5.  This consists in turning the head vehemently toward the interlocutor, and suddenly lowering the shoulders.

Eighth Gesture. Anger.

This gesture is made in three movements: 

1.  This consists in raising the arm.

2.  This consists in catching hold of the sleeve.

3.  This consists in carrying the clenched hand to the breast, and drawing back the other arm.

Ninth Gesture. Menace.

This gesture consists of a preparatory movement, which is made by lowering the hand while the arm is outstretched toward the interlocutor, then the finger is extended, and the hand is outstretched in menace.

The eye follows the finger as it would follow a pistol; this occasions a reversal of the head proportional to that of the hand.

Tenth Gesture. An Order for Leaving.

This is executed: 

1.  By turning around on the free limb.

2.  By carrying the body with it.

3.  By executing a one-fifth sideward movement—­the right leg very weak.  All these movements are made by retaining the gesture of the preceding menace.  Then only the menacing hand is turned inward at the height of the eye, at the moment when it is about to pass the line occupied by the head; the elbow is raised to allow the hand a downward movement, which ends in an indication of departure.  In this indication the hand is absolutely reversed, that is, it is in pronation.  Then only does the head, which has hitherto been lowered, rise through the opposition of the extended arm.

Eleventh Gesture. Reiteration.

1.  The whole body tends toward the hand which is posed above the head.  The right leg passes from weak to strong.

2.  The head is turned backward toward the interlocutor.

3.  It rises.

4.  The arm extends.

5.  The hand in supination gives intimation of the order.

Twelfth Gesture. Fright.

The right hand pendent.  The left hand rises.  Tremor.

The first movement is executed in one-third; the body gently passes into the fourth, and as the fifth is being accomplished, the arm is thrust forward as if to repel the new object of terror.

At this moment a metamorphose seems to take place, and the object which had occasioned the fright, seems to be transfigured and to become the subject of an affectionate impulse.  The hands extend toward this object not to repel it, but to implore it to remain; it seems to become more and more ennobled, and to assume in the astonished eyes of the actor, a celestial form—­it is an angel.  Therefore the body recoils anew one-fourth; the hands fall back in token of acquiescence; then, while drawing near the body, they extend anew toward the angel (here a third in token of affection and veneration).  Then a prayer is addressed to it, and again the arms extend toward it in entreaty. (Here the orator falls upon his knees.)