The modifications of the body are divided by M. Engel into two classes; those arising from involuntary action, or the mechanism of the body only, as quick respiration after running, the closing of the eyelids from drowsiness, and sneezing from the irritation of the pituitary membrane. Those of the second kind depend on the will, and answer to the inflections of the voice, their action falling as the stroke of the gesture described in this work, does on the accented syllable of the emphatical word.

The more particular or determinate modifications of the body he divides into picturesque and expressive gestures. The picturesque are descriptive, and answer to the kind of gestures which Cicero calls demonstratio, and the expressive relate to the feelings of the mind, and answer to those which he calls significatio. Other movements he names indicative when an object is merely pointed out but not described.

Action is complete when the imitation is perfect; as may take place, when one man describes the gestures of another.

Action is incomplete when a man describes objects incapable of being adequately represented by his powers, as if he should describe the height and circumference of a mountain.

Action is figurative, when some resemblance in the gesture is substituted for the feelings of the mind, as the thinking of elevation of mind, raises up the body and countenance; and the idea of obstinacy stiffens the whole person.

Omnes autem hos motus subsequi debet gestus, non hic verba exprimens, scenicus, sed universam rem et sententiam, non demonstratione, sed significatione declarans. Cicero. de Orat. 1. 3. c. 59.

Gestures arising from desire or aversion, which seem as it were to be gratified by their means, he names gestures of motive (gestes motives).

Analogous gestures, represent the feelings of the mind, in a manner similar to those of the body, as when in refusing assent the hand pushes as it were the ideas aside. But these seem rather to belong properly to his figurative gestures. Physiological gestures are involuntary indications of the mind, as blushing, paleness, tears, laughing, &c. these appear properly to belong to his first division.'

Such are the principal divisions of gesture according to Mr. Engel; from their various combinations, he very ingeniously accounts for the significancy of gesture, under many different modifications, and gives directions for its proper use. He states the object of his work to be principally an enquiry into the truth of theatrical action, by which is to be understood its significancy, which he complains was neglected, and that in its place was substituted a cold affectation of grace without life or

9 Je dois commencer par classer les différentes modifications du corps, que le comédien imite d'après nature. Elles se partagent d'abord en deux espèces principales; savoir, en celles qui sont uniquement fondées sur le mécanisme du corps; comme, par exemple, la respiration difficile après une course rapide, l'affaissement des paupieres à l'approche du sommeil, &c.; et en celles qui, dependant davantage de la coopération de l'ame, nous servent à juger de ses affections, de ses mouvemens et de ses desirs, comme causes occasionnelles et ou motrices. Engel, Tome III. p. 359.

.... Elles répondent aux inflections de la voix dans le récit tranquille.... afin que l'attention de l'auditeur s'attache precisément à ce qui occupe celle de la personne qui parle.

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expression. Whatever ground of complaint he might have against the practice or traditions of his theatre on this account; the same charge cannot be made against the writers on this subject, at least those in our hands; for their chief attention has been directed to the significancy and truth of gesture. Mr. Engel has no doubt taken a very comprehensive and able view of this kind of gesture, but the old rhetoricians have also laboured in the same way, as Caussinus Cresollius, Henischius and Curius Fortunatianus; from the two former frequent extracts have been made in the notes, and from the two latter, as containing well condensed abridgments of Cicero and Quintilian

....

en élevant et renforçant la voix par une prononciation plus lente et plus imposante du mot qui indique l'idée particulierement digne d'être remarquée. Pp. 365, 366. La regle.... est la même que celle qui doit determiner l'accent. P. 367. Toutes les modifications du corps d'une signification plus determinée se partagent dans les deux espèces que je viens de nommer; savoir, en gestes pittoresques et en gestes expressifs. Peutêtre ne devrois-je appliquer le mot geste qu'à cette derniere espèce; mais notre langue (Allemande) me paroît aussi bien permettre cette extension du sens que la langue latine. Ciceron qui, dans un endroit, n'applique le mot gestus qu'aux signes extérieurs de la situation de l'ame, les affectiones animi; parle ailleurs du gestu scenico, verba exprimente. Ce que j'appelle peinture est sa demonstratio; et significatio est à-peu près chez lui ce que j'entends par expression. A la verité, il y a encore d'autres mouvemens, qu'on pourroit appeller indicatifs, lorsque la chose ne doit pas être dépeinte, mais seulement indiquée. P. 372.

La peinture de l'art du geste est, comme celle de la musique, complette ou incomplette. P. 389 et seq.

Je me contenterai d'indiquer seulement une remarque très-intéressante qu'on peut encore faire ici: elle concerne le grand nombre des figures et sur-tout de métaphores, qui se trouvent aussi bien dans le langage des gestes, que dans celui de la parole. P. 398 et seq. Quelques-uns de ces gestes sont motives ou faits à dessein: ce sont des actions extérieurs et volontaires par lesquelles on peut connoitre les mouvemens, les penchans, les tendences, et les passions de l'ame, quelles servent à satisfaire comme moyens. P. 404,

D'autres gestes sont imitatifs non en peignant l'objet de la pensée, mais la situation, les effets, et les modifications de l'ame, et je les appellerai gestes analogues. P. 405. Il y a encore d'autres gestes, qui sont des phenomenes involontaires. tous ces gestes sous la denomination commune de gestes physiologiques. P. 407.

Je réunirai

with perhaps some valuable additions, large extracts are added in the Appendix. Johannes Lucas, who wrote a Latin poem on the gesture and voice of a public speaker, has been put under contribution in the same manner. The excellence of his precepts, and the beauties of his poetry appear to better advantage kept thus together, than scattered, as they might have been, through the notes. For these additions to the work, it is hoped that their value, and the rarity of their books will be sufficient apology. The elegant Count de Buffon, in his natural history of man, has devoted several pages to the expression of his counte nance, and his gestures: a passage or two quoted from this will induce the reader to consult the eloquent author in his own work at large. Mr. Sheridan has written also at considerable length on this subject, in his Art of Speaking, as well as in his Lectures. Mr. Walker in his Elements of Elocution has improved on that part of Mr. Sheridan's work, which describes the external characters of the passions, and has subjoined to each, appropriate examples selected with his usual judgment and taste. As these books are or ought to be in the hands of every public speaker, there is the less occasion to make extracts from them.

Without entering very largely into the subject of significant gestures, which are not the principal object of this treatise, it may be necessary to enumerate a few of them.

The Head and Face.

The hanging down of the head denotes shame or grief.
The holding it up, pride or courage. (“)

La plupart des regles conservées par tradition sur la déclamation théâtrale

To nod forwards implies assent. (")

To toss the head back, dissent. (12)

The inclination of the head implies bashfulness or languor. The head is averted in dislike or horror. ("3)

It leans forward in attention.

The Eyes.

The eyes are raised in prayer.

They weep in sorrow. (“)

They burn in anger.

They are downcast or averted in anger."

They are cast on vacancy in thought.

They are thrown in different directions in doubt and anxiety.

"The Arms.

The arm is projected forwards in authority.
Both arms are spread extended in admiration.
They are both held forwards in imploring help.
They both fall suddenly in disappointment.

n'ont d'autre objet que la dignité, la beauté et la noblesse du jeu. De-là vient que nous remarquons cette froide élégance, sans ame et sans expression dans le jeu de tant d'acteurs. P. 384.

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Capitis demissio mæstitiam et luctum consequitur.

Caput attollere superbientium et arrogantium gestus est.

Capitis nutus apud Homerum ratæ permissionis signum est. Caussinus.

Αλλ ̓ ἄγε τῇ κεφαλῇ κατανεύσομαι.

Iliad. 1.

13 Lucian humorously compares the alternate assent and dissent of a man distracted by doubt to the nodding backwards and forwards of persons asleep : ἄρτι μὲν ἐπινεύων ἄρτι δὲ ἀνανεύων ἔμπαλιν. Menip.

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15

Tristior et lachrymis oculos suffusa nitentes. Virg.

Illa solo fixos oculos aversa tenebat. Ib.