTIONS FOR PRACTICE. 249 
 
 " Traitor!'^ I go; but, I return. This — trial! 
 
 d.o. d.l. d.f. h.f. 
 
 Here I devote your senate ! I 've had wrongs 
 
 h. o. ind. 
 
 To stir a fever in the blood of age^ 
 
 d.o. 
 
 Or make the infant's sinews strong as steel, 
 
 h.o. d.o. cli. 
 
 This day 's the birth of sorrow ! This hour's work 
 
 ^ h.f. 
 
 Will breed proscriptions! Look to your hearths^ my 
 
 lords, "-^ 
 
 For there^ henceforth, shall sit, for household gods, 
 
 h. Kind. 
 
 Shapes hot from Tartarus! — all shames and crimes! 
 
 rep. rep. 
 
 Wan Treachery^ with his thirsty dagger drawn ; 
 
 rep. rep. 
 
 Suspicion^ poisoning his brother's cup ; 
 
 rep. 
 
 Naked Rebellion^ with the torch and axe, 
 
 rep. 
 
 Making his wild sport of j^our blazing thrones ; 
 
 a. 1. 
 
 Till Anarchy comes down on you like nighty 
 
 b. h. h. o. p. 
 
 And Massacre seals Rome's eternal grave, 
 
 b. h. d.o. p. 
 
 I go ; but not to leap the gulf alone, 
 
 h.l. d.o. 
 
 I go ; but, when I come, 't will be the burst 
 
 h.o. 
 
 Of ocean in the earthquake, — rolling hack 
 
 b. h. h. o. b. h. h. 1. V. par. 
 
 In swift and mountainous ruin. Fare you well! 
 
 h.o. 
 
 You build mj funeral-pile ; but your best blood 
 
 h. 1. 
 
 Shall quench its flame ! Back^ slaves I I will return ! 
 
 h.o. cli. h.o. V. d.o. cli. 
 
250 MANUAL OF GESTURE. 
 
 THE ANGELS OF BUENA VISTA. 
 
 WHITTIER. 
 
 Speak and tell us, our Ximena, looking northward far 
 
 away, ^•^' ^•°-^"^-* 
 
 O'er the camp of the invaders, o'er the Mexican array. 
 
 Who is losing? who is winning? are they/ar, or come 
 
 h.f. h.o. h.l. 
 
 they near? 
 
 h.f. 
 
 Look abroad^ and tell us, sister, whither rolls the storm 
 
 h.o. h.f. 
 
 we hear. 
 
 " Down the hills of Angostura, still the storm of battle 
 
 rolls, ^•"'"^• 
 
 Blood is flowing, men are dying, God have mercy on 
 
 d.o. d.l. 
 
 their souls f^' 
 
 a. f. 
 
 Who is losing? who is winning? " Over hill and over 
 plain, ^■^- ^•°- 
 
 h.l. 
 
 I see but smoke of cannon clouding through the moun- 
 tain rain." ^"-P- 
 
 Holy Mother, keep our brothers ! Look, Ximena, look 
 
 a. o. h. o. ind. 
 
 once more : 
 
 rep. 
 
 " Still I see the fearful whirlwind rolling darkly as before, 
 
 h. o. p. 
 
 * While the lateral, as distinguished from the front and the oblique, is the gesture 
 of distance^ it is obvious that distance may be indicated in any direction, 
 
SELECTIONS FOR PRACTICE. 251 
 
 Bearing on, in strange confusion^ friend and foeman, 
 
 /. . J 1 b. h. h. I. p. par. 
 
 foot and horse, 
 Like some wild and troubled torrent sweeping down its 
 mountain course,'''^ 
 
 b. h. d. 1. p. par. 
 
 Look forth once more, Ximena ! " Ah ! the smoke has 
 
 rolled away ; 
 h.i.p. 
 
 And I see the Northern rifles gleaming down the ranks 
 
 n ho. ind. 
 
 of gray. 
 Hark! that sudden blast of bugles! there the troop of 
 
 r. h. upl. ind. h. o. ind. 
 
 Minon wheels ; 
 
 rep. 
 
 There the Northern horses thunder, with the cannon at 
 their heels. '^''^' "^' 
 
 *' Jesu, pity! how it thickens! now retreat and now 
 
 r. h.upl. h. o. p. h.l.p. 
 
 advance ! 
 
 h.o. 
 
 Right against the blazing cannon shivers Puebla's 
 
 charging lance ! 
 Down they go, the brave young riders ; horse and foot 
 
 d.o. 
 
 together fall ; 
 
 rep. 
 
 Like a ploughshare in the fallow, through them ploughs 
 the Northern ball." ^•°- 
 
 Nearer came the storm, and nearer^ rolling fast and 
 
 h. o. rep- 
 
 frightful on. 
 
 b. h. h. o. p. 
 
 Speaks Ximena, speak, and tell us who has lost and who 
 
 h. f rep- rep. 
 
 has won: 
 d.f. 
 
252 MANUAL OF GESTURE. 
 
 '' Alas! alas I 1 know not ; friend and foe together fall ; 
 
 b. h. upl. b. h. d. 0. 
 
 O'er the dying rush the living ; pray, my sisters, for 
 them all! ^■'•^■°- '■^^• 
 
 rep. 
 
 " Lo ! the wind the smoke is lifting ; Blessed Mother, 
 
 r. h. upl. a. o. 
 
 save my brain ! 
 
 h. on forehead. 
 
 I can see the wounded crawling slowly out from heaps 
 of slain ; ^' °' ^' 
 
 imp. 
 
 Now they stagger, blind and bleeding ; now they fall, 
 
 rep. rep. d. o. p. 
 
 and strive to rise ; 
 
 h. o. 
 
 Hasten, sisters, haste and save them, least they die before 
 
 h. f. rep. 
 
 our eyes ! 
 
 rep. 
 
 " Oh, my heart's love ! oh, my dear one ! lay thy poor 
 
 h. f. rep, 
 
 head on my knee ; 
 
 rep. 
 
 Dost thou know the lips that kiss thee? Canst thou 
 
 rep. 
 
 hear me ? Canst thou see ? 
 
 rep. rep. 
 
 Oh, my husband, brave and gentle ! oh, my Bernard, 
 
 h. f. rep. 
 
 look once more 
 On the blessed cross before thee ! Mercy ! mercy ! all 
 
 , 5 5 rep. r. h, upl. 
 
 IS o er. 
 
 drop. 
 
 Dry thy tears, my poor Ximena ; lay thy dear one down 
 
 to rest; 
 d.f. 
 
SELECTIONS FOR PRACTICE. 253 
 
 Let his hands be meekly folded^ lay the cross upon his 
 
 breast; '°'^' ^^'^' 
 
 Let his dirge be sung hereafter^ and his funeral masses 
 
 •J h.o.* 
 
 said ; 
 To-day^ thou poor bereaved one, the living ask thy aid. 
 
 h. f. rep. 
 
 Close beside her, faintly moaning, fair and young, a 
 soldier lay, 
 
 d.o. 
 
 Torn with shot and pierced with lances^ bleeding slow 
 
 d. o. p. rep. 
 
 his life away ; 
 But, as tenderly before him the lorn Ximena knelt, 
 
 d.o. 
 
 She saw the Northern eagle shining on his pistol belt. 
 
 d. o.ind. 
 
 With a stifled cry of horror^ straight she turned away 
 
 her head; '■°-"- 
 
 With a sad and hitter feeling looked she back upon her 
 
 dead ; * °' ^' 
 
 rep. 
 
 But she heard the youth's low moaning^ and his strug- 
 gling breath oi pain, 
 
 d.o. p. 
 
 And she raised the cooling water to his parched lips 
 
 h o. 
 
 agam. 
 Whispering loio the dying soldier, pressed her hand, 
 
 h.o. h. o. cli. 
 
 and faintly smiled ; 
 Was that pitying face his mother' sf did she watch 
 beside her child? ^•°- ^'P' 
 
 * Reference to the future here takes the oblique line ; the sentence being treated 
 as a general assertion. By this notation, also, more emphasis is given to the succeed- 
 ing sentence. 
 
254 MANUAL OF GESTUKE. 
 
 All his stranger words with meaning her woman's heart 
 supplied ; 
 
 d.o. 
 
 With her Jciss upon his forehead, " Mother ! " murmured 
 
 h o. 
 
 he, and died. 
 " A bitter curse upon them, poor boy, who led thee forth 
 
 h.l.ind. 
 
 From some gentle, sad-eyed mother^ weeping lonely in 
 
 the North!" ^•'- ^■'■^^ 
 
 Spake the mournful Mexic woman, as she laid him with 
 her dead^ 
 
 d.o. 
 
 And turned to soothe the living still, and bind the 
 wounds which bled. ^'^' 
 
 h.l. p. 
 
 Look forth once more, Ximena : " Like a cloud before 
 
 the wind, ^•°- 
 
 Rolls the battle down the mountains, leaving blood and 
 
 b. h.d. 1. p. par. 
 
 death behind ; 
 
 b.h.d. o. 
 
 Ah ! they plead in vain for mercy ; in the dust the 
 
 b.h.upl. b.h.d.o.p, 
 
 wounded strive ; 
 Hide your faces, holy angels ! O, thou Christ of God, 
 
 b. h a. o. p. 
 
 for givey 
 
 b. h. a. f. 
 
 Sink, O Night, among thy mountains ! let the cool, gray 
 shadows /aZ^; ' ' '°'^ 
 
 b. h. d. o. p. 
 
 Dying brothers, fighting demons, — drop thy curtain 
 
 b. h. upl. 
 
 over all ! 
 
 b. h.d.l.p. 
 
SELECTIONS FOR PRACTICE. 255 
 
 Through the thickening winter twilight, wide apart the 
 battle rolled^ 
 
 b.h. h.o. 
 
 In its sheath the sabre rested, and the cannon's lips grew 
 cold. 
 
 d. o. p. 
 
 But the noble Mexic women still their holy task pur- 
 sued^ ^' °' 
 
 Through that long, dark night of sorrow, worn, and 
 faint, and lacking /ooc? ; 
 
 d.l. 
 
 Over weak and suffering brothers with a tender care 
 
 they hung, ^^ p 
 
 And the dying foeman blessed them in a strange and 
 
 Northern tongue, 
 h.i. 
 
 Not wholly lost, O Father ! is this evil world of ours ; 
 
 a. f. 
 
 Upward, through its blood and ashes, spring afresh the 
 Eden flowers ; 
 
 a. o. 
 
 From its smoking hell of battle Love and Pity send their 
 
 prayer, '•^•'•°- ^•^•^•°- 
 
 And still thy white-winged angeU hover dimly in our 
 
 b. h.a. o. p. 
 
 air. 
 
 THE PERFECT ORATOR. 
 
 BRINSLEY SHERIDAN. 
 
 Imagine to yourselves a Demosthenes., addressing the 
 
 h.o. 
 
 most illustrious assembly in the world upon a point 
 
 h.i. 
 
 whereon the fate of the most illustrious of nations 
 
 d.o. 
 
256 MANUAL OF GESTURE. 
 
 depended. How awful such a meeting ! how vast the 
 
 r. h. upl. h.l. 
 
 subject ! Is man possessed of talents adequate to the 
 
 h.o. 
 
 great occasion ? Adequate ! Yes, superior. By the 
 
 d.o. 
 
 power of eloquence the augustness of the assembly is 
 
 h.l. 
 
 lost in the dignity of the orator, and the importance of 
 
 d.l. 
 
 the subject for a while superseded by the admiration of 
 
 h.o. 
 
 his talents. 
 
 d.o. 
 
 With what strength of argument^ with what powers 
 
 h. f. 
 
 of the fancy., with what emotions of the hearty does he 
 
 h.o. h.l. 
 
 assault and subjugate the whole man, and at once cap- 
 
 h. o. p. 
 
 tivate his reason, his imagination and his passions ! To 
 
 h.l. 
 
 effect this must be the utmost effort of the most improved 
 
 d. f. rep, 
 
 state of human nature. Not a faculty that he possesses 
 is here unemployed ; not a faculty that he possesses but 
 
 d.o. 
 
 is here exerted to its highest pitch. All his internal 
 
 h. f. b. h. h. f. 
 
 powers are at work; all his external., testify their energies. 
 
 imp. b. h.h. o. imp. 
 
 Within^ the memory, the fancy, the judgment, the 
 
 h.f. 
 
 passions are all busy. Without^ every muscle^ every 
 
 rep. h. o. rep. 
 
 nerve^ is exerted ; not a feature, not a limb, but speaks. 
 
 rep. 
 
 d.o. 
 
 The organs of the body., attuned to the exertions of the 
 mind through the kindred organs of the hearers^ instan- 
 
 h.o. h.l. 
 
 taneously vibrate those energies from soul to soul. 
 
 b. h. h.o. 
 
SELECTIONS FOR PRACTICE. 267 
 
 Notwithstanding the diver sity of minds in such a 
 
 b. h.h.o. 
 
 multitude, by the lightning of eloquence they are melted 
 into one mass ; the whole assembly^ actuated in one and 
 
 b.h.h.f.p. b.h.h.l. b.h. h.f. 
 
 the same way, become, as it were, but one man^ and 
 
 rep. rep. 
 
 have but one voice. The universal cry is : Let us 
 
 rep. 
 
 march against Philip — let us fight for our liberties — 
 
 b. h.h.o. b. h. a. o. 
 
 le^ US conquer or die ! 
 
 rep. b. h. d. o. 
 
25S MANI7AL OS* OESTTTRE. 
 
 ILLUSTRATED EXTRACT. 
 
 Fig. 92. 
 
 Fig. 93. 
 
 No fearing, no doubting, thy soldier I When here stands his country, 
 shall know, ^•^' h.f. 
 
 Fig. 94. 
 
 And yonder her foe ; 
 h.l.ind. 
 
 Fig. 95. 
 
 One look at the bright sun, 
 a.f. 
 
SELECTIONS FOB PRACTICE. 
 
 259 
 
 Fig. 96. 
 
 One prayer to the sky, 
 b.h.a.o. 
 
 Fig. 97. 
 
 One glance where our banner yrsyt^ 
 glorious on high ; ^-^-i^d. 
 
 Fig. 98. 
 
 Fig. 99. 
 
 Then on, as the young lion bounds 
 b.h.h.f. 
 on his prey, 
 
 Let the sword flash on high, 
 %. o. ind. 
 
260 
 
 MANUAL OF GESTUEE. 
 
 Fig. 100. 
 
 Fig. 101. 
 
 Fling ^he scabbard away ; 
 d.l. 
 
 Roll on, like the thunderbolt over 
 b. h. h. f. rep. 
 
 the plain ! 
 
 Fig 102. 
 
 We come back in glory, 
 b.h.a.l. 
 
 Fig. 103. 
 
 Or we come not again. 
 b.h.d.o. 
 
INDEX OF INTERPRETATION. 
 
 Abandonment, Utter b. h. d. 1 85 
 
 » b. h. d. 1. p 110 
 
 Abasement d. 1 GO 
 
 « Self b. h. d. 1. p..... 110 
 
 " " handsfol 142 
 
 Abhorrence d. o. b. p 101 
 
 Abundance ..b. h. d. 1. 84 
 
 b.h.h.o 90 
 
 Address, Direct Personal h. f. 62 
 
 " General h. o. 65 
 
 " " ...b.h.h.o 89 
 
 " Sacred a. f. 76 
 
 " Earnest, Sacred b. h. a. f. 92 
 
 " Sacred hands fol. 142 
 
 " Devotional b. h. a. o. 94 
 
 Adjuration upl. v 123 
 
 Admiration b. h. upl. v. 125 
 
 " b. h. upl. s 128 
 
 Adoration b. h. a. f. 92 
 
 " b. h. upl. V 125 
 
 " hands ap 141 
 
 Anger, Violent r. h. cli. 140 
 
 Annihilation b. h. d. 1. 87 
 
 Anticipation, Sublime a. f. 76 
 
 Antithesis h.o 67 
 
 Apostrophe, Sublime a. f. 76 
 
 " " b. h.a.o 94 
 
 261 
 
262 INDEX OF INTERPRETATION. 
 
 GESTURE. PAGE. 
 
 Appeal, Personal h. f 62 
 
 " General b. h. h. o. 89 
 
 " Universal _b. h. h. 1. 91 
 
 " Earnest, Sacred b. h. a. f. . . 92 
 
 Arresting h. f. p. 102 
 
 '' General h. o. p 103 
 
 Ascription, Sacred b. h. a. f. 92 
 
 b.h.a.f. p. 112 
 
 " " .,.b. h. a. o. p. 112 
 
 Aspiration, Serious, Sublime or Sacred. b. h. upl. v. 125 
 
 Assertion, Unemphatic, Particular h. f. 63 
 
 " " General h.o.. 66 
 
 " Emphatic, Particular d. f. 53 
 
 " " General d.o..... _.. 56 
 
 " " ind.finger 138 
 
 " Very Emphatic _.cli. hand 139 
 
 " with numbers or space b. h. d. o. 82 
 
 " Impassioned, Particular b. h. d. f 81 
 
 « " General b. h. d. o. 83 
 
 Astonishment __ b. h. upl. v. out. 127 
 
 Attention, Arrested r. h. apl. v. 124 
 
 Attribution, Sacred _ b. h. a. f. p. ._. 112 
 
 Aversion. _ h. o. v 115 
 
 ...h. l.v..... 115 
 
 " with elevation _a. 1. v. .117 
 
 Awe h.f. p. ..103 
 
 " General ^ h. o. p 103 
 
 " b. h. upl. V. 125 
 
 Benediction, Individual b. h. h. f. p 110 
 
 " General _.b. h. h. o. p. 111 
 
 « b.h.upl. v.. ...126 
 
 " b. h. upl. p 129 
 
 Blessing b. h. upl. v 125 
 
INDEX OF INTERPRETATION. 263 
 
 GESTURE. PAGE. 
 
 Boldness h. f 64 
 
 Call, Arousing upl. v 124 
 
 " " b. h. upl. V. 126 
 
 Cautioning ind. finger 137 
 
 " r. h. upl. ind.... 138 
 
 Cessation b. h. d. 1 87 
 
 d.l.p. 100 
 
 " b. h. d. 1. p..... 110 
 
 Challenge h. f. 62 
 
 Bold ...b.h.h.f. 87 
 
 " Universal b. h. h. 1 91 
 
 Checking h. f. p 102 
 
 " General h. o. p. 103 
 
 Classification, Sublime a. 1. 78 
 
 Command, Personal h. f. 62 
 
 " General.. b. h. h. o 89 
 
 " Bold b. h. h. f. 88 
 
 " Arousing upl. v.._ 124 
 
 Comparison _ d. o 56 
 
 h.o. 67 
 
 .- b.h.h.o.. 90 
 
 Completeness _ b. h. d. 1 84 
 
 Concession _ d. f. 55 
 
 d.l... 59 
 
 " b.h.d. o. 83 
 
 " General d. o. 58 
 
 " Moderate-. h. 1. 73 
 
 " Fullest degree b. h. d. 1. 85 
 
 Condescension _ d. 1 59 
 
 Confession, Sacred b. h. a. f. 92 
 
 Consummation d. o. 57 
 
 _ b. h. do. 83 
 
 Contempt ...d. 1 61 
 
264 INDEX OF INTERPRETATION. 
 
 GHSTUBK. FAQE. 
 
 Contempt d. l.p. 101 
 
 " _ ind. finger 136 
 
 Contiguity b. h. h. L 88 
 
 Contrast b. h. h. o. _ 90 
 
 Debasement _ d. 1 60 
 
 Declaration, Solemn upl. v 123 
 
 " Vehement cli. hand 139 
 
 " " b. h. cli 140 
 
 Declension d. 1. 59 
 
 Defiance, Violent cli. hand 140 
 
 Dejection .d. f. p.._ 98 
 
 " with distance h. 1. p 104 
 
 Demand, Forcible d. f. ._ 54 
 
 Denial.. d. 1 ._ 58 
 
 " Scornful ...d. l.p 101 
 
 Deposition b. h. d. f. 81 
 
 " General b. h. d. o. 83 
 
 Deprecation h. f. p 103 
 
 " b. h. h. f. P.....110 
 
 " with Elevation.. b. h. a. o. v 121 
 
 « Sacred.. a. f. v... 116 
 
 " " b. h.a. f.p 112 
 
 " Earnest, Sacred _.b. h. a. f. v 120 
 
 " Sacred or Sublime a. o. v. _.117 
 
 " " " b. h. a. o. p 112 
 
 Depression _ d. f. p.._ _. 98 
 
 Deprivation b. h. d. 1. p 109 
 
 Depth b.h.d. f. 82 
 
 " with Extent ..b. h. d.l 84 
 
 Derision ind. finger 136 
 
 " d.l. 61 
 
 " Unemphatic h. 1. 74 
 
 Descent ..b. h. d. f 82 
 
INDEX OF INTERPUETATION. 265 
 
 OKSTURK. PAr.K. 
 
 Descent, with iiunibers or space b. h. d. I. 84 
 
 Designation, Special ind. finger i:3;3 
 
 " Emphatic " " i:33 
 
 Desolation b. h. h. 1. p. 111 
 
 Despair b. h. d. 1. p. 110 
 
 Destitution _ _ d. 1 59 
 
 " b.h.d.l 86 
 
 Destruction d. f. p 98 
 
 b.h.d.l 87 
 
 " without Violence _ _ . . d. 1. p. 100 
 
 " with Violence d. o. p. 100 
 
 " Utter d. o. p. 100 
 
 " " b. h. d. 1. p 110 
 
 Determination d. f. 54 
 
 " Fierce cli. hand 139 
 
 Detestation d. l..._ _ 61 
 
 " d. o. b. p. 101 
 
 Diflfusion _ b. h. h. 1. p. 111 
 
 Diminution d. 1. 59 
 
 ...b.h.d.l... 86 
 
 " Unemphatic h. 1.... 74 
 
 Directness h. f _ 64 
 
 Discrimination, Close .ind. finger 133 
 
 Disclosing __ .h. 1. 70 
 
 " ..b.h.h.o 90 
 
 Dispersion b. h. a. 1. v. 121 
 
 " .- b.h.h.l. V 120 
 
 Displaying h. 1... 70 
 
 " b.h.h.l. 92 
 
 Disregard, Unemphatic. h. 1. 74 
 
 Disruption b.h.h.l. v 120 
 
 b.h.a.l. V 121 
 
 Dissolution d. 1. p 100 
 
266 INDEX OF INTERPRETATION. 
 
 GESTURE. PAGE 
 
 Dissolution b. h. d. 1. p 110 
 
 Distress. hands cla. 141 
 
 Distinction, Emphatic ind. finger 1 38 
 
 Divesting b. h. d. 1. p 109 
 
 Elevation, Physical, Intellectual, or 
 
 Moral a. f. 76 
 
 « b.h.a.f. 93 
 
 " General b. h. a. o 94 
 
 " with Expansion b. h. a. 1. v. 121 
 
 " " Utmost Expansion _.b. h. a. 1 95 
 
 " " Extension or Distance . . a. 1. _ 78 
 
 " " " and Superpo- 
 sition b. h. a. 1. p. 113 
 
 " with Distance and Superposi- 
 tion _ a. 1. p. .. 106 
 
 " " Remoteness a. o. b 79 
 
 " " " and Superpo- 
 sition a. o. b. p 107 
 
 " with Repressive Emotions a. o. p. 106 
 
 " " Repulsion a. o. b. v. 118 
 
 " " Deprecation. ..b. h. a. o. v. 121 
 
 Emphasis, Special ind. finger 138 
 
 " Extreme cli. hand 139 
 
 Entreaty, Earnest . b. h. h. f. 87 
 
 " " hands cla. 141 
 
 Enumeration, Sublime a. 1. 78 
 
 Exclamation. upl. v .124 
 
 Execration __ h. f. p, 103 
 
 " b. h. h. f. p 110 
 
 " b. h. h. o. p 111 
 
 Exhortation h. f 62 
 
 b. h. h. o. 89 
 
 Expansion _ b. h. d. 1 84 
 
INDEX OF INTERPRETATION. 267 
 
 GESTURE. PAOK. 
 
 Expansion b. h. h. 1. v 120 
 
 " with Elevation b. h. a. I. v 121 
 
 " " " and Superpo- 
 sition b. h. a. 1. p 113 
 
 " Utmost b. h. h. 1 91 
 
 " " with Elevation b. h. a. 1. 95 
 
 Extension, in time, space or thought h. 1. 69 
 
 " with Superposition, etc. h. 1. p 104 
 
 " " " " b. h. h. 1. p. 111 
 
 " " Elevation and Superpo- 
 sition _ b. h. a. 1. p 113 
 
 " with Depth b. h. d. 1. 84 
 
 Extremity d. 1. 61 
 
 b.h.d.l 85 
 
 Exultation a. 1 78 
 
 " Higher degree _.a. o. b 79 
 
 " Highest " .b.h.a.l.. 95 
 
 Fear b. h. h. f. v.. ...118 
 
 " b. h. h. o. V. 119 
 
 " b. h. a. o. V 121 
 
 Finality d. o 57 
 
 " b.h.d.o. 83 
 
 Forward Motion h. f 64 
 
 " " b. h. h. o 90 
 
 " " [see Impulsion] b. h. h. f. 88 
 
 Fullness b. h. d. 1. 84 
 
 " b.h.h.o 90 
 
 Futurity h. f. 64 
 
 " with Elevation... a. f. 76 
 
 General Thought ...h. o. 66 
 
 Gloom, with Distant Reference h. 1. p 104 
 
 Grasping cli. hand 140 
 
 Grief b. h. upl. p 129 
 
268 INDEX OF INTERPRETATION. 
 
 GKSTURR. PAOS. 
 
 Hopelessness d. 1. _ 61 
 
 " b. h. d. 1. 85 
 
 Horror _b. h. upl. v. 125 
 
 Humility _ _ d. f 55 
 
 " d.o.... 58 
 
 " b.h.d. f. 81 
 
 b.h.d.o 84 
 
 " _ hands fol 142 
 
 " hands cro. 143 
 
 " Extreme d. 1. 59 
 
 " " -.-. _ b. h.d.l. 85 
 
 « " b. h. d. 1. p..... 110 
 
 Humor, Unemphatic _.h. 1. 74 
 
 Hypothetical Clauses h. o. 67 
 
 Impossibility ..d. f. 53 
 
 1 inprecation d. f. p. 98 
 
 " General d.o. p 100 
 
 Impulsion _ h. f 64 
 
 " b.h.h. f. 88 
 
 Indication ind. finger 133 
 
 Inevitability d. f. 53 
 
 Integrity h. f _ 64 
 
 Irony, Unemphatic h. 1 74 
 
 Interrogation h. f. . _ 62 
 
 h. o. 66 
 
 Joy, Highest degree b. h. a. 1. 95 
 
 Lifting, Act of _ b. h. upl. s. 128 
 
 Mockery d. 1. 61 
 
 " Unemphatic h. 1. 74 
 
 Necessity d. f. 53 
 
 Negation _ d. 1 58 
 
 " d.o. b 62 
 
 " Unemphatic ,..,h, 1 72 
 
INDEX OF INTERPRETATION. 260 
 
 OB8TCRK. PAGE. 
 
 Negation, Emphatic. [See under d. f. and d. o.] 53-56 
 
 Nonentity d. 1. 59 
 
 Non-existence b. h. d. 1. 87 
 
 Numbers, Large b. h. h. 1 91 
 
 Oath upl. V ....I2a 
 
 Obsequiousness d. 1. 59 
 
 Opening b. h. h. o 90 
 
 Opposition d. o. 56 
 
 Oratory, Highly Impassioned b. h. cli 140 
 
 Parallelism b. h. h. o 90 
 
 Pity b. h. upl. V 125 
 
 " Moderate upl. p. ...128 
 
 Praise b. h. a. f . _ 92 
 
 Precision _ind. finger 133 
 
 Predominant Idea d. o. 57 
 
 Preparation, Arrested upl. v. 124 
 
 Presentation _ h. f. 63 
 
 " General h. o 65 
 
 b.h.h. f. 89 
 
 Privation d. 1 59 
 
 " b.h.d.l. 86 
 
 " with Strong Emotion b. h. d. 1. p 109 
 
 Prohibiting h. f. p. 102 
 
 " Generalized h. o. p. 103 
 
 Prohibition, Authoritative ind. finger 137 
 
 " Supernal a. f. p. 106 
 
 " " Generalized a.o. p 106 
 
 Propulsion b. h. h. f. 88 
 
 Prostration d. o. p. 99 
 
 " b. h. d.o. p 109 
 
 Question, Emphatic d. f 54 
 
 " [See Interrogation] 62-66 
 
 Rapture b, h, upl. v 127 
 
270 INDEX OF INTERPRETATION. 
 
 GESTURE. PAGE. 
 
 Reference, Specific ind. finger 133 
 
 " General h. o. 65 
 
 " Descriptive . . h. 1.. . _ 70 
 
 - h. l.p 104 
 
 " " with Elevation 
 
 or Sublimity a. 1 _ 78 
 
 " Respectful h. o 65 
 
 " Distant. h. 1 71 
 
 " Remote h. o. b 75 
 
 " Distant with Superposition . h. l.p. 104 
 
 " Sacred a. f. 76 
 
 " " b. h. a. f. 93 
 
 " General Sacred .a. o 77 
 
 " Impassioned b. h. s. par. 130 
 
 " " with Repressive 
 
 Emotions b. h. p. par. 131 
 
 Refraining __ h. f. p. 102 
 
 " Geaeral h. o. p. 103 
 
 Refusal d. 1. 58 
 
 Regret upl. p. 129 
 
 Rejection .d. 1 58 
 
 " Scornful ..d. 1. p 101 
 
 " " and Contemptuous. d. o. b. p 101 
 
 " Vehement ._ d. o. b. 61 
 
 Relinquishment d. 1. 59 
 
 b.h. d.l 85 
 
 " Hopeless b. h. d. 1. p 110 
 
 RemissioM h. 1 73 
 
 " Fullest degree ...b.h. d.l 85 
 
 Remoteness, in time or space with ele- 
 vation a. o. b 79 
 
 " with Superposition h. o. b. p 105 
 
 " " Elevation and Super- 
 position , , a. o. b. p 107 
 
INDEX OF INTKUPKETATIOK. 271 
 
 GESTURE. PAGE. 
 
 Remoteness, with Removal h. o. b. v 116 
 
 Removal h. 1. 71 
 
 « h. 1. p 105 
 
 " ....h. 1. V... 115 
 
 " Emphatic.. d. 1 58 
 
 " with Remoteness h. o. b. v 110 
 
 " " Elevation a. 1. v. 117 
 
 " in Impassioned Discourse b. h. d. 1. 85 
 
 Renunciation b. h. d. 1. p 110 
 
 " Absolute b.h.d.l 85 
 
 Repression _ . h. o. b. p. 105 
 
 " b. h. p. par. 131 
 
 " General d. o. p 99 
 
 " "with Distant Reference h. 1. p. 104 
 
 *' Abhorrent d. o. b. p. 101 
 
 Reproach ind. finger 13G 
 
 Repulsion h. f. v 114 
 
 h. l.v 115 
 
 " General h. o. v 115 
 
 " " b. h. h. o. V 119 
 
 " with Elevation a. 1. v. 117 
 
 ** " " a. o. b»v. 118 
 
 Forcible b. h. h. f. v. 118 
 
 " « b. h. V. par. 132 
 
 " Abhorrent ._ h. o. b. v. IIG 
 
 " " ..a.o.b. V. 118 
 
 Resemblance b. h. h. o. 90 
 
 Resolve, Emphatic _._ d. f. 54 
 
 " Desperate cli. hand 139 
 
 Restraining h. f. p. 102 
 
 " General .h. o. p. 103 
 
 Restraint, Supernal a. f. p.. 106 
 
 " " Generalized a. o. p. 106 
 
272 INDEX OF INTERPBETATION. 
 
 GESTURE. PAOB. 
 
 Retrogression h. o. b 75 
 
 " with Remoteness h. o. b. v. _ 116 
 
 Revealing __ h. 1 _ 70 
 
 " b. h. h. o 90 
 
 Reverence, Profound b, h. upl. v 125 
 
 Ridicule, Unemphatic h. 1. : _ . 74 
 
 Sacredness .a. f. 76 
 
 .. _ ...h. f.p. 103 
 
 " b. h. a. f 93 
 
 " General h. o. p. ..103 
 
 " with Extension or Distance. a. 1. 78 
 
 " " Utmost Expansion b. h. a. 1 95 
 
 Sadness, General h. o. p _ . 103 
 
 Sarcasm, Unemphatic h. 1. 74 
 
 Scorn d. 1. 61 
 
 « d. 1. p 101 
 
 " ind. finger 136 
 
 Seizing h. f. p. 102 
 
 " General h. o. p 103 
 
 " _. cli. hand 140 
 
 Separation .b. h. d. 1. 84 
 
 Showing h. 1. 70 
 
 Solemnity h. f. p. . _ 103 
 
 " General _ h. o. p. _ . . 103 
 
 Space, Large b. h. h. 1. 91 
 
 Sublimity --.a. f 76 
 
 b.h.a.f 93 
 
 " General ..a.o. 77 
 
 « " b. h. a. o 94 
 
 " with Extension or Distance.. a. l.._ 78 
 
 " " Remoteness... ..a. o. b. 79 
 
 " " Distance or Extension 
 
 and Superposition a. 1. p 106 
 
INDEX OF INTERPRETATION. Zi'^ 
 
 GESTURE. PAGE. 
 
 Sublimity, with Extension and Superpo- 
 sition b. h. a. 1. p 113 
 
 " with Remoteness and Super- 
 position a. o. b. p. 107 
 
 " with Utmost Expansion b. h. a. 1. 9.t 
 
 " " Deprecation b. h. a. o. v 121 
 
 Submission _ d. f 55 
 
 (( 
 
 d. o. 
 
 58 
 
 (( 
 
 d.l. 
 
 59 
 
 « 
 
 " General _ 
 
 Summons, Arousing 
 
 Superincumbency _. 
 
 *' with Extension.. 
 Superposition, Physical or Moral . . 
 
 b. h. d. f..... 
 
 ....b. h. d. 1..... 
 ....b. h. d. o..... 
 
 b. h. upl. V... 
 
 b. h. d.l. p... 
 
 ....h.l.p. 
 
 d. o. p. 
 
 d. l.p. 
 
 -. 81 
 .. 85 
 -- 84 
 ..-126 
 -.109 
 --104 
 ... 99 
 100 
 
 tc 
 
 (C 
 
 tt 
 
 C( 
 C( 
 
 " with Extension 
 
 ....b. h. d. f. p... 
 ....b. h. d. 1. p... 
 ....b. h. h. f. p... 
 
 b. h. h.o. p.., 
 
 b. h. a. o. p... 
 
 .....h.l.p. 
 
 ...108 
 ...109 
 -.110 
 ...111 
 ...112 
 -.104 
 
 " " " b.h. h.l.p. 111 
 
 " " Remoteness h. o. b. p 105 
 
 " " " and El- 
 evation a. o. b. p. 107 
 
 " with Space !b. h. d. o.p 108 
 
 " " Elevation and Ex- 
 pansion b. h. a. 1. p. 113 
 
 " in Impassioned reference b. h. p. par. 131 
 
 Supplication b. h. a, f. 92 
 
 " hands cla 141 
 
 Suppression d. f. p 98 
 
271 INDEX OF INTERPUETATIOK. 
 
 GESTURE. PAGE. 
 
 Suppression . _ b. h. d. f. p 108 
 
 " General d. o. p 99 
 
 " with Space b. h. d.o. p 108 
 
 Surprise b. h. upl. v 125 
 
 b. h. upl. V. out.. 127 
 
 " Moderate upl.p 128 
 
 Surrender b. h. d. f. 81 
 
 " General ..b. h. d. o. 83 
 
 Suspension of Thought h. o 67 
 
 Terror b. h. h. f. v 118 
 
 " b. h. a. o. V.....121 
 
 Thanksgiving b. h. a. f. 92 
 
 Threatening _ ind. finger 137 
 
 " _ upl. ind. finger. 138 
 
 " Violent cli. hand .140 
 
 Transition ._ h. 1. 71 
 
 Triumph a.l... 78 
 
 " Highest Degree __ a. o. b. 79 
 
 " " " b. h.a.l... 95 
 
 Unfolding b. h. h. 1 92 
 
 Universality b. h. h. 1. 91 
 
 Urgency d. f 53 
 
 Veneration hands cro 143 
 
 Victory a. 1. 78 
 
 " Higher Degree a. o. b. 79 
 
 Warning ind. finger 137 
 
 " Prohibitory. " " 137 
 
 " Solemn upl. ind. finger_138 
 
 Welcome b. h. h. o 89 
 
 Withdrawal d. 1. 59 
 
 h.l. 71 
 
 h.l. p.... .105 
 
 Wonder b. h. upl. v. 125 
 
 " Moderate... upl. p. 128 
 
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 Interest is held from the Initial to the concluding chapter."— iVcu? York Evening 
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PUBLICATIONS OF JOHN C. BUCKBEE & CO. 
 
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 and gold. Full gilt edges __ $2.50 
 
 John G. Whtttikk writes: *'I have read thy handsome volume with hearty 
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 very true to nature and home life." 
 
 *Ingersoll— The Crest of the Continent.— A Record of a Summer's 
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 Illustrated with about one hundred beautiful engravings from 
 leading artists. 28th Thousand. 12mo, paper, 50 cts.; cloth. $1.00 
 
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 ancient towns of New Mexico, the antiquities of the Rio San in&ny— Cincinnati 
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 " This new world, this new region, seems like enchantment. Next to going 
 to the Rocky Mountains is the privilege of reading such a thrilling narrative." — 
 Christian Secretary, Hartford. 
 
 Kennedy — Wonders and Curiosities of the Railway. — Or, Stories 
 of the Locomotive in every Land. By W. S. Kennedy. Second 
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 "If any of our readers wishes a thoroughly entertaining book let him try 
 this. It is one to be most cordially recommended as good from beginning to end. 
 The information it gives is wonderful, and the chapters are full also of many good 
 and well told stories and bits of information all germane to the subject. The 
 book Is embellished with many useful and excellent Illustrations which help to 
 make the work In Its attractive cover and with Its pretty letter press a very gem 
 of a book."— Unity, Chicago. 
 
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 12mo, cloth _ .$1.00 
 
 "Written in a style remarkable for Its freshness and force, Its ornate ele- 
 gance and Its popular attractiveness, and every page glistens with apt quotation, 
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 or answered.— 2%« Evangelist, New York. 
 
PUBLICATIONS OF JOHN C. BUCKBEE & CO. 3 
 
 Lorimer— Jesus, the World's Savior.— "Who He Is, Why He Came, 
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 the interest and leave durahle and salutary Impressions. The author's style la 
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 epoch of doubt and Inquiry."— iV'a«onai Baptist, Philadelphia. 
 
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 Baymond — The Orator's Manual. — A practical and philosophical 
 treatise on Vocal Culture, Emphasis and Gesture, witli selections 
 for Declamation and Reading. For Schools and Colleges, and for 
 Public Speakers and Readers. By G. L. Raymond, M. A., Prof, 
 of Oratory, Princeton College. Fifth Edition $1 . 50 
 
 "The freshest, clearest, most complete, and soundly philosophical work on a 
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 " Literally a casket of Jewels."— C/irf««an at Work, New York. 
 
 " Grace of diction, pungency of thought and moral force freight each para- 
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4 PUBLICATIONS OF JOHN C. BUCKBEE & CO. 
 
 Rogers— The "Waverley Dictionary.— An Alphabetical Arrange- 
 ment of all the Characters in Sir Walter Scott's Novels, with a 
 Descriptive Analysis of each Character, and Illustrative Selections 
 from the Texts. By May Rogers. Half calf, gilt top, $3.50. 
 Full calf, gilt edges, $5.00. 12mo, cloth $2.00 
 
 "A key to the treasure-house of Scott's novels.'"— Episcopal Register, 
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 "No notice within our brief space can convey anything like a proper estimate 
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 directed in their critical study of the English language; for In this department of 
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 " The work takes up the subject of Rhetoric from a new standpoint, the aim 
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 guide to Learning and Teaching German, according to the Pesta- 
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