15.  Do the same thing for such other emotions as you may select.

16.  Select three passages from any source, only being sure that they are suitable for public delivery, memorize each, and then devise gestures suitable for each.  Say why.

17.  Criticise the gestures in any speech you have heard recently.

18.  Practise flexible movement of the hand.  What exercises did you find useful?

19.  Carefully observe some animal; then devise several typical gestures.

20.  Write a brief dialogue between any two animals; read it aloud and invent expressive gestures.

21.  Deliver, with appropriate gestures, the quotation that heads this chapter.

22.  Read aloud the following incident, using dramatic gestures: 

When Voltaire was preparing a young actress to appear in one of his tragedies, he tied her hands to her sides with pack thread in order to check her tendency toward exuberant gesticulation.  Under this condition of compulsory immobility she commenced to rehearse, and for some time she bore herself calmly enough; but at last, completely carried away by her feelings, she burst her bonds and flung up her arms.  Alarmed at her supposed neglect of his instructions, she began to apologize to the poet; he smilingly reassured her, however; the gesture was then admirable, because it was irrepressible.

    —­REDWAY, The Actor’s Art.

23.  Render the following with suitable gestures: 

One day, while preaching, Whitefield “suddenly assumed a nautical air and manner that were irresistible with him,” and broke forth in these words:  “Well, my boys, we have a clear sky, and are making fine headway over a smooth sea before a light breeze, and we shall soon lose sight of land.  But what means this sudden lowering of the heavens, and that dark cloud arising from beneath the western horizon?  Hark!  Don’t you hear distant thunder?  Don’t you see those flashes of lightning?  There is a storm gathering!  Every man to his duty!  The air is dark!—­the tempest rages!—­our masts are gone!—­the ship is on her beam ends!  What next?” At this a number of sailors in the congregation, utterly swept away by the dramatic description, leaped to their feet and cried:  “The longboat!—­take to the longboat!”

    —­NATHAN SHEPPARD, Before an Audience.

CHAPTER XVI

METHODS OF DELIVERY

The crown, the consummation, of the discourse is its delivery.  Toward it all preparation looks, for it the audience waits, by it the speaker is judged....  All the forces of the orator’s life converge in his oratory.  The logical acuteness with which he marshals the facts around his theme, the rhetorical facility with which he orders his language, the control to which he has attained in the use of his body as a single organ of expression, whatever richness of acquisition