It is curious to see an inflection pass successively from the head to the hand, from the hand to the eye, from the eye to the shoulders, from the shoulders to the arms, from the arms to the legs, from the legs to the feet.
For example: Above we have indicated a double menace made by the head. One might transfer this menace to the hand and say: "You will have a quarrel to settle with me!"
Each agent has its rôle, and this is why they transmit their movements.
When the head has a serious part to play, it communicates an inflective movement to the hand, which renders it terrible.
A man who menaces with the head is not sure of his aim, but he who menaces with the hand is sure of striking right. In order to do this, the eye must be firmly fixed, as the eye necessarily loses its power and accuracy by a movement of the head.
There is great power in the menace communicated to the hand, a power not found in the other movement. The head-menace is more physical, and the hand-menace more intellectual; in the one the eye says a great deal, while in the other it says nothing.
The orator cannot always make these gestures with facility. The menace may be elliptical. Then it must be made by the head, and expressed through the eyes. This is why the speaker gazes downward as he makes it.
It is the same downward or upward movement which is reproduced when the menace is concentric or elliptical.
The menace may be made in yet another way. The speaker does not wish to express his opinion, and for fear of compromising himself with his eyes, he does not gaze at his interlocutor; he turns aside his glance, and the menace is communicated to the shoulder. This has less strength, because it is rendered by one of the sensitive agents.
The man who threatens with the shoulder is more passionate; but he is not the agent, he is passive.