Gesture is that part of the speaker's manner which pertains to his
attitude, to the use and carriage of his person, and the movement of his
limbs in delivery.
Every person, in beginning to speak, feels the natural embarrassment
resulting from his new position. The novelty of the situation destroys his
self-possession, and, with the loss of that, he becomes awkward, his arms
and hands hang clumsily, and now, for the first time, seem to him worse
than superfluous members. This embarrassment will be overcome gradually,
as the speaker becomes familiar with his position; and it is sometimes
overcome at once, by a powerful exercise of the attention upon the matter
of the speech. When that fills and possesses the mind, the orator is
likely to take the attitude which is becoming, and, at least, easy and
natural, if not graceful.
1st. The first general direction that should be given to the speaker is,
that he should stand erect and firm, and in that posture which gives an
expanded chest and full play to the organs of respiration and utterance.
2d. Let the attitude be such that it can be shifted easily and gracefully.
The student will find, by trial, that no attitude is so favorable to this
end as that in which the weight of the body is thrown upon one leg,
leaving the other free to be advanced or thrown back, as fatigue or the
proper action of delivery may require.
The student who has any regard to grace or elegance, will of course avoid
all the gross faults which are so common among public speakers, such as
resting one foot upon a stool or bench, or throwing the body forward upon
the support of the rostrum.
3d. Next to attitude, come the movements of the person and limbs. In
these, two objects are to be observed, and, if possible, combined, viz.,
propriety and grace. There is expression in the extended arm, the clinched
hand, the open palm, and the smiting of the breast. But let no gesture be
made that is not in harmony with the thought or sentiment uttered; for it
is this harmony which constitutes propriety. As far as possible, let there
be a correspondence between the style of action and the train of thought.
Where the thought flows on calmly, let there be grace and ease in gesture
and action. Where the style is sharp and abrupt, there is propriety in
quick, short, and abrupt gesticulation. Especially avoid that ungraceful
sawing of the air with the arms, into which all ill-regulated fervor
betrays many young speakers.
What is called graceful manner, can only be attained by those who have
some natural advantages of person. So far as it is in the reach of study
or practice, it seems to depend chiefly upon the general cultivation of
manners, implying freedom from all embarrassments, and entire
self-possession. The secret of acquiring a graceful style of gesture,
we apprehend, lies in the habitual practice, not only when speaking but
at all times, of free and graceful movements of the limbs.
There is no limb nor feature which the accomplished speaker will not
employ with effect, in the course of a various and animated delivery. The
arms, however, are the chief reliance of the orator in gesture; and it
will not be amiss to give a hint or two in reference to their proper use.
First--It is not an uncommon fault to use one arm exclusively, and to give
that a uniform movement. Such movement may, sometimes, have become
habitual from one's profession or employment; but in learners, also, there
is often a predisposition to this fault.
Second--It is not unusual to see a speaker use only the lower half of his
arm. This always gives a stiff and constrained manner to delivery. Let the
whole arm move, and let the movement be free and flowing.
Third--As a general rule, let the hand be open, with the fingers slightly
curved. It then seems liberal, communicative, and candid; and, in some
degree, gives that expression to the style of delivery. Of course there
are passages which require the clinched hand, the pointed finger, etc.,
etc.; but these are used to give a particular expression.
Fourth--In the movements of the arm, study variety and the grace of curved
lines.
When a gesture is made with one arm only, the eye should be cast in the
direction of that arm; not at it, but over it.
All speakers employ, more or less, the motions of the head. In reference
to that member, we make but one observation. Avoid the continuous shaking
and bobbing of the head, which is so conspicuous in the action of many
ambitious public speakers.
The beauty and force of all gesture consist in its timely, judicious, and
natural employment, when it can serve to illustrate the meaning or give
emphasis to the force of an important passage. The usual fault of young
speakers is too much action. To emphasize all parts alike, is equivalent
to no emphasis; and by employing forcible gestures on unimportant
passages, we diminish our power to render other parts impressive.