At the Internet Archive I found an 1897 public speaking book
titled The Progressive Speaker. It begins with a discussion of elocution that
contains the following advice:
“GESTURE
Second only to vocal gymnastics comprising articulation,
pitch, force and time – which have been discussed in the preceding chapter is gesture.
Gesture is the science of interpretating and
emphasizing by the various postures and motions of the face, head, shoulders,
trunk, arms, hands, fingers, legs and feet the words which are spoken.
Graceful and appropriate gesture renders vocal delivery far
more pleasing and effective. Hence its cultivation is of primary importance to
those who are ambitious of accomplishment in elocution. Without discussing this
subject at length, we will, by a few simple illustrations, endeavor to show the
favorable and unfavorable postures of the body, and afterwards proceed to show
the different attitudes for expressing various emotions and sentiments. In the
first place, let it be remembered that the orator or reader should stand upon
his feet, and never lounge or loll in an ungraceful attitude. If a speaker
should lie on the stand before him, or hang on to a chair or table, he will not
be likely to deliver himself with energy or effect.
The above illustrations show a few of the improper positions
often assumed, in contrast with proper or graceful attitudes.
The Head, the Eyes, the Arm, and Hand
As the head gives the chief grace to the person, so does it
principally contribute to the expression
of grace, in delivery. The head should be held in an erect and natural posture;
for when hung down, it expresses humility, or diffidence; when thrown back, arrogance;
and when inclined to one side, languor or indifference. The movements of the
head should be suited to the character of delivery; they should accord with the
gesture, and fall in with the actions of the hands and the motions of the body.
The head is capable of many appropriate expressions. Besides
those nods which signify assent or approbation and rejection, there are motions
of the head, known and common to all, which express modesty, doubt, admiration,
and indignation. But to use the gesture of the head alone, unaccompanied by any
other gesture, is considered faulty. It is also a fault to shake or nod the
head frequently, to toss it violently, or to agitate the hair, by rolling it
about.
The eyes should look the sentiment expressed. Every
gesture will be strengthened or weakened by the expression of the eye. This,
like other gestures, should be practiced before a mirror. But to give the
proper expression and power to the eye, the speaker must feel the
sentiments he would put into his look and words.
The arm, the fore-arm, the hand, and fingers form the grand
instruments of gesture; or as Cicero calls them, ‘the weapons of the orator.’
Altogether they form a compound instrument, the centre of which is in the
shoulder, but each separate joint often becomes a new centre of motion for the
portion between it and the extremity. In gesticulating, this complex instrument
does not continue long in one direct line, but changes every moment.
The most common positions of the hands are illustrated by the
accompanying cuts. They may be memorized by the student in a few minutes, and a
little practice will make them familiar. Here, again, the mirror will help.
Look first at the illustration; then reproduce it in the glass.
The Stroke and Time of Gesture
The stroke of gesture is analogous to the emphasis of the
voice; and they should both fall exactly on the accented syllable of the emphatic
word. In this way the emphatic force of the voice, and the stroke of the
gesture, co-operate in presenting the idea in the most lively manner, to the
eye as well as to the ear.
In all discourse, whether calm or impassioned, the words and
gestures should accompany each other. As, in beating time in music, the beat is
made on the accented part of the measure, so in speaking, the stroke of the
gesture should fall on the accented syllable of the emphatic word. The emotion
which calls forth the word, at the same moment, prompts the gesture. Hence, the
muscles of gesticulation should move synchronously and harmoniously with those
of the voice.
When gesture is not marked by the precision of the stroke,
in the proper places, it is very offensive. The arms, like those of a person
groping in the dark, seem to wander about in quest of some uncertain object; and
the action is of the faulty kind which is called sawing the air. Even
graceful motions, unmarked by the precision of the stroke of the gesture, as
sometimes seen, lose much of their force, and very soon cease to afford pleasure.
All the unmeaning motions of public speakers are attended with the same ill effect
as a mouthing and canting tone of declamation, which lays no emphasis with just
discrimination, but swells and falls with a vain affectation of feeling, and
with absolute deficiency both in taste and judgment.
WHOLE FIGURE GESTURES AND ATTITUDES
The following illustrations will assist the student in
assuming the proper attitudes and making the proper gestures for the expression
of the feelings and sentiments indicated. It would be well to memorize and
practice before a mirror, until confidence, ease and grace are acquired in
executing them.”
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