We can dictate to the preacher and mark out his path. He must not be an
actor, but a _doctor_. Hence his gestures must never represent the
impressions of those of whom he speaks, but his own. Hence he should
proportion the number of his gestures to the number of his sentiments.
G.--If the orator would speak to any purpose, he must bring back his
discourse to some picture from nature, some scene from real life.
There must be unity in everything; but a role may be condensed in two or
three traits; therefore a great number of gestures is not necessary.
Let it be carefully noted: the expression of the face should make the
gesture of the arms forgotten. Here the talent of the orator shines
forth. He must captivate his public in such a way that his arm gestures
will be ignored. He must so fascinate his auditors that they cannot ask
the reason of this fascination, nor remark that he gesticulates at all.
H.--Where there are two gestures in the same idea, one of them must
come before the proposition, the other in its midst.
If there is but one gesture and it precedes the proposition, the term to
which it is applied must be precisely indicated.
For example: _Would he be sensible to friendship?_ Although friendship
may in some degree be qualified as the indirect regimen, gesture should
portray it in all its attributes.
_Duration of Gesture._
The suspension or prolongation of a movement is one of the great sources
of effect.
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