2. THE SUPINE

In the Supine principle the palm is turned upward, usually at an angle of about 45° (see Figs. 7 and 8). The fingers are extended without being strained back. The thumb is energized, the forefinger well opened, the other fingers slightly

FIG. 7. HAND SUPINE

FIG. 8. HAND SUPINE

curved, and the whole hand is about as wide at the point as at the palm. When the gesture is high the palm may not be seen by the audience, but it may always be seen by the speaker. The Supine is the most commonly used of the principles of gesture. It is revelatory in character and corresponds most nearly to the Mental nature. It is appropriate in affirmation, welcome, giving, receiving, asking, appeal, concession, submission, humility, according to the plane in which it is made.

Sentences illustrating the Supine:

(1) Give generously and freely. Recollect that in so doing you are exercising one of the most god-like qualities of your nature. - Prentiss.

(2) Good old man, thou art right welcome as thy master is. -Shakespeare.

(3) I appeal from the spirit of trade to the spirit of liberty.

- Hoar.

3. THE PRONE

In the Prone principle the palm is turned downward (see Figs. 9 and 10). It molds, shapes, caresses, and commands. It sweeps over an expanse, traces out distance, measures heights, and feels the way in darkness. The outstretched

FIG. 9. HAND PRONE

FIG. 10. HAND PRONE

hands of the minister, at the close of a church service, are not an unmeaning benediction. The religious ceremony of the laying on of hands signifies blessing or the imparting of spiritual force. The Prone hand held upright in the act of taking the oath is the outward sign of submission and truth. While the Supine hand reveals, the Prone conceals or suppresses. The one affirms, the other denies; one receives, the other rejects. In significance these are Mental states, but when expressing reproof, moral restraint, offering protection, blessing, and benediction, the action enters the Emotive realm.

Sentences illustrating the Prone:

(1) Nor Heaven peep through the blanket of the dark to cry Hold, hold! Shakespeare.

(2) Peace! silence! Brutus speaks.

Shakespeare.

(3) O name him not, . . . for he will never follow any thing that other men begin. - Shakespeare.

4. THE REFLEX

In the Reflex principle the palm is directed toward some part of the body (see Figs. 11 and 12). The hand touches or strikes the head in deep thought, bewilderment, or distraction; e.g. Hamlet in driving himself to devise means to

"catch the conscience" of the King, exclaims, "About, my brain!" The hand is directed toward the torso in referring to soul, affection, heart, self, as in the words, "Hold, hold, my heart; and you, my sinews, grow not instant old, but bear me stiffly up." The hand clutches some part of the vital organs in physical pain, as in the words of King John, “O, I am poisoned."

The Reflex, then, is used in concentration, reflection, arrogance, self-abnegation, self-menace, convulsion. Such expression fully warrants that this principle be classed as Emotive in nature.

Sentences illustrating the Reflex:

(1) Do I look like a cudgel?-Shakespeare.

(2) I am the Emperor and the incomparable archer of Rome. - Thompson.

(3) And for that name that is no part of thee take all myself.

-Shakespeare.

5. THE CLASPED

In hands Clasped the palms are brought together and the fingers and thumbs are clasped or interlocked (see Figs. 13 and 14). This principle is seen when the hands are wrung in grief, anguish, and remorse; and when they are extended upward in

FIG. 13. HANDS CLASPED

FIG. 14. HANDS CLASPED

supplication, which is emphasized when the hands are drawn nearer to the body and the elbows raised and extended at a sharper angle. It is also recognized in the eager grasp of the hand and the hearty hand shake of friendship, in which the palms are pressed together in cordiality and sympathy. In expression, then, the Clasped hands respond to the Emotive nature, and are used in prayer, entreaty, supplication, adoration, deep sorrow, anguish, and remorse.

Sentences illustrating the Clasped:

(1) Dead! both my boys! When you sit at the feast, and are wanting a great song for Italy free, let none look at me.

Mrs. Browning.

(2) What wilt thou do? Thou wilt not murder me? Help, help, ho! - Shakespeare.

(3) Thou shalt judge. Thine, Jehovah, is the vengeance. Thou alone canst send it. - Daly.

6. THE AVERSE

In the Averse principle the hand is turned away at a positive angle with the forearm (see Figs. 15 and 16). It is closely related to the Prone, though the exact angle at which the Prone ends and the Averse begins is not to be marked by hard-and-fast lines. It is necessary to distinguish between these two principles

FIG. 15. HAND AVERSE

FIG. 16. HANDS AVERSE

because of their wide divergency in expression. Benediction and aversion, so different in character, require different principles of gesture. This difference is shown at the wrist. At an obtuse angle the Averse expresses admonition, reproof, or repression; at a sharper angle, aversion, repulsion, and fear; at a still sharper angle, with the fingers spread apart, extreme fear, terror, horror, and loathing. Because a part of these sentiments belong to the Emotive and a part to the Vital nature the Averse principle is classified as pivotal between the two.

Sentences illustrating the Averse :

(2) O most cursed fiend! . . . Thou and my bosom henceforth shall be twain. - Shakespeare.

(3) Avaunt, thou dreadful minister of hell!

Shakespeare.

(4) "Imperial?" Away with it. I do not like the sound of it.

-Jefferson.