and it always makes a strong impression. The shoulders are a thermometer of passion.

(a.) Normal condition indicates calm repose.
(b.) Shoulders elevated indicate passion.
(c) Shoulders depressed indicate feebleness.

(d) Shoulders brought forward indicate pain.

"Liars do not elevate the shoulders to the required height." The elbows are a thermometer of affection, self-will, selfesteem, self-consciousness.

The positions are distinguished:

I. The normal position at the side.

2.

The elbows turned out slightly. This indicates tenderness, and may be carried on to force and activity, self-assertion, conceit, strength, arrogance.

3. The elbows turned in. This indicates self-suppression, poverty of spirit, weakness, inferiority, self-consciousness, impotence, humility, subordination, fear.

The wrist is a thermometer of vital energy of mind. The wrist turned back up indicates normal repose. The wrist turned edge up indicates preparation. The wrist up indicates action.

turned front or face

The orator needs great suppleness of wrist to give freedom to the play of the hand.

Inflections of the Arms.

-1. Calm repose.

This is the natural, easy position, with arms quietly by the side.

2. Resigned appeal to heaven. In this action the arm without lifting is turned face out, the hand is turned palm slightly up; the face is turned in opposition, and uplifted to heaven.

3. Accusation. In accusation, the arm is stiffened at the side; the eye first accuses and centres upon the object, then the stiffened arm and hand are lifted till the eye sees the object down the arm.

4. Imprecation. The arm is elevated overhead. The

hand is formed into a claw, ready as a bird of prey to pounce upon its victim.

5. Remorse.

In remorse the hand is made to grasp the back of the head, the forearm pressing against the face. 6. Grief or shame. The face, in this emotion, is hid by the hand spread over it.

7. Tender reproach. To express this, the hand is slightly closed, and drawn across the chest, away from the object, while the face is turned upon it in reproach.

8. Pathetic repulsion. To express this emotion, the hand moves toward the object from the seventh position, while the head moves in the opposite direction.

9. Benediction. In benediction, the hands are lifted, the backs up.

The above series, with one or two exceptions, is better adapted to dramatic expression; but as a practice for oratoric, it presents the feature of variety.

The following series is more oratoric in character.

1. Repulsion. In repulsion, the hand is lifted, palm out, thumb near the ear. It is then shoved out straight in front, while the head moves back in opposition.

2.

Attraction is the opposite of repulsion.

3. Supplication. In supplication, the arm is lifted to heaven, the hand open and held half horizontal. Do not hold the arm immediately in front.

4. Appellation. In appellation, the forearm is lifted perpendicular, the palm of the hand out.

5. Affirmation. In this gesture the hand is thrown down in front, the palm out.

6. Salutation. The hand is raised gracefully, the head inclining to meet it; after they have approached near each other, the hand is thrown gently forward, the head moving in opposition. The hand is lifted in proportion to the amount of deference or respect expressed. Common salutation of

men who are equals is frequently made by a wafture of the hand from the region of the stomach.

7. Negation. The arm is thrown across the space in front of the student toward the back, the palm down.

8. Declaration. This is the same movement, with the palm of the hand half up.

9. Rejection. This is the same as negation, with the thumb edge of the hand down. It sweeps all out of the way.

The following angles exhibit the different degrees of elevation in affirmation.

The angle indicates the position of the arm at the close of the gesture. Absolute truth is directly overhead. Affirmation, with moderate assertion, is at right angles to our perpendicular. In asserting impossibility, the arm makes the angle back of the perpendicular of the body.

The following medallion of inflection conveniently exhibits

to the eye the angles, arcs, and direction the hands and arms take in expression. The lower part of the circle corresponds to the feet.

Universality, amplitude, - these are expressed by the hands forming part of a circle with outstretched arms.

The opposite is a fine gesture, and less used.

The arrows indicate the direction of the hand and arm. In this the hand is overhead.

The hand circling from front back, indicates glorification or victory achieved; the opposite, exhortation or victory ahead. The straight lines interpret themselves.

CHAPTER V.

THE FACE AND HEAD IN EXPRESSION.

"THE face is the mirror of the soul" because it is the most impressive agent, less under the control of the will, and consequently the most faithful agent in rendering the states of the soul.

Not only momentary emotions may be read in the face, but the conformation of the features of the face reveals the aptitude of the individual, his temperament and character, always, of course, allowing for the freedom of man to will and live above his natural appetences.

But every emotion of the soul writes itself upon the countenance, and persistency will fix it there.

We have characteristically sad, joyful, thoughtful, stupid, vicious faces.

We have seen the same face undergo marked and sometimes remarkable changes, as the individual has changed his life. The face gives the hand more significance in gesture.

The Eyes. - The eyes and ears are called the organs of the spiritual sense. The other organs of sense must come in contact with the object, in order to know of its qualities or character.

With the ear we can hear sounds produced afar off, and with the eye we can see the object that impresses us, though many leagues in the distance.

The eye then is the highest as an agent of expression.

It has long been characterized as the "window of the soul."

The eye is an intellectual agent, denoting the various states of the mind.