forms of the closing gesture, as made downward, upward, or about the body, see § 175. 173. When one's intellect is uppermost, when he is analyzing, selecting and pointing out what he sees and knows, rather than what he feels or wills, and always when he is not moved by sufficient depth of sentiment or determination to be anything but playful, he uses his finger. a. The Finger gesture, therefore, represents that which is analytical in its character, addressing the intellect, and directing attention, whether by way of emphasis or description, to individual persons, objects or arguments. b. When one's will is uppermost, when he has determination and fight in him, and is addressing neither the sympathies nor the intellect but rather forcing the wills of those about him, he doubles up his fist. c. The Fist gesture, therefore, represents that which is forcible in its character, addressing itself to the will and the activities; when used descriptively, it represents that which can grasp, confine or control. d. The Fist and Finger gestures are sometimes combined, the thumb folded upon the three clasped fingers. This represents one's determination with reference to some individual person or object. 174. Double Gestures, made with both hands, increase the degree, not the kind, of emphasis that would be given by the same gesture if made with one hand. a. An Opening Gesture, made with one hand at one side, at the same time as a Closing Gesture at the other side, indicates that the mind conceives of a subject both in its possibilities of free expansion (the Opening Gesture) and of limitation (the Closing Gesture). b. When from this position the two hands are brought in front, with the fingers of the palm that is down (Closing) striking the palm that is up (Opening), it simply gives additional emphasis to this idea: that the mind is conceiving of a subject as completely under its grasp (§§ 171, 172,) from beginning to end, where activity begins and where it stops. c. The two hands together, with the fingers straight and palms touching, indicate a conscious (otherwise the hands would remain at the sides) restraining of the tendency to enforce one's own views by appealing to others (the Opening position), and this either because the time has not come for enforcement, as when held below at the beginning of a speech, or because it would be of no avail as referring to something above one's control, as when held above, in supplication. d. The two hands together, with the fingers straight and clasped, but the palms down (Closing position), add to the same indication a suggestion of independence. They show that the man does not care about enforcing his views; that he will hold them irrespective of the influence of others, which influence he is willing to close out. e. The two hands with the fingers folded and clasped, palms together, indicate something rigidly (clasp) restraining the tendency to enforce one's own views when appealing (Opening position). The restraint may come from the man himself, from his own feelings (nerves), thoughts or will, as when the hands are held below; or from something outside or above himself, as when held in front or above the head in violent supplication. - The general principles determining the significance of the different kinds of objective gestures described in these pages -not to the extent that might be possible, but sufficiently to answer all the requirements of ordinary oratory-have never been explained, as is believed, in the same way as in the present work; but it is simply a matter of justice to state that the gesture movements treated in the sections following page 136, which, in substance, have been taught for several years by the author and also by his pupils, were at first derived (how fully the author himself cannot now determine) from a portion of the very ingenious and successful methods, which it is hoped will at some time be published, originally taught in the University of Pennsylvania, by Professor S. M. Cleveland. NOTE. The chart on the next two pages (134-5), which unfolds further the foregoing principles, should be read across the pages as well as up and down them. In it, everything that is said of any one arrangement of the hands is placed in the same column; and everything that is said of any one direction or position of the arms is placed in paragraphs which in the different columns occupy the same part of the pages. The black letters (1 o or o etc.) indicate the forms of the gestures which will be found represented in the cuts on pages 137, 139 and 141. 175. Chart showing the significance of the Gestures. ARM POSITIONS. a. Low Gesture, marked 1., would refer to a path under one's point of view; assert a belief conceived to be un der (or within) one's comprehension; or enforce an obligation on those conceived to be under one's influence. OPENING GESTURES. 1. O. or 0. submits anything as an open O. They should be banished; h. O. Opens the mind to influences from above, or refers to any conceived of as grandly beneficial, liberalizing or inspiring; i. e. O. FINGER. 1. O. F. or 1. F. Intellectu al, analytical form; appeals to others by opening up specific divi sions or as pects of a subject; e. g. Is there one man? h. O. F. points or calls attention (sometimes with a wave b. High Gesture, marked h., would refer to a mountain top above one's own position; would be used with an exclamation of to sunshine, freedom or God as movement, wonder in thinking a father. Employed in the like beckonof something above benediction or a prayer, it solicone's comprehension its inspiring grace; expresses or of fear of some- confidence in God and a desire thing above his con- to receive what he has to imtrol. part. c. Wave Gesture, marked w., so called because, in preparing for it, the hand necessarily makes a wave-like, horizontal movement; would refer to a real object before, beside or behind (i. e. remote from) the speaker (marked f., s. or bk.), or to an object of consideration, as a present, side or past issue. The broader the scope of the object considered, the higher and wider do the arms and the hands move. w. O. at breast level; 1. w. O. at hip level; f. O., bk. O., s. O., ending like a simple O. gesture. It appeals to those surrounding one, especially in questioning, inviting and welcoming; with the hand moving forward it expresses confidence, refers to friends; moving inward, or held in front of breast (with knuckles out) it expresses self-devotion, surrender, modesty, etc. Descriptively, it refers to a smiling landscape, or anything not too accurately delineated, in connection with which there is a sense of freedom or pleasure. To shrug the shoulders and open the palms, represents that one has no accurately defined view of that to which he refers. ing) to specific beneficial aspirations or influences from above. W. O. F. to s., br., etc. Waved from the side or front toward some specific person or thing, and drawn back in the act of beckoning. Sometimes used to point to one's self. A combination of the side O. F. with the fist, stigmatizes that to which it points; or it maythreaten. Willful, 1. C. or C. C FIST. O. FIST. CLOSING GESTURES. C. FINGER. 1.0.Ft., 0. Ft. or Ft. Willful, or forcible, form; appeals with a will; e. g. Were they to do it, we ought to use force with them. closes out spe cific divisions or aspects of a subject; e. g. ually(with a wave movement) descriptive. C. F. Emotional, sympathetic form; closes out appeal or Intellectu- forcible; debate with a self-assert- al, analytical shuts off apive, dictative disregard of form of the peal with a opposition. Descriptively, C. gesture; will, and usit represents the manner of closing or limiting; e. g. C. They should be banished; i.e. I think, irrespective of your opinion, that they should be pushed off, as I push my hand from me. h. C. h. O. Ft. threatens Closes the mind to influwith force ences from above, to be greater guarded against; or refers than one's to any conceived of as, in own. Mov- themselves, overwhelming ing up or or irresistible; i. e. to down, it de- storms, avalanches, fate, scribes forc- laws of universe, God as a ible pushing force. Descriptively, it deup or tear- lineates outlines of objects ing down. above one. Used in the It is often benediction, it imparts conused thus. straining grace. w.O.Ft. w. C. at breast level; or shak- 1. w. C. at hip level; f. en. Shaken C., bk. C., etc. Ending at some per- like a simple C. gesture, it son or thing shuts off appeal, repressing in the act or repelling those about. of threaten- With the hand moving ing. Some- outward, it expresses oppotimes is used sition, aversion, rejection, descriptive disdain, and refers to foes; ly to repre- moving inward, or held in sent what is front of breast, it wards or clasped or protects self, shows selfheld, either consideration or self-asserin enmity or tion. Descriptively, it is the friendship, most appropriate gesture in pain or in by which to delineate outpleasure, in lines of any kind, but refers resolute de- especially to anything imtermination peded in itself, or appearing or weakness. threatening or lowering. the limit. h. C. F. or ĺ could tear it to tatters. h. C. Ft. The usual refers to, or high F. ges- describes, ture by which something one points to above, forcspecific ob- ibly held; jects describ- or, if an obed; or refers stacle, torn to influences down, reprethat can con- sented by trol or may the downinjure one. ward moveThe warning ment of the gesture. hands. C. F. or F. w. C. Ft. at s., on br., Mainly used etc. The or- in referring dinary finger to, or degesture,by us- scribing, ing which, in anything reference or forcibly description, a held or reman points to moved; e.g. surrounding in telling of objects or to the reins of himself. Held a supposed up and out span of in front, and horses when shaken, playfully warns. Pointing to the breast refers to obligation, heart, love, soul, etc. describing a ride; or the rending of a curtain which one is supposed to tear. FORMS OF THE OPENING GESTURES. Preparatory Movements. 176. Perpendicular, i. e. straight up and down. Starting with hand in normal position when dropped at side, do following things successively: Bend fingers toward palm; turn palm toward audience; bend wrist toward elbow; bend elbow toward shoulder; lift arm from shoulder and return it to where the elbow will be in position for the end of the gesture; bend elbow to bring forearm into position for the stroke of the gesture; then bend down wrist, at same time throwing out thumb and fingers. In this way the backs of fingers, which in opening gestures give the visible blow, seem to strike from the greatest possible distance. Horizontal or Wave, i. e. a circular or straight movement across the body; often used for grace or variety with 1. O., h. O., front O., back O., s. O., and always with W. O. Starting with hand in normal position when dropped at side, with palm toward body, bend fingers toward palm; bend elbow, bringing forearm and hand, with fingers curled, across the body; then, if making a simple gesture, move to the position for the stroke of the gesture, first, elbow, then forearm, and last, wrist, thumb and fingers; but if making a wave gesture, after bringing hand as high and far one side of shoulder as the stroke of gesture is to carry it the other side, first, while in front of body, throw wrist, thumb and fingers into position, then more End of Gesture. 177. To answer requirements of beauty, the elbow, wrist and fingers, at end of gesture, should together form a compound curve, not a simple curve nor a straight line. of To answer requirements strength, the muscles of elbow, wrist and fingers, forming this compound curve, should be tense, not limp, and seem to have struck a strong blow with backs of fingers. Low Opening, 1. O. Elbow very slightly bent, about four inches to one side, and also in front of hip; wrist well down, with palm visible to audience; thumb up and out from palm, but not held stiffly; fingers almost touching each other, the first pointing to the floor, the others very slightly curled. Low O. Finger, 1. O. F. or 1. F., usually 1. f. F. Finger, elbow and wrist bent as in 1. O.; the first finger pointing straight to floor, with its side to audience; the other fingers curled as much as possible, with the thumb bent in at all its joints and folded over the curled fingers. Low O. Fist, 1. O. Ft. Elbow bent as in 1. O.; wrist bent toward elbow, thumb and fingers clasped and knuckles up. Do not make a weak fist. High Opening, h. O. Elbow bent and wrist weli down, as in 1. O.; the first finger pointing horizontally; the backs of the others on a line level with it, striking the air below them; but the thumb held up so the palm will be visible to audience. High O. Finger, h. O. F. Elbow more bent, the forefinger pointing straight up, the others curled firmly against the palm, the knuckles to audience and the thumb out. High O. Fist, h. O. Ft. Same as h. O. F., with the first finger and thumb bent in at every joint. (Continued on page 138.) |