Obrázky na stránke
PDF
ePub

PART II.

OF GESTURE.

CHAPTER I.

ELEMENTS OF GESTURE.

SECTION I.

PRELIMINARY REMARKS.

GESTURE is used in this Manual to include the whole of the action of the orator; and embraces that part of delivery which addresses itself to the eye, as distinguished from the Voice or that part which appeals to the ear. Besides, therefore, what is more commonly understood by gesture, it embraces the expression of the countenance and attitude,— every thing indeed by which the painter gives life to his portrait or the parent communicates with his infant child.

The first thing to be remarked in regard to the action appropriate to the expression of sentiment, and which consequently falls under our notice in this part of our Manual, is, that it is natural. As evidence of this, it is, next to the tones, the earliest language employed and the earliest learned by the child. The one has been called the speech, the other, the hand-writing of nature. These constitute the only language which never deceives; and the only language which is alike understood by all-the learned and the unlearned. Though natural, it is to some extent voluntary. "Thus," in the language of Austin,

anger threatens, affright starts, joy laughs and dances, but nature does not by any means suggest (except it may be to some chosen few) the most dignified or graceful expressions of those various passions; as may be sufficiently observed in the untutored extravagance and uncouth mo

[blocks in formation]

tions of the vulgar,—in the gesticulations of mirth in their dances, and of anger in their quarrels. These, though they may be perfectly intelligible, and strongly energetic, degrade the person who uses them from all pretensions to the character of liberality of mind, or of enlightened eloquence; and are more likely to excite in the cultivated spectator laughter or disgust, than the kindred passion of the gesticulator."

The first stage of gesture, then, as it may be called, corresponds with the natural tones of the voice, and consists of the involuntary visible symbols of expression which connect themselves with the stronger passions of the mind, such as the motion of some of the muscles of the face, the change of the color of the countenance, and certain sudden gesticulations which sometimes extend to the whole body. These are the offspring of the natural sympathy which exists between the action of the mind and the material frame. But the effects of this sympathy do not stop here. It prompts to a variety of movements which are much more under the control of the will than those to which we have referred. These constitute gesture in its second stage, and by way of distinction may be called voluntary. Being to a certain extent under the control of the will, they may be influenced by the force of example, and may become awkward by the imitation of some bad model, or by being put forth under the constraints of natural diffidence, or by the employment of a manuscript in delivery. From the same causes, gesture may be altogether suppressed.-Excess of natural excitement too, may lead to too great rigid⚫ity of muscle, and to a total inattention to the gestures; and this can scarcely fail to result in the entire absence of every thing like grace in the action of the speaker. Ges

ture, then, as an art, requires to be studied not less than Grammar or Logic.

The voluntary gestures may well therefore become the subject of instruction. The muscles by which they are made are all voluntary muscles, not less than are those employed in penmanship, or in playing upon a musical instrument; and thus, by a course of private training similar to that to which in these other cases they are subjected, they may be brought perfectly under the control of the will, so as to produce with all the precision of a natural habit such action as shall please instead of offending the eye. Such action, considered merely as a matter of taste, has the same advantage over the awkward movements of the untutored speaker, as a neat and elegant dress has over the slovenly apparel of a clown: it bespeaks the favor and attention of the hearer. But as the language of sentiment and feeling, it performs the higher office of arousing the mind of the speaker and inspiring him with feelings suitable to the subject and the occasion, of giving force and impressiveness to the sentiments he utters, and thus of exciting and keeping alive an interest on the part of his auditory. By this feeling of interest alone, is the popular mind roused up to a full appreciation of the importance of the matter in hand. Yet all this is to be done, not by the employment of any artificial means, but by the use of the cultivated natural powers. No affectation can equal the simple dignity of nature, which however rarely becomes visible till freed from the rubbish of artificial defects and polished by art.

It may not appear perfectly obvious, that a neglect of the principles of gesture may affect injuriously the character even of written composition. Yet who, if wanting in an effective elocution, would attempt rhetorical expression

« PredošláPokračovať »