(h) Hand partly closed (hand relaxed, thumb attracted toward the fingers). Fig. 19. This position expresses sympathy, affection, gentleness. (i) Hand distended (fingers separate, distended, thumb strongly op AA FIG. 20.-Hand Distended. posed to first fin ger). Fig. 20. FIG. 19.-Hand Partly This position expresses vehe mence. () Hand gently closed (fingers pressed lightly against the palm, thumb straight, pressed gently against the first fin ger). Fig.21. This position expresses power, or repose, or authority. (k) Hand edgewise (palm of hand at right angle with the floor, FIG. 22.-Hands Clasped. terlacing). Fig. 22. fourth finger FIG. 21.-Hand Gently Closed. parallel to the floor, hand straight, thumb free). This position expresses declara tion or defini tion. (1) Hands clasped (palms nearly parallel, fingers in This position expresses deep emo tion, prayer, or supplication. (m) Hands folded (fingers of right FIG. 23.-Hands Folded. hand placed between the thumb and first finger of the left hand, thumbs crossed). Fig. 23. This position expresses entreaty, or prayer, or rest. 8. THE RESPONSE OF THE BODY In the response of the body, nothing is more important than the response of the chest. The chest rises high in vitality or life; it leans toward an object of vital attraction; it sinks low and is opposed to an object of repulsion or fear; it rises and broadens in will, disdain, or defiance; it sinks low in sorrow, remorse, or discouragement; it contracts in physical or mental distress. Next in importance in the response of the body is the response of the head. In the ascending arm movements the head is usually attracted to the arm; in the descending arm movements the head is usually opposed until it reaches the erect position. The head pivots freely in the expression of life; it bends toward the object in affection or tenderness; it pushes strongly back at the crown in disdain; it turns upward in prayer or adoration; it sinks on the chest in sorrow, reflection, dejection, or despair; it turns toward the shoulder in pride or indifference; it turns from the object in aversion, repulsion, or distrust; it bows low before an object of scrutiny. The face also responds to thought. It lights up with intelligence, or becomes blank through stupidity. The lower lid is raised in animation or amusement; the upper lid is lowered in affection or sorrow; the eyes open wide in will or terror; the brows lower and draw together in mentality, perplexity, or rage. The nostrils are important in facial expression. They dilate in strong emotion; they contract in pain. The nose becomes pinched in suffering. The mouth, as well as the jaw, reveals character. The thought which finds expression in the gesture of the arm finds expression in the muscles of the mouth also. The lips slightly part in the center in animation, or life; the upper lip lowers in the center in kindliness, tenderness, or amusement; the lips close firmly in will, determination, energy; the lips push out in sulkiness; they part in terror; they become pursed in mentality; they open vacantly and the jaw relaxes in stupidity. The feet vary in position as the thought varies. In animation, the weight is placed on the ball of one foot, or the balls of both feet. In suspense or excitement, the weight is placed on the toes of the advanced foot, with the heel of the free foot behind the instep of the strong foot, with the toes of the free foot lightly touching the floor, and the knees straight. In intensity of interest, the weight is placed on the toes of the advanced foot, with the knee of the advanced leg slightly bent and the feet some distance apart. In repose or reflection, the weight is placed on the heel of the foot that is back, with the knee of the strong leg straight and the free leg bent or relaxed. In defiance or haughtiness or scorn or will, the weight is placed on the heel of the foot that is back, with the free leg well advanced and the knee of each leg straight. In prostration or recoil, the weight is placed on the heel of the foot that is back, with the feet far apart, and the body sunk low upon the strong leg, and the free leg straight. In deference to a superior, the heels are near together, toes point outward, and weight on toes of both feet. In servility, the feet are nearly parallel and close together, with the weight on the toes of both feet, and knees slightly bent. In insolence, the weight is on the heels of both feet, the feet far apart, and the toes pointing outward. In vulgarity, the weight is placed on the balls of both feet, which are far apart, the toes pointing outward. DIVISION IV RESPONSIVE GESTURE EXERCISES * The following exercises are applications of the preceding principles. At first these exercises should be practised for precision, steadiness, and smoothness of movement. Then they should be practised to secure different kinds of response. This should be followed by original work and analysis of gestures. Descriptive gestures are either indicative or imitative. They are indicative when they point out, locate, or picture. They are imitative or sympathetic when they act out what is being described. Imitative gestures are usually inartistic. They are permissible only when they are the result of strong emotion. In such a case, they add vividness and life to the description. Imitative gestures should not be confused with personation. 1. Gestures of appellation, affirmation or assertion, and cheering. (a) Description, Take the weight on the ball of the right foot. Raise the right arm, at the angle of 0°, to the head, the hand being supine and relaxed in the upward movement. As the hand approaches the head, the fingers should droop toward the head, the index finger leading, as though designating self. This is a gesture of appellation. Move the arm downward in the same curve, maintaining a curve of the arm from the shoulder to the finger tips, until the arm is relaxed at the side. This downward movement is the gesture of affirmation. When given with *For musical accompaniment use "Narcissus," by Ethelbert Nevin. Re emphasis, it is forcible demand. It can be made em- Repeat the "cheer" movement. Then repeat the whole exercise for the left side. (b) The counts, Right foot, 2, 3, 4, Right arm up (appellation), 2, 3, 4, 1, 2, 3, 4, Down (affirmation), 2, 3, 4, 1, 2, 3, 4, Up, 2, 3, 4, 1, 2, 3, 4, Down, 2, 3, 4, 1, 2, 3, 4, Over (cheer), 2, 3, 4, 1, 2, 3, 4, Down, 2, 3, 4, 1, 2, 3, 4, Over, 2, 3, 4, 1, 2, 3, 4, Down, 2, 3, 4, 1, 2, 3, 4, Transition, 4, Left arm up, 2, 3, 4, 1, 2, 3, 4, Down, 2, 3, 4, 1, 2, 3, 4, Up, 2, 3, 4, 1, 2, 3, 4, Down, 2, 3, 4, 1, 2, 3, 4. 2. Gestures of direct entreaty and impassioned assertion. (a) Directions, Take the weight on the balls of the feet. With |