or emotional sense stated or implied in the accompanying words, without being conscious of the basic physical factor involved. After studying the sections on the special significance of the various positions and forms of the hand, the student should be able not only to give expression to physical states and actions, but also to perceive analogies instantly in the interpretation of the mental and emotional.

Having made this fundamental classification of all gestures as literal or figurative, based upon the nature of the matter expressed, we may consider a second classification of gestures, based upon the purposes for which they are employed, as follows: those used solely to emphasize; those used to describe; those used to locate or distinguish; those used to represent a physical action or posture; those used to express a mental or emotional attitude. It is to be noted that these classes are not altogether mutually exclusive; for example, an emphatic gesture may be expressive of a mental attitude, or a locative gesture may express an emotional state. Moreover, combinations of gestures belonging to two or more classes are often employed; to illustrate while the hand is making a descriptive gesture, the face may be

expressing the mental or emotional response to the object depicted.

The purely emphatic gestures are those which by a vigorous movement of the hand, accompanied with fitting posture and facial expression, serve to supplement verbal stress by an expression of physical earnestness. As a rule those gestures which are used solely for emphasis are made with a downward stroke, since this is more expressive of force than the upward or lateral movements. For moderate emphasis the hand is stopped in the middle plane; for stronger emphasis the stroke terminates in the low plane. The length and vigor of the stroke determine the amount of stress. It should be noted that here, as elsewhere, a gesture should never be overdone; a movement which is too rapid, too forceful, or too farreaching is sure to attract attention to itself and appear absurd. In making gestures it is always well to create the impression of reserve power.

The descriptive gestures are those used to help the audience visualize persons, scenes, or objects. The most important qualities which can be expressed by this class are extent, size, height, depth, form, and general character of action.

Although the hands play the most important part in this group of gestures, the action of the eyes is noteworthy. They should not look at the hand, but should be directed now toward the object projected by the hand, now toward the audience. In thus glancing back and forth between the scene and the audience, the speaker carries and holds the mental vision of his listeners to the imaginary picture.

The locative and distinguishing gestures are those used, as the name implies, to fix the position of anything or to single out a particular item. Either the supine hand or, if greater distinctness be desired, the index finger may be used. The speaker when locating objects should always consider the viewpoint, use good judgment in determining the relative position of objects in a scene, and be sure to retain the original location in making succeeding references to the same object. In making locative gestures, as in the case of descriptive gestures, the speaker may let the eyes follow the direction of the hand but should never look at the hand itself.

Gestures representing a physical action or posture are those which reproduce in a more or less realistic manner actual movements or

positions of the body, head, or limbs. These gestures range from such slight movements as raising the finger to the lips or the hand to the ear, to such elaborate ones as kneeling or starting back with the hands thrust forward. In actual impersonation the gestures will, of course, be absolutely realistic, but in all cases where the speaker maintains his own identity a suggestion, an approximation which stops short of the completed action, is preferable. It is very easy to appear absurd when gripping the heart, starting back violently from an imaginary ghost, or kneeling in simulated fervor of appeal. The student should always keep in mind the distinction between the actor and the speaker whose own identity must not be lost in that of the various characters about whom he speaks.

Gestures expressive of mental or emotional attitudes are those which by means of the face, body, or limbs help to convey the impression of such states as surprise, disapproval, indifference, determination, disgust, earnestness, doubt, anger, devotion, joy, despair, sorrow, pity, and fear.

THE PARTS OF A MANUAL GESTURE

The great majority of gestures with the hands consist of three parts, which may be termed the preparation, the stroke, and the relaxation.

The preparation brings the hand to a point where the most significant movement, i.e., the stroke, is to begin. In other words, it is an anticipatory action and should be deliberately completed just before the speaker reaches the word or passage which he desires to supplement by the stroke. Faulty gesture is frequently due to the fact that the preparation is too long delayed and made with a jerk.

The preparation should start with the shoulder as the center of motion. Almost immediately the arm begins to bend at the elbow, and then the wrist takes up the movement, so that shortly after the preparation is begun the three centers of motion are working simultaneously to bring the hand into position for the stroke. The aim of this progressive series is to give the movement flexibility, and to keep the arm fairly close to the body in order

1 In a few cases the stroke operates directly from the position of rest.