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elbow is bended, and that the upper arm is held closer to the side. Quintilian's rule seems to apply to this style of gesture, and not to the boldness of the epic.'

The great variety, which the systematic or fundamental positions afford will appear more evidently, by considering that the 15 positions contained in Plate III. from fig. 19 to 33 inclusive, are first to be considered as 45, because they can be performed either by the right hand, by the left, or by both hands.

The 45 systematic, positions, in another view, will again be multiplied by 3 and produce 135. It is to be observed, that the degree of energy proceeding from the sentiment of desire or aversion with which a passage is delivered influences much the character of the gesture, in the same manner that it does the tones and expression of the voice; the language still remaining unaltered. If the passage to be delivered, may properly be illustrated by the arm in the position horizontal extended (h x), the degree of that extension will vary with the spirit of the passage. Fig. 37. If an object is simply pointed to in the horizon, the arm will be moderately extended, forming a small angle at the shoulder, the elbow, and the wrist. Fig. 38. If the object is highly interesting, and supposed to be in the same situation, as if a general pointed to those troops which he required to be instantly sustained, the arm stretches to the utmost, the wrist is thrown up, and the fingers down, whilst

1023.

Tolli autem manum artifices supra oculos, demitti infra pectus vetant. Quint. B.

See the Chapter on Classification of Gesture.

The pulpit was probably constructed on this principle.

the whole body is projected forwards; the arm in this position is considered still to be horizontal extended as the last, but in the extreme degree, and is marked with an additional & as hxx. If the object in the same situation as before be supposed something producing disappointment or horror, the arm is contracted, and the whole person recoils. Fig. 39. Yet this also is considered horizontal extended; horizontal because the hand is directed towards the horizon, and extended because the arm continues in the same plane as in the former gestures; but with respect to the character of this gesture, it differs, and in order to express it by the symbolic letters, a c is added (hx c), which are read horizontal, extended, contracted. The moderate degree is marked only by the two first letters. It will be observed that the hand is always directed accurately to the proper point, and that the variation arising from the force or energy of the action relates to the arm principally. The hands will be particularly spoken of in the next chapter.

2 In order to do away the absurdity which sometimes appears in the expression, when the symbols of notation are enounced in words: the reader will take into consideration and be pleased to admit what hereafter will be fully explained, that the terms having a different reference or value according to their place are not at all contradictory. The English language, not furnishing a sufficient variety of terms equally significant for this new application, forces upon the apparent incongruity. In the management of the symbolic letters there is some analogy to the disposal of the arabic numerals, in which each is of value according to its place, though expressed by the same name Thus each symbol in the sum 3333, is known to be of different value. Horizontal, extended, contracted, in the language of notation of gesture will not therefore appear an absurd expression, when it is considered that the word extended, placed as it is in this notation, does not relate to tension of the muscles, but only to the position of the arm in a certain plane in the transverse direction. But this will be easily understood farther on.

3 Animal life displays itself through all the body and especially through all the animal parts, yet does it act most conspicuously in the arm from the shoulder to the ends of the fingers. Lavater ed. Holcroft. Vol. I. p. 15.

Thus there may be reckoned 135 systematic or fundamental positions of the arms, to which if we add the two Z and R, and multiply the former 2 by 3, in order to express the moderate, extended, and contracted states of the arm, we have four more, in all 139 fundamental positions. The number of these positions is adverted to, merely in order to shew how fruitful the system is in its very opening, not for the purpose of calculating its extent. For when to the combinations arising from these positions, are added the various positions of the hands and other circumstances necessary to be taken into the account, it will appear that the possible changes capable of distinct notation may be esteemed infinite. From these a few in proportion will suffice for any purpose, and from these every one may choose such as may suit himself best.

But besides these systematic gestures, however copious, there are some in general use which do not exactly fall under them, and therefore require to be separately detailed.

These particular positions of the arms are named from the manner of holding or resting them on the body: and may admit of considerable variety; but the description of the following will suffice to explain the class, in which they are to be reckoned.

Fig. 40. 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 upper right arm, and the right hand passing under the upper left arm. (en).*

+ With arms encumbred thus. Hamlet.

Fig. 41. A kimbo, when the hands are rested on the hips, and the elbows are stuck out at either or both sides.(k)

Fig. 42. Reposed, when the elbows are nearly resting on the hips, and one hand holds the wrist of the other.(Rp) This is a female position (posées).

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