G.--If the orator would speak to any purpose, he must bring back his discourse to some picture from nature, some scene from real life.
There must be unity in everything; but a rôle may be condensed in two or three traits; therefore a great number of gestures is not necessary.
Let it be carefully noted: the expression of the face should make the gesture of the arms forgotten. Here the talent of the orator shines forth. He must captivate his public in such a way that his arm gestures will be ignored. He must so fascinate his auditors that they cannot ask the reason of this fascination, nor remark that he gesticulates at all.
H.--Where there are two gestures in the same idea, one of them must come before the proposition, the other in its midst.
If there is but one gesture and it precedes the proposition, the term to which it is applied must be precisely indicated.
For example: Would he be sensible to friendship? Although friendship may in some degree be qualified as the indirect regimen, gesture should portray it in all its attributes.
Duration of Gesture.
The suspension or prolongation of a movement is one of the great sources of effect. It is in suspension that force and interest consist. A good thing is worth being kept in sight long enough to allow an enjoyment of the view.
The orator should rest upon the preceding gesture until a change is absolutely required.
A preoccupied man greets you with a smile, and after you have left, he smiles on, until something else occurs to divert his mind.