Delsarte System of Oratory

Chapter I.
Of Gesture in General.

Human word is composed of three languages. Man says what he feels by inflections of the voice, what he loves by gesture, what he thinks by articulate speech. The child begins with feeling; then he loves, and later, he reasons. While the child only feels, cries suffice him; when he loves, he needs gestures; when he reasons, he must have articulate language. The inflections of the voice are for sensations, gesture is for sentiments; the buccal apparatus is for the expression of ideas. Gesture, then, is the bond of union between inflection and thought. Since gesture, in genealogical order, holds the second rank in human languages, we shall reserve for it that place in the series of our oratorical studies.

We are entering upon a subject full of importance and interest. We purpose to render familiar the heart language, the expression of love.

We learn dead languages and living languages: Greek, Latin, German, English. Is it well to know conventional idioms, and to ignore the language of nature? The body needs education as well as the mind. This is no trivial work. Let it be judged by the steps of the ideal ladder we must scale before reaching the perfection of gesture. Observe the ways of laboring men. Their movements are awkward, the joints do not play. This is the first step.

At a more advanced stage, the shoulders play without the head. The individual turns around with a great impulse from the shoulders, with the leg raised, but the hand and the rest of the body remain inert. Then come the elbows, but without the hand. Later come the wrist-joint and the torso. With this movement of the wrist, the face becomes mobilized, for there is great affinity between these two agents. The face and hand form a most interesting unity. Finally, from the wrist, the articulation passes to the fingers, and here is imitative perfection. If we would speak our language eloquently, we must not be beguiled into any patois of gesture.

Gesture must be studied in order to render it faultlessly elegant, but in such a thorough way as not to seem studied. It has still higher claims to our regard in view of the services it has rendered to humanity. Thanks to this language of the heart, thousands of deaf-mutes are enabled to endure their affliction, and to share our social pleasures. Blessèd be the Abbé de l'Epée, who, by uniting the science of gesture to the conventional signs of dactyology, has made the deaf hear and the dumb speak! This beneficent invention has made gesture in a twofold manner, the language of the heart.

Gesture is an important as well as interesting study. How beautiful it is to see the thousand pieces of the myological apparatus set in motion and propelled by this grand motor feeling! There surely is a joy in knowing how to appreciate an image of Christ on the cross, in understanding the attitudes of Faith, Hope and Charity. We can note a mother's affection by the way she holds her child in her arms. We can judge of the sincerity of the friend who grasps our hand. If he holds the thumb inward and pendant, it is a fatal sign; we no longer trust him. To pray with the thumbs inward and swaying to and fro, indicates a lack of sacred fervor. It is a corpse who prays. If you pray with the arms extended and the fingers bent, there is reason to fear that you adore Plutus. If you embrace me without elevating the shoulders, you are a Judas.

What can you do in a museum, if you have not acquired, if you do not wish to acquire the science of gesture? How can you rightly appreciate the beauty of the statue of Antinous? How can you note a fault in Raphael's picture of Moses making water gush from the rock? How see that he has forgotten to have the Israelites raise their shoulders, as they stand rapt in admiration of the miracle? One versed in the science of gesture, as he passes before the Saint Michael Fountain, must confess that the statue of the archangel with its parallel lines, is little better than the dragon at his feet.

In view of the importance and interest of the language of gesture, we shall study it thoroughly in the second book of our course.

Chapter II.
Definition and Division of Gesture.

Gesture is the direct agent of the heart, the interpreter of speech. It is elliptical discourse. Each part of this definition may be easily justified.

1. Gesture is the Direct Agent of the Heart.--Look at an infant. For some time he manifests his joy or sorrow through cries; but these are not gesture. When he comes to know the cause of his joy or sorrow, sentiment awakens, his heart opens to love or hatred, and he expresses his new emotion not by cries alone, nor yet by speech; he smiles upon his mother, and his first gesture is a smile. Beings endowed only with the sensitive life, have no smile; animals do not laugh.

This marvelous correspondence of the organs with the sentiment arises from the close union of soul and body. The brain ministers to the operations of the soul. Every sentiment must have its echo in the brain, in order to be unerringly transmitted by the organic apparatus.

Ex visu cognoscitur vir. ("The man is known by his face.") The rôle of dissimulation is a very difficult one to sustain.

2. Gesture is the Interpreter of Speech.--Gesture has been given to man to reveal what speech is powerless to express. For example: I love. This phrase says nothing of the nature of the being loved, nothing of the fashion in which one loves. Gesture, by a simple movement, reveals all this, and says it far better than speech, which would know how to render it only by many successive words and phrases. A gesture, then, like a ray of light, can reflect all that passes in the soul.

Hence, if we desire that a thing shall be always remembered, we must not say it in words; we must let it be divined, revealed by gesture. Wherever an ellipse is supposable in a discourse, gesture must intervene to explain this ellipse.

3. Gesture is an Elliptical Language.--We call ellipse a hidden meaning whose revelation belongs to gesture. A gesture must correspond to every ellipse. For example: "This medley of glory and gain vexes me." If we attribute something ignominious or abject to the word medley, there is an ellipse in the phrase, because the ignominy is implied rather than expressed. Gesture is then necessary here to express the value of the implied adjective, ignominious.

Suppress this ellipse, and the gesture must also be suppressed, for gesture is not the accompaniment of speech. It must express the idea better and in another way, else it will be only a pleonasm, an after conception of bad taste, a hindrance rather than an aid to intelligible expression.

Division of Gesture.

Every act, gesture and movement has its rule, its execution and its raison d'être. The imitative is also divided into three parts: the static, the dynamic and the semeiotic. The static is the base, the dynamic is the centre, and the semeiotic the summit. The static is the equiponderation of the powers or agents; it corresponds to life.

The dynamic is the form of movements. The dynamic is melodic, harmonic and rhythmic. Gesture is melodic by its forms or its inflections. To understand gesture one must study melody. There is great affinity between the inflections of the voice and gesture. All the inflections of the voice are common to gesture. The inflections of gesture are oblique for the life, direct for the soul and circular for the mind. These three terms, oblique, direct and circular, correspond to the eccentric, normal and concentric states. The movements of flection are direct, those of rotation, circular, those of abduction, oblique.

Gesture is harmonic through the multiplicity of the agents which act in the same manner. This harmony is founded upon the convergence or opposition of the movements. Thus the perfect accord is the consonance of the three agents,--head, torso and limbs. Dissonance arises from the divergence of one of these agents.

Finally, gesture is rhythmic because its movements are subordinated to a given measure. The dynamic corresponds to the soul.

The semeiotic gives the reason of movements, and has for its object the careful examination of inflections, attitudes and types.

Under our first head, we treat of the static and of gesture in general; under our second, of the dynamic, and of gesture in particular; and finally, under our third head, of the semeiotic, with an exposition of the laws of gesture.

Chapter III.
Origin and Oratorical Value of Gesture.

Origin.

The infant in the cradle has neither speech nor gesture:--he cries. As he gains sensibility his tones grow richer, become inflections, are multiplied and attain the number of three million special and distinct inflections. The young infant manifests neither intelligence nor affection; but he reveals his life by sounds. When he discerns the source of his joys or sufferings, he loves, and gesticulates to repulse or to invite. The gestures, which are few at first, become quite numerous. It is God's art he follows; he is an artist without knowing it.

Oratorical Value of Gesture.

The true aim of art is to move, to interest and to persuade. Emotion, interest and persuasion are the first terms of art. Emotion is expressed by the voice, by sounds; interest, by language; persuasion is the office of gesture.

To inflection belongs emotion through the beautiful; to logic, interest through the truth; to plastic art, persuasion through the good.

Gesture is more than speech. It is not what we say that persuades, but the manner of saying it. The mind can be interested by speech, it must be persuaded by gesture. If the face bears no sign of persuasion, we do not persuade.

Why at first sight does a person awaken our sympathy or antipathy? We do not understand why, but it is by reason of his gestures.

Speech is inferior to gesture, because it corresponds to the phenomena of mind; gesture is the agent of the heart, it is the persuasive agent.

Articulate language is weak because it is successive. It must be enunciated phrase by phrase; by words, syllables, letters, consonants and vowels--and these do not end it. That which demands a volume is uttered by a single gesture. A hundred pages do not say what a simple movement may express, because this simple movement expresses our whole being. Gesture is the direct agent of the soul, while language is analytic and successive. The leading quality of mind is number; it is to speculate, to reckon, while gesture grasps everything by intuition,--sentiment as well as contemplation. There is something marvelous in this language, because it has relations with another sphere; it is the world of grace.

An audience must not be supposed to resemble an individual. A man of the greatest intelligence finding himself in an audience, is no longer himself. An audience is never intelligent; it is a multiple being, composed of sense and sentiment. The greater the numbers, the less intelligence has to do. To seek to act upon an individual by gesture would be absurd. The reverse is true with an audience; it is persuaded not by reasoning, but by gesture.

There is here a current none can control. We applaud disagreeable things in spite of ourselves--things we should condemn, were they said to us in private. The audience is not composed of intellectual people, but of people with senses and hearts. As sentiment is the highest thing in art, it should be applied to gesture.

If the gestures are good, the most wretched speaking is tolerated. So much the better if the speaking is good, but gesture is the all-important thing. Gesture is superior to each of the other languages, because it embraces the constituent parts of our being. Gesture includes everything within us. Sound is the gesture of the vocal apparatus. The consonants and vowels are the gesture of the buccal apparatus, and gesture, properly so called, is the product of the myological apparatus.

It is not ideas that move the masses; it is gestures.

We easily reach the heart and soul through the senses. Music acts especially on the senses. It purifies them, it gives intelligence to the hand, it disposes the heart to prayer. The three languages may each move, interest and persuade.

Language is a sort of music which moves us through vocal expression; it is besides normal through the gesture of articulation. No language is exclusive. All interpenetrate and communicate their action. The action of music is general.

The mind and the life are active only for the satisfaction of the heart; then, since the heart controls all our actions, gesture must control all other languages.

Gesture is magnetic, speech is not so. Through gesture we subdue the most ferocious animals.

The ancients were not ignorant of this all-powerful empire of gesture over an audience. Therefore, sometimes to paralyze, sometimes to augment this magic power, orators were obliged to cover their faces with a mask, when about to speak in public. The judges of the Areopagus well knew the power of gesture, and to avoid its seductions, they adopted the resource of hearing pleas only in the darkness.

The sign of the cross made at the opening of a sermon often has great effect upon good Catholics. Let a priest with his eyes concentric and introspective make deliberately the sign of the cross while solemnly uttering these words: "In-the-name-of-the-Father;" then let his glance sweep the audience. What do they think of him? This is no longer an ordinary man; he seems clothed with the majesty of God, whose orders he has just received, and in whose name he brings them. This idea gives him strength and assurance, and his audience respect and docility.

Chapter IV.
The Laws of Gesture.

The static treats of the laws of gesture which are six in number, viz.: Priority, retroaction, the opposition of agents, unity, stability and rhythm.

The Priority of Gesture to Speech.

Gesture must always precede speech. In fact, speech is reflected expression. It must come after gesture, which is parallel with the impression received. Nature incites a movement, speech names this movement. Speech is only the title, the label of what gesture has anticipated. Speech comes only to confirm what the audience already comprehend. Speech is given for naming things. Gesture asks the question, "What?" and speech answers. Gesture after the answer would be absurd. Let the word come after the gesture and there will be no pleonasm.

Priority of gesture may be thus explained: First a movement responds to the sensation; then a gesture, which depicts the emotion, responds to the imagination which colors the sensation. Then comes the judgment which approves. Finally, we consider the audience, and this view of the audience suggests the appropriate expression for that which has already been expressed by gesture.

The basis of this art is to make the auditors divine what we would have them feel.

Every speaker may choose his own stand-point, but the essential law is to anticipate, to justify speech by gesture. Speech is the verifier of the fact expressed. The thing may be expressed before announcing its name. Sometimes we let the auditors divine rather than anticipate, gazing at them in order to rivet their attention. Eloquence is composed of many things which are not named, but must be named by slight gestures. In this eloquence consists. Thus a smack of the tongue, a blow upon the hand, an utterance of the vowel u as if one would remove a stain from his coat. The writer cannot do all this. The mere rendition of the written discourse is nothing for the orator; his talent consists in taking advantage of a great number of little nameless sounds.

A written discourse must contain forced epithets and adjectives to illustrate the subject. In a spoken discourse a great number of adjectives are worse than useless. Gesture and inflection of the voice supply their place. The sense is not in the words; it is in inflection and gesture.

Retroaction.

We have formulated this general law: The eccentric, normal and concentric expression must correspond to the sensitive, moral and intellectual state of man. When gesture is concerned, the law is thus modified: In the sensitive state, the gesture, which is naturally eccentric, may become concentric, as the orator is passive or active.

He is passive when subject to any action whatever, when he depicts an emotion.

He is agent when he communicates to the audience the expression of his own will or power; in a word, at all times when he controls his audience.

When the orator assumes the passive rôle, that is, when he reflects, he gazes upon his audience; he makes a backward (or concentric) movement; when he assumes the active rôle, he makes a forward (or eccentric) movement. When one speaks to others, he advances; when one speaks to himself, he recoils a step, his thought centres upon himself.

In the passive state, one loves. But when he loves, he does not move forward. A being who feels, draws back, and contemplates the object toward which the hand extends. Contemplation makes the body retroact.

Hence in the passive state, the orator must step backward. In the opposite state he moves forward. Let us apply this law: A spendthrift officer meets his landlord, whom he has not yet paid, and greets him with an--"Ah, good day, sir!" What will be his movement? It must be retroactive. In the joy of seeing a friend again, as also in fright, we start back from the object loved or hated. Such is the law of nature, and it cannot be ignored.

Whence comes this law? To behold a loved object fully, we must step back, remove to some little distance from it. Look at a painter admiring his work. It is retroaction at sight of a beloved person, which has led to the discovery of the phenomena of life, to this triple state of man which is found in like manner, everywhere: Concentric, eccentric, and normal.

The concentric is the passive state, for when one experiences a deep emotion, he must retroact. Hence a demonstration of affection is not made with a forward movement. If so, there is no love. Expiration is the sign of him who gives his heart. Hence there is joy and love. In inspiration there is retroaction, and, in some sort, distrust. The hand extends toward the beloved object; if the hand tend toward itself, a love of self is indicated. Love is expressed by a retroactive, never by a forward movement. In portraying this sentiment the hand must not be carried to the heart. This is nonsense; it is an oratorical crime. The hand must tend toward the loved being to caress, to grasp, to reassure or to defend. The hand is carried to the heart only in case of suffering there.

Take this passage from Racine's Phèdre:

Dieu--que ne puis-je à l'ombre des fôrets,
Suivre de l'oeil un char fuyant dans la carrière--

("God--may I not, through the dim forest shades,
With my glance follow a fleet chariot's course.")

Here the actor does not follow affectionately, but with the eye, and then by recoiling and concentrating his thought upon himself.

In the role of Emilie:

"He may in falling crush thee 'neath his fall"

at sight of her crushed lover Emilie must recoil in terror, and not seem to add the weight of her body to that which crushes the victim.

Augustus, on the contrary, may say:

"I might in falling crush thee 'neath my fall,"

pausing upon a forward movement, because he is here the agent.

Let us note in passing that the passive attitude is the type of energetic natures. They have something in themselves which suffices them. This is a sort of repose; it is elasticity.

Opposition of Agents.

The opposition of the agents is the harmony of gesture. Harmony is born of contrasts. From opposition, equilibrium is born in turn. Equilibrium is the great law of gesture, and condemns parallelism; and these are the laws of equilibrium:

1. The forward inclination of the torso corresponds to the movement of the leg in the opposite direction.

2. When one arm is added to the weight of the already inclined torso, the other arm must rise to form a counterpoise.

3. In gazing into a well, the two arms must be drawn backward if the body is equally supported by the two legs; in like manner the two arms may be carried in front if the torso bends backward. This is allowable only in the first attitude of the base, or in a similar attitude.

The harmonic law of gesture is the static law par excellence.

It is of childlike simplicity. We employ it in walking; also when we carry a weight in one hand, the other rises. The law consists in placing the acting levers in opposition, and thus realizing equilibrium. All that is in equilibrium is harmonized. All ancient art is based upon this opposition of levers. Modern art, with but few exceptions, is quite the contrary.

Here is an example of the observance of this rule: If the head and arms are in action, the head must move in opposition to the arms and the hand. If both move in the same direction, there is a defect in equilibrium, and awkwardness results.

When the arm rises to the head, the head bends forward and meets it half-way. The reverse is true. Every movement in the hand has its responsive movement in the head. If the head advances, the hand withdraws. The movements must balance, so that the body may be in equilibrium and remain balanced.

Here is the difference between ancient and modern art. Let us suppose a statue of Corneille reading his works. To-day we should pose it with one leg and arm advanced. This is parallelism. Formerly the leg would have been opposed to this movement of the arm, because there should be here the expansion of the author toward his work, and this expansion results precisely from an opposition of levers.

We know the ancient gladiator; we do exactly the opposite from him in fencing.

Modern art makes the man walk with leg and arm parallel. Ancient art would have the leg opposed to the arm.

It is through opposition that the smile expresses moral sadness. This law of opposition must be observed in the same member. For example, the hand should be opposed to the arm. Thus we have magnificent spheroidal movements which are graceful and also have considerable force. Thus all the harmonies occur in one same whole, in one same truth. In a word, all truths interpenetrate, and when a thing is true from one point of view, it is so from all.

Number of Gestures.

Many reasons go to prove that gestures need not be multiplied:

A.--We are moved by only one sentiment at a time; hence it is useless to multiply gestures.

B.--But one gesture is needed for the expression of an entire thought; since it is not the word but the thought that the gesture must announce; if it expressed only the word, it would be trivial and mean, and also prejudicial to the effect of the phrase.

In these phrases: "What do you seek in the world, happiness? It is not there," that which first strikes us is the absence of happiness. Gesture must indicate it in advance, and this should be the dominating movement.

The intelligent man makes few gestures. To multiply gestures indicates a lack of intelligence. The face is the thermometer of intelligence. Let as much expression as possible be given to the face. A gesture made by the hand is wrong when not justified in advance by the face. Intelligence is manifested by the face. When the intelligent man speaks, he employs great movements only when they are justified by great exaltation of sentiment; and, furthermore, these sentiments should be stamped upon his face. Without expression of the face, all gestures resemble telegraphic movements.

C.--The repeated extension of the arms denotes but little intelligence, little suppleness in the wrist and fingers. The movement of a single finger indicates great finesse.

It is easy to distinguish the man of head, heart and actions. The first makes many gestures of the head; the second many of the shoulders; the last moves the arms often and inappropriately.

D.--Gesture is allowable only when an ellipse of the word or phrase admits of an additional value.

E.--Effects must not be multiplied; this is an essential precaution. Multiplied movements are detrimental when a graver movement is awaited.

F.--The orator is free to choose between the rôle of actor or that of mere spectator or narrator. Neither the one nor the other can be forced upon him. The actor's rôle arises not from intelligence but simply from instinct. The actor identifies himself with the personages he represents. He renders all their sentiments. This rôle is the most powerful, but, before making it the object of his choice, there must be severe study; he must not run the risk of frivolity.

We can dictate to the preacher and mark out his path. He must not be an actor, but a doctor. Hence his gestures must never represent the impressions of those of whom he speaks, but his own. Hence he should proportion the number of his gestures to the number of his sentiments.

G.--If the orator would speak to any purpose, he must bring back his discourse to some picture from nature, some scene from real life.

There must be unity in everything; but a rôle may be condensed in two or three traits; therefore a great number of gestures is not necessary.

Let it be carefully noted: the expression of the face should make the gesture of the arms forgotten. Here the talent of the orator shines forth. He must captivate his public in such a way that his arm gestures will be ignored. He must so fascinate his auditors that they cannot ask the reason of this fascination, nor remark that he gesticulates at all.

H.--Where there are two gestures in the same idea, one of them must come before the proposition, the other in its midst.

If there is but one gesture and it precedes the proposition, the term to which it is applied must be precisely indicated.

For example: Would he be sensible to friendship? Although friendship may in some degree be qualified as the indirect regimen, gesture should portray it in all its attributes.

Duration of Gesture.

The suspension or prolongation of a movement is one of the great sources of effect. It is in suspension that force and interest consist. A good thing is worth being kept in sight long enough to allow an enjoyment of the view.

The orator should rest upon the preceding gesture until a change is absolutely required.

A preoccupied man greets you with a smile, and after you have left, he smiles on, until something else occurs to divert his mind.

The orator's abstraction should change the face, but not the gesture. If the double change takes place simultaneously, there will be no unity. The gesture should be retained and the expression of the face changed.

A variety of effects and inflections should be avoided. While the speaker is under the influence of the same sentiment, the same inflection and gesture must be retained, so that there may be unity of style.

Art proposes three things: to move, to interest, to persuade by unity of inflection and gesture. One effect must not destroy another. Divergence confuses the audience, and leaves no time for sentiment.

It is well to remember that the stone becomes hollowed by the incessant fall of the drop of water in the same place.

The Rhythm of Gesture.

Gesture is at the same time melodic, or rather inflective, harmonic and rhythmic. It must embrace the elements of music, since it corresponds to the soul; it is the language of the soul, and the soul necessarily includes the life with its diverse methods of expression, and the mind. Gesture is melodic or inflective through the richness of its forms, harmonic through the multiplicity of parts that unite simultaneously to produce it. Gesture is rhythmic through its movement, more or less slow, or more or less rapid.

Gesture is, then, inevitably synthetic, and consequently harmonic; for harmony is but another name for synthesis.

Each of the inflective, harmonic and rhythmic modes has its peculiar law.

The rhythmic law of gesture is thus formulated:

"The rhythm of gesture is proportional to the mass to be moved."

The more an organ is restrained, the more vehement is its impulse.

This law is based upon the vibration of the pendulum. Great levers have slow movements, small agents more rapid ones. The head moves more rapidly when the torso and the eye have great facility of motion. Thus the titillations of the eye are rapid as lightning.

This titillation always announces an emotion. Surprise is feigned if there is no titillation.

For example, at the unexpected visit of a friend there is a lighting up of the eye. Wherefore? Because the image is active in the imagination. This is an image which passes within ourselves, which lies in inward phenomena.

So in relation to material phenomena: there is a convergence, a direction of the eyes toward the object; if the object changes place, the eyes cannot modify their manner of convergence; they must close to find a new direction, a convergence suited to the distance of the object.

There is never sympathetic vision. The phenomena of the imagination are in the imagination at a fixed distance. When an image changes place in the idea, it produces a titillation equal to that which would be produced in the order of material things. For example, let us quote these lines:

"At last I have him in my power,
This fatal foe, this haughty conqueror!
Through him my captives leave their slavery."

Here the body must be calm; there is a sort of vehemence in the eyes; it will be less in the head than in the arms. All these movements are made, but the body remains firm. Generally the reverse takes place; the whole body is moved; but this is wrong.

In these words: "Where are they, these wretches?" there must be great violence in the upper part of the body, but the step is very calm.

To affect a violent gait is an awkward habit. A modified slowness in the small agents creates emphasis; if we give them too great facility of movement, the gestures become mean and wretched.

Rhythm is in marvelous accord with nature under the impulse of God.

Importance of the Laws of Gesture.

We never really understand an author's meaning. Every one is free to interpret him according to his individual instinct. But we must know how to justify his interpretation by gesture. Principles must aid us in choosing a point of view in accordance with his individual nature; otherwise incoherence is inevitable. Hence rules are indispensable. But when the law is known, each applies it in accordance with his own idea.

The author himself cannot read without rules, in such a manner as to convey the ideas he intended to express. Only through rules can we become free in our interpretation; we are not free without law, for in this case we are subject to the caprice of some master.

The student of oratory should not be a servile copyist. In the arrangement of his effects, he must copy, imitate and compose. Let him first reproduce a fixed model, the lesson of the master. This is to copy. Let him then reproduce the lesson in the absence of the master. This is to imitate. Finally, let him reproduce a fugitive model. This is to compose.

Thus to reproduce a lesson, to give its analysis and synthesis, is to disjoint, to unite and to reunite; this is the progressive order of work.

The copying and imitative exercises should be followed by compositions, applying the principles already known. The orator may be allowed play for his peculiar genius; he may be sublime even in employing some foolish trick of his art. But whatever he does, he must be guided by fixed rules.

Chapter V.
Of Gesture in Particular.

The Head.

The dynamic apparatus is composed of the head, the torso and the limbs. As in the vocal apparatus, we have the lever, the impelling force, and the fulcrum.

The dynamic apparatus produces gesture, which renders the moral or normal state; as the voice expresses inflection and reveals the sensitive state.

The head must be studied under two relations: as the agent of expression through its movements, and as the centre of attraction; that is, the point of departure or arrival for the different gestures of the arm.

Let us now apply ourselves to the signification of the movements of the head and eyes, the face and lips.

The Movements of the Head.

There are two sorts of movements of the head: movements of attitude and fugitive movements.

Movements of Attitude.--The head has nine primary attitudes, from which many others proceed.

In the normal attitude, the head is neither high nor low.

In the concentric attitude the head is lowered; this is the reflective state.

In the eccentric attitude the head is elevated; this is the vital state.

Soldiers and men of robust physique carry the head high.

Here are three genera, each of which gives three species.

The Normal State.

When the head is erect, it is passive and neutral.

The head inclining laterally toward the interlocutor indicates affection.

If in the inverse direction, opposite the interlocutor, sensualism is indicated. This is in fact retroaction; in the first case we love the soul, in the latter the form.

The Eccentric State.

If the head bends backward it is the passional or vehement state.

The head inclined toward the interlocutor, denotes abandon, confidence.

The head turned away from the interlocutor, denotes pride, noble or base. This is a neutral expression which says something, but not the whole.

The Concentric State.

The head lowered, that is, inclined forward, denotes the reflective state.

If the head inclines toward the interlocutor, it is veneration, an act of faith in the object we love.

If the head inclines away from the interlocutor, it is stratagem or suspicion.

All other attitudes of the head are modifications of these. These nine attitudes characterize states, that is, sentiments, but sentiments which are fugitive. Either of these attitudes may be affected until it becomes habitual. But there are movements which cannot be habitually affected, which can only modify types and attitudes of the inflections of the head. These are fugitive movements.

There are nine inflections or fugitive movements of the head:--

1. If a forward movement, it ends in an upright one, with elevated chin, and indicates interrogation, hope, appellation, desire.
2. The same movement with the chin lowered, indicates doubt, resignation.
3. A nod of the head, a forward movement, means confirmation, yes, or well.
4. If the movement is brusque forward, it is the menace of a resolute man.
5. The head thrown back means exaltation.
6. If the movement is brusque backward, it is the menace of a weak man.
7. There are rotative inflections from one shoulder to the other; this is impatience, regret.

8. The rotary movement of the head alone signifies negation, that is no.

   If the movement ends toward the interlocutor, it is simple negation.

   If the movement ends opposite to him, it is negation with distrust.

9. The rotative and forward inflection would denote exaltation.

The sense of this response,--"I do not know," when tidings of a friend are asked, may be divined by an inflection of the head.

It is well to note how these movements are transmitted from agent to agent.

All movements which severally affect the head, the hand, the body and the leg, may affect the whole.

Thus the movement of negation is made by the hand. This movement is double. There is negation with direct resolution, and negation with inverse resolution, which is elliptical. The hand recoils as the head recoils, and when the head makes the movement of impatience, the hand rises with the head and says:--"Leave me alone, I do not wish to hear you."

It is curious to see an inflection pass successively from the head to the hand, from the hand to the eye, from the eye to the shoulders, from the shoulders to the arms, from the arms to the legs, from the legs to the feet.

For example: Above we have indicated a double menace made by the head. One might transfer this menace to the hand and say: "You will have a quarrel to settle with me!"

Each agent has its rôle, and this is why they transmit their movements.

When the head has a serious part to play, it communicates an inflective movement to the hand, which renders it terrible.

A man who menaces with the head is not sure of his aim, but he who menaces with the hand is sure of striking right. In order to do this, the eye must be firmly fixed, as the eye necessarily loses its power and accuracy by a movement of the head.

There is great power in the menace communicated to the hand, a power not found in the other movement. The head-menace is more physical, and the hand-menace more intellectual; in the one the eye says a great deal, while in the other it says nothing.

The orator cannot always make these gestures with facility. The menace may be elliptical. Then it must be made by the head, and expressed through the eyes. This is why the speaker gazes downward as he makes it.

It is the same downward or upward movement which is reproduced when the menace is concentric or elliptical.

The menace may be made in yet another way. The speaker does not wish to express his opinion, and for fear of compromising himself with his eyes, he does not gaze at his interlocutor; he turns aside his glance, and the menace is communicated to the shoulder. This has less strength, because it is rendered by one of the sensitive agents.

The man who threatens with the shoulder is more passionate; but he is not the agent, he is passive.

A simple menace may be made by the knee. The foot is susceptible of great mobility. A slight movement quickly changes its significance; in passing from one agent to another, it is modified by many ellipses.

These attitudes, being wholly characteristic, cannot be transmitted. They characterize the special rôle of the agent set in motion, while inflection is universal.

The head alone expresses trouble, dejection.

Dejection is in the head, as firmness is in the reins and exaltation in the shoulders.

All the movements of the head are communicated to all the active organs. The head is always in opposition to the arms. The head must be turned away from the leg which is advanced.

Men of small brain habitually carry their heads high. The head is lowered in proportion to the quantity of intelligence.

Examine the criterion for the fixed attitudes of the head.

Of the Eyes.

The eye, in common with all the other agents, has nine primary expressions, three genera and nine species.

The eye contains three agents: The optic or visual, the palpebral or pupil, and the eyebrow agent. Each of these has its peculiar sense, and we shall show how they are united.

The optic agent has three direct or convergent glances. The eyes converge toward the object they examine, at such a point that if the object were there they would squint. A skilled observer can determine the distance of the object, upon seeing the two eyes.

There is a revolving or divergent glance. If both eyes project in parallel lines, they see double. A drunken man sees double because the eyes do not converge.

Between these two glances there is the ecstatic or parallel vision; but the object is not so far away that its distance may not be determined. The convergence is not appreciable. This is the dreamy expression. We shall here treat of one only, to which we refer the three others. Let us take the direct glance, passing by the optic agent, since it is direct in all the phenomena we have to consider.

There are three phenomena in the eyebrow: eccentric, concentric and normal. From these we derive nine terms. If the eye is normal, it is a passive expression which determines nothing. If, with the same eye, the eyebrow is eccentric, there is a difference; one part of us tends vehemently toward something, and the other says: "It is not worth the trouble." The sensitive part aspires, while the intellect says, "This amounts to nothing."

The concentric eyebrow indicates a mind disconcerted by fatigue or ennui, a contention of one part of the nature with the other, which resists, and says: "I do not wish to be troubled about this; it wearies me."

The normal brow and the eccentric eye indicate stupor.

Here there is again contrariety. One part of the being ardently aspires toward some object, while the other is powerless to aid it.

The eye is purely an intellectual agent, denoting the various states of the mind.

The eccentric eye and the elevated eyebrow denote vehemence. This is an active state that will become astonishment. Many phenomena will arise and be subordinate to this movement; but it is vehemence par excellence; it is aspiration.

If the brow lowers vehemently with the eyes open, it is not rage, but a state of mind independent of everything the senses or the heart can say.

This is firmness of mind, a state of the will independent of every outside influence. It may be attention, or anger, or many other things.

If the eye is concentric and the eyebrow in the normal state, it is slumber, fatigue.

If the eyebrow is eccentric and the eye concentric, it will represent not indifference only, but scorn, and after saying, "This thing is worthless," will add, "I protest against it, I close my eyes."

If both the eye and eyebrow are concentric, there is contention of mind. This is a mind which seeks but does not possess.

This explanation may be rendered more clear and easier to retain in mind by the following resumé:

Concentric eyebrow	Eye.	{	Concentric.	Contention of mind.
			Normal.	Bad humor.
			Eccentric.	Firmness
Normal eyebrow	Eye.	{	Concentric.	Grief.
			Normal.	Passiveness.
			Eccentric.	Stupor.
Eccentric eyebrow	Eye.	{	Concentric.	Scorn.
			Normal.	Disdain.
			Eccentric.	Astonishment.

The nine expressions of the eye correspond to each of the nine movements of the head. Thus the eye may give nine types of affection, nine of pride, nine of sensualism, etc. This gives eighty-one expressions of the eye. Hence, knowing eighteen elements, we inevitably possess eighty-one.

The nine expressions of the eye may be verified by the criterion.

As a model, we give the nine expressions of the eye in the subjoined chart.

For ordinary purposes it is sufficient to understand the nine primary expressions. There are many others which we merely indicate. In sleep there may be an inclination either way. The top of the eyebrow may be lifted.

Thus in the concentric state, three types may be noted, and these go to make twenty-seven primary movements. The lower eyelid may be contracted; the twenty-seven first movements may be examined with this, which makes 2×27.

A movement of the cheek may contract the eye in an opposite direction, and this contraction may be total, which makes eighty-one expressions belonging to the normal glance alone.

This direct glance may also be direct on the inferior plane, which makes 2×81; for these are distinct expressions which cannot be confounded.

This movement could again be an upward one, which would make 3×81.

The movement may be outward and superior, or it may be simply outward; it may also be outward and inferior. A special sense is attached to each of these movements,--a sense which cannot be confounded with any of the preceding movements.

By making the same computation for the three glances above noted, we shall have from eight to nine hundred movements.

All this may appear complicated, but with the key of the primary movements, nothing can be more simple than this deduction.

The above chart with its exposition of the phases of the eye explains everything. A small eye is a sign of strength; a large eye is a sign of languor. A small oblique eye (the Chinese eye), when associated with lateral development of the cranium, and ears drawn back, indicates a predisposition to murder.

The eye opens only in the first emotion; then it becomes calm, closing gradually; an eye wide open in emotion, denotes stupidity.

Of the Eyebrows.

There are three thermometers: the eyebrow is the thermometer of the mind; the shoulder is the thermometer of the life; the thumb is the thermometer of the will.

There is parallelism between the eye and the voice. The voice lowered and the brow lifted, indicate a desire to create surprise, and a lack of mental depth.

It is very important to establish this parallelism between the movements of the brow and voice.

The lowered brow signifies retention, repulsion: It is the signification of a closed door. The elevated brow means the open door. The mind opens to let in the light or to allow it to escape. The eyebrow is nothing less than the door of intelligence. In falling, the voice repels. The efforts in repulsion and retention are equal.

The inflections are in accord with the eyebrows. When the brows are raised, the voice is raised. This is the normal movement of the voice in relation to the eyebrow.

Sometimes the eyebrow is in contradiction to the movement of the voice. Then there is always ellipse; it is a thought unexpressed. The contradiction between these two agents always proves that we must seek in the words which these phenomena modify, something other than they seem to say. For instance, when we reply to a story just told us, with this exclamation: "Indeed!"

If the brow and voice are lowered, the case is grave and demands much consideration.

If brow and voice are elevated, the expression is usually mild, amiable and affectionate.

If the voice is raised and the brow lowered, the form is doubtful and suspicious. With the brow concentric, the hand is repellent.

Both brow and hand concentric denote repulsion or retention; this is always the case with a door.

Both brow and hand eccentric mean inspiration, or allowing departure without concern.

There is homogeneity between the face, the eyebrow and the hand.

The degree and nature of the emotion must be shown in the face, otherwise there will be only grimace.

The hand is simply another expression of the face. The face gives the hand its significance. Hand movements without facial expression would be purely automatic. The face has the first word, the hand completes the sense. There are eighty-one movements of the hand impossible to the face; hence, without the hand, the face cannot express everything. The hand is the detailed explanation of what the face has sought to say.

There are expressions of the hand consonant with the facial traits, and others dissonant: this is the beautiful.

The weak hand and the strong face are the sign of impotence.

The weak hand and the strong face are the sign of perfidy.

The tones of the voice vary according to the expression of the face. The face must speak, it must have charm.

In laughing, the face is eccentric; a sombre face is concentric.

The face is the mirror of the soul because it is the most impressionable agent, and consequently the most faithful in rendering the impressions of the soul.

Not only may momentary emotions be read in the expression of the features, but by an inspection of the conformation of the face, the aptitude, thoughts, character and individual temperament may be determined.

The difference in faces comes from difference in the configuration of profiles.

There are three primitive and characteristic profiles, of which all others are only derivations or shades. There is the upright, the concave and the convex profile. Each of these genera must produce three species, and this gives again the accord of nine.

These different species arise from the direction of the angles, as also from the position of the lips and nose.

Uprightness responds to the perpendicular profile; chastity, to the concave; sensualism, to the convex.

Let it be understood that we derogate in no way from the liberty of the man who remains always master of his will, his emotions and his inclinations.

A criterion of the face is indispensable to the intelligent physiognomist, and as the lips and nose have much to do with the expression of the face, we offer an unerring diagnosis in the three following charts:

Here the profile of the lower lip indicates the genus, and the profile of the upper lip belongs to the species.

For surety of diagnosis the lips must be taken in unison with the nose and forehead, as may be seen in the following chart.

Chapter VI.
Of the Torso.

The torso includes the chest, and shares the shoulder movements with the arms.

The Chest.--There are three chest attitudes, eccentric, concentric and normal.

1. If the chest is greatly dilated, this is the eccentric state--the military attitude, the sign of energy.

2. The normal, when the chest is in a state more homogeneous, less contentious, more sympathetic, as in the statue of Antinous.

3. The concentric, when the chest is hollow, with the shoulders elevated and inclining forward.

The convex eccentric chest is the sign of the agent, or of him who gives.

The convex concentric chest or the pathetic, is the sign of the sufferer, or of him who receives.

The chest drawn in with the shoulders elevated, is the expression of the sublime.

From these three positions, the eccentric, the concentric and the normal, are derived nine degrees or species. Thus in each of these genera, the torso is inclined toward the speaker, or away from him, hence we have three times three, or nine, or the triple accord.

The chest need not be lowered; it is here that all the energy concentrates.

The Shoulders.--Every sensitive, agreeable or painful form is expressed by an elevation of the shoulders. The shoulders are the thermometer of the sensitive and passional life. If a man's shoulders are raised very decidedly, we may know that he is decidedly impressed.

The head tells us whether this impression is joyous or sorrowful. Then the species belongs to the head, and the genus to the shoulder.

If the shoulder indicates thirty degrees, the head must say whether it is warmth or coldness. The face will specify the nature of the sorrow or joy whose value the shoulders have determined.

The shoulder is one of the great powers of the orator.

By a simple movement of the shoulder, he can make infinitely more impression than with all the outward gestures which are almost always theatrical, and not of a convincing sort.

The shoulder, we have said, is the thermometer of emotion and of love. The movement is neutral and suited to joy as well as to sorrow; the eyes and mouth are present to specify it.

The shoulder, like all the agents, has three and hence nine distinct phases.

The torso is divided into three parts: the thoracic, the epigastric and abdominal.

We shall state farther on, the rôle of these three important centres.

Liars do not elevate their shoulders to the required degree, hence the truth or falsity of a sentiment may be known.

Raphael has forgotten this principle in his "Moses Smiting the Rock." None of his figures, although joyous, elevate the shoulder.

Chapter VII.
Of The Limbs.

The limbs hold an important place in oratorical action.

The study of the role of the arms and limbs therefore deserves serious attention.

The Arms.

In the arms we distinguish the deltoid or shoulder movement, the inflection of the fore-arm, the elbow, the wrist, the hand and the fingers.

Inflections of the Fore-Arm.

We have treated of what concerns the shoulder in the chapter upon the torso.

The arm has three movements: an upward and downward vertical movement, and a horizontal one.

These movements derive their significance from the different angles formed by the fore-arm in relation to the arm. Let us first represent these different angles, and then we will explain the chart.

All these different angles have their meaning, their absolute significance in affirmation.

The movement at the right angle signifies: To be.

Lower: Perhaps.

Lower still: I doubt if it is so.

Lower: It is improbable.

Lower: It is not.

Lower: It is not possible.

Ascending: This is proven, I have the proof in my hand.

Higher: This is superlatively beautiful.

Higher: It is enchantingly beautiful.

The degree of certainty in the affirmation varies with, the angle which the fore-arm forms with the arm.

All these modes of affirmation may be applied to negation. For example:

"It is impossible that this should not be. This cannot be."

Thus all states of being, all forms of affirmation, belong to the acuteness or opening of an angle.

The hanging arm signifies depression. The two arms should never extend the same way. If they follow each other, one should be more advanced than the other. Never allow parallelism. The elementary gestures of the arms are represented in the foregoing chart.

Of the Elbow.

The elbow has nine movements, three primitive, as genera, and nine derivative, as species. There are the forward and backward movements of the normal state. There are three degrees of height, and finally the forward and backward movements of extension.

The elbow movements are relational. The epicondyle is called the eye of the arm.

Man slightly moves the torso, then the shoulder, and finally the elbow.

Among persons who would fain crush others, there is an elbow movement which seems to say, "I annihilate thee, I am above thee."

The elbow turned outward signifies strength, power, audacity, domination, arrogance, abruptness, activity, abundance. The elbow drawn inward, signifies impotence, fear, subordination, humility, passiveness, poverty of spirit.

Modest people have a slight outward movement of the elbow. The humble make an inward movement. The elbow thrust forward or backward, indicates a yielding character.

These movements should not be taken alone; they must be verified by the torso and the head. The shoulder characterizes the expression of the elbow movements, just as the elbow verifies marked exaltation, by the elevation of the shoulder.

It is by these little things that we determine millions of movements and their meaning. We finally determine and class precisely five million movements of the different agents of the arm. This would seem enormous; but it is nothing at all; it is childlike simplicity. The elements being known, the process is always the same. Hence the advantage of possessing a criterion. With this criterion, we have everything. If we possess nine, we possess twenty millions, which are no more than nine.

Of the Wrist.

The wrist is a directing instrument for the forearm and the hand.

The wrist has its three movements.

It is eccentric when the extensor muscles are in motion.

It is normal in the horizontal position.

It is concentric when the flexor muscles are in action.

In the concentric position the wrist is in pronation, for the thumb is turned downward; this is the sign of a powerful will, because the pronator muscles have more power than the flexors.

In the eccentric position the wrist is in supination; that is, the back of the hand is downward; this is the sign of impotence.

The wrist has also forward and backward movements, either in pronation, in supination, or the normal state. Thus there are nine phases for the wrist.

It is through the aid of the wrist that the aspects of the hand, placed upon the cube, receive, as we shall see, their precise signification.

The orator needs great suppleness in wrist movements to give grace to the phases of the hand.

Of the Hand.

Man is perforce painter, poet, inspired dreamer or mystic, and scientist.

He is a painter, to reveal the phenomena of the sensitive life; a poet, to admire the mysteries of grace; a scientist, to make known the conceptions of the mind. Thus the hand has three presentations, neither more nor less, to render that which passes in man in the sensitive, moral or intellectual state.

Let us now examine the three presentations of an open hand: its palmar, dorsal and digital aspect.

The same thing may be expressed by these three presentations, but with shades of difference in the meaning.

If we say that a thing is admirable, with the palms upward, it is to describe it perfectly. This is the demonstrative aspect.

If we say the same thing, displaying the back of the hand, it is with the sentiment of impotence. We have an idea of the thing, but it is so beautiful we cannot express it. This is the mystic aspect.

If we present the digital extremity, it is as if we said: "I have seen, I have weighed, I have numbered the thing, I understand it from certain knowledge; it is admirable, and I declare it so." These are the three aspects: the palmar, dorsal and digital.

Each of these attitudes of the hand may be presented under three forms: the eccentric, normal and concentric.

Each of these forms as genera, produces three species; this gives the hand nine intrinsic attitudes, whose neutral signification will be specified and determined by the presentation of the hand upon the cube.

Let us first take the normal state as genus, and we shall have the normal hand as species in the normal genus. This will then be the normo-normal attitude.

By presenting the hand in pronation or supination horizontally, without spreading or folding the fingers, we shall have that attitude which signifies abandon.

Let us now take the eccentric species, still in the normal genus.

Raise the hand somewhat with a slight parting of the fingers, and we have the eccentro-normal hand, which signifies expansion.

Finally, let us consider the concentric species, still in the normal state.

Present the hand lifeless and you have the concentro-normal attitude, which signifies prostration.

Let us pass on to the concentric genus.

By closing the fingers with the thumb inward upon the middle one, we shall have the normo-concentric hand, which signifies the tonic or power.

To close the hand and place the thumb outside upon the index finger, signifies conflict. This is the concentro-concentric hand.

To bend the first joint with the fingers somewhat apart, indicates the eccentro-concentric hand. This is the convulsive state.

Let us pass on to the eccentric genus.

The fingers somewhat spread, denote the normo-eccentric hand. This is exaltation.

To spread the fingers and fold them to the second joint, indicates the concentro-concentric hand. This is retraction.

To spread the fingers as much as possible, gives the eccentro-eccentric hand. This is exasperation.

In the subjoined charts we can see an illustration of the different attitudes of the hand.

Recapitulation.

II	{	2	{	Concentro-concentric.	Conflict.
		3		Normo-concentric.	Tonic or power.
		1		Eccentro-concentric.	Convulsive.
III		2	{	Concentro-normal.	Prostration.
		3		Normo-normal.	Abandon.
		1		Eccentro-normal.	Expansion.
I		2	{	Concentro-eccentric	Retraction.
		3		Normo-eccentric.	Exaltation.
		1		Eccentro-ececntric.	Exasperation.

The nine primitive forms of the hand are, as is seen, undetermined.

The hand is raised. Why? For what purpose? The presentation of the hand upon the surfaces of the cube will decide and specify.

By this presentation the nine movements of the hand correspond with the expressive movements of the arm.

Take any cube whatever,--a book, a snuff-box, or rather cast your eyes upon the foregoing chart, and examine it carefully.

There are three directions in the cube: horizontal, vertical and transverse. Hence there are six faces, anterior, superior, inferior, interno-lateral and externo-lateral.

Of what use are angles and faces? All this is necessary for those who would know the reason of the sentiments expressed by the hand. There are twenty-seven sorts of affirmation. We give nine of them with the six faces of the cube.

The Digital Face.

To place the hand, whether eccentric, concentric or normal, upon the upper face of the cube, is to hold, to protect, to control; it is to say: "I hold this under my protection."

To place the hand upon the external side-face of the cube, signifies to belong; it says: "All this belongs to me." It is the affirmation of the man who knows, who has had the thing in dispute under his own eyes, who has measured it, examined it in all its aspects. It is the affirmation of the connoisseur.

To apply the hand to the inner side of the face is to let go. Here is the sense of this affirmation: "You may say whatever you will, but I affirm in spite of every observation, in spite of all objection; I affirm whether or no."

The Back Face.

There are three ways of touching the front face of the cube with the hand.

A.--To touch it with the end of the fingers upward and the thumb inward, is to obtain: "I have obtained great benefits, I do not know how to express my gratitude." Or rather: "I keep the object for myself; I do not care to let it be seen." This is the mystic face. Or yet again: "I contemplate."

B.--To place the hand horizontally on the same face of the cube, is to restrain, or bound. "Go no farther, if you please; all this belongs to me."

C.--To place the hand upon the same anterior face of the cube, but with the extremities of the fingers vertically downward, means to retain. It says: "I reserve this for myself." Here, then, are three aspects for the anterior face of the cube.

The Palmar Face.

A.--To place the lower face of the cube in the hand, is to sustain. It is to say: "I will sustain you in misfortune."

B.--To apply as much as possible the palm upon the same posterior face of the cube, with the fingers downward, is to maintain: "I maintain what I have said."

C.--To apply the hand upon the same face with the extremities of the fingers upward, is to contain, is to show the object--it is to disclose: "I affirm; you cannot doubt me; I open my heart; behold me!"

There are, then, nine affirmations, which are explained by a mere view of the cube and its faces.

The twelve edges of the cube give a double affirmation; the angles, a triple affirmation. Example for the edges: To place the hand on the back edge, means: "I protect and I demonstrate."

There are three movements or inflections of the hand which must be pointed out: to hover, to insinuate, to envelop.

The three rhythmic actions of the hand must not be passed over in silence: to incline, to fall, to be precipitated.

The aspects of the hands would be simply telegraphic movements, were it not for the inflections of the voice, and, above all, the expression of the eyes. The expressions of the hand correspond to the voice. The hands are the last thing demanded in a gesture; but they must not remain motionless, as (if they were stiff, for instance) they might say more than was necessary.

The hands are clasped in adoration, for it seems as if we held the thing we love, that we desire.

The rubbing of the hands denotes joy, or an eager thirst for action; in the absence of anything else to caress, we take the hand, we communicate our joy to it.

There is a difference between the caress and the rubbing of the hands.

In the caress, the hand extends eagerly, and passes lightly, undulatingly, for fear of harming. There is an elevation of the shoulders.

The hand is an additional expression of the face. The movement must begin with the face, the hand only completes and interprets the facial expression. The head and hand cannot act simultaneously to express the same sentiment. One could not say no with head and hands at the same time. The head commands and precedes the movement of the hand.

The eyes, and not the head, may be parallel with the hand and the other agents.

The hand with its palm upward may be caressing, if there is an elevation of the eyebrow; repellent with the eyebrow concentric.

The waving hand may have much sense, according to the expression of the face.

The eye is the essential agent, the hand is only the reverberatory agent; hence it must show less energy than the eye.

Of the Fingers.

Each finger has its separate function, but it is exclusive of the great expressions which constitute the accords of nine. These are interesting facts, but they do not spring naturally from the fountain of gesture. They are more intellectual than moral.

In a synthetic action all the fingers converge. A very energetic will is expressed by the clenched fist.

In dealing with a fact in detail, as we say: "Remark this well," all the fingers open to bid us concern ourselves only with the part in dispute. This is analysis; it is not moral, it is intellectual.

If we speak of condensation we close the hand. If we have to do with a granulated object, we test it with the thumb and index finger.

If it is carneous, we touch it with the thumb and middle finger.

If the object is fluid, delicate, impressionable, we express it by the third finger.

If it is pulverized, we touch it with the little finger.

We change the finger as the body is solid, humid, delicate, or powdery.

The orator who uses the fingers in gesticulation, gives proof of great delicacy of mind.

Of the Legs.

The legs have nine positions which we call base attitudes.

We shall give a detailed description, summing up in a chart of the criterion of the legs at the end of this section.

First Attitude.--This consists in the equal balance of the body upon its two legs. It is that of a child posed upon its feet, neither of which extends farther than the other. This attitude is normal, and is the sign of weakness, of respect; for respect is a sort of weakness for the person we address. It also characterizes infancy, decay.

Second Attitude.--In this attitude the strong leg is backward, the free one forward. This is the attitude of reflection, of concentration, of the strong man. It indicates the absence of passions, or of concentred passions. It has something of intelligence;

it is neither the position of the child nor of the uncultured man. It indicates calmness, strength, independence, which are signs of intelligence. It is the concentric state.

Third Attitude.--Here the strong leg is forward, the free leg backward. This is the type of vehemence. It is the eccentric attitude.

The orator who would appear passive, that is, as experiencing some emotion, or submitting to some action, must have a backward pose as in figure 2.

If, on the contrary, he would communicate to his audience the expression of his will or of his own thought, he must have a forward poise as in figure 3.

Fourth Attitude.--Here the strong leg is behind, as in the second attitude, but far more apart from the other and more inflected.

This is very nearly the attitude of the fencing master, except the position of the foot, which is straight instead of being turned outward.

This is a sign of the weakness which follows vehemence.

Natural weakness is portrayed in figure 1; sudden weakness in figure 4.

Fifth Attitude.--This is necessitated by the inclination of the torso to one side or the other. It is

a third to one side. It is a passive attitude, preparatory to all oblique steps. It is passing or transitive, and ends all the angles formed by walking. It is in frequent use combined with the second.

Sixth Attitude.--This is one-third crossed. It is an attitude of great respect and ceremony, and is effective only in the presence of princes.

Seventh Attitude.--This is the first position, but the legs are farther apart. The free limb is turned

to one side; both limbs are strong. This denotes intoxication, the man overwhelmed with astonishment, familiarity, repose. It is a double fifth.

Eighth Attitude.--This is the second, with limbs farther apart. It is the alternative attitude. The body faces one of the two legs. It is alternative from the fact that it ends in the expression of two extreme and opposite sentiments; that is, in the third or the fourth. It serves for eccentricity with reticence, for menace and jealousy. It is the type of hesitation. It is a parade attitude. At the same time offensive and defensive, its aspect easily impresses and leaves the auditor in doubt. What is going to happen? What sentiment is going to arise from this attitude which must have its solution either in the third or fourth?

Ninth Attitude,--This is a stiff second attitude, in which the strong leg and also the free one are equally rigid. The body in this attitude bends backward; it is the sign of distrust and scorn.

The legs have one aspect. If, in the second, the strong leg advances slowly to find the other, it is the tiger about to leap upon his prey; if, on the contrary, the free leg advances softly, the vengeance is retarded.

The menace made in figure 3, with inclination of the head and agitation of the index finger, is that of a valet who wishes to play some ill turn upon his master; for with the body bent and the arm advanced, there is no intelligence. But it is ill-suited to vengeance, because that attitude should be strong and solid, with the eye making the indication better than the finger.

Chapter VIII.
Of the Semeiotic, or the Reason of Gesture.

The Types which Characterize Gesture.

The semeiotic is the science of signs, and hence the science of the form of gesture. Its object is to give the reason for the forms of gesture according to the types that characterize it, the apparatus that modifies it, and the figures that represent it.

There are three sorts of types in man: constitutional or formal, fugitive or passional, and habitual.

The constitutional type is that which we have at birth.

The passional type is that which is reproduced under the sway of passion.

The habitual types are those which, frequently reproduced, come to modify even the bones of the man, and give him a particular constitution.

Habit is a second nature, in fact, a habitual movement fashions the material and physical being in such a manner as to create a type not inborn, and which is named habitual.

To recognize constitutional types, we study the movements of the body, and the profound action which the habit of these movements exercises upon the body; and, as the type produced by these movements is in perfect analogy with the formal, constitutional types, we come through this analogy to infer constant phenomena from the passional form. Thus all the formal types are brought back to the passional types.

Passional types explain habitual types, and these last explain constitutional types. Thus, when we know the sum of movements possible to an organ, when we know the sense of it, we arrive at that semeiotic through which the reason of a form is perfectly given.

Of Gesture Relative to its Modifying Apparatus.

Every gesture places itself in relation with the subject and the object.

It is rare that a movement tending toward an object does not touch the double form. Thus, in saying that a thing is admirable, we start from a multitude of physical centres whose sense we are to determine. When this sense is known, understanding the point of departure, we understand still better that of arrival.

This division, which is not made at random, is reproduced in the subjoined diagram.

1 represents the vital expression; 2, the intellectual; 3, the moral. We divide the face into three zones: the genal,⁴ buccal, and frontal.

The expression is physical, moral and intellectual.

In the posterior section of the head we have the occipital, parietal and temporal zones. The life is in the occiput, the soul in the parietal zone, and the mind holds the temporal region near the forehead as its inalienable domicile.

The chest is divided into the thoracic centre for the mind, into the epigastric for the soul, and into the abdominal for the life.

The arm is divided into three sections: the deltoid, brachial and carpal.

This division is a rational one. Let us suppose this exclamation: "It is admirable!" Some say it starting from the shoulder, others from the chest, others from the abdominal focus. These are three very distinct modes. There is more intelligence when the movement is from the thoracic centre. This concerns the honor, the dignity.

When the movement is from the epigastrium, it is moral in a high degree. For example: "This is beautiful! It is admirable! I know not why, but this gives me pleasure!"

The movement from the abdomen indicates sensuality, good nature, and stupidity.

The movement is the same with the head. In emotion it proceeds from the chin; it is the life movement, it is instinct. That from the cheeks, indicates sentiments, the most noble affections.

Carrying the hand to the forehead indicates intelligence. Here we seek relief from embarrassment, in the other head movements we do not seek it. The one is a mental, the others are purely physical efforts. In the latter case one becomes violent and would fain give blows with his fist.

An infinite number of movements proceed from these various seats.

We have now reached the semeiotic standpoint, that of these very clear plans, the very starting point of gesture.

The articular centres of the arms are called thermometers: the wrist, that of the organic physical life; the shoulder, that of the sensitive life; and the elbow, that of the relative life.

The thumb has much expression; drawn backward it is a symbol of death, drawn forward it is the sign of life. Where there is abundance of life, the thumb stands out from the hand. If a friend promises me a service with the thumb drawn inward, he deceives. If with the thumb in the normal state, he is a submissive but not a devoted friend. He cannot be very much counted upon. If the thumb stands outward, we may rely upon his promise.

We still find life, soul and mind in each division of the body.

There are also a buccal, an occipital and an abdominal life.

The body of man, with all its active and attractive foci, with all its manifestations, may be considered an ellipse.

These well-indicated divisions may be stated in an analytic formula:

Attractive Centers.	{	Life: Occipital.	}
		Mind: Temporal.
		Soul: Parietal.
		Mind: Frontal.	}	}	Expressive centres.
		Soul: Buccal.
		Life: Genal.
		Mind: Thoracic.	}
		Soul: Epigastric.
		Life: Abdominal.
		Life: Shoulders.	}
		Soul: Elbows.
		Mind: Wrists.
		Life: Thigh.	}
		Soul: Knee.
		Mind: Foot.

This is the proper place to fix the definition of each division by some familiar illustration.

Let us take an individual in a somewhat embarrassed situation. He is a gentleman who has been overcome by wine. We see him touching the temporal bone, or the ear, as if to seek some expedient: the strategic mind is there.

Let us begin with the descending gamut, and let the hand pass over all the divisions of the attractive centres.

At the occiput: Here is an adventure! I have really had too strong a dose of them!

At the parietal bone: What a shame!

At the temporal bone: What will the people say of me?

At the forehead: Reason however tells me to pause.

At the buccal zone: How shall I dare reappear before those who have seen me in this state!

At the genal zone: But they did serve such good wine!

At the breast: Reason long ago advised temperance to me.

At the epigastrium: I have so many regrets every time I transgress!

At the abdomen: The devil! Gourmandism! I am a wretched creature!

The same illustrations may be reproduced in the rising scale.

When the parietals are touched, the idea and the sentiment are very elevated. As the foci rise, they become more exalted.

Let this be considered from another point of view. We shall reproduce gratitude by touching all the centres.

They have been centres of attraction, we shall render them points of departure.

"I thank you!" The more elevated the movements, the more nobility there is in the expression of the sentiment. The exaltation is proportional to the section indicated.

The posterior region is very interesting. There are three sorts of vertebrae: cervical, dorsal and lumbar.

This apparatus may first be considered as a lever. But taking the vertical column alone, we shall have twenty-four special and distinct keys whose action and tonality will be entirely specific. From these twenty-four vertebrae proceed the nervous plexi, all aiding a particular expression; so that the vertebral column forms the keys of the sympathetic human instrument.

If the finger is cut, there is a special emotion in one place of the vertebral column.

If the finger is crushed by the blow of a hammer, the emotion will affect a special vertebra.

The nose is one of the most complex and important agents.

There are here nine divisions to be studied. (See page 82.)

Chapter IX.
Of Gesture in Relation to the Figures which Represent It.

Gesture through its inflections may reproduce all the figures of geometry. We shall confine ourselves to a description of the primary and most usual imitative inflections.

These inflections comprise three sorts of movements affected by each gesture, which usually unite and constitute a synthetic form. These three movements agree with the three primary actions which characterize the manifestations of the soul, the mind and the life. These are direct, circular and oblique inflections.

The flexor movements are direct, the rotary movements circular, the abductory movements oblique. The sum of these movements constitutes nine co-essential terms, whose union forms the accord of nine.

There are rising, falling and medium inflections.

Gesture does everything that the voice does in rising. Hence there is great affinity between the voice and the arms. Vocal inflection is like the gestures of the blind; in fact, with acquaintance, one may know the nature of the gesture from the sound of the voice.

We exalt people by a circle. We say that a thing is beautiful, noble, grand--making circles which grew higher and broader as the object is more elevated.

We choose the circle for exalting and caressing, because the circle is the most agreeable form to touch and to caress. For example, an ivory ball.

This form applies to all that is great.

For God there is no circle, there can be none. But we outline a portion of an immense circle, of which we can touch but one point. We indicate only the inner periphery of a circle it is impossible to finish, and then retrace our steps.

When the circle is made small, we make it with one, two, three or four fingers, with the hand, with the arm. If the circle is vast as can be made with the arms, it is homogeneous.

But a small circle made with the arm will express stupidity. Thus we say of a witty man: "This is a witty man," employing the fingers.

Stupidity wishing to simulate this, would make a broad movement.

Let us take the fable of Captain Renard as an example of this view of the circle.

I depict the cunning nature of this captain with my fingers. Without this he would not be a captain; but at most a corporal.

--"He went in company
With his friend He-Goat of the branching horns.
The one could see no farther than his nose;
The other was past master in deceit."

As they go along, the fox relates all his exploits to the goat, and the goat surprised, and wishing an end of the recital, sees fit to make a gesture, as he says:

"I admire people full of sense like you."

In making the small circle, he employs not only the fingers, but the arm, the shoulder, the whole body. He is an imbecile. He wastes too much effort in making a small circle.

Let us take a situation from an opera. When Robert enters and sees Isabella, he says of her:

"This peaceful sleep, this lull of every sense,
Lends a yet sweeter charm to this young face."

The gesture is in the form of a geometrical figure.

In another place, Robert says:

"Thy voice, proud beauty, few can understand."

Here a spheroidal and then a rectangular movement must be made. We close the door. "Her voice will be understood by me, alone." He might say: "Thy voice, proud beauty, will not be understood. It will be elevated for me, and not for others."

Every sentiment has its form, its plastic expression, and as its form is more or less elaborated, we may judge of the elevation of the speaker's thought. If we could stereotype gesture, we might say: "This one has the more elevated heart, that one the least elevated; this one in the matter, that one in the spirit of his discourse."

All gestures may be very well delineated. An orator gesticulating before the public, resembles a painter who pencils outlines and designs upon a wall.

This reproduction of the figures of gesture is called Chorography. We give in the subjoined chart some types of gesture. These are a few flowers culled from a rich garden.

To express sensual grace the gesture takes the downward spheroidal form. The virtuous form would be upward.

If we wish to express many attractive things, we make many spheroidal gestures.

What is called the culminating point of the gesture, must not be forgotten. This is a ring in the form of the last stroke of the German letter D, which is made by a quick, electric movement of the wrist.

We refer the student to the close of the volume, for a model of exercises comprising a series of gestures which express the most eloquent sentiments of the human heart.

This exercise in gesture has two advantages: it presents all the interest of the most fascinating drama, and is the best means of gaining suppleness by accustoming ourselves to the laws of gesture.

The vertical line 1 expresses affirmation. The horizontal line 2 expresses negation. The oblique line 3 rejects despicable things. The oblique line 4 rejects things which oppress us, of which we would be freed.

5. The quarter-circle, whose form recalls that of the hammock, expresses well-being, happiness, confidence.

6. The curvilinear eccentric quarter-circle expresses secrecy, silence, possession, domination, stability, imposition, inclusion.

7. The curvilinear outside quarter-circle expresses things slender, delicate (in two ways); the downward movement expresses moral and intellectual delicacy.

8. The outside quarter-circle expresses exuberance, plenitude, amplitude, generosity.

9. The circle which surrounds and embraces, characterizes glorification and exaltation.