The student who has any regard to grace or elegance, will of course avoid
all the gross faults which are so common among public speakers, such as
resting one foot upon a stool or bench, or throwing the body forward upon
the support of the rostrum.

3d. Next to attitude, come the movements of the person and limbs. In
these, two objects are to be observed, and, if possible, combined, viz.,
propriety and grace. There is expression in the extended arm, the clinched
hand, the open palm, and the smiting of the breast. But let no gesture be
made that is not in harmony with the thought or sentiment uttered; for it
is this harmony which constitutes propriety. As far as possible, let there
be a correspondence between the style of action and the train of thought.
Where the thought flows on calmly, let there be grace and ease in gesture
and action. Where the style is sharp and abrupt, there is propriety in
quick, short, and abrupt gesticulation. Especially avoid that ungraceful
sawing of the air with the arms, into which all ill-regulated fervor
betrays many young speakers.

What is called graceful manner, can only be attained by those who have
some natural advantages of person. So far as it is in the reach of study
or practice, it seems to depend chiefly upon the general cultivation of
manners, implying freedom from all embarrassments, and entire
self-possession. The secret of acquiring a graceful style of gesture,
we apprehend, lies in the habitual practice, not only when speaking but
at all times, of free and graceful movements of the limbs.

There is no limb nor feature which the accomplished speaker will not
employ with effect, in the course of a various and animated delivery. The
arms, however, are the chief reliance of the orator in gesture; and it