ADMIRATION.

If of natural objects that are pleasing, the hands are held across each other, vertical palms across the breast (curve lines), and are then moved slowly outward, face smiling; if the emotion is aroused by unlooked-for or wonderful circumstances, the arms are suddenly elevated, palms supine; eyes and face are turned upwards at the same moment.

LISTENING,

which is eager for quick and sure information, presents a keen glance of the eye in the direction of the sounds; if nothing is revealed the ear is turned to the point of interest, the eye bent on space-this is instantaneous; the hand and arm are held vertical and extended, in a contrary direction, as if to keep off anything or anybody from interfering to drown the sounds. If the sounds proceed from different places, the arms are elevated, and the head moves from side to side-rapidly if alarmed, slowly if pleased; the reason being that when pleased we leave one sound to attend to another with regret; if frightened, we cannot endure to dwell long on the sounds that occasion the emotion.

VENERATION

bows the head, casts down the eyes, crosses the hands on the breast, movements slow. Awe is supposed to deprive one of the power of quick volition.

DEPRECATION,

when extreme, sinks on one knee, clasps the hands tightly, throws the head back between the shoulders, and looks eagerly into the face of the one implored.

SHAME

sinks on one knee, covering the eyes with the hands; if not so extreme, hangs the head.

RESIGNATION

falls on the knee, crosses the arms on the breast, looks up towards heaven slowly.

DESPERATE RESIGNATION.

The body upright, the head thrown back, the eyes fixed, the arms folded.

AN APPEAL TO HEAVEN.

First place the right hand on the breast, then ele-vate the left arm palm upwards, the eyes look forward, then up to heaven.

AN APPEAL TO CONSCIENCE.

The right hand is placed on the breast, the left arm falls to the side, the eyes look steadily at the person addressed.

GRIEF.

When the news of unexpected affliction is heard, the eyes are covered with the right hand, to shut out

the "sight" which the speaker calls up, a step forward, the psychological impulse being to escape from the trouble, which thought, causes involuntary movement in an opposite direction; the left hand is thrown back, the mental impulse being "I can bear no more,’ and occasions the corresponding physical action, of putting back or away from one.

ATTENTION,

when deeply interested, places the finger on the lips; the body takes a forward inclination; quiet is urged with the other hand.

SUDDEN PAIN,

whether mental or physical, places the palm of the hand on the forehead, throws the body backward; these actions are accompanied by a long quick step in the same direction.

REFLECTION

holds the chin with the right hand, the left supports the elbow. Sometimes the back of the hands are placed on the waist, arms akimbo.

PRIDE,

in excess, elevates the head, straightens the figure, and places the elbow nearly forward akimbo.

There are three great classes of gesture (comic gesticulations would make a fourth):

1. The Heroic.

This accompanies descriptions of the majestic; the

utterance of noble or sublime thoughts; wherever the orotund quality of voice is appropriately applied; one who exercises this class of gesture in perfection should possess every natural and cultivated ability.

2. The Oratorical.

Precision, energy, and variety distinguish the gestures of a great orator; they are of more importance to him than "grace," for, while the latter is seldom absent in the actions of an accomplished speaker, the former are of vital necessity. Gestures of this class are employed in the delivery of sermons, lectures, arguments, speeches.

3. The Conversational.

This is employed in what is called "light comedy," dialogues, colloquies, in polite society, etc. Variety, grace, and simplicity are the characteristics of this class, and the movements are more lightly executed than those of the two classes discussed above.

ORDERS OF THE FIRST CLASS.

1. Grandeur. - The arm and hand are swept through space with majesty and freedom; the centre of motion is the shoulder; the actions should be on a large scale, and commence with a graceful sweep, or curve line; the changes should be made without effort, and other movements or inclinations of the body or limbs should harmonize with the main action; the limbs should move with moderately long steps, with firmness and power.

The opposite of "grandeur" is indicated by abrupt,

constrained gesture, stiffness of the joints, and a fixed attitude of the body, uncertain movements, and short steps.

2. Fearlessness.-A thorough confidence in and knowledge of one's power, will venture any action or attitude, which will be striking in effect, however novel. Unexpected situations and changes create wonder and pleasure by their newness and grace, and so enforce the thoughts they represent with marked

success.

The antithesis of "fearlessness" is "timidity," which desires but does not act boldly, is dubious as to its capabilities, and hesitating.

ORDERS OF THE SECOND CLASS.

1. Precision requires exactness of action, neatness. Like distinctness in utterance, gestures should be cleanly cut, and used at the precise moment with the identical word which calls for them.

The opposite would be indecision, vague or confused gestures employed indiscriminately; they serve rather to render doubtful the speaker's meaning, instead of giving point to his words.

2. Energy requires firmness, decided, straight, direct lines. The emphasis is greatly aided by energetic gesture.

The opposite is weakness and uncertainty.

3. Variety is easily acquired by those who have a facility in adapting fitting and different gestures to each thought and position. The study of "variety"