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37. CONTINUATIVE MOTIONS.
(Motion 10.)-Diag. 21.
(Motion 11.)- Diag. 22.
(Motion 12.) Diag. 23.
MOTION 10. A horizontal movement. (Diagram 21.)
Motion 11. Commences at elevated extended, marks its accent on downwards across, rebounds to horizontal across. (Diagram 22.)
Motion 12. A circular movement, the hand supine generally performed by a motion of the wrist. (Diagram 23.)
(Motion 18.)-Diag. 24.
Motion 14.)-Diag. 25.
Motion 13. A curvilinear movement upwards and downwards, commencing at horizontal across, and ending in downwards oblique. (Diagram 24.) By this movement the hand is generally returned from every point on the left side, or vice versa.
MOTION 14. A serpentine movement, horizontal. (Diagram 25.)
(Motion 15. Diag. 26.
(Motion 16.) Diag. 27. MOTION 15. A circular movement commencing at horizontal oblique, sweeping downwards, inwards, outwards, and upwards, ending in elevated oblique. (Diagram 26.)
MOTION 16. Returns the hand from elevated oblique, by a circular movement, and ends in downwards oblique. By this, the hand is generally returned from every elevated point on the right side. (Diagram 27.)
(Motion 17.) Diag. 28.
(Motion 18.)-Diag. 29. MOTION 17. A curvilinear movement, commencing at downwards across, sweeping downwards, outwards, and upwards, ending in elevated oblique, (Diagram 28.)
Motion 18. A circular movement, commencing at elevated oblique, sweeping upwards, inwards, downwards, and outwards, ending in elevated extended. (Diagram 29.)
(Motion 19.)-Diag. 30. Motion 19. Contracts the arm at the height of the shoulder, the hana clenched; then propels it forward to horizontal extended. (Diagram 30.)
SECONDARY MOTION_THE RETIRED ARM. 38. When only one arm is in action, the retired hand performs a secondary motion, or takes a subordinate position, to that of the advanced
39. In unimpassioned delivery, the retired arm should hang easily by the side; but, when any degree of energy or earnestness is expressed, the motion of the one arm should be slightly imitated by the other; as in the following diagrams:
40. The general rule is, that, where both hands do not perform the whole gesture, the retired arm should be about ONE POINT (i. e. 459) less elevated than the advanced arm; and that, in the transverse direction, it should be kept apart about TWO POINTS, or a right angle.
41. Frequently the arm is taken from its downward position to assist more prominently in subordinate action. In the following diagrams, intended to denote aversion, the secondary gesture is more extensively and distinctly marked, as pervading the whole frame; but still in accordance with the rule stated above.
THE HANDS AND FINGERS. 42. The Hands, which serve as a common language to all men," have great variety of position and motion. Quintilian remarks that, “the action of the other parts of the body assists the speaker; but the hands, I could almost say, speak themselves.” Respecting their general management:—the fingers should possess much® flexibility and independent motion; while the thumb, in all open positions, should be kept apart from the hand. Even in contracted positions, the fingers and thumb should never be knit closely together.
43. The position of the hand defines the particular meaning of every motion, and should determine all bodily action. In narratirg, in addressing, or in appealing, the hand should be held out in its natural position (i. e., supine): in forbidding, denying, or rejecting, the palm is prone and oblique; in pointing, warning, reproving, or impressing, the forefinger is extended, the other fingers being closed; in supplication, the hands are applied or clasped together; in veneration, they are folded over the breast ; in anguish, they are wrung.
43. The positions of the hand on certain portions of the Face and Body are highly expressive of emotion :
The Hand placed on the Breast (B, diagram 35), appeals to conscience, or intimates desire ; on the Eyes (E, diagram 36), shame or affliction ; on the Lips (L, diagram 37), injunction of silence; on the Forehead (F. diagram 38), pain, distress, or anguish ; on the Chin (C, diagram 38), irresolution or meditation.
Diag. 35.—Noted B.
Diag. 36.—Noted E.
Diag. 37.-Noted L.
Diag. 39.-Noted C.