used, for the more extended the motion, the more suggestive is it of intensity of feeling. It is not of any importance. (m o s) He can never regain their confidence. (m 1 s) B. The Low Plane In considering the following discussion it is of the utmost importance to remember that in the low and high planes, as well as in the middle plane, the front gestures indicate unity, nearness in time and space, slight extent of time and space; the oblique gestures express plurality, moderate distance in time and space, moderate extent of time and space, general reference; and the lateral gestures suggest great numbers, great distance in time and space, great extent of time or space. It is possible, therefore, to indicate by the low gestures not only lowness, but also in many cases the number, time, or extent involved in the concept. The student should note that throughout the text the gestures used with the illustrative sentences bring out the double significance of the intersecting planes. The low plane supine gestures express whatever is low physically, mentally, or emotionally and does not require one of the other handforms, such as the prone; they also express forcefulness. The scope of this class may be indicated by the following groups. 1. References to persons, places, or objects below the speaker's viewpoint, physical weakness and submission in all degrees. WEAKNESS AND SUBMISSION The wounded man sank to the ground. 2. In accordance with the fundamental analogy based on the literal gesture, whatever is considered mentally or emotionally low may be best expressed by the downward movement of the hand. In this category are included weakness and despair, yielding and humility, degeneracy and evil. WEAKNESS, DEspair His intellect is below the standard required. (1 fs) A dozen feeble-minded petitioners sought him. (1 o s) Government officials seemed absolutely hopeless. YIELDING, HUMILITY I admit the point in question. (1 fs) (1 1 s) 3. Forcefulness. Although additional emphasis may be given to a verbal expression by an appropriate gesture in any plane, the descending movement best conveys the idea of forcefulness. This fact is due to the suggestion of weight and power contained in the downward stroke of the hand. It drives in the thought as a hammer stroke drives in a nail. Even though numbers or extent be involved in the statement expressed, it is advisable to make the purely emphatic gesture in the front plane, since that is most direct. The stroke must be vigorous. You cannot overcome the force of public (1 fs) opinion. C. The High Plane Attention is once more directed to the fact that the high plane gestures, just as the middle and low, should terminate in the front, oblique, or lateral according to the number, extent, location, or motion involved in the matter expressed. Furthermore, it is to be noted that in making gestures in the high plane a slight downward wrist movement should terminate the stroke unless the speaker is indicating a rising from a lower to a higher altitude. Frequently, speakers make only the upward, preparatory part of the gesture, omitting entirely the wrist stroke, which should be used in practically all cases to give point and emphasis to the gesture. Moreover, the high plane gestures should not be terminated directly above the speaker's head, but carried somewhat forward or sidewise as the case may require. This method gives all the gestures an appearance of ease, and is particularly desirable in referring to material things since it allows for viewpoint and perspective; a mountain or tower rising directly above the speaker's head is a bit paradoxical. As a descending movement conveys the idea of all that is low, so the ascending movement suggests that which is high, physically, mentally, or emotionally. This includes whatever is lofty, fanciful, victorious, joyful, noble, sublime, and sacred, since these and similar conceptions are universally associated with elevation. The following groups indicate the various types of expression requiring the high supine gestures. 1. References to persons, places, or objects above the speaker's viewpoint, and physical superiority. |