CHAPTER XX.

Of the Analogy of Gesture and Language; of the Qualities of Gesture, and of the Gesture suited to different Modes of Public Speaking.

GESTURE is in itself capable of being used as the sign of ideas, and therefore of being substituted for language. The excellence of the art of the ancient pantomimes, and that also of the modern pantomimic dances evinces this power of gesture. And it will occur to the recollection of most people, that they who by the privation of the sense of hearing are precluded from the imitation of articulate sounds, which are the great medium of rational communication, can usually maintain a very strict intercourse of mind with their near intimates by the use of gestures alone. Language and gesture have also these circumstances in common; that in order to express vulgar feelings, and the common wants of nature, a few and rude words, and a few rude gestures are equally sufficient: but if by language we would represent sentiments above those which relate to the most ordinary wants and desires, a great variety is required in the meaning, disposition, connections, and relations both of language and of gesture.

Apud agrestes ferosque homines pauca sunt verba, dura, et vix juncta, quæ necessitati tantum sufficiant. Sup. Dial. de Orat. Tacit. c. 13.

Language in this respect has much the advantage of gesture, and is a more highly cultivated and more perfect vehicle of thought but gesture is not altogether deficient in powers of expression, and in contrivances in some degree similar. Another resemblance between language and gesture may be found in the style of each, as suited to the different modes of expression. The language of poetry, and the gesture suited to express elevated ideas equally differ from the colloquial and ordinary. But this difference, if we except the English, and a few rich languages, which possess also a distinct language of poetry, is in general more in the arrangement and in the splendour of the thoughts, than in the matter. The gesture of the tragedian is in all essential points the same as that of the social circle, and performed by the same organs and instruments; by the voice, the countenance, the limbs, the body, and head. And it will be recollected that in private there is nothing different from the gesture of other men in that of distinguished actors. Wherein does their action in private life differ from that which astonishes and delights on the stage, and wherein does their language differ? in the splendor and parade more than in the mere sense, or the absolute object, supposing the circumstances similar; that is either equally interesting to the individual, or equally indifferent. The language of poetry in the high flights of passion and grandeur is adorned and enforced by its figures, by its pomp, by its circumlocutions. The language of gesture imitates that of poetry, it has its graces, its preparations, its grand transitions, and its accompaniments. Strip poetry of its figures, its swell, its circumlocutions, and its measure, and it becomes mere prose, the plain and downright expression of thought. Strip gesture of its graces, and all its superfluous ornamental movement, and it becomes the short

and sharp action of ordinary however earnest dialogue. The graces of language, to use a figure, consist in the manner of leading the mind about in order to present the object in the most favourable point of view. The graces of gesture, to use less of figure, depend on the flowing or bold preparations which lead to the decisive and impressive action. The ornament of language consists in the grateful variety of ideas presented to the mind, and tending to the principal object of the poet. The graces of other arts, as gardening and architecture, depend on the same principle; and not less so the graces of gesture; sudden turns, short passages, confined limits, dead stops, and impassable fences, may indeed answer the conveniencies of common life, but more of pomp and circumstance, and display is suited to the grand and majestic style of princely residence.

The grace of movement consists as we have seen according to Hogarth in the inflexion of the lines in which it moves. And these lines must not be either too much or too little bended; the line of beauty will be transgressed by either extreme. Indentations too deep, and flourishes too much extended, fall into quaintness, or run out into bombast and wild extravagance, whilst the want of a certain degree of deflexion from the direct line, degenerates into stiff and cold formality. True elegance of gesture follows the graceful mean. So far the principals of Hogarth. But the parallel between the line of beauty in drawing, and the line of grace in gesture, does not entirely hold. There is in gesture a latitude allowable, which when occasion requires overpasses the forms of grace, and on the one hand enters within the confines of the grand and magnificent, and on the other, with great propriety, and with equal

grace, the circumstances being considered, retrenches from its flowing, and brings it nearer to the unaffected simplicity of truth and common life. This latitude, as to the parade or conciseness of gesture, gives occasion for distinguishing its grace rather by its suitableness to the style of speaking, which it is to accompany, and to adorn or enforce, than by the precise inflexion to which the lines in drawing may properly be confined. Those different modes of public speaking, to each of which a different style of gesture may be suitable, however numerous, may be reduced to three principal, admitting different subdivisions according to the accuracy of discrimination. 1. The epic. 2. The rhetorical. 3. The colloquial.

1. The epic or tragic style of delivery requires every natural and acquired power on the part of the speaker: and in its perfect execution is implied every excellence of the highest class. Among the vast numbers who have devoted themselves to the cultivation of eloquence at large, or even of those who limit their attention to delivery alone, as on the theatre, nature has gifted only a chosen few with the rare endowments which are necessary for a consummate tragedian. And of those few, who, in the grand requisites have been distinguished, hardly do we hear of any, who in all respects have been absolutely perfect. The eye and ear of criticism are too acute to let pass small imperfections of the most highly accomplished in the wonderfully difficult art of delivery, or of the most highly

2 The ancient division of the kinds of gesture related solely to theatrical performances. Cordax was the gesture for comedy, Emmelia for tragedy, Sicinnis for satire, and Italique for pantomime. See Athenæus, l. 1. already quoted.

gifted in natural advantages. Since nature is too œconomical to lavish her treasures all on one, we are the more disposed to hold in admiration those who approach nearest to perfection. Where dignity and beauty of person, expression of countenance, and powers of voice are given; talents and taste perhaps are wanting; and where all these are united; perhaps industry and learning are denied, and indolence or love of pleasure defeats the noblest endowments.

In order to the better understanding of the characteristic difference in each style of gesture, it will be of advantage to enumerate the different qualities which constitute the perfection of gesture, together with their opposite imperfections. These may be considered as reducible to the following: 1. Magnifi cence. 2. Boldness. 3. Energy. 4. Variety. 5. Simplicity. 6. Grace. 1. Propriety. 8. Precision.

1. Magnificence of gesture. This consists in the ample space through which the arm and hand are made to move: and it is effected by detaching the upper arm completely from the body, and unfolding the whole oratorical weapon. The centre of its motion is the shoulder. In magnificent gesturethe action is flowing and unconstrained, the preparations are made in some graceful curve, the transitions are easy and the accompaniments are correct, and in all respects illustrative of the principal action. The motions of the head are free, and the inflexions of the body manly and dignified. The action of the lower limbs is decided, and a considerable space is traversed with firmness and with force.