ate his auditors that they cannot ask
the reason of this fascination, nor remark that he gesticulates at all.

H.--Where there are two gestures in the same idea, one of them must
come before the proposition, the other in its midst.

If there is but one gesture and it precedes the proposition, the term to
which it is applied must be precisely indicated.

For example: _Would he be sensible to friendship?_ Although friendship
may in some degree be qualified as the indirect regimen, gesture should
portray it in all its attributes.

_Duration of Gesture._

The suspension or prolongation of a movement is one of the great sources
of effect. It is in suspension that force and interest consist. A good
thing is worth being kept in sight long enough to allow an enjoyment of
the view.

The orator should rest upon the preceding gesture until a change is
absolutely required.

A preoccupied man greets you with a smile, and after you have left, he
smiles on, until something else occurs to divert his mind.

The orator's abstraction should change the face, but not the gesture. If
the double change takes place simultaneously, there will be no unity.
The gesture should be retained and the expression of the face changed.

A variety of effects and inflections should be avoided. While the
speaker is under the influence of the same sentiment, the same
inflection and gesture must be retained, so that there may be unity of
style.

Art proposes three things: to move, to interest, to persuade by unity of
inflection and gesture. One effect must not destroy another. Divergence
confuses the audience, and leaves no time for sentiment.

It is well to remember that the stone becomes hollowed by the incessant
fall of the drop of water in the same place.

_The Rhythm of Gesture._

Gesture is at the same time melodic, or rather inflective, harmonic and
rhythmic. It must embrace the elements of music, since it corresponds to
the soul; it is the language of the soul, and the soul necessarily
includes the life with its diverse methods of expression, and the mind.
Gesture is melodic or inflective through the richness of its forms,
harmonic through the multiplicity of parts that unite simultaneously to
produce it. Gesture is rhythmic through its movement, more or less slow,
or more or less rapid.

Gesture is, then, inevitably synthetic, and consequently harmonic; for
harmony is but another name for synthesis.

Each of the inflecti