Exercises

1. "Lochiel! Lochiel! beware of the day!"

2. "Now, infidel, I have thee on the hip."

3. 66 Beware! Beware!"

4. "See'st thou across the sullen wave,

A blood-red banner, wildly streaming?"

5. "Thou little valiant, great in villainy !" 6. "Note this point, in particular."

7. "By this sun that shines, I'll thither!"

Other equally strong and graphic meanings are expressed through the agency of the fingers. Among them may be named various forms of enumeration and measurementas the apparent testing or detecting of granulated substances, between the thumb and forefinger, or a more delicate manipulation with the thumb and third finger, or with the thumb and little finger.

A continuous line of thought or chain of reasoning is indicated by the linking of the index fingers or of the little fingers; while touching their tips only indicates a still closer and more delicate union. Similarity of meaning is shown by all the finger-tips of one hand touching those of the other. Again, the closing of the fingers upon the

palms, denotes condensation or retention; or the fingers extended and spread widely apart, signify exasperation, when stiffly crooked, they evince retraction and rage.

In regard to the hand itself, its wave or flourish is a sign of victory, exultation or jubilation; clinched, it shows anger, determination, and defiance; applied-that is, palms pressed together, near chest-humility,

self-abasement, and prayer; folded (palms
together and fingers of one hand laid be-
tween thumb and forefinger of the other),
veneration, humility, and adoration; clasped,

-that is, fingers of one hand
inserted between those of the
other-entreaty, supplication;

wrung (first clasped and elevated, then depressed without disengaging the fingers), agony; rubbing of hands, palm to palm, eagerness, joyousness, gloating.

Again, the hand may be reflexive in its action-that is, placed upon some part of the body, it is expressive of either mental or emotional excitation-as for instance, hand on chest, shows an appeal to conscience, or to one's higher and better self; or crossing of both hands on chest, shows veneration, trust; hand on heart is suggestive of sadness, affliction; hand on forehead, or one or both hands. on head, is indicative of weariness, confusion, pain.

In addition to the above, various forms of imitative or mimicking gestures may be practiced with profit, such as the drawing or sheathing of an imaginary sword or dagger; putting on gloves, or adjusting other parts of dress, etc.

NOTE. In practicing the various hand positions entertain some thought in harmony with that which each is said to express.

THE COUNTENANCE

"Survey the soul-beaming countenance; the thoughtful brow, the penetrating eye, the spirit-breathing lips, the deep intelligence of the assembled features. How they all conspiring speak."-HERDER.

Of all the symbols employed by man to show his inward or outward impressions, none is so pre-eminent as that of the face. It is the "magic mirror" wherein the moods of thought and feeling are reflected, with unerring faithful

ness. There is to the eye, in a fine, expressive or speaking face, a harmony quite as enjoyable, as is musical harmony to the ear. A fine face is not necessarily a beautiful one, but one which shows a kind and honest heart. An expressive face is one in which a lively fancy receives impressions from without and within, and transmits their effects to the countenance.

Lavater, who so attentively studied all the powers of the face, makes this distinction in regard to it which is worthy the attention of readers and speakers.

"Physiognomy is the knowledge of the signs of the powers and inclinations of men," hence it treats of the character at rest.

"Pathognomy is the knowledge of the signs of the passions of men," hence it treats of the character in excitation. Few, indeed, read character from the former standpoint, but every one reads the countenance pathognomically; therefore how necessary an expressive countenance becomes to a speaker or reader. When he fails in this he presents either a frigid or barren aspect, accompanied sometimes by twitching of the facial muscles, and although the voice may instruct, the speaker can never excite great interest, pleasure, or enthusiasm. Again, it not infrequently occurs, that the face appears distorted, or exaggerated, or is forced into a set smile; or it may be so masked under a covering of cosmetics that it cannot reveal a feeling if it would, and the whole effect reminds one of the old lady's wig, described in one of Dickens' novels, "Such a gloomy deception that it ceases to be one, and takes nobody in." All unnatural grimaces, and all tricks of affectation and all artificialities should be strenuously avoided.

Good facial expression requires vivid imagination and promptness in response on the part of the facial muscles. In acquiring this, if the capability be wanting, as it fre

quently is, the first means to be employed is relaxing the facial muscles.

Relaxing Exercises for the Face

1. Relax muscles of eyelids, slowly open eyes.

2. Relax frontal muscles, longitudinally and transversely.

3. Relax orbicular or cheek muscles.

4. Relax lip muscles.

5. Relax jaw muscles, allowing jaw to drop.

Practice each a number of times. A gentle massage of the various parts of the face tends also to muscular repose and pliability.

NOTE.-The gymnastic exercises to which the facial muscles are sometimes subjected by over-zealous teachers, are no doubt harmful. Their tendency is to force the muscle into unnatural tension, causing the face to assume a grotesque and even horrible aspect. A practice so pernicious should be severely condemned.

In this enumeration are not included directing the eyes, the gentle expansion of the nostrils, the opening of the mouth, as in a yawn, nor the distention of the cheeks with air.

A second means for securing an expressive countenance is to allow some mood or fancy to dominate the mind, setting the features in accord, as though a veritable experience were actually occurring at the moment, the whole becoming a sort of pantomimic action.

A third means is the practice exercises of short passages of prose or verse, which embody various sentiments. By conceiving the thought or feeling contained in them as being actually experienced, the facial muscles will be brought into responsive action.

The mental, moral, and vital States of the Being, in all their complexities and blendings, make themselves known

by the countenance, through the same modes of motion, as they do in all the other media of expression.

Physiologists state that there are, in the head, fifty-five muscles which, with their multiplicity of nerves, control the face. These muscles are grouped principally about the eyes, nose, and mouth; forming thus three expressive centres. According to Delsarte, to the frontal region or forehead, including the eyes, is ascribed the Mental State of the Being; to the nasal region, including the cheeks, the Moral; and to the maxillary region, or lower part of the face, the Vital. These divisions are not arbitrary, but each is more or less blended with the other two, all human expression, as already stated, being more or less complex.

THE EYE

'The light of the body is the eye."-MATT. vi, 22.

Of the three centres of facial expression, undoubtedly the strongest is the eye. It is the first to indicate activity or inactivity of mind and heart. Probably for this reason, when estimating the character of another, especially one with whom we are to have dealings of importance, we endeavor to read the inner meaning through the eye, and the lack of candor, if it exist, is quickly detected in the averted or unsteady look.

Pliny, fittingly says, that it is in the eyes we discover moderation, clemency, compassion, love, hate, sorrow, joy; they burn, they strain, they shine, they twinkle; from them drops the tear of repentance, and when we kiss them we seem to touch the very soul. The eyebrows contribute to give form and expression to the eye, and completely control the forehead, contracting, raising, or lowering it.