and majestic style of action,-large in space, lofty, slow, and sweeping; in lyric verse, which is comparatively vivid, abrupt, and varied, a corresponding vividness and variety in the character of gesture; in serious dramatic pieces, a style yet more intense, graphic, and imaginative, than that of lyric composition, and yet possessing much, sometimes, of epic grandeur and dignity. Comedy and humorous lyric poety, are nearly the same in expressive style of gesture,-free, graphic, playful, and, sometimes, even mimetic, in their spirit of mirthfulness. The common faults of declamation as regards gesture, are either the omission of action, or the ceaseless recurrence of it :-sometimes they consist in feeble, confined, angular movements and positions of the arm and hand. The character of Gesture, as dependent on that of Emotion. Gesture, being the natural visible expression of emotion, may be systematically studied with as definite certainty as the artist attains in drawing or in sculpture. It is only the ignorance arising from inattention that can produce the impression which is not unfrequently uttered by persons intelligent and thoughtful on other subjects, that, although the cultivation and regulation of the voice may justly require a studious attention, the character of gesture is a spontaneous product of intuition or of instinct, and therefore does not admit of study or investigation. Were this arbitrary assumption a truth, then the world could never have possessed an historic painter or a sculptor, whose noble productions all result from the most profound and studious application to the effects of attitude and action as the genuine language of emotion. All great actors,--men whose professional business is the truthful delineation of human character, in its living and most vivid aspects,-have been the most attentive and critical observers of this department of expression, and to this faithful study of nature have owed much of their success in personation. The principal features of expressive gesture, however, do not require a long or laborious course of investigation: they are obvious to every observant eye, and need no more arduous study than merely to follow these prominent points, as they develop themselves in detail to intelligent and thoughtful ex-. amination. The characteristic attitudes and action of the principal emotions susceptible of expression, are the following: SOLEMNITY, by its natural sedateness, tends to keep the body and the hands still, but raises the head and eyes slowly. Example.-"How sweet and solemn is this midnight scene !"* ANIMATION† naturally inspires activity and gives movement to the whole body, lights up the features, and impels the limbs and arms to brisk and expressive action. [1.] [2.] Example.-"Up! let us to the fields away, -[3.] And breathe the fresh and balmy air!" [1.] An advance of attitude, and an arousing upward movement of hands and arms.-[2.] An advancing or sidelong step,arms extending forward or sidelong, parallel,- hands freely open.-[3.] Arms expanding,-attitude and hands as in [2.] AWE and REVERENCE cause a still and subdued posture, raise the hands and eyes very slowly, and hold them long still and fixed. Example.-"In winter, awful Thou!" * This and all other examples should be carefully studied, and practiced till the student becomes perfect in the attainment of entering fully and deeply into every emotion, with a genuine sympathy, and of expressing it naturally and vividly not only in tone, but in attitude and action. In the study of gesture, it is an advantage to proceed by contrasts of emotion, as best adapted to call forth feeling and imagination,—the great sources of all true and eloquent expression. Good elocution is no series of mimetic tricks; it is the cultivated expression of sincere and deep-felt emotion. The true speaker does not "put on," but takes in, and gives out the effect which moves him. ARROGANCE and PRESUMPTION, by their natural force, impel the body to motion, haughtily turning the speaker away from, or impelling him impudently up to, those whom he addresses. By their swelling self-importance, they incline to lofty, erect, and expansive attitudes. They jerk up the head, curl the lip, expand the nostrils, and give the eye the downward glance of contempt: they incline, also, to scornful action, in the form of contemptuous and repulsive waves of the hand. Example.-Malvolio, (in "Twelfth Night," elated with the idea that his noble mistress has fallen in love with him,) speaking to Sir Toby, Fabian, and Maria, "Go, hang yourselves, all! You are idle, shallow things; I am not of your element.” GRIEF enfeebles the whole mien and attitude, and, when deeply felt, is expressed in the alternate drooping and upturning of the head and eyes, and the alternate raising and dropping of the hands. Example.-"Oh! I have lost you all, Parents, and home, and friends!" Joy impels to brisk and springing movement;—when highly excited, clasps and raises the hands, or throws them up, widely apart; and, when ecstatic or exultant, waves the hand above the head. Examples." Joy, joy forever! my task is done! The gates are past, and heaven is won!" "Liberty! Freedom!-Tyranny is dead!" FEAR, when it extends no further than apprehension, timidity, or cowardice, inclines to narrow, confined, and cowering postures, and trembling motion; but, when it amounts to alarm and terror, it causes shrinking and starting, wide positions of the feet, and hurried retreating. Its feebler form, as expressed in gesture, draws in the hands, keeps them close to the body, half-turns away the head, and keeps the eyelids down: its stronger expression causes the eyes to stare, the nostrils to ex pand, the mouth to open, the head to turn rapidly, in alternate motion to and from the object of dread; the arms are projected rigidly, on a lipe level with the shoulder; the hands vertical, fingers stiffened and outspread, as if to keep off the approaching object of terror. Examples.-Timidity and Apprehension.-"I dare not take a step further. I am too near the brink already!" Cowardice." I feel my valor oozing out at the palms of my hands." Fear and Alarm.-"Ah! what is that sound that now larums his ear ?" Dread.- "Step softly, that the blind mole may not hear a footfall!" Terror." The foe! they come, they come!" COURAGE braces the whole body in every limb, and renders the posture firm, and, sometimes, defiant, or, at once, braced and expanded. It clinches the hand in resolve and determination, and straightens or projects the arm toward the invading object. False courage, or FALSE CONFIDENCE and BOASTING, exaggerates the style of true courage, assumes wide positions and a bold, swaggering gait, and adopts large, lofty, and sweeping gestures. Examples.-Genuine Courage.—" Come one, come all !— From its firm base, as soon as I!" Boasting." On level ground, I could beat forty of ye!" ANGER is expressed, in attitude, by wide positions, rapid strides towards the object of anger, and by stamping;—in action, one or both hands clinched. The expression in the features are a fierce frown, a darting eye, set teeth, and expanded nostrils. Example." And dar'st thou, then, To beard the lion in his den, The Douglas in his hall ?" INDIFFERENCE is expressed by a careless posture; — head partly averted;-arms, perhaps, folded. Example." If you did, I care not." EARNESTNESS approaches the object of attention, leans forward, extends the arms towards the attractive object. · Example.-" Speak!-I am bound to hear!" AVERSION withdraws from its object, averts the face with a frown, curls and parts the lips, expands the nostrils, and uses repellent gesture. LOATHING has the same traits more strongly marked. Example.- Aversion." I like not yon lean Cassius!" Loathing."Vipers that creep where man disdains to climb !" EAGERNESS and ARDOR Spring toward their object; head and body leaning forward; eyes widely open and sparkling ; mouth slightly open with a partial smile, nostrils moderately expanded, arms and hands reaching forward, as if to grasp an object. Example." Oh! speak again, bright angel!" HATRED and DETESTATION incline away from, and brace themselves against their object. In action, the arms are stiffened, the hands clinched. The expression in the features is that of a fierce, frowning, flashing eye; distended nostrils; set teeth; wide-parted lips, and grinning mouth; head drawn back. Examples." I hate him, for he is a Christian!" "Curs'd be my tribe, if I forgive him!" ENTREATY and SUPPLICATION reach toward the person who is addressed, and thus produce an advancing movement and an inclining or kneeling posture. In action, the arms are projected; hands wide-open or clasped. The facial expression is marked by eye-brows slightly raised, eyes glancing earnestly, nostrils expanded, mouth open, and somewhat curved downward, as in pit |