ent man makes few gestures. To multiply gestures indicates a
lack of intelligence. The face is the thermometer of intelligence. Let
as much expression as possible be given to the face. A gesture made by
the hand is wrong when not justified in advance by the face.
Intelligence is manifested by the face. When the intelligent man speaks,
he employs great movements only when they are justified by great
exaltation of sentiment; and, furthermore, these sentiments should be
stamped upon his face. Without expression of the face, all gestures
resemble telegraphic movements.

C.--The repeated extension of the arms denotes but little intelligence,
little suppleness in the wrist and fingers. The movement of a single
finger indicates great _finesse_.

It is easy to distinguish the man of head, heart and actions. The first
makes many gestures of the head; the second many of the shoulders; the
last moves the arms often and inappropriately.

D.--Gesture is allowable only when an ellipse of the word or phrase
admits of an additional value.

E.--Effects must not be multiplied; this is an essential precaution.
Multiplied movements are detrimental when a graver movement is awaited.

F.--The orator is free to choose between the role of actor or that of
mere spectator or narrator. Neither the one nor the other can be forced
upon him. The actor's role arises not from intelligence but simply from
instinct. The actor identifies himself with the personages he
represents. He renders all their sentiments. This role is the most
powerful, but, before making it the object of his choice, there must be
severe study; he must not run the risk of frivolity.

We can dictate to the preacher and mark out his path. He must not be an
actor, but a _doctor_. Hence his gestures must never represent the
impressions of those of whom he speaks, but his own. Hence he should
proportion the number of his gestures to the number of his sentiments.

G.--If the orator would speak to any purpose, he must bring back his
discourse to some picture from nature, some scene from real life.

There must be unity in everything; but a role may be condensed in two or
three traits; therefore a great number of gestures is not necessary.

Let it be carefully noted: the expression of the face should make the
gesture of the arms forgotten. Here the talent of the orator shines
forth. He must captivate his public in such a way that his arm gestures
will be ignored. He must so fascin