Chapter 23
Of Gesture in Particular.
_The Head._
The dynamic apparatus is composed of the head, the torso and the limbs. As in the vocal apparatus, we have the lever, the impelling force, and the fulcrum.
The dynamic apparatus produces gesture, which renders the moral or normal state; as the voice expresses inflection and reveals the sensitive state.
The head must be studied under two relations: as the agent of expression through its movements, and as the centre of attraction; that is, the point of departure or arrival for the different gestures of the arm.
Let us now apply ourselves to the signification of the movements of the head and eyes, the face and lips.
_The Movements of the Head._
There are two sorts of movements of the head: movements of attitude and fugitive movements.
_Movements of Attitude._--The head has nine primary attitudes, from which many others proceed.
In the normal attitude, the head is neither high nor low.
In the concentric attitude the head is lowered; this is the reflective state.
In the eccentric attitude the head is elevated; this is the vital state.
Soldiers and men of robust physique carry the head high.
Here are three genera, each of which gives three species.
_The Normal State._
When the head is erect, it is passive and neutral.
The head inclining laterally toward the interlocutor indicates affection.
If in the inverse direction, opposite the interlocutor, sensualism is indicated. This is in fact retroaction; in the first case we love the soul, in the latter the form.
_The Eccentric State._
If the head bends backward it is the passional or vehement state.
The head inclined toward the interlocutor, denotes abandon, confidence.
The head turned away from the interlocutor, denotes pride, noble or base. This is a neutral expression which says something, but not the whole.
_The Concentric State._
The head lowered, that is, inclined forward, denotes the reflective state.
If the head inclines toward the interlocutor, it is veneration, an act of faith in the object we love.
If the head inclines away from the interlocutor, it is stratagem or suspicion.
All other attitudes of the head are modifications of these. These nine attitudes characterize states, that is, sentiments, but sentiments which are fugitive. Either of these attitudes may be affected until it becomes habitual. But there are movements which cannot be habitually affected, which can only modify types and attitudes of the inflections of the head. These are _fugitive movements_.
There are nine inflections or fugitive movements of the head:--
1. If a forward movement, it ends in an upright one, with elevated chin, and indicates interrogation, hope, appellation, desire.
2. The same movement with the chin lowered, indicates doubt, resignation.
3. A nod of the head, a forward movement, means confirmation, _yes_, or _well_.
4. If the movement is brusque forward, it is the menace of a resolute man.
5. The head thrown back means exaltation.
6. If the movement is brusque backward, it is the menace of a weak man.
7. There are rotative inflections from one shoulder to the other; this is impatience, regret.
8. The rotary movement of the head alone signifies negation, that is _no_.
If the movement ends toward the interlocutor, it is simple negation.
If the movement ends opposite to him, it is negation with distrust.
9. The rotative and forward inflection would denote exaltation.
The sense of this response,--"I do not know," when tidings of a friend are asked, may be divined by an inflection of the head.
It is well to note how these movements are transmitted from agent to agent.
All movements which severally affect the head, the hand, the body and the leg, may affect the whole.
Thus the movement of negation is made by the hand. This movement is double. There is negation with direct resolution, and negation with inverse resolution, which is elliptical. The hand recoils as the head recoils, and when the head makes the movement of impatience, the hand rises with the head and says:--"Leave me alone, I do not wish to hear you."
It is curious to see an inflection pass successively from the head to the hand, from the hand to the eye, from the eye to the shoulders, from the shoulders to the arms, from the arms to the legs, from the legs to the feet.
For example: Above we have indicated a double menace made by the head. One might transfer this menace to the hand and say: "You will have a quarrel to settle with me!"
Each agent has its rôle, and this is why they transmit their movements.
When the head has a serious part to play, it communicates an inflective movement to the hand, which renders it terrible.
A man who menaces with the head is not sure of his aim, but he who menaces with the hand is sure of striking right. In order to do this, the eye must be firmly fixed, as the eye necessarily loses its power and accuracy by a movement of the head.
There is great power in the menace communicated to the hand, a power not found in the other movement. The head-menace is more physical, and the hand-menace more intellectual; in the one the eye says a great deal, while in the other it says nothing.
The orator cannot always make these gestures with facility. The menace may be elliptical. Then it must be made by the head, and expressed through the eyes. This is why the speaker gazes downward as he makes it.
It is the same downward or upward movement which is reproduced when the menace is concentric or elliptical.
The menace may be made in yet another way. The speaker does not wish to express his opinion, and for fear of compromising himself with his eyes, he does not gaze at his interlocutor; he turns aside his glance, and the menace is communicated to the shoulder. This has less strength, because it is rendered by one of the sensitive agents.
The man who threatens with the shoulder is more passionate; but he is not the agent, he is passive.
A simple menace may be made by the knee. The foot is susceptible of great mobility. A slight movement quickly changes its significance; in passing from one agent to another, it is modified by many ellipses.
Criterion of the Head Attitudes.
GENUS. SPECIES.
1 3 2
1-II 3-II 2-II II Ecc. Conc. Norm. Conc. Conc. Conc. _Stratagem or _Reflection_. _Veneration_. cunning_.
1-III 3-III 2-III III Ecc. Norm. Norm. Norm. Conc. Norm. _Sensualism_. _Passive state_. _Affection_.
1-I 3-I 2-I I Ecc. Ecc. Norm. Ecc. Conc. Ecc. _Pride_. _Vehemence_. _Confidence_.
These attitudes, being wholly characteristic, cannot be transmitted. They characterize the special rôle of the agent set in motion, while inflection is universal.
The head alone expresses trouble, dejection.
Dejection is in the head, as firmness is in the reins and exaltation in the shoulders.
All the movements of the head are communicated to all the active organs. The head is always in opposition to the arms. The head must be turned away from the leg which is advanced.
Men of small brain habitually carry their heads high. The head is lowered in proportion to the quantity of intelligence.
Examine the criterion for the fixed attitudes of the head.
_Of the Eyes._
The eye, in common with all the other agents, has nine primary expressions, three genera and nine species.
The eye contains three agents: The optic or visual, the palpebral or pupil, and the eyebrow agent. Each of these has its peculiar sense, and we shall show how they are united.
The optic agent has three direct or convergent glances. The eyes converge toward the object they examine, at such a point that if the object were there they would squint. A skilled observer can determine the distance of the object, upon seeing the two eyes.
There is a revolving or divergent glance. If both eyes project in parallel lines, they see double. A drunken man sees double because the eyes do not converge.
Between these two glances there is the ecstatic or parallel vision; but the object is not so far away that its distance may not be determined. The convergence is not appreciable. This is the dreamy expression. We shall here treat of one only, to which we refer the three others. Let us take the direct glance, passing by the optic agent, since it is direct in all the phenomena we have to consider.
There are three phenomena in the eyebrow: eccentric, concentric and normal. From these we derive nine terms. If the eye is normal, it is a passive expression which determines nothing. If, with the same eye, the eyebrow is eccentric, there is a difference; one part of us tends vehemently toward something, and the other says: "It is not worth the trouble." The sensitive part aspires, while the intellect says, "This amounts to nothing."
The concentric eyebrow indicates a mind disconcerted by fatigue or _ennui_, a contention of one part of the nature with the other, which resists, and says: "I do not wish to be troubled about this; it wearies me."
The normal brow and the eccentric eye indicate stupor.
Here there is again contrariety. One part of the being ardently aspires toward some object, while the other is powerless to aid it.
The eye is purely an intellectual agent, denoting the various states of the mind.
The eccentric eye and the elevated eyebrow denote vehemence. This is an active state that will become astonishment. Many phenomena will arise and be subordinate to this movement; but it is vehemence _par excellence_; it is aspiration.
If the brow lowers vehemently with the eyes open, it is not rage, but a state of mind independent of everything the senses or the heart can say.
This is firmness of mind, a state of the will independent of every outside influence. It may be attention, or anger, or many other things.
If the eye is concentric and the eyebrow in the normal state, it is slumber, fatigue.
If the eyebrow is eccentric and the eye concentric, it will represent not indifference only, but scorn, and after saying, "This thing is worthless," will add, "I protest against it, I close my eyes."
If both the eye and eyebrow are concentric, there is contention of mind. This is a mind which seeks but does not possess.
This explanation may be rendered more clear and easier to retain in mind by the following resume:
E Concentric. Contention of mind. Concentric eyebrow Y Normal. Bad humor. E Eccentric. Firmness
E Concentric. Grief. Normal eyebrow. Y Normal. Passiveness. E Eccentric. Stupor.
E Concentric. Scorn. Eccentric eyebrow. Y Normal. Disdain. E Eccentric. Astonishment.
The nine expressions of the eye correspond to each of the nine movements of the head. Thus the eye may give nine types of affection, nine of pride, nine of sensualism, etc. This gives eighty-one expressions of the eye. Hence, knowing eighteen elements, we inevitably possess eighty-one.
The nine expressions of the eye may be verified by the criterion.
As a model, we give the nine expressions of the eye in the subjoined chart.
GENUS. SPECIES.
1 3 2 Eye eccentric. Eye normal. Eye concentric.
Eyebrow Firmness. Bad humor. Contention of conc. mind. II
Eyebrow Stupor. Passive state. Grief. III
Eyebrow Inspiration. Disdain. Scorn. I
For ordinary purposes it is sufficient to understand the nine primary expressions. There are many others which we merely indicate. In sleep there may be an inclination either way. The top of the eyebrow may be lifted.
Thus in the concentric state, three types may be noted, and these go to make twenty-seven primary movements. The lower eyelid may be contracted; the twenty-seven first movements may be examined with this, which makes 2×27.
A movement of the cheek may contract the eye in an opposite direction, and this contraction may be total, which makes eighty-one expressions belonging to the normal glance alone.
This direct glance may also be direct on the inferior plane, which makes 2×81; for these are distinct expressions which cannot be confounded.
This movement could again be an upward one, which would make 3×81.
The movement may be outward and superior, or it may be simply outward; it may also be outward and inferior. A special sense is attached to each of these movements,--a sense which cannot be confounded with any of the preceding movements.
By making the same computation for the three glances above noted, we shall have from eight to nine hundred movements.
All this may appear complicated, but with the key of the primary movements, nothing can be more simple than this deduction.
The above chart with its exposition of the phases of the eye explains everything. A small eye is a sign of strength; a large eye is a sign of languor. A small oblique eye (the Chinese eye), when associated with lateral development of the cranium, and ears drawn back, indicates a predisposition to murder.
The eye opens only in the first emotion; then it becomes calm, closing gradually; an eye wide open in emotion, denotes stupidity.
_Of the Eyebrows._
There are three thermometers: the eyebrow is the thermometer of the mind; the shoulder is the thermometer of the life; the thumb is the thermometer of the will.
There is parallelism between the eye and the voice. The voice lowered and the brow lifted, indicate a desire to create surprise, and a lack of mental depth.
It is very important to establish this parallelism between the movements of the brow and voice.
The lowered brow signifies retention, repulsion: It is the signification of a closed door. The elevated brow means the open door. The mind opens to let in the light or to allow it to escape. The eyebrow is nothing less than the door of intelligence. In falling, the voice repels. The efforts in repulsion and retention are equal.
The inflections are in accord with the eyebrows. When the brows are raised, the voice is raised. This is the normal movement of the voice in relation to the eyebrow.
Sometimes the eyebrow is in contradiction to the movement of the voice. Then there is always ellipse; it is a thought unexpressed. The contradiction between these two agents always proves that we must seek in the words which these phenomena modify, something other than they seem to say. For instance, when we reply to a story just told us, with this exclamation: "_Indeed_!"
If the brow and voice are lowered, the case is grave and demands much consideration.
If brow and voice are elevated, the expression is usually mild, amiable and affectionate.
If the voice is raised and the brow lowered, the form is doubtful and suspicious. With the brow concentric, the hand is repellent.
Both brow and hand concentric denote repulsion or retention; this is always the case with a door.
Both brow and hand eccentric mean inspiration, or allowing departure without concern.
There is homogeneity between the face, the eyebrow and the hand.
The degree and nature of the emotion must be shown in the face, otherwise there will be only grimace.
The hand is simply another expression of the face. The face gives the hand its significance. Hand movements without facial expression would be purely automatic. The face has the first word, the hand completes the sense. There are eighty-one movements of the hand impossible to the face; hence, without the hand, the face cannot express everything. The hand is the detailed explanation of what the face has sought to say.
There are expressions of the hand consonant with the facial traits, and others dissonant: this is the beautiful.
The weak hand and the strong face are the sign of impotence.
The weak hand and the strong face are the sign of perfidy.
The tones of the voice vary according to the expression of the face. The face must speak, it must have charm.
In laughing, the face is eccentric; a sombre face is concentric.
The face is the mirror of the soul because it is the most impressionable agent, and consequently the most faithful in rendering the impressions of the soul.
Not only may momentary emotions be read in the expression of the features, but by an inspection of the conformation of the face, the aptitude, thoughts, character and individual temperament may be determined.
The difference in faces comes from difference in the configuration of profiles.
There are three primitive and characteristic profiles, of which all others are only derivations or shades. There is the upright, the concave and the convex profile. Each of these genera must produce three species, and this gives again the accord of _nine_.
These different species arise from the direction of the angles, as also from the position of the lips and nose.
Uprightness responds to the perpendicular profile; chastity, to the concave; sensualism, to the convex.
Let it be understood that we derogate in no way from the liberty of the man who remains always master of his will, his emotions and his inclinations.
A criterion of the face is indispensable to the intelligent physiognomist, and as the lips and nose have much to do with the expression of the face, we offer an unerring diagnosis in the three following charts:
Criterion of the Profile of the Lips.
SPECIES. 1 3 2
II 1-II 3-II 2-II Ecc.-conc. Norm.-conc. Conc.-conc.
III 1-III 3-III 2-III Ecc.-norm. Norm.-norm. Conc.-norm.
I 1-I 3-I 2-I Ecc.-ecc. Norm.-ecc. Conc.-ecc.
Here the profile of the lower lip indicates the genus, and the profile of the upper lip belongs to the species.
Criterion of the Profile of the Nose.
SPECIES. 1 3 2
II 1-II 3-II 2-II Ecc.-conc. Norm.-conc. Conc.-conc.
III 1-III. 3-III. 2-III. Ecc.-norm. Norm.-norm. Conc.-norm.
I 1-I. 3-I. 2-I. Ecc.-ecc. Norm.-ecc. Conc.-ecc.
For surety of diagnosis the lips must be taken in unison with the nose and forehead, as may be seen in the following chart.