* * * * *
Persuade yourself that there are blind men and deaf men in your
audience whom you must _move_, _interest_ and _persuade!_ Your
inflection must become pantomime to the blind, and your pantomime,
inflection to the deaf.
* * * * *
The mouth plays a part in everything evil which we would express, by a
grimace which consists of protruding the lips and lowering the corners.
If the grimace translates a concentric sentiment, it should be made by
compressing the lips.
* * * * *
Conscious menace--that of a master to his subordinate--is expressed by a
movement of the head carried from above downward.
Impotent menace requires the head to be moved from below upward.
* * * * *
Any interrogation made with crossed arms must partake of the character
of a threat.
* * * * *
When two limbs follow the same direction, they cannot be simultaneous
without an injury to the law of opposition. Therefore, direct movements
should be successive, and opposite movements should be simultaneous.
* * * * *
There are three great articular centres: the _shoulder, elbow_ and
_wrist_. Passional expression passes from the shoulder, where it is in
the emotional state, to the elbow, where it is presented in the
affectional state; then to the wrist and the thumb, where it is
presented in the susceptive and volitional state.
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