3. Energy of Gesture.This consists in the firmness and decision of the whole action: and in the support which the voice receives from the precision of the stroke of the gesture which aids its emphasis.

The opposite imperfections are feebleness and indecision.

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

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

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

The opposite imperfection is affectation.

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

The opposite imperfections are awkwardness, vulgarity, and rusticity.

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

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

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

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

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

Of the Significancy of Gesture.

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

The Head and Face.

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

The holding it up, pride or courage,

The nod forward implies assent.

To toss the head back, dissent.

cious use of the gestures best suited

stat to express the sentiment. Appropriate gestures are generally founded in some natura comection ci me sentiment with the gesture; significa gestures art strictly connected with the sentiments.

The opposite imperfections are false. contradict ry, or unsuitable gestures; such as produce CIST in gesture.

8. Precision of Gesture, or correcties -Ares from the just preparation, the que forze, and the corect timing of the action: wher the preparation s neither too much abridged and art. no for TICOLE ly displayed; when the stroke of the gestures mater with such a degree of force as suis the character ant sentiment of the speaker: ani vier s marked on the prese slanie

cision of gesture gives the same effe

neatness of articulation gives a speci

The opposite imperfectos az MS101.

tainty, and incorrectes, ascY TO

ing gestures, which, far from ung Te

bious the sense of the sentimen

pany, and distract the spectator.

The inclination of the head implies bashfulness or langour.

The head averted is dislike or horror.

It leans forward in attention.

The Eyes.

The eyes are raised in prayer.

They weep in sorrow.

They burn in anger.

They are downcast or averted in shame.

They are cast on vacancy in thought.

They are thrown into different directions in doubt and anxiety.

The Arms.

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

The Hands.

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

On the lips, injunction of silence.

On the breast, it appeals to conscience, or intimates

desire.

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

Both descend prone in blessing.

They are clasped or wrung in affliction.

They are held forward and received in friendship.

The Body.

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