The elbow is kept somewhat away even in the smallest gesture. While
action should have nerve, it should not become nervous, that is, over-
tense and rigid. It should be free and controlled, with good poise in
the whole man.

Before leaving this subject, in its physical aspect, let us consider
somewhat the matter of standing and moving on the platform. Among
imperfections as regards position, that kind of imperfection which
takes the form of perfectly fixed feet, strictly upright figure, hands
at the side, head erect, and eyes straight-of all bad kinds, this kind
is the worst. This is often referred to as school declamation, or the
speaking of a piece. We have discarded many old ideas of restriction in
education. Let us discard the strait-jacket in platform speaking.
Nobody else ever speaks as students are often compelled to speak. Let
them speak like boys--not like men even--much less like machines. There
is of course a good and a bad way of standing and moving, but much is
due to youth, to individuality, and to earnest intention, and a student
should have free play in a large degree.

In walking, the step should neither be too fast nor too slow, too long
nor too short, too much on the heel or too much on the toe. A simple,
straightforward way of getting there is all that is wanted. The arms
are left to swing easily, but not too much; nor should one arm swing
more than the other. The head, it will be noted, may occasionally rise
and fall as one goes up or down steps or walks the platform. Before
beginning to speak, one should not obviously take a position and
prepare. He should easily stop at his place, and, looking at his
auditors, begin simply to say something to them. As to the feet, they
will, of course, be variously placed or adjusted according to the pose
of the body in the varying moods of the speech. In general, the body