A gesture made by
the hand is wrong when not justified in advance by the face.
Intelligence is manifested by the face. When the intelligent man speaks,
he employs great movements only when they are justified by great
exaltation of sentiment; and, furthermore, these sentiments should be
stamped upon his face. Without expression of the face, all gestures
resemble telegraphic movements.
C.--The repeated extension of the arms denotes but little intelligence,
little suppleness in the wrist and fingers. The movement of a single
finger indicates great _finesse_.
It is easy to distinguish the man of head, heart and actions. The first
makes many gestures of the head; the second many of the shoulders; the
last moves the arms often and inappropriately.
D.--Gesture is allowable only when an ellipse of the word or phrase
admits of an additional value.
E.--Effects must not be multiplied; this is an essential precaution.
Multiplied movements are detrimental when a graver movement is awaited.
F.--The orator is free to choose between the role of actor or that of
mere spectator or narrator. Neither the one nor the other can be forced
upon him. The actor's role arises not from intelligence but simply from
instinct. The actor identifies himself with the personages he
represents. He renders all their sentiments. This role is the most
powerful, but, before making it the object of his choice, there must be
severe study; he must not run the risk of frivolity.
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