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pleasant things. Compare beautiful, gentle, noble, kind, holy, with bestial, disgusting, contemptible, nauseous, hideous, or with expletives, bah, pshaw, and the like.

EXAMPLES OF TRANSITION IN EXPRESSION.

Never a horse a jockey would worship and admire
Like Flash in front of the engine a-racing to the fire;
Never a horse so lazy, so dawdling, and so slack,
As Flash upon his return trip, a-drawing the engine back.
-Carleton.

The combat deepens. On, ye brave,
Who rush to glory or the grave!
Wave, Munich! all thy banners wave,
And charge with all thy chivalry!

Ah! few shall part where many meet!
The snow shall be their winding-sheet,

And every turf beneath their feet

Shall be a soldier's sepulchre.-Campbell.

Hush! hark! did stealing steps go by? Came not faint whispers near?

No! The wild wind hath many a sigh amid the foliage sere.

Hark! yet again!—and from his hand what grasp hath wrenched the blade?

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Oh, single 'midst a hostile band, young soldier, thou'rt betrayed! "Silence!" in undertones they cry; no whisper-not a breath! The sound that warns thy comrades nigh shall sentence thee to death!"

Still at the bayonet's point he stood, and strong to meet the blow; And shouted, 'midst his rushing blood, "Arm! arm! Auvergne!

the foe!"

The stir, the tramp, the bugle-call, he heard their tumults grow; And sent his dying voice through all, "Auvergne! Auvergne! the foe!"-Mrs. Hemans.

Old Master Brown brought his ferule down;

His face was angry and red:

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Full-arm gestures are appropriate where there is great earnestness, strong feeling, or when addressing an audience of any size.

We have an almost infinite number of expressive actions of the arm, but a few examples will suffice to illustrate right and wrong ways of making them.

One of the most common faults is not observing the proper order of movement, which is: First, upper arm; second, forearm; finally, the hand and fingers. Another fault is to finish the gesture with the arm only partly developed, "broken," as we sometimes say (Fig. 5).

EXERCISE I.

Indication (palm up).

Select an object at the side. Remember that the actions of the eye and head precede that of the arm.

1. Raise the upper arm, letting the rest of the arm

FIG. 18.

hang lifeless, until the elbow points in the direction of the object.

2. Straighten the forearm, at the same time turning it at the elbow so that the hand, which still remains passive, is moved edgewise until

the wrist is "from earth," bringing the palm up.

3. Straighten out the hand with the forefinger pointing as described in Lesson XXXI. Use every-day expressions, like "look at that," "take a chair."

EXERCISE II.

Indication (palm down).

This is a more active expression than the former one. In pointing out objects at a great distance, or where there is great earnestness, excitement or command, we use

FIG. 19.

this form of indication; the other is more easy and trustful.

The order of action is as before, but with the outer edge of the hand leading instead of the inner. (Fig. 18.) "Go!" "Who is it leans from the belfry with face upturned to the sky?"

Practise these until the three movements blend gracefully. Be very careful not to overdo the movements or add affected curves to the forearm and hand movements. Make every gesture as simple as possible.

EXERCISE III.

Indication of Self-Folding Movement.

Here the arm folds in instead of developing outward. With the arm hanging at the side:

(a) Turn the arm slightly, bringing the palm outward, at the same time carrying the elbow out a very little distance from the body. (Fig. 20.)

FIG. 21.

FIG. 22.

FIG. 20.

(b) Fold the hand so as to bring the fingers pointing toward the part to be indicated. (Fig. 21.)

(c) Fold the forearm, at the same time raising the upper arm and carrying it out from the body, until the fingers touch the spot you wish to indicate. (Fig. 22.)

Study the movements separately, then blend them. Indicate various parts of the body, using appropriate expressions, for instance: touching the forehead with the forefinger,

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fer;" touching the side of the nose with the forefinger, "Joey B. is sly, sir." Fig. 23 illustrates an indication preceded by a folding movement. Where there is strong personal feeling, gestures are often begun in this way, mental gestures starting from the head, emotional gestures, love, indignation, etc., from the chest or heart region, vital gestures from the waist.

EXERCISE IV.

Suspense.

An attitude of the hand and arm which often accompanies the attitude of suspense or hesitation in the legs is that in which the hand is drawn in toward the body, the palm downward, the fingers spread well apart, and the elbow active, very much as in Fig. 26, but with the hand much nearer the line of the waist, and not quite so near the body. Fig. 33 is also an example of another and stronger form of suspensive action, indicating a tendency to repel. These attitudes

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