Touching, when the points of the thumb and fingers of each hand are brought lightly into contact. (See Fig. 64.)

Wringing, when both hands are first clasped together and elevated, then depressed and separated at the wrists without disengaging the fingers. (See Figs. 65, 93.)

Enumerating, when the index of the right hand is laid successively upon the index and the different fingers of the left. (See Fig. 66.)

The fourth class of positions of the hand arising from the part of the body on which it is laid, enumerated on p. 244, are much more frequently employed on the stage than in ordinary delivery.

THE ARM.-Beside the systematic gestures of the arms described as belonging to oratory, there are others peculiar to dialogue, or to dramatic action.

The arms are said to be folded or encumbered, when they are crossed and enclose each other, the fingers of the left hand holding the right arm, and the right hand passing under the left arm. (See Fig. 67.)

They are a-kimbo, when one or both hands rest on the hips, and the elbows are stuck out on either or both sides. (See Figs. 68, 89.)

They are reposed, when the elbows are nearly resting on the hips, and one hand holds the wrist of the other. This is a female position. (See Fig. 69.)

Fig. 67.

Fig. 68.

Fig. 69.

THE ARM AND HAND COMBINED.-To designate the

manner of the motion of the arm and hand, a variety of technical terms have been employed, which scarcely require to be explained merely for the purpose of assisting in the acquisition of the plain dignity of the orator; though some of them may properly be exhibited in oratory. The following, noted by Austin, will suffice, though others might be given.-Gesture, then, may be considered as—

Noting, when the hand, in whatever position, is first drawn back and raised, and then advanced and with a gentle stroke depressed. (See Fig. 70.)

Projecting, when the arm is first retracted, and then thrust forward in the direction in which the hand points, (See Fig. 71.)

Retracting, when the arm is withdrawn preparatory to projecting, as in the dotted hand and arm of Fig. 71, or in the right arm of Fig. 75;—or in order to avoid an object either hateful or horrible, as in Fig. 77.

Waving, when the fingers are first pointed downward,

Fig. 70.

Fig. 71.

Fig. 73.

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and then, by a smart motion of the elbow and wrist, the hand is flung upward in a vertical direction. (See Fig. 72.) The flourish, when the hand describes a circular movement, above the head. (See Fig. 73.)

The sweep, when the hand makes a curved movement descending from the opposite shoulder, and rising with velocity to the utmost extent of the arm, or the reverse;

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changing its position from supine to vertical in the first case, and from vertical to supine in the latter. The sweep is sometimes doubled by returning the arm back again through the same arch. (See Fig. 74.)

Beckoning, when with the fore-finger, or the whole hand, the palm being turned inward, a motion is made in the direction of the breast.

Repressing, when the fore-finger, or the whole hand, the palm being turned outward, makes a motion in opposition to the person addressed. This is the reverse of the preceding gesture; and the motions in both these gestures are often repeated.

Advancing, when the hand, being first moved downward and backward, in order to obtain greater space for action, is then moved regularly forward, and raised as high as the horizontal position, a step being at the same time made in advance, to aid the action.

Springing, when the hand having nearly arrived at the intended limit of the gesture, flies suddenly up to it by a quick motion of the wrist; like the blade of a pocket-knife when it suddenly snaps into its proper situation by the recoil of the spring.

Striking, when the arm and hand descend with rapidity and force, like a stroke arrested by having struck what it was aimed against.

Bending, when the arm is brought into a position preparatory to striking.

Recoiling, when after a stroke, as in the former gesture, the arm and hand return back to the position whence they proceeded.

Throwing, when the arm by the force of the gesture is flung as it were in the direction of the person addressed.

Clinching, when the hand is suddenly clinched, and the arm raised in a posture of threatening or contempt.

Collecting, when the arm, from an extended posture sweeps inward. .

Shaking, when a tremulous motion is made by the arm and hand.

Pressing, when, the hand being already laid on some part, the effort of pressing is marked by raising the elbow, and contracting the fingers.

Rejecting, when the hand, in the vertical position is pushed towards the object, the head being at the same time averted.

Whoever has observed the general system of action employed in the schools for the instruction of the deaf and dumb, has some idea of the ancient pantomime, in which the action to a great extent was imitative. The elements of imitative action embrace all the movements which the human body can perform; and would scarcely be reducible to a system. But with these, oratory or dignified tragedy has nothing to do. Leaving this kind of gesture with the actor of low comedy, we may remark, that the Abbé du Bos has drawn the proper distinction between this kind of action and that suited to oratory: Nothing can be more vicious in an orator, than to employ in his declamation imitative gestures. The action of an orator ought to be altogether different from that of a pantomime. An orator ought to suit his gesture to the general sentiment which he expresses, and not to the particular signification of the word which he pronounces."

Because we have introduced, under the head of Dramatic action, several elements of significant gesture, it is not hence to be inferred, that all or even a great part of the