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Gesture through its inflections may reproduce all the figures of geometry. We shall confine ourselves to a description of the primary and most usual imitative inflections.

These inflections comprise three sorts of movements affected by each gesture, which usually unite and constitute a synthetic form. These three movements agree with the three primary actions which characterize the manifestations of the soul, the mind and the life. These are direct, circular and oblique inflections.

The flexor movements are direct, the rotary movements circular, the abductory movements oblique. The sum of these movements constitutes nine co-essential terms, whose union forms the accord of nine.

There are rising, falling and medium inflections.

Gesture does everything that the voice does in rising. Hence there is great affinity between the voice and the arms. Vocal inflection is like the gestures of the blind; in fact, with acquaintance, one may know the nature of the gesture from the sound of the voice.

We exalt people by a circle. We say that a thing is beautiful, noble, grand--making circles 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 more elevated heart, that one the least elevated; this one in the matter, that one in the spirit of his discourse."

All gestures may be very well delineated. An orator gesticulating before the public, resembles a painter who pencils outlines and designs upon a wall.

This reproduction of the figures of gesture is called Chorography. We give in the subjoined chart some types of gesture. These are a few flowers culled from a rich garden.

To express sensual grace the gesture takes the downward spheroidal form. The virtuous form would be upward.

If we wish to express many attractive things, we make many spheroidal gestures.

What is called the culminating point of the gesture, must not be forgotten. This is a ring in the form of the last stroke of the German letter D, which is made by a quick, electric movement of the wrist.

We refer the student to the close of the volume, for a model of exercises comprising a series of gestures which express the most eloquent sentiments of the human heart.

This exercise in gesture has two advantages: it presents all the interest of the most fascinating drama, and is the best means of gaining suppleness by accustoming ourselves to the laws of gesture.

Criterion of Chorography.

Inflective Medallion.

The vertical line 1 expresses affirmation. The horizontal line 2 expresses negation. The oblique line 3 rejects despicable things. The oblique line 4 rejects things which oppress us, of which we would be freed.

5. The quarter-circle, whose form recalls that of the hammock, expresses well-being, happiness, confidence.

6. The curvilinear eccentric quarter-circle expresses secrecy, silence, possession, domination, stability, imposition, inclusion.

7. The curvilinear outside quarter-circle expresses things slender, delicate (in two ways); the downward movement expresses moral and intellectual delicacy.

8. The outside quarter-circle expresses exuberance, plenitude, amplitude, generosity.

9. The circle which surrounds and embraces, characterizes glorification and exaltation.