not only take place in dialogue and in some of the higher strains of tragedy, but even in oratory. It takes place when the speaker is at the left of him who delivers his opinion. The preacher being obliged to address himself to every individual assembled in the church, should as much as possible extend his attention to all and must of course, in leaning or turning round to the left side, often find it necessary, if he use any, to make the principal gesture with his left hand. The barrister has occasion to use the left hand also, by not having it always in his power to place both judge and jury, each of whom he must address, on his right side. These are the principal local situations which admit the gestures of the left hand.

The hand and foot should in general correspond, that is, when we gesticulate with the right hand, the right foot should be most advanced; and vice versa. Some particular occasions may require a deviation from this rule, but in general it will be found cor

rect.

It must carefully be observed, that in the changes made from one hand to the other, the transitions should be managed with ease and simplicity. As soon as the advanced hand has made the stroke of its emphatical gesture, it should fall quietly to rest; whilst at the same time, the hand which in its turn is to assume the principal action, commences its paration for the ensuing gesture.

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The termination of gesture, or rather the emphatical gesture which terminates, is generally made about the horizontal elevation, but sometimes may also be made downwards or elevated according to the sentiment. The horizontal termination, suits decision and instruction; the downward, disapprobation and condemnation; and the elevated, pride, high passion, and devotion.

Qualities of Gesture.

In order to the better understanding of the characteristic difference in each style of gesture, it will be of advantage to enumerate the different qualities which constitute the perfection of gesture together with their opposite imperfections. These may be considered as reducible to the following. 1. Magnificence. 2. Boldness. 3. Energy. 4. Variety. 5. Simplicity. 6. Grace. 7. Propriety. 8. Precision.

1. Magnificence, of Gesture.This consists in the ample space through which the arm and hand are made to move and it is effected by detaching the upper arm completely from the body, and unfolding the whole oratorical weapon. The centre of its motion is the shoulder. In magnificent gesture the action is flowing and unconstrained, the preparations are made in some graceful curve, the transitions are easy, and the accompaniments correct, and in all respects illustrative of the principal action. The motions of the head are free, and the inflexions of the body manly and dignified. The action of the lower limbs is decided, and a considerable space, (when the local situation of the speaker will admit of it,) is traversed with firmness and with force.

The opposite imperfections are short, and dry, and mean gestures, constrained motions, rigidity of the joints, and stiffness of the body, with short steps, and doubtful or timid movements.

2. Boldness of Gesture.This consists in that elevated courage and self confidence, which ventures to hazard any action productive of a grand and striking effect, however unusual. In this sort of gesture, unexpected positions, elevations, and transitions surprise at once by their novelty and grace, and thus illustrate or enforce their ideas with irresistible effect.

The opposite imperfection is tameness; which hazards nothing, is timid and doubtful of its own powers, and produces no great effect.

3. Energy of Gesture.This 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 which aids its emphasis.

The opposite imperfections are feebleness and indecision.

4. Variety of Gesture.-This consists in the ability of readily adopting suitable and different gestures to each sentiment and situation : so as to avoid recurring too frequently to one favourite gesture or set of gestures.

The opposite imperfections are sameness, barrenness, monotony of gesture analogous to that of voice. Variety of gesture is so essential, that even the most appropriate gestures must be avoided if they recur too often. Nothing is so injurious or disgusts so soon as barrenness of manner; the gesture had better be intermitted, or even be in some measure wrong, than monotonous-yet there is no fault so common.

5. Simplicity of Gesture.-This consists in such a character of gesture, as appears the natural result of the situation and sentiments; which is neither carried beyond the just extent of the feelings through affectation of variety, nor falls short of it through meanness or false shame,

The opposite imperfection is affectation.

6. Grace of Gesture.-This is the result of all perfections, arising from a dignified self possession of mind; and the powers of personal exertion, practised into facility after the best models and according to the truest taste.

The opposite imperfections are awkwardness, vulgarity, and rusticity.

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7. Propriety of Gesture.-Called also truth of ture, or natural gesture. This consists in the judi

cious use of the gestures best suited to illustrate or to express the sentiment. Appropriate gestures are generally founded in some natural connection of the sentiment with the gesture; significant gestures are strictly connected with the sentiments.

The opposite imperfections are false, contradictory, or unsuitable gestures; such as produce solecism in gesture.

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

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

Of the Significancy of Gesture:

Without entering largely into the subject of significant gestures, a few of the principal ones will at present suffice.

The Head and Face.

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

The holding it up, pride or courage.

The nod forward implies assent.

To toss the head back, dissent.

The inclination of the head implies bashfulness or

langour.

The head averted is dislike or horror.

It leans forward in attention.

The Eyes.

The eyes are raised in prayer.

They weep in sorrow.

They burn in anger.

They are downcast or averted in shame.

They are cast on vacancy in thought.

They are thrown into different directions in doubt and anxiety.

The Arms.

The arm is projected forward in authority.
Both arms are spread extended in admiration.
They are both held forward in imploring help.
They both fall suddenly in disappointment.

The Hands.

The hand on the head, indicates pain or distress.
On the eyes, shame.

On the lips, injunction of silence.

On the breast, it appeals to conscience, or intimates desire.

The hand moves or flourishes in joy or contempt. Both hands are held supine, applied or clasped in prayer.

Both descend prone in blessing.

They are clasped or wrung in affliction.

They are held forward and received in friendship.

The Body.

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