ve, harmonic and rhythmic modes has its peculiar
law.

The rhythmic law of gesture is thus formulated:

"The rhythm of gesture is proportional to the mass to be moved."

The more an organ is restrained, the more vehement is its impulse.

This law is based upon the vibration of the pendulum. Great levers have
slow movements, small agents more rapid ones. The head moves more
rapidly when the torso and the eye have great facility of motion. Thus
the titillations of the eye are rapid as lightning.

This titillation always announces an emotion. Surprise is feigned if
there is no titillation.

For example, at the unexpected visit of a friend there is a lighting up
of the eye. Wherefore? Because the image is active in the imagination.
This is an image which passes within ourselves, which lies in inward
phenomena.

So in relation to material phenomena: there is a convergence, a
direction of the eyes toward the object; if the object changes place,
the eyes cannot modify their manner of convergence; they must close to
find a new direction, a convergence suited to the distance of the
object.

There is never sympathetic vision. The phenomena of the imagination are
in the imagination at a fixed distance. When an image changes place in
the idea, it produces a titillation equal to that which would be
produced in the order of material things. For example, let us quote
these lines:

"At last I have him in my power,
This fatal foe, this haughty conqueror!
Through him my captives leave their slavery."

Here the body must be calm; there is a sort of vehemence in the eyes; it
will be less in the head than in the arms. All these movements are made,
but the body remains firm. Generally the reverse takes place; the whole
body is moved; but this is wrong.

In these words: "Where are they, these wretches?" there must be great
violence in the upper part of the body, but the step is very calm.

To affect a violent gait is an awkward habit. A modified slowness in the
small agents creates emphasis; if we give them too great facility of
movement, the gestures become mean and wretched.

Rhythm is in marvelous accord with nature under the impulse of God.

_Importance of the Laws of Gesture._

We never really understand an author's meaning. Every one is free to
interpret him according to his individual instinct. But we must know how
to justify his interpretation by gesture. Principles must aid us in
choosing a poi