which grew higher and broader as the object is
more elevated.

We choose the circle for exalting and caressing, because the circle is
the most agreeable form to touch and to caress. For example, an ivory
ball.

This form applies to all that is great.

For God there is no circle, there can be none. But we outline a portion
of an immense circle, of which we can touch but one point. We indicate
only the inner periphery of a circle it is impossible to finish, and
then retrace our steps.

When the circle is made small, we make it with one, two, three or four
fingers, with the hand, with the arm. If the circle is vast as can be
made with the arms, it is homogeneous.

But a small circle made with the arm will express stupidity. Thus we say
of a witty man: "This is a witty man," employing the fingers.

Stupidity wishing to simulate this, would make a broad movement.

Let us take the fable of _Captain Renard_ as an example of this view of
the circle.

I depict the cunning nature of this captain with my fingers. Without
this he would not be a captain; but at most a corporal.

--"He went in company
With his friend He-Goat of the branching horns.
The one could see no farther than his nose;
The other was past master in deceit."

As they go along, the fox relates all his exploits to the goat, and the
goat surprised, and wishing an end of the recital, sees fit to make a
gesture, as he says:

"I admire people full of sense like you."

In making the small circle, he employs not only the fingers, but the
arm, the shoulder, the whole body. He is an imbecile. He wastes too much
effort in making a small circle.

Let us take a situation from an opera. When Robert enters and sees
Isabella, he says of her:

"This peaceful sleep, this lull of every sense,
Lends a yet sweeter charm to this young face."

The gesture is in the form of a geometrical figure.

In another place, Robert says:

"Thy voice, proud beauty, few can understand."

Here a spheroidal and then a rectangular movement must be made. We close
the door. "Her voice will be understood by me, alone." He might say:
"Thy voice, proud beauty, will not be understood. It will be elevated
for me, and not for others."

Every sentiment has its form, its plastic expression, and as its form is
more or less elaborated, we may judge of the elevation of the speaker's
thought. If we could stereotype gesture, we might say: "This one has the