SECTION IV. ACTION IN FIGURATIVE LANGUAGE

Literal action should not be used in figurative language. The violation of this law is common in the first stages of speech making. The youth who pointed to his own open mouth in speaking of the "jaws of the hydra-headed monster " violated this principle. The distinguished preacher who literalized "striking at the very gates of heaven," with a high jump and a violent swing of his fist at the pearly gates, was also doing violence to this law. "The heart of the nation," "A whirlwind of revolution," and "No friend of liberty who has not dropped his head" are expressions that need no literal action to make them impressive.

CHAPTER II

REQUISITES OF ACTION

The Requisites or qualities of action are four, - (1) Grace, (2) Force, (3) Precision, and (4) Economy.

SECTION I. GRACE

Grace of action is the ease and freedom of bodily movements. It comes of the simple but harmonious action of all parts of the body. Grace requires that there be curve enough to overcome stiffness and awkwardness, but not enough for extravagance.

SECTION II. FORCE

Force is the energy put into gesture or other bodily movements. It may be gentle, moderate, or impassioned, dependent upon the feeling or emotion. Tranquillity, for example, requires gentle force; didactic thought, moderate strength; and rage, impassioned action. Ease may be acquired by persistent exercise in æsthetic physical culture, and especially in movements in technique of action (see page 229).

SECTION III. PRECISION

Precision is the proper timing of action. Gestures are often placed on the wrong word, the head stroke in the passing bow is not timed to the step, and the look is not suited to the word. Any gesture or other movement out of time is like a note of music out of time. It breaks the harmony.

Precision of gesture embraces three acts, -(1) Preparation, (2) Stroke, and (3) Return.

1. THE PREPARATION

The Preparation of a gesture occurs on the three or four syllables immediately preceding the word to be emphasized. Gesture would better be prepared too early than too hastily, for the poise of the hand in the air creates expectancy on the part of the audience. In preparation the hand is usually relaxed and moves through an arch until it arrives at the point where the sweep or expressive part begins. One should guard against superfluous, out-of-the-way curves in preparation. The movement should be simple but free.

2. THE STROKE

The Stroke is the sudden impulse that ends the expressive part of the gesture. It comes from the elbow, wrist, and fingers, and occurs on the accented syllable of the emphatic word. Its force is gentle, moderate, or impassioned in accordance with the sentiment. In order to get the full effect of a gesture, the hand may be held in place a moment after the stroke, and may emphasize the thought by slight impulses on other leading words in the sentence. Such impulses are given from the elbow and shoulder without renewing the preparation, and with but little wrist action; e.g. "There is Boston and Concord and Lexington and Bunker Hill and there they will remain forever"; "Give generously and freely."

3. The RetuRN

The Return of a gesture should be made when it has served its purpose and no other is to follow immediately. The hand should be brought easily but directly to the side or to some other position of repose. Two extremes should be avoided: first, drawing in the hand by some circuitous route and placing it away mechanically; and second, letting it fall so heavily as to attract attention.

SECTION IV. ECONOMY

Economy of action is the judicious use of appropriate action. There may be too little or too much gesture. Either is a violation of economy. Well-executed gestures may tire by their frequency or attract attention by their infrequency. Two arms are often used where one would do. A favorite gesture often becomes a noticeable habit. The index finger may be shaken in rebuke once or twice with good effect, but if shaken continually it loses force and grows monotonous.

The amount of gesture depends upon the temperament of the speaker and the character of the speech. It may be curbed in one speaker and stimulated in another. True economy calls for just enough to reënforce the thought and no more.

CHAPTER III

LAWS GOVERNING ACTION

As the excellencies and faults of speech may be determined by a knowledge of vocal principles, so correct and incorrect gesture or attitude may be detected by the study of the underlying principles or laws which govern action. We shall treat (1) the Zones of the Body, (2) the Arms, (3) Principles of Gesture, (4) Planes of Gesture, (5) the Legs, and (6) Positions and Attitudes.

SECTION I. ZONES OF THE BODY

The Zones of the body or any of its members are those sections or divisions which correspond to man's Triune Nature. The body as an expressive agent may be divided into three parts, (1) the Head, (2) the Torso, and (3) the Limbs, corresponding to the three natures of man, as follows:

1. The Head, which contains the brain, the seat of the mind, belongs to the Mental division. The nod or shake of the head, the intelligent flash of the eye, the movements of the lips in articulation, are mental in significance.

2. The Torso, containing the heart and popularly recognized as the seat of the affections and emotions, is Emotive in significance. The writhing, twisting, and swaying movements of the torso manifest the stronger workings of this nature.

3. The Limbs, which are the most muscular parts of the body and the active agents of physical exertion, are Vital in nature. Walking, running, dancing, fighting, etc., show the strong activities of this nature. As agents of gesture and attitude there are two divisions, (1) the Arms, and (2) the Legs.

NOTE. The above are the Generic divisions of the body. For the purposes of the Secondary Schools we shall treat only the Vital division, leaving the fuller treatment for college and university work.

SECTION II. THE ARMS

Delsarte gives the following classification of the parts of the arm with reference to the Triune Nature.

1. The Upper Arm contains the muscles which are brought into play in strong physical exertion, such as striking heavy blows, lifting, climbing, or rowing. The expression "strike out from the shoulder" is significant of the Vital character of this agent of expression.

2. The Forearm, hinging on the Emotive elbow, is brought into action in the cordial hand clasp, in supplication and aversion, all of which give evidence of its Emotive significance.

3. The Hand is the Mental agent of the arm. While it responds to all three of the psychic states, it is most significant of the Mental nature. As an agent of expression the hand is delicately articulated, affording the greatest mobility and skill in its use. We write and draw pictures with the hand. We enumerate upon the fingers. The deaf and dumb talk with the hands. The mental act of touching the keys of a piano is performed by the hands. So significant is the hand that it determines the meaning and therefore the principle of the gesture. "Animals would have been men had they had hands," exclaimed the ancient Greek philosopher Anaxagoras.

SECTION III. GESTURE

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The Principles of Gesture, as determined by the position of the hand, may be reduced to seven in number, (1) the Index, (2) the Supine, (3) the Prone, (4) the Reflex, (5) the Clasped, (6) the Averse, and (7) the Clenched.

Considered in relation to the Triune Nature, they may be classified as follows: