The shoulder is one of the great powers of the orator.

By a simple movement of the shoulder, he can make infinitely more impression than with all the outward gestures which are almost always theatrical, and not of a convincing sort.

The shoulder, we have said, is the thermometer of emotion and of love.  The movement is neutral and suited to joy as well as to sorrow; the eyes and mouth are present to specify it.

The shoulder, like all the agents, has three and hence nine distinct phases.

The torso is divided into three parts:  the thoracic, the epigastric and abdominal.

We shall state farther on, the role of these three important centres.

Liars do not elevate their shoulders to the required degree, hence the truth or falsity of a sentiment may be known.

Raphael has forgotten this principle in his “Moses Smiting the Rock.”  None of his figures, although joyous, elevate the shoulder.

Chapter VII.

Of The Limbs.

The limbs hold an important place in oratorical action.

The study of the role of the arms and limbs therefore deserves serious attention.

The Arms.

In the arms we distinguish the deltoid or shoulder movement, the inflection of the fore-arm, the elbow, the wrist, the hand and the fingers.

Inflections of the Fore-Arm.

We have treated of what concerns the shoulder in the chapter upon the torso.

The arm has three movements:  an upward and downward vertical movement, and a horizontal one.

These movements derive their significance from the different angles formed by the fore-arm in relation to the arm.  Let us first represent these different angles, and then we will explain the chart.

[Illustration]

All these different angles have their meaning, their absolute significance in affirmation.

The movement at the right angle signifies:  To be.

Lower:  Perhaps.

Lower still:  I doubt if it is so.

Lower:  It is improbable.

Lower:  It is not.

Lower:  It is not possible.

Ascending:  This is proven, I have the proof in my hand.

Higher:  This is superlatively beautiful.

Higher:  It is enchantingly beautiful.

The degree of certainty in the affirmation varies with, the angle which the fore-arm forms with the arm.

All these modes of affirmation may be applied to negation.  For example: 

“It is impossible that this should not be.  This cannot be.”

Thus all states of being, all forms of affirmation, belong to the acuteness or opening of an angle.

The hanging arm signifies depression.  The two arms should never extend the same way.  If they follow each other, one should be more advanced than the other.  Never allow parallelism.  The elementary gestures of the arms are represented in the foregoing chart.