ON SIGNIFICANT ACTION IN THE PULPIT. The mind is not dependent solely on the vocal organs for an expression of its thoughts and emotions. The interior spirit finds an index in the hand and eye, and paints upon the countenance as upon canvas, its minutest conceptions. In a general sense, that "actions speak louder than words," is a maxim which combines the results of common observation for ages. But in a restricted sense, as an auxiliary to speech, to indicate the motions, forms and uses of objects, and express the passions and emotions of the speaker, the language of natural action possesses an extent and power too little appreciated. Pantomime is a worthy companion, and rival of the sister arts, poetry and painting. Zeuxis, the Sicilian showed the wonder of the pictorial art in painting grapes so true to nature, that birds flew upon the canvas to pluck them. But Whitfield, by the fascinations of his unrivalled action, drew men from their seats, and as they fixed their eyes on the sinner, so vividly sketched before them, sinking into hell, they shrieked, as he went, "there, he's gone." A perfect master of the art has a kind of portable scenery which he can produce and change at pleasure, and which possesses a beauty and a charm not surpassed by the painted landscape or the scenery of the stage. We here broach no new theory. When the great Athenian orator was asked what contributed in the highest degree to the success of a public speaker, his reply was, action. When asked what was next in importance, he replied action! And when the inquiry was made, what was of the next importance, his answer was, action!! Every speaker then, who would move mind, must be, in a sense, an actor, whether he appear before a popular assembly, in the halls of legislation, at the bar or in the pulpit. Each place requires a peculiar style of action. We propose here, however, only briefly to refer to the use of signs as appropriate gestures in the pulpit. We are aware that the general sentiment is adverse to much gesticulation in the pulpit. As a people, we are not accustomed to much action in our colloquial discourse. A degree of it which would seem perfectly rational in a Frenchman, would expose an American to suspicions of insanity. Nor would we advocate a kind of perpetual motion. On the contrary, let the entire person of the speaker be under a wholesome restraint. has been aptly said, "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." As But it is asked would you have a preacher theatrical? If by theatrical be meant affected, pompous, unnatural, assuming a false appearance, and representing in character, in thought and emotion, another person, we answer no. To such occupants of the pulpit we would say, Procul, O Procul, Este profani. But if by theatrical be meant using the eye, the face, head, arms, hands, in short, the whole person, and not merely the tongue to indicate the operations of the ethereal agent within, then we say, let the preacher be theatrical, "with this special observance," in the words of Hamlet, "that you o'erstep not the modesty of nature." If to "suit the action to the word, and the word to the action," be theatrical, let him do so if he but regulate his action by the dictates of a sound judgment and a refined taste. The faults of speakers as to significancy of action, respect usually its frequency, want of meaning, inappropriateness or omission of appropriate action. As to frequency, some use too much action, others too little, and others none at all. From such you may hear a voice, but as to action, it is like the sound which issued from the vocal statue of Memnon-" Vox et præterea nihil.” Some gestures are unmeaning, and others are sadly inappropriate. A preacher was once describing the ladder which Jacob "Upon it," he said, "were the angels of God, ascending and descending," making a downward gesture with the word as saw. cending, and an upward one on the word descending. In this case the hand belied the tongue. How inappropriate, too, is sometimes the whole manner or air of the preacher. Instead of manifesting in every look and gesture the urgent solicitude of an ambassador who, in Christ's stead, would beseech sinners to be reconciled to God, or showing the kindness and respectful address of one who would ask souls to Christ, he too often seems to be indifferent to his high calling, and to have no conception of the importance of his work, or else appears as if he were acting as God's Vicegerent upon earth, and were fulminating the anathemas of the Pope. But the fault we particularly notice, is not using significant action where the sense admits of it, and circumstances allow it. The different parts of the body may be used in an almost endless variety of expressive movements. For instance, the eyes may be raised in addresses to the Deity. The hanging down of the head may denote shame or grief; the holding of it up, pride or courage. To nod forward, implies assent; to toss the head back, dissent; a sudden jerk, wilfulness. The head averted indicates dislike or horror. It leans forward in attention. In most cases complex action is required as in representing doubt, pity, aversion, fear, hope. The hand laid upon the breast appeals to conscience. On the eyes it exhibits grief or shame. On the lips, silence. In prayer, both hands may be held supine, applied or clasped. The arm is projected forward to show authority. Both arms are spread expressing admiration. They are both held forward in imploring help. Both fall suddenly in disappointment. Desire, repulsion, permission, restraint and commands, to go, come, &c., have a natural expression in gesture preceding the vocal utterance and adding essentially to its force. In cultivating this art, close observation of nature is requisite, and frequent attempts at accurate delineation or sketching in the air. In practicing the art the speaker should accommodate himself, in all respects, to the subject, place and occasion. In description, let him by an effort of a vigorous and inventive imagination hold in his mind's eye, distinctly before him, the scene |