GESTURE AND FACIAL EXPRESSION

There is a language of the emotions as well as a language of ideas. In order properly to express feeling there must be not only tones of the voice, but appropriate gesture and facial expression.

In describing a gesture the arm should be moved in curves rather than in straight lines. A straight-line gesture is seldom used, and then only for great emphasis. The fingers should not be held together as if made in one piece, but gracefully curved, as may be observed in fine statuary.

It is well to bear in mind that "movements generally should proceed from the superior part-that is, from the shoulder, not the elbow; from the thigh, not the knee; from the knuckles, not the finger joint; otherwise the movements will be angular and ungraceful."

The correct standing position in reading or speaking is with one foot slightly in advance of the other, at an angle of about forty-five degrees, and the toes turned a little outward. The body should be easily erect, the head well poised, the expression of the face pleasant, and the entire appearance that of one at ease. In changing the position of the feet the movements should be made with simplicity. It is not well to change about too often, and extreme movements, such as stamping the foot, throwing back the head, shrugging the shoulders, and other energetic motions, should be used sparingly if at all.

One of the best exercises for developing ease and grace in gesture-it might be called "the art of gesture in a nut

shell" is to practise a movement describing a figure eight. Note the following illustrations:

Begin with the right hand, palm upward, elbow close to side, and describe a figure eight from the wrist only.

Gradually enlarge the figure eight, by bringing the movement less from the wrist and more from the elbow.

Continue to enlarge the figure eight, gradually bringing the movement less from the wrist and elbow, and more from the shoulder. The exercise should end with a broad, sweeping movement from the shoulder.

Next repeat the exercise with the left hand, and finally with both hands together. It is helpful at first to practise this figure eight before a looking-glass, in order to check awkwardness or superfluous movements of the body.

The following diagram will perhaps make the complete exercise more clear:

GENERAL SUGGESTIONS

READING AND ACTION

Read in the same manner you would do were the matter your own original sentiments uttered directly from the heart. Action should not be used in ordinary reading. In reading impassioned language where the reader, for the time, is in the place of the author, or in reading from a manuscript address, as a sermon, speech, etc., action may be used, but it must be impulsive. In these cases, the eyes should occasionally be directed from the words to the audience. If the book be held, it should be in the left hand, a few inches from the body, and as high as the center of the breast, the face being nearly perpendicular. It should not, however, be held so high as to prevent the hearer from seeing the reader's mouth, as the voice would thereby be more or less obstructed, and the expression of the features partly concealed. The fingers of the right hand may hold the margin of the book lightly, so as to be ready to turn over the leaves; or they may be placed just below the line the reader is pronouncing, to aid him in keeping his place.-SMITH.

IMPORTANCE OF TRAINING

Men who are seriously affected, and express their feelings in public according to their natural impression, if previously uninstructed, may in some measure be ungraceful; but, when so much in earnest as to cease to think of appearances, or of anything but the accomplishment of their particular object, they never fail to be energetic and impressive in proportion to their sincerity, their good sense, and the extent of their information. It will be here observed that no comparison is made between sincerity, good sense, and information on the one hand, as opposed to grace on the other; the influence of the truth, however presented, it is hoped will always be victorious in every wise assembly. But it may not be amiss above all other ornaments to present truth by the simple grace and dignity which so much become it, and so admirably suit its character. And the ob

servation goes only so far as to show that nothing less than the irresistible force of sincerity and fact can bear out a public speaker when divested of grace, the proper garb and ornament of truth. A silly fellow, however capable of imitating a graceful manner, can never be an impressive speaker; his attempts degenerate into vapid affectation, and impose only on the weak and ignorant; yet, as such descriptions of people make no inconsiderable portion of a popular audience, the affected graces of a fluent coxcomb will not be altogether disregarded. Such is the influence of the exterior in oratory. But genuine oratorical grace can only be the result of refined cultivation adorning a superior understanding, or the rare gift of nature to a pure and exalted mind, exprest by the actions of a distinguished person.-AUSTIN.

POSITION OF THE FEET

Those passions which incline us to advance toward their object, as love, desire, anger and revenge, naturally cause the corresponding hand and foot to advance together with the head and body; for in this way the nearest approach is made to the object. And when passions of a contrary nature, as aversion and terror, affect us, still the corresponding hand and foot are advanced, as if the better to guard the body and head, which are thrown back. In such cases it would produce unnatural distortion to advance the contrary hand and foot. Under tranquil circumstances, as when the speaker delivers narrative, or reasons calmly, the contrary hand and foot may advance together with grace and propriety.-COMSTOCK.

USE OF THE EMOTIONS

A speaker ought to take care not to work himself up to tears; yet if they shall naturally flow, he should not use the least effort to stop them. The grimaces of a speaker who forces himself to cry are either disgustful or ridiculous; but when his tears flow spontaneously, it rarely happens that the emotions which attend them are disagreeable. The speakers who endeavor to weep never can thoroughly feel what they say; for when it is the soul that speaks, tears require no intermediate assistance to make them flow. If they are affected, the cheat is easily dis