ness, weakness, in short anything literally or figuratively low. 3. The gesture may be terminated between the shoulder and waist lines to express all those matters which involve neither elevation or lowness. This middle plane is most frequently used since it expresses such commonly recurring matters as extent in time or space, numbers, presentation, analysis, direct address, and ordinary reference to persons, places and things. It is to be noticed that the hand, in addition to moving into a high, low, or middle position, is either directed forward or is passed from the front in a lateral direction. This distinction between a front and a lateral movement can also be used to advantage. I. The front gestures, being directly toward the audience, are particularly emphatic, and being nearer the audience, are best calculated to suggest nearness in space or time, limited numbers or extent. 2. The lateral gestures, in which the hand moves from the front toward the side, create the impression of great extent, large numbers, distance in time or space, or inclusiveness. c. Using Both Hands For gestures with any of the hand forms in any position, both hands may be employed to give expression to especial intensity of thought or emotion. The use of both hands is helpful also in depicting such concepts as comparison, contrast, vastness, separation, collecting, balance, and opposition. III. Essential Characteristics of Effective Gesture Whether gestures be double or single handed, high, middle or low, front or lateral, there are certain characteristics which are essential to their effectiveness. They must be apt, accurately timed and spontaneous. a. Aptness In saying, "Suit the action to the word, the word to the action," Hamlet gave, in effect, a broad definition of aptness. More specifically, it means a discriminating use of the various hand forms and positions. For example, a lofty concept, such as honor, sacredness, triumph, or a reference to physical elevation finds expression in a high gesture. An insistence on a specific point is italicized, as it were, by the index finger. A portrayal of hopelessness or submission is sug gested by a low gesture. One may be sure that when Hamlet gave that excellent advice to the players, he did not mean to advocate a different gesture for every varying thought and feeling. Such a method of visible expression would put upon the speaker an enormous and ridiculous burden. Fortunately, nothing of the kind is contemplated. As the foregoing classifications indicate, many different things can be suggested by substantially the same gesture. For instance, a clenched fist in a forward position is appropriate to an expression of physical force, emphatic assertion, determination, defiance and challenge; a low gesture is in harmony with a reference to weakness, submission, depravity, low position, hopelessness and kindred matters. On the other hand, it is equally true that a gesture which is in keeping with a certain mood, or type of idea may be very inappropriate for certain other moods or types. An appeal for friendly co-operation would be poorly expressed by a wave of the inverted palm. Aptness, then, requires that a gesture be used, not as a mere irrelevant accompaniment of words but rather as something which actually co-operates with them. b. Accuracy of Timing The second essential, accuracy of timing, applies to what may be called the mechanics of gesture. Practically every gesture of the hands consists of three parts: raising the hand in preparation, the gesture proper, and the dropping of the hand to normal position. To time a gesture accurately, the preparatory part must be deliberately completed in time for the gesture proper to move on the word or word group which the action is intended to support. The two parts are ordinarily made in one continuous movement; but a particularly emphatic effect, similar to that produced by the vocal pause, may be secured by sustaining the hand several instants just before the stroke, or gesture proper. The hand may be held in position at the close of the stroke also, for the sake of fastening the attention of the audience upon the thought just expressed. Even when special emphasis is not desired there should always be a brief sustentation at the end of the stroke before the hand relaxes. Two or three typical instances of timing a gesture may be of service at this point. Let us take the sentence, "The sponsors of the plan must meet their obligations." The upward, preparatory movement is made with the words, "of the plan," so as to be ready for the down stroke on "must," after which the hand is relaxed. Again, on such a sentence as, "Across a weary desert the caravan slowly moved," the preparatory part must anticipate the first word because the stroke continues As a final throughout the entire statement. example, we shall take an instance requiring gestures in a series, such as, "The people of this city, the people of this state, the people of this nationall will benefit by this measure." The important additional observation for cases of this kind is that the four strokes, on "city," "state," "nation," and "all," should proceed from one to another without dropping the hand to the side until the end of the series. c. Spontaneity Spontaneity, the last characteristic to be discussed, is first in importance. A gesture may now and then be inapt, or badly timed and pass unnoticed, providing it is sufficiently spontaneous to be wholly subordinate to the thought of the speaker. But let a gesture appear calculated, artificial, made-to-order, and the effect is bad, for the audience will see the gesture and the effect of the thought will naturally be discounted. Would it not be better, then, to forego any attempt to study gesture? The detractors cry "Hear! Hear!" Certainly no sane teacher is going to claim that a student of extempore speaking can give much thought to his gesture while attending to his composition and his audience. The reader should remember, however, that a person is not obliged to learn a specific gesture for |
