Chapter 25

Of The Limbs.

The limbs hold an important place in oratorical action.

The study of the role of the arms and limbs therefore deserves serious attention.

_The Arms._

In the arms we distinguish the deltoid or shoulder movement, the inflection of the fore-arm, the elbow, the wrist, the hand and the fingers.

_Inflections of the Fore-Arm_.

We have treated of what concerns the shoulder in the chapter upon the torso.

The arm has three movements: an upward and downward vertical movement, and a horizontal one.

These movements derive their significance from the different angles formed by the fore-arm in relation to the arm. Let us first represent these different angles, and then we will explain the chart.

All these different angles have their meaning, their absolute significance in affirmation.

The movement at the right angle signifies: To be.

Lower: Perhaps.

Lower still: I doubt if it is so.

Lower: It is improbable.

Lower: It is not.

Lower: It is not possible.

Ascending: This is proven, I have the proof in my hand.

Higher: This is superlatively beautiful.

Higher: It is enchantingly beautiful.

The degree of certainty in the affirmation varies with, the angle which the fore-arm forms with the arm.

All these modes of affirmation may be applied to negation. For example:

"It is impossible that this should not be. This cannot be."

Thus all states of being, all forms of affirmation, belong to the acuteness or opening of an angle.

The hanging arm signifies depression. The two arms should never extend the same way. If they follow each other, one should be more advanced than the other. Never allow parallelism. The elementary gestures of the arms are represented in the foregoing chart.

_Of the Elbow._

The elbow has nine movements, three primitive, as genera, and nine derivative, as species. There are the forward and backward movements of the normal state. There are three degrees of height, and finally the forward and backward movements of extension.

The elbow movements are relational. The epicondyle is called the eye of the arm.

Man slightly moves the torso, then the shoulder, and finally the elbow.

Among persons who would fain crush others, there is an elbow movement which seems to say, "I annihilate thee, I am above thee."

The elbow turned outward signifies strength, power, audacity, domination, arrogance, abruptness, activity, abundance. The elbow drawn inward, signifies impotence, fear, subordination, humility, passiveness, poverty of spirit.

Modest people have a slight outward movement of the elbow. The humble make an inward movement. The elbow thrust forward or backward, indicates a yielding character.

These movements should not be taken alone; they must be verified by the torso and the head. The shoulder characterizes the expression of the elbow movements, just as the elbow verifies marked exaltation, by the elevation of the shoulder.

It is by these little things that we determine millions of movements and their meaning. We finally determine and class precisely five million movements of the different agents of the arm. This would seem enormous; but it is nothing at all; it is childlike simplicity. The elements being known, the process is always the same. Hence the advantage of possessing a criterion. With this criterion, we have everything. If we possess nine, we possess twenty millions, which are no more than nine.

_Of the Wrist._

The wrist is a directing instrument for the forearm and the hand.

The wrist has its three movements.

It is eccentric when the extensor muscles are in motion.

It is normal in the horizontal position.

It is concentric when the flexor muscles are in action.

In the concentric position the wrist is in pronation, for the thumb is turned downward; this is the sign of a powerful will, because the pronator muscles have more power than the flexors.

In the eccentric position the wrist is in supination; that is, the back of the hand is downward; this is the sign of impotence.

The wrist has also forward and backward movements, either in pronation, in supination, or the normal state. Thus there are nine phases for the wrist.

It is through the aid of the wrist that the aspects of the hand, placed upon the cube, receive, as we shall see, their precise signification.

The orator needs great suppleness in wrist movements to give grace to the phases of the hand.

_Of the Hand._

Man is perforce painter, poet, inspired dreamer or mystic, and scientist.

He is a painter, to reveal the phenomena of the sensitive life; a poet, to admire the mysteries of grace; a scientist, to make known the conceptions of the mind. Thus the hand has three presentations, neither more nor less, to render that which passes in man in the sensitive, moral or intellectual state.

Let us now examine the three presentations of an open hand: its palmar, dorsal and digital aspect.

The same thing may be expressed by these three presentations, but with shades of difference in the meaning.

If we say that a thing is admirable, with the palms upward, it is to describe it perfectly. This is the demonstrative aspect.

If we say the same thing, displaying the back of the hand, it is with the sentiment of impotence. We have an idea of the thing, but it is so beautiful we cannot express it. This is the mystic aspect.

If we present the digital extremity, it is as if we said: "I have seen, I have weighed, I have numbered the thing, I understand it from certain knowledge; it is admirable, and I declare it so." These are the three aspects: the palmar, dorsal and digital.

Each of these attitudes of the hand may be presented under three forms: the eccentric, normal and concentric.

Each of these forms as genera, produces three species; this gives the hand nine intrinsic attitudes, whose neutral signification will be specified and determined by the presentation of the hand upon the cube.

Let us first take the normal state as genus, and we shall have the normal hand as species in the normal genus. This will then be the normo-normal attitude.

By presenting the hand in pronation or supination horizontally, without spreading or folding the fingers, we shall have that attitude which signifies abandon.

Let us now take the eccentric species, still in the normal genus.

Raise the hand somewhat with a slight parting of the fingers, and we have the eccentro-normal hand, which signifies expansion.

Finally, let us consider the concentric species, still in the normal state.

Present the hand lifeless and you have the concentro-normal attitude, which signifies prostration.

Let us pass on to the concentric genus.

By closing the fingers with the thumb inward upon the middle one, we shall have the normo-concentric hand, which signifies the _tonic_ or power.

To close the hand and place the thumb outside upon the index finger, signifies conflict. This is the concentro-concentric hand.

To bend the first joint with the fingers somewhat apart, indicates the eccentro-concentric hand. This is the convulsive state.

Let us pass on to the eccentric genus.

The fingers somewhat spread, denote the normo-eccentric hand. This is exaltation.

To spread the fingers and fold them to the second joint, indicates the concentro-concentric hand. This is retraction.

To spread the fingers as much as possible, gives the eccentro-eccentric hand. This is exasperation.

In the subjoined charts we can see an illustration of the different attitudes of the hand.

Recapitulation

II +-- 2 +-- Concentro-concentric. Conflict. | 3 --+ Normo-concentric. Tonic or power. | 1 +-- Eccentro-concentric. Convulsive. | | 2 +-- Concentro-normal. Prostration. III --+ 3 --+ Normo-normal. Abandon. | 1 +-- Eccentro-normal. Expansion. | | 2 +-- Concentro-eccentric. Retraction. | 3 --+ Normo-eccentric. Exaltation. I +-- 1 +-- Eccentro-eccentric. Exasperation.

The nine primitive forms of the hand are, as is seen, undetermined.

+---------------------------------------------+ /| /| / | / | / | / | / | / | / | UPPER SURFACE. / | / | / | / | To hold. / | / | / | +---------------------------------------------+ | | | | O | | I | | U | | N | | T | | W | | W | | A | | A | | R | FRONT SURFACE. | R | | D T | | | D | | o | To retain. | | T | | L | | L o | | A w | Limit. -- | A | | T i | | T b | | E t | Obtain. | | E e | | R h | | | R l | | A d | BACK SURFACE. | A o | | L r | | | L n | | a | | To maintain. | g | | S w | | | | S . | | U . | Contain. | | U | | R | | | R | | F | | F | | A | | A | | C | | C | | E | | E | | . | | . | | +------------------------------------+--------+ | / | / | / LOWER SURFACE. | / | / | / | / To sustain. | / | / | / | / | / | / | / |/ |/ +---------------------------------------------+

The hand is raised. Why? For what purpose? The presentation of the hand upon the surfaces of the cube will decide and specify.

By this presentation the nine movements of the hand correspond with the expressive movements of the arm.

Take any cube whatever,--a book, a snuff-box, or rather cast your eyes upon the foregoing chart, and examine it carefully.

There are three directions in the cube: horizontal, vertical and transverse. Hence there are six faces, anterior, superior, inferior, interno-lateral and externo-lateral.

Of what use are angles and faces? All this is necessary for those who would know the reason of the sentiments expressed by the hand. There are twenty-seven sorts of affirmation. We give nine of them with the six faces of the cube.

_The Digital Face._

To place the hand, whether eccentric, concentric or normal, upon the upper face of the cube, is to hold, to protect, to control; it is to say: "I hold this under my protection."

To place the hand upon the external side-face of the cube, signifies to belong; it says: "All this belongs to me." It is the affirmation of the man who knows, who has had the thing in dispute under his own eyes, who has measured it, examined it in all its aspects. It is the affirmation of the connoisseur.

To apply the hand to the inner side of the face is to let go. Here is the sense of this affirmation: "You may say whatever you will, but I affirm in spite of every observation, in spite of all objection; I affirm whether or no."

_The Back Face._

There are three ways of touching the front face of the cube with the hand.

A.--To touch it with the end of the fingers upward and the thumb inward, is to obtain: "I have obtained great benefits, I do not know how to express my gratitude." Or rather: "I keep the object for myself; I do not care to let it be seen." This is the mystic face. Or yet again: "I contemplate."

B.--To place the hand horizontally on the same face of the cube, is to restrain, or bound. "Go no farther, if you please; all this belongs to me."

C.--To place the hand upon the same anterior face of the cube, but with the extremities of the fingers vertically downward, means to retain. It says: "I reserve this for myself." Here, then, are three aspects for the anterior face of the cube.

_The Palmar Face._

A.--To place the lower face of the cube in the hand, is to sustain. It is to say: "I will sustain you in misfortune."

B.--To apply as much as possible the palm upon the same posterior face of the cube, with the fingers downward, is to maintain: "I maintain what I have said."

C.--To apply the hand upon the same face with the extremities of the fingers upward, is to contain, is to show the object--it is to disclose: "I affirm; you cannot doubt me; I open my heart; behold me!"

There are, then, nine affirmations, which are explained by a mere view of the cube and its faces.

The twelve edges of the cube give a double affirmation; the angles, a triple affirmation. Example for the edges: To place the hand on the back edge, means: "I protect and I demonstrate."

There are three movements or inflections of the hand which must be pointed out: to hover, to insinuate, to envelop.

The three rhythmic actions of the hand must not be passed over in silence: to incline, to fall, to be precipitated.

The aspects of the hands would be simply telegraphic movements, were it not for the inflections of the voice, and, above all, the expression of the eyes. The expressions of the hand correspond to the voice. The hands are the last thing demanded in a gesture; but they must not remain motionless, as (if they were stiff, for instance) they might say more than was necessary.

The hands are clasped in adoration, for it seems as if we held the thing we love, that we desire.

The rubbing of the hands denotes joy, or an eager thirst for action; in the absence of anything else to caress, we take the hand, we communicate our joy to it.

There is a difference between the caress and the rubbing of the hands.

In the caress, the hand extends eagerly, and passes lightly, undulatingly, for fear of harming. There is an elevation of the shoulders.

The hand is an additional expression of the face. The movement must begin with the face, the hand only completes and interprets the facial expression. The head and hand cannot act simultaneously to express the same sentiment. One could not say _no_ with head and hands at the same time. The head commands and precedes the movement of the hand.

The eyes, and not the head, may be parallel with the hand and the other agents.

The hand with its palm upward may be caressing, if there is an elevation of the eyebrow; repellent with the eyebrow concentric.

The waving hand may have much sense, according to the expression of the face.

The eye is the essential agent, the hand is only the reverberatory agent; hence it must show less energy than the eye.

_Of the Fingers._

Each finger has its separate function, but it is exclusive of the great expressions which constitute the accords of _nine_. These are interesting facts, but they do not spring naturally from the fountain of gesture. They are more intellectual than moral.

In a synthetic action all the fingers converge. A very energetic will is expressed by the clenched fist.

In dealing with a fact in detail, as we say: "Remark this well," all the fingers open to bid us concern ourselves only with the part in dispute. This is analysis; it is not moral, it is intellectual.

If we speak of condensation we close the hand. If we have to do with a granulated object, we test it with the thumb and index finger.

If it is carneous, we touch it with the thumb and middle finger.

If the object is fluid, delicate, impressionable, we express it by the third finger.

If it is pulverized, we touch it with the little finger.

We change the finger as the body is solid, humid, delicate, or powdery.

The orator who uses the fingers in gesticulation, gives proof of great delicacy of mind.

_Of the Legs._

The legs have nine positions which we call base attitudes.

We shall give a detailed description, summing up in a chart of the criterion of the legs at the end of this section.

_First Attitude._--This consists in the equal balance of the body upon its two legs. It is that of a child posed upon its feet, neither of which extends farther than the other. This attitude is normal, and is the sign of weakness, of respect; for respect is a sort of weakness for the person we address. It also characterizes infancy, decay.

_Second Attitude._--In this attitude the strong leg is backward, the free one forward. This is the attitude of reflection, of concentration, of the strong man. It indicates the absence of passions, or of concentred passions. It has something of intelligence;

it is neither the position of the child nor of the uncultured man. It indicates calmness, strength, independence, which are signs of intelligence. It is the concentric state.

_Third Attitude._--Here the strong leg is forward, the free leg backward. This is the type of vehemence. It is the eccentric attitude.

The orator who would appear passive, that is, as experiencing some emotion, or submitting to some action, must have a backward pose as in figure 2.

If, on the contrary, he would communicate to his audience the expression of his will or of his own thought, he must have a forward poise as in figure 3.

_Fourth Attitude._--Here the strong leg is behind, as in the second attitude, but far more apart from the other and more inflected.

This is very nearly the attitude of the fencing master, except the position of the foot, which is straight instead of being turned outward.

This is a sign of the weakness which follows vehemence.

Natural weakness is portrayed in figure 1; sudden weakness in figure 4.

_Fifth Attitude._--This is necessitated by the inclination of the torso to one side or the other. It is

a third to one side. It is a passive attitude, preparatory to all oblique steps. It is passing or transitive, and ends all the angles formed by walking. It is in frequent use combined with the second.

_Sixth Attitude._--This is one-third crossed. It is an attitude of great respect and ceremony, and is effective only in the presence of princes.

_Seventh Attitude._--This is the first position, but the legs are farther apart. The free limb is turned

to one side; both limbs are strong. This denotes intoxication, the man overwhelmed with astonishment, familiarity, repose. It is a double fifth.

_Eighth Attitude._--This is the second, with limbs farther apart. It is the alternative attitude. The body faces one of the two legs. It is alternative from the fact that it ends in the expression of two extreme and opposite sentiments; that is, in the third or the fourth. It serves for eccentricity with reticence, for menace and jealousy. It is the type of hesitation. It is a parade attitude. At the same time offensive and defensive, its aspect easily impresses and leaves the auditor in doubt. What is going to happen? What sentiment is going to arise from this attitude which must have its solution either in the third or fourth?

_Ninth Attitude,_--This is a stiff second attitude, in which the strong leg and also the free one are equally rigid. The body in this attitude bends backward; it is the sign of distrust and scorn.

The legs have one aspect. If, in the second, the strong leg advances slowly to find the other, it is the tiger about to leap upon his prey; if, on the contrary, the free leg advances softly, the vengeance is retarded.

The menace made in figure 3, with inclination of the head and agitation of the index finger, is that of a valet who wishes to play some ill turn upon his master; for with the body bent and the arm advanced, there is no intelligence. But it is ill-suited to vengeance, because that attitude should be strong and solid, with the eye making the indication better than the finger.