No. 18. For animation and attention, with the palm outward straighten the fingers and hold the thumb slightly apart.

No. 19. For vehemence, raise the hand tense and energized, palm outward.

No. 20. For tender invitation, extend the open hands, with the palms up and the ends of the fingers slightly curved. This gesture is usually accompanied by a reaction of the torso back from the person invited.

No. 21. For indifference, hold the thumb in the palm of the hand.

No. 22. To represent death, contract the thumb strongly into the palm. The practice of these attitudes together with such others as you may reason out for yourself will be found to be the most rapid method of deliverance from any monotony of expression caused by habit and mannerism. These expressions of the hand are to be combined with the suitable expressions and attitudes of other parts of the body, practice being urged until the coördinations are complete and instinctive. The inevitable result will be not merely to enlarge the sphere of expression, but to give increased intellectual and emotional force to the mind.

THE ARMS

Question. What is the use of the arms in expression?

Answer. They express various stages of emotion and passion, widely dissimilar. These useful and expressive limbs contain supple and smoothly moving joints, at the shoulders, the elbows, and the wrists, graceful movements flowing rhythmically from each succeeding joint to the other, the wrist leading. By failure to use these articulations, which are true speaking centres, you give evidences of awkwardness. For instance, a little boy pointing to a bird in a cherry tree, using his arm as stiff and straight as a ruler, says, "Right up there!"

Q. Give some exercises to develop grace in

the arm?

A. No. 1. Raise your right arm directly in front of you, the hand drooping at the wrist, palm downward, and let the wrist lead to right until the arm is on a level with the shoulder. Reverse the wrist and bring the arm back with control, letting the movement flow through the articulations of the arm.

Repeat with the left arm; then with both arms at once. Continue these movements until your arms lose all sense of stiffness.

The conspicuous action of the wrist, elbow, and shoulder required in this exercise is not used in gesture except as a burlesque.

No. 2. Standing in the normal position, raise your right arm before you to a level with your chest, your wrist leading; then describe with the hand and arm a series of figure-of-eight movements, from centre to right, moving the arm as far to the side as possible without elevating it above the shoulders; then dismissing the movement with a slight rotary motion of the hand, letting the arm fall easily to the side of the body. Repeat with the left arm, then with both

arms.

No. 3. Raise the arms until they point directly upward, making the figure-of-eight movement as before.

No. 4. Vary the preceding exercises by presenting the edge cutting the figures with the sides of the hand instead of the palm.

No. 5. Using the arms as in the foregoing exercises, on different planes, letting the hands carry the arms in like movements, undulating like a feather blowing in a slight current of air. These

exercises will give lightness, delicacy, and grace to gestures, but are to be avoided as gestures in themselves, since they are meaningless and may become as objectionable as a persistent tremolo in the voice.

No. 6. Extend the arms directly in front, the wrist leading. Rotate the arm with the hand passive until the palm is upward and the hand still drooping. Energize both arm and hand. Close the fingers in the hand, bend the wrist upward as far as possible in rhythmical succession, and follow with the elbow, raising this last until the bent arm is level with the shoulder. unfold the elbow, wrist, and fingers in rhythmical succession and return to the normal position. Repeat with left arm, then with both, until the joints of the fingers, wrist, and elbow can be closed and unfolded quickly and rhythmically in any direction and in all attitudes.

There

No. 7. Raise the right arm straight out and above the head as far as possible, leaving the hand passive and inert. As the movement flows out to the right, the weight is to be transferred to the left leg and foot. Let the arm drop to the side. Repeat with the left side and arm, letting the weight flow rhythmically into the right leg and foot. Then raise both arms as high as possible,

keeping the arms under control as they are brought down to the side, ending with little rotary movements of the wrist and hand.

No. 8. Repeat the exercise with the right arm, the left arm, and with both arms carried directly in front to the highest point. Repeat with them carried obliquely forward.

In surrendering the arm from any outward or upward position avoid carrying it back stiffly. On the other hand, do not let it fall heavily with a thud. It should be stretched as an elastic band is stretched, and upon withdrawal of the will should descend with elasticity.

No. 9. Repeat exercises No. 8 and No. 9, raising the hand to its highest possible point; then reverse the wrist and bring the arm back to the sides, under control, letting the movement flow rhythmically through all the successive articulations of the arm.

No. 10. Repeat these exercises, leading with the upper arm rather than the wrist; then withdraw the energy from the arm, bringing it slowly back to place.

Q. How are parallel movements made?

A. In succession rhythmically, one agent of expression leading and the rest following, except in instances where you wish to describe, for