CHAPTER XVII.

Of the Classification of Gesture.

GESTURE, ESTURE, as has been already observed, when considered in a general view, relates to all the combined efforts, motions, and expressions of every part of the body. Among the parts of the body the head and countenance hold the principal rank, and next the hands, on account of the variety of their motions and their distinguished effects. The motions of the features of the face, though sometimes included under the name of gesture, more frequently claim for themselves, at least among the moderns, the peculiar name of expression of the countenance; and are properly considered as forming a distinct class of motions. The expression of the countenance, which is the very reflection of the soul in the face, and the most vivid bodily image of the sentiments of the mind, has always been so interesting to mankind in society, that all its modifications and smallest changes, have been classed and discriminated by every observer at all times; and are so well understood as to require no illustration in a work like this. The countenance has engaged the attention and illustrations not only of the poets and painters, but also of the philosophers in every age. And though physiognomy, as this science is named by the latter, may still afford ample employment to ingenious investigation, it demands only an incidental notice in this work. But the

gestures of the limbs, and particularly of the arms and hands, however an important subject of investigation to certain descriptions of men, have not been treated of with the attention which they merit.' This wide field is yet almost unexplored by moderns, and little, of what antiquity has discovered in it, has come down to our times: so that our enquiries are as if without a guide in an unknown region.

Gesture then is here understood to relate only to the motions of the whole head, of the body, and of the limbs. Something on the detail of the particular motions of each has been already explained in the preceding chapters of this work: the object at present is the general classification of them.

Gesture may be considered under four general points of view. 1. With respect to the instrument or manner by which it is performed. 2. The signification of the gesture. 3. The quality of the gesture. 4. As suited to the style or character of the matter delivered. These general divisions are thus subdivided:

I. Gesture referred to the instrument or manner of performance is subdivided into, 1. Principal, performed by the advanced or more elevated hand and arm. 2. Subordinate, performed by the hand and arm more retired and more depressed.

'The investigation of gesture appears to have attracted more attention in Germany than elsewhere, as I judge not only from the ingenious observations of Mr. Engel, but also from his references to other writers. I shall quote largely from the French translation of his work. Those he speaks of, as Lessing, Riccoboni, Sulzer, Loewe, &c. I have not

seen.

II. Gesture with reference to its signification, is considered as 1. significant, and 2. not significant; these are subdivided.

Significant gestures :

1. Natural.

2. Instituted.

Gestures not significant:

1. Commencing.

2. Discriminating

3. Auxiliary, or Alternate.

4. Suspended, or Preparatory.

5. Emphatical, which are also terminating gestures.

III. Gesture is considered to be capable of the following general

Qualities:

1. Magnificence.

2. Boldness.

3. Variety.

4. Energy.

5. Simplicity

6. Grace.

7. Propriety.

8. Precision.

IV. Gesture, as to the proportion of those qualities requisite

in the delivery, may be suited to the

Style of speaking:

1. Epic.

2. Rhetorical.

3. Colloquial.

These divisions, with their subdivisions, will be considered nearly in order. The two last divisions will be spoken of in Chapter XX.

First. Gesture with reference to the instrument or manner of performance.

The gestures of the arms and hands, may be performed by each separately, or by both together, each using similar or dissimilar actions. Thus the arms and hands may mutually imitate the positions of each other, or the hands only may imitate each other, whilst the arms are differently elevated or differently directed. Both arms and hands may perform the same gesture, or exactly imitate each other, when the body of the speaker is presented towards the person addressed precisely in front, Fig. 96: but if the body be not so presented, the gestures will not be exactly similar, Fig: 97; and as such a position and gestures are not graceful, they are not frequently used. The body is generally presented a little obliquely, and one hand is usually advanced before the other and elevated differently: under this view the gesture may be first considered.

The advancement of one hand before the other is a inanifest assumption of precedence, as is also in general its higher clevation. The advanced hand is therefore said to perform the principal gesture: and upon examination we find that in fact it does so.

For the retired hand only occasionally imitates the gesture of the advanced hand, and then its action is performed with less energy and authority. In general, the elevation of the