In his division of the modes of "expressing the inward emotions by outward and sensible signs" he relegates to physiology cases "when the internal passions are expressed by such external signs as have a natural connection, by way of cause and effect, with the passion they discover, as laughing, weeping, frowning, &c., and this way of interpretation being common to the brute with man belongs to natural philosophy. And because this goes not far enough to serve the rational soul, therefore, man has invented Sematology." This he divides into Pneumatology, interpretation by sounds conveyed through the ear; Schematology, by figures to the eye, and Haptology, by mutual contact, skin to skin. Schematology is itself divided into Typology or Grammatology, and Cheirology or Dactylology. The latter embraces "the transient motions of the fingers, which of all other ways of interpretation comes nearest to that of the tongue."
As a phase in the practice of gestures in lieu of speech must be mentioned the code of the Cistercian monks, who were vowed to silence except in religious exercises. That they might literally observe their vows they were obliged to invent a system of communication by signs, a list of which is given by Leibnitz, but does not show much ingenuity.
A curious description of the speech of the early inhabitants of the world, given by Swedenborg in his Arcana Cœlestia, published 1749-1756, may be compared with the present exhibitions of deaf-mutes in institutions for their instruction. He says it was not articulate like the vocal speech of our time, but was tacit, being produced not by external respiration, but by internal. They were able to express their meaning by slight motions of the lips and corresponding changes of the face.
Austin's comprehensive work, Chironomia, or a Treatise on Rhetorical Delivery, London, 1806, is a repertory of information for all writers on gesture, who have not always given credit to it, as well as on all branches of oratory. This has been freely used by the present writer, as has also the volume by the canon Andrea de Jorio, La Mimica degli Antichi investigata nel Gestire Napoletano, Napoli, 1832. The canon's chief object was to interpret the gestures of the ancients as shown in their works of art and described in their writings, by the modern gesticulations of the Neapolitans, and he has proved that the general system of gesture once prevailing in ancient Italy is substantially the same as now observed. With an understanding of the existing language of gesture the scenes on the most ancient Greek vases and reliefs obtain a new and interesting significance and form a connecting link between the present and prehistoric times. Two of De Jorio's plates are here reproduced, Figs. 64 and 67, with such explanation and further illustration as is required for the present subject.
Fig. 64.—Group from an ancient Greek vase.
The spirited figures upon the ancient vase, Fig. 64, are red upon a black ground and are described in the published account in French of the collection of Sir John Coghill, Bart., of which the following is a free translation:
Dionysos or Bacchus is represented with a strong beard, his head girt with the credemnon, clothed in a long folded tunic, above which is an ample cloak, and holding a thyrsus. Under the form of a satyr, Comus, or the genius of the table, plays on the double flute and tries to excite to the dance two nymphs, the companions of Bacchus—Galené, Tranquility, and Eudia, Serenity. The first of them is dressed in a tunic, above which is a fawn skin, holding a tympanum or classic drum on which she is about to strike, while her companion marks the time by a snapping of the fingers, which custom the author of the catalogue wisely states is still kept up in Italy in the dance of the tarantella. The composition is said to express allegorically that pure and serene pleasures are benefits derived from the god of wine.
Fig. 65.
Fig. 66.
This is a fair example of the critical acumen of art-commentators. The gestures of the two nymphs are interesting, but on very slight examination it appears that those of Galené have nothing to do with beat of drum, nor have those of Eudia any connection with music, though it is not so clear what is the true subject under discussion. Aided, however, by the light of the modern sign language of Naples, there seems to be by no means serenity prevailing, but a quarrel between the ladies, on a special subject which is not necessarily pure. The nymph at the reader's left fixes her eyes upon her companion with her index in the same direction, clearly indicating, thou. That the address is reproachful is shown from her countenance, but with greater certainty from her attitude and the corresponding one of her companion, who raises both her hands in surprise accompanied with negation. The latter is expressed by the right hand raised toward the shoulder, with the palm opposed to the person to whom response is made. This is the rejection of the idea presented, and is expressed by some of our Indians, as shown in Fig. 65. A sign of the Dakota tribe of Indians with the same signification is given in Fig. 270, page 441, infra. At the same time the upper part of the nymph's body is drawn backward as far as the preservation of equilibrium permits. So a reproach or accusation is made on the one part, and denied, whether truthfully or not, on the other. Its subject also may be ascertained. The left hand of Eudia is not mute; it is held towards her rival with the balls of the index and thumb united, the modern Neapolitan sign for love, which is drawn more clearly in Fig. 66. It is called the kissing of the thumb and finger, and there is ample authority to show that among the ancient classics it was a sign of marriage. St. Jerome, quoted by Vincenzo Requena, says: "Nam et ipsa digitorum conjunctio, et quasi molli osculo se complectans et fœderans, maritum pingit et conjugem;" and Apuleius clearly alludes to the same gesture as used in the adoration of Venus, by the words "primore digito in erectum pollicem residente." The gesture is one of the few out of the large number described in various parts of Rabelais' great work, the significance of which is explained. It is made by Naz-de-cabre or Goat's Nose (Pantagruel, Book III, Ch. XX), who lifted up into the air his left hand, the whole fingers whereof he retained fistways closed together, except the thumb and the forefinger, whose nails he softly joined and coupled to one another. "I understand, quoth Pantagruel, what he meaneth by that sign. It denotes marriage." The quarrel is thus established to be about love; and the fluting satyr seated between the two nymphs, behind whose back the accusation is furtively made by the jealous one, may well be the object concerning whom jealousy is manifested. Eudia therefore, instead of "serenely" marking time for a "tranquil" tympanist, appears to be crying, "Galené! you bad thing! you are having, or trying to have, an affair with my Comus!"—an accusation which this writer verily believes to have been just. The lady's attitude in affectation of surprised denial is not that of injured innocence.
Fig. 67.—Group from a vase in the Homeric Gallery.