There is never sympathetic vision. The phenomena of the imagination are
in the imagination at a fixed distance. When an image changes place in
the idea, it produces a titillation equal to that which would be
produced in the order of material things. For example, let us quote
these lines:
"At last I have him in my power,
This fatal foe, this haughty conqueror!
Through him my captives leave their slavery."
Here the body must be calm; there is a sort of vehemence in the eyes; it
will be less in the head than in the arms. All these movements are made,
but the body remains firm. Generally the reverse takes place; the whole
body is moved; but this is wrong.
In these words: "Where are they, these wretches?" there must be great
violence in the upper part of the body, but the step is very calm.
To affect a violent gait is an awkward habit. A modified slowness in the
small agents creates emphasis; if we give them too great facility of
movement, the gestures become mean and wretched.
Rhythm is in marvelous accord with nature under the impulse of God.
_Importance of the Laws of Gesture._
We never really understand an author's meaning. Every one is free to
interpret him according to his individual instinct. But we must know how
to justify his interpretation by gesture. Principles must aid us in
choosing a point of view in accordance with his individual nature;
otherwise incoherence is inevitable.
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