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Use more than ordinary slides and steps for surprise, delight, defiance, etc. — A slide of five notes, or even more, can be used for the emotions just named. In cases of extreme surprise, intense fear, impassioned etc/amation and interrogation, a slide or step of a whole octave may be used. Example:

L. Capulet. Alack the day ! she's dead, she's dead, she's dead!
Cap. Ha! Let me see her.

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Othello. Avaunt! Be gone! Thou hast set me on the rack. N - N - - N x EXERCISES

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132 SOURCES OF POWER IN SPEECH MELODY

75. Repeat the following sentences using the monotone or semitone as the case demands.

Holy, holy, holy! Lord God Almighty!

Bless the Lord, O my soul; and all that is within me, bless his holy name!

Thy sad, sweet hymn, at eve, the seas along, —

Oh, the deep soul it breathed!

Must I then leave you? Must I needs forego

So good, so noble, and so true a master?

76. Give the following sentences, using more than ordinary slides of

the voice.
Be gone! Run to your houses!
Is it come to this?
Hath a dog money?
Did they not rally to battle, as men flock to a feast?
You look pale, and gaze!
Ye gods, it doth amaze me!

LESSON XXXIII

GESTURE. THE DRAMATIC HANDS

THOUGH not used so much in oratory as in dramatic work, what are known as the clasped, averse, and refler hands are important to every student of public speech.

CLASPED

The position with clasped hands needs no description. It is but necessary to say that the fingers may be inter

FIG. 58. The hands FIG. 59. The hands clasped clasped and extended. and brought to chest.

locked, or not, as the taste dictates. Usually, however, the position is stronger and more earnest when the fingers are interlocked. The conventional position of having the hands vertical and the tips of the fingers and the thumbs together may sometimes be used. See Figs. 59, 60, 61, and 62.

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FIG. 60. The hands clasped and fingers interlocked.

The character “John Storm" in The Christian.

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The clasped hand is used for prayer, supplication, entreaty, adoration, etc. The hands are wrung in anguish, and remorse. Examples:

Aorfia. And upon my knees,
I charge you, by my once commended beauty,
By all your vows of love, and that great vow
Which did incorporate us and make us one,
That you unfold to me, yourself, your half,
Why you are heavy, and what men to-night
Have had resort to you; for here have been
Some six or seven, who did hide their faces
Even from Darkness. – SHAKESPEARE.

Juliet. Ah me! what news 2 why dost thou
wring thy hands?
AWurse. Ah, well-a-day ! He's dead, he's
dead, he's dead |
We are undone, lady, we are undone!
Alack the day ! He's gone, he's
killed, he's dead |

— SHAKESPEARE.

Eliza recognized the face and voice of a man who owned a farm not far from her old home.

— MRS. STOWE.

FIG. 61. The conventional

thrust it away. This hand is very form of clasped hands.

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similar to the ordinary hand with the palm down; in fact, if the angle between the forearm and the hand is increased, and the fingers somewhat spread, the position is a very good averse. With the thrusting away motion of the hand goes a turning of the head away. At the beginning of an averse gesture you look at the object and your hand comes up in

FIG. 62. The beginning of FIG. 63. The end of the the averse gesture. averse gesture.

front of your chest; then when the thrust is made, the head is turned away. The averse hand is used in denial, aversion, repul. sion, and loathing. If the angle between the hand and the forearm is only slight, it stands for admonition or reproof. If the fingers are spread, it signifies amazement, intense fear, terror, horror, etc. Examples:

Othello. Avaunt! Be gone! Thou hast set me on the rack!
I swear 'tis better to be much abused
Than but to know't a little.

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Give appropriate gestures for the following:
Avaunt! and quit my sight! Let the earth hide thee!
Go, go, thou selfish and ungrateful child.

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