en... enumerating(the right fore- wr... hands wrung finger touching successive- clp... clapping ly the left finger tips) NOTE.-I. When the left hand or arm is meant, a line is prefixed to the symbolic II. A colon is placed between any two sets of letters that refer to the different hands. III A small 2 prefixed to the notation will indicate that BOTH HANDS perform the IV. Alternation is denoted by the letter a. A number prefixed shows how often V. Imitative gestures are expressed by the general symbol im. 71. IV.—PARts of the BodY ON WHICH THE HANDS NOTE.-A small 2 prefixed to either of these will denote both hands. Thus:-2Ey . eyes looking to the right Dp... depressed Kn... knitted R L U D. 6. left 66 Ts... head tossing 66 nodding Sh... shaking 66 Av... averted from the di- rection of the gesture Sm... a smiling countenance F... eyes looking in front Ar... around askaunce V. eyes fixed on vacancy Mr..." measuring (See par. 5.) "downwards N... nostrils turned up bitten compressed O mouth open X. ORDER OF SYMBOLIC ARRANGEMENT 73. The symbolic letters being in all cases different, no confusion could arise whatever order of notation might be adopted; but when several letters have to be employed, the following order should be observed, as more convenient than a random arrangement. 74. Place first the notation of the vertical situation of the arm (ze hd n); then of its transverse direction (cfqx b); next of the manner of presentation or motion of the hand; and the other symbols in the most convenient order. 75. The notations of the "Parts of the Body on which the Hands may be placed," and of the Expressions of the "Head and Face," are in CAPITAL letters; all the others (written above the line) are in small letters, except the position of rest, noted R. 76. The compound symbols will be easily remembered, as they generally suggest at once the words of which they are contractions; but the single symbolic letters directly tax the memory. It will therefore be useful to collect these alphabetically into a separate XII. APPLICATIONS OF THE NOTATION OF GESTURE. 77. The uses of a system of Notation for Attitude and Motion, are various. By it the Speaker can register for practice any position or movement which, in practical Oratory, in Painting, or in Sculpture, strikes him as effective. By it, also, the Artist is enabled to jot for reproduction any attitude of which he may have obtained a momentary glance. To the Teacher of Gesture, a system of Notation is of great service in furnishing a nomenclature for the mechanics of action; and to the Student it will be found a considerable assistance in the acquisition of variety and precision of movement. XIII. ILLUSTRATIONS. 78. The following passages are marked, as an exercise in the Notation. The subject does not require lengthened illustration. Gesture should not be made too studied, or rigidly systematical; FREEDOM-the chief characteristic of grace-would be destroyed in the attempt to follow a minutely directive notation. Let every motion be in itself expressive and graceful, and scope may be left for spontaneity of application. MACBETH TO THE DAGGER-VISION. hq p shr Is this a dagger [which I see before me? st R3 Shakespeare. gr The handle towards my hand!--Come, let me clutch thee :- Im As this which now I draw. -hc....to.... q sl -ix Thou marshal'st me the way that I was going; Mine eyes are made the fools o' the other senses, Or else worth all the rest :--I see thee still! LI -vas R2 -h q con And on thy blade and dudgeon, gouts of blood... Thus to mine eyes. Now o'er the one-half world Whose howl's his watch, thus, with his stealthy pace, R2 With Tarquin's ravishing strides, toward his design 2d q 1 Moves like a ghost. Thou sure and firm set earth ad r:-1 1 R2 shr ch Hear not my steps which way they walk-for fear 2 dx The very stones prate of my whereabout, ef v And take the present horror from the time RI |