in oratory, the upper arm in colloquial gesture is barely detached from the side; and the elbow, instead of the shoulder, becomes the principal centre of motion; hence the action must be shorter and less flowing in every respect. This kind of gesture is generally used by persons who deliver either orations or lectures in a sitting posture; the arm is seldom extended altogether, and the action is made short and sharp by the hand, the fingers and wrist, with the assistance of the fore arm almost alone. Fig. 34, 35, 36. Neither is the action frequent; it takes place only on the most important passages, and during the others remains at rest; resigning to the head to mark ordinary emphasis by a moderate nod or inclination, and depending principally on the countenance, the direction of the the modulation of the voice for the general effect."."

eyes, and

Perhaps much of the characteristic difference in the styles of gesture will be found in the manner of sustaining the action, something analogous to the flight of birds, if it may be permitted

10 The Figures 34, 35, and 36, with the arm in the downward, horizontal, and elevated positions, shew the limited range of colloquial gesture compared with the bolder gestures which are exemplified in most of the other figures; and particularly in the two following, which shew the horizontal position. Fig. 37, 38. The reason of using chiefly those gestures for illustrating this work is on account of their greater precision and distinctness, and also on account of their greater difficulty of execution: if a speaker is able to execute gracefully the grand gestures, he will find no difficulty in performing the colloquial. It is easy to retrench in this respect; one of the greatest difficulties to the young speaker is the acquisition of such freedom, as to detach his elbows completely from his sides.

"The colloquial gestures are very nearly described by Cresollius, he directs them to be used in the tranquil parts of an oration.

Cum ergo erit orationis lenitas, remotis illis tragediis, et asperiori contentione, illa decebit brachii compositio, quæ normalem veluti angulum, in cubito facit demisso, elevata modice manu, et decori modestia conformata. Cresol. Vac. Aut.

to draw from thence an illustration. The transition from gesture to gesture with the arms long displayed and seldom falling to rest, is analogous to the soaring and graceful flight of certain greater birds, whose extended wings do not close for a considerable time, though they vary their movements, and change their rapidity. The flight of the hawk, and the soaring of the eagle, whose motions are both powerful and swift, and magnificiently sustained, and boldly terminated, present the image of high tragic and epic gesture; which takes place, when the actor is engaged in grand and terrific scenes, or when he recites the sublime poetry of lyric odes. The sailing and fine variety of motion, with the changing lustre of the great seafowl, is the gesture of recitation in magnificent and beautiful descriptions of nature. The orator seems to fly on the wings of the dove," rapid, strong, and light." For a time he ascends in towering elevation, but does not long hover among the clouds, he rather descends to adorn the more interesting domestic scene. The colloquial gesture in all its variety will find illustration among the different domestic birds. Some using their wings gracefully, but rarely, some seldom using them at all, and some distinguished by frequent resting after short, and rapid flight, which seems to be resorted to only as the most direct and speedy way by which they can reach their object, and is seemingly divested of all idea of pleasure or grace in the action.

From the observations made upon the different classes of gesture (Chap. XVII.), and their qualities in this chapter, we shall be able without much difficulty to determine a question which has long been agitated. That is, whether an orator can with advantage take for his models the gestures of the

theatre." The action of the theatre supplies the most perfect models, because in its highest performance, tragedy, all the

12 Mr. Engel's opinions on this subject are extremely interesting, and particularly worthy the attention of the clerical reader.

Je terminerai cette suite de remarques isolées, en y en ajoutant encore une qu'à la verité vos observations n'ont pas fait naître, mais qui, comme je m'en flatte, ne vous déplaira pas. On a demandé si l'orateur sacré pouvoit se former d'après l'acteur, et s'il lui étoit permis d'en'imiter le ton et le geste? il n'y a pas longtems même qu'on a beaucoup débattu cette question. J'y répondrai qu'il le peut et qu'il ne le peut pas, tout comme on le voudra. Il ne le peut pas, en tant que les pensées et le caractère de la plupart de rôles ne peuvent être aucunement d'accord avec les pensées et le caractere de l'orateur sacré; et secondement, parce que le drame et le sermon diffèrent trop entr'eux pour que l'action qui convient à l'un puisse être propre à l'autre. Les personnages du drame debitent des pensées qui doivent leur existence à la situation du moment; le prédicateur en communique au peuple qu'il a eu tout le loisir de classer dans sa tête : les acteurs sont dans un état d'inquiétude extérieure très-réelle, incertains, et irrésolus; ils sont agités par des idées et par des sentimens variés la tranquillité extérieure du prédicateur n'est troublée d'aucune manière; occupé d'un seul objet, il n'a aussi qu'un seul sentiment principal et permanent, qu'il peut développer à loisir. Dans le monologue d'Hamlet sur le suicide, il s'agit d'un objet de la plus grande importance; l'ame est montée à un ton sérieux; ce ton, l'attitude, et le geste ont de la dignité: l'orateur sacré ne pourroit-il pas en faire usage? Non certainement, parceque Hamlet, enseveli dans ses réflexions, ne fait que commencer à examiner sérieusement la question; en passant d'une idée à l'autre, il se perd dans des doutes, qui se multiplient dans son esprit, et cette situation ne peut jamais convenir à un orateur chargé de l'instruction publique. -Mais je reponds aussi affirmativement à la question proposée; savoir, en tant que dans le drame il peut se trouver des passages dont les sujets medités auparavant par les personnages sont exposés de suite et sans trouble, et qui par conséquent équivalent à des discours suivis ; et en second lieu, en tant que ces passages peuvent être pleins de dignité, que les caracteres des personnages peuvent avoir un caractere sérieux, noble, et élevé. Les conseils paternels que le Pere de Famille de Diderot donne au second acte à sa fille et à son fils, sont de ces discours suivis et médités auparavant; il y regne à la verité beaucoup de sensibilité; mais qui osera bannir le ton du sentiment de la chaire, et transformer l'orateur sacré en un moraliste froid et insensible? il suffit que le sentiment dominant des discours en question soit du genre le plus noble, et qu'un père prudent et tendre, qui exprime ce sentiment envers ses enfans chéris, soit à mes yeux le caractere le plus venerable qui existe. Qu'est-ce qui empechera l'orateur sacré de faire du théâtre son école, et d'un excellent acteur l'objet de ses études? Plut au ciel que beaucoup d'entr'eux eussent vu un Aufresne ou un Ekhoff, et qu'ils se fussent trouvés en état de sentir et d'imiter le jeu vrai, naturel, plein de dignité et de grace de pareils acteurs! Exiger de l'orateur sacré qu'il accompagne ce ton du sentiment d'un simple jeu de mains insignificant, et employé au hazard, ce seroit vouloir que ses gestes

qualities of perfect gesture are required. But for rhetorical delivery, we have seen that some of those qualities are unnecessary, and some are improper. If the speaker have judgment sufficient to retrench what is superfluous, or improper for his use, the action of the theatre may, no doubt, afford him very useful instruction, and become under proper restrictions the best model. He will learn from the theatre energy, variety, and precision of action. The simplicity of action he must derive from his own unaffected sincerity, and grace from habit and taste. And as to the other qualities, he must know how to use them discreetly, or to retrench them altogether. But he must carefully guard against attempting to introduce the full license of theatrical action into rhetorical delivery of any kind. If he be a mere imitator, and cannot discriminate, his gesture will be the subject of just reprehension.

But the gesture of the public speaker must also vary considerably with the different circumstances of his situation, of his sentiments, and of his audience." If the mere information or instruction of his audience be his sole objects, as when the evidences of religion, and the grounds of Christian duties are

taxassent ses paroles de mensonge. Il faut certainement que son jeu soit toujours expressif, pourvu qu'il soit en même tems posé, modéré, et convenable à son état, ainsi qu'au sujet qu'il traite; et tel fut aussi dans la situation citée et dans nombre d'autres de ce genre, le jeu sublime d'Aufresne et d'Ekhoff. Engel, Idées sur le Geste, Lett. 38.

13 Primum, quid, apud quos, quibus præsentibus sit acturus. Nam ut dicere alia aliis, et apud alios magis convenit: sic etiam facere. Neque eadem in voce, gestu, incessu; apud principem, senatum, populum, magistratum, privato, publico judicio, postulatione, actione similiter decent. Quam differentiam subjicere sibi quisque, qui animum intenderit, potest, tum qua de re dicat et efficere quid velit. In senatu conservanda auctoritas,

apud populum dignitas, in privatis modus. Qint.

to be explained from the pulpit; or when the details of calculation and finance are to be laid before parliament; or when facts are weighed, and laws are argued in the courts of justice. He will limit himself to a very small degree of gesture, and that of the class which is named discriminating gestures; these he will exercise with simplicity and precision. He will strip them · of all the parade of preparation, and of the graces of transition,

and give them only that degree of variety which shall guard them against disgusting sameness. This is far removed from theatrical gesture, and seems rather to approach the colloquial style. And it is worthy of observation, that by far the greatest number of public speakers in the different situations mentioned, confine themselves totally to this humble but most useful and most necessary species of oratory; and nothing can be imagined more incongruous than an attempt (were any one to be found capable of such absurdity) to introduce into their discourses the parade and magnificence of theatrical gesture. The charge which is sometimes made against public speakers, of being theatrical in their gesture, probably arises more from some unsuitableness in the matter to their manner, than from any thing of uncommon majesty, boldness, or grace in their action.

If the public speaker aim at persuasion, as in discourses from the pulpit for public charities, on extraordinary occasions in Parliament, or at the bar, when the advocate desires to influence the opinions of a jury; he will naturally use more graceful, more flowing, and more various gesture. But although between such gesture and that of tragedy, the boundaries are not strictly defined, and although the blending shades intermix, he will not run far beyond the limits, nor fall into the action of the