ContentsArticles

Chironomia 1Gilbert Austin 2Richard Brinsley Sheridan 6Thomas Sheridan (actor) 11Elocution 13Elocutio 15Pronuntiatio 16Gesture 17

ReferencesArticle Sources and Contributors 21Image Sources, Licenses and Contributors 22

Article LicensesLicense 23

Chironomia 1

Chironomia

Hand gestures images. Austin, Gilbert. Chironomia, or a Treatise on RhetoricalDelivery. London: 1806. Ed. Mary Margaret Robb and Lester Thonssen.

Carbondale, IL: Southern Illinois UP, 1966. Clasped, crossed, and folded handpositions. (Chironomia Plate 8, Figures 75, 76, 78)

Chirologia, 1644

Chironomia is the art of usinggesticulations or hand gestures to goodeffect in traditional rhetoric or oratory.Effective use of the hands, with or withoutthe use of the voice, is a practice of greatantiquity, which was developed andsystematized by the Greeks and the Romans.Various gestures had conventionalizedmeanings which were commonlyunderstood, either within certain class orprofessional groups, or broadly amongdramatic and oratorical audiences.

Gilbert Austin was a well-known author onchironomia. The article about him contains asummary of theories in chironomia.

References

• John Bulwer, Chirologia ; Or the NaturalLanguage of the Hand. Chironomia orthe Art of Manual Rhetoric (1644).(Landmarks in rhetoric and publicaddress).

• Gilbert Austin, Chironomia, or aTreatise on Rhetorical Delivery (1806).Ed. Mary Margaret Robb and LesterThonssen. Carbondale, IL: SouthernIllinois UP, 1966.

Gilbert Austin 2

Gilbert AustinGilbert Austin (1753–1837) was an Irish educator, clergyman, and author. Austin is best known for his 1806 bookon chironomia, Chironomia, or a Treatise on Rhetorical Delivery. Heavily influenced by classical writers, Austinstressed the importance of voice and gesture to a successful oration.

Biographical informationGilbert Austin was born in 1753 in County Louth, Ireland. Educated at Trinity College, Dublin, Austin received hisBachelor of Arts degree in 1774 and his Master of Arts degree in 1780. After graduating, Austin established a privateschool in Dublin where he taught the sons of Ireland’s elite, including Augustus Frederick FitzGerald, later ThirdDuke of Leinster (Robb and Thonssen 1966:xv-xvi). Austin inscribed his best-known work, Chironomia, or aTreatise on Rhetorical Delivery, to another of his former pupils, Francis William Caulfeild, Earl of Charlemont.An active member of the Royal Irish Academy, Austin wrote several scientific papers describing his inventions. In1789, Austin edited and published a collection of poems by Irish writer Thomas Dermody. Austin also published anumber of his sermons, including the collection Sermons on Practical Subjects. Austin began work on his mostfamous book, Chironomia, in the 1770s but it was not published until 1806.Austin held several clerical appointments in the Church of Ireland. In 1798, Austin became a minor canon of St.Patrick’s Cathedral, Dublin. From 1816 until his death in 1837, Austin was Vicar of Laraghbryan (or Maynooth), aliving to which he was presented by his former pupil, the Duke of Leinster. Austin also held the prebendary ofBlackrath from 1821 to 1835 (Robb and Thonssen 1966:xvi).

Works

Scientific articlesBetween 1790 and 1803, Austin published three articles in the Transactions of the Royal Irish Academy. PhilippaSpoel (1998) writes, "these articles, which describe the construction and application of chemical apparatus inventedby Austin, demonstrate his involvement...with the flourishing field of chemistry" (7). The inventions Austindescribed include a portable barometer, a mechanism for filling water with carbon dioxide, and an apparatus forcollecting gasses over water and mercury. In 1813, Austin published "On a New Construction of a Condenser andAir-Pump" in the Philosophical Transactions of the Royal Society of London.

Sermons and other writingIn 1789, Austin edited and published Thomas Dermody's first collection of poetry, Poems. In 1794, Austin publishedA Sermon on a Future State: Combating the Opinion that "Death is Eternal Sleep." American author Edgar AllanPoe (1844) described Austin’s sermon as "nearly, if not quite the best 'Essay on a Future State' " (584). Austinpublished Sermons on Practical Subjects in 1795 and A Sermon for the Support of Mercer's Hospital in 1796.

Chironomia, or a Treatise on Rhetorical Delivery

In the preface to Chironomia, Austin writes...it is a fact, that we do not possess from the ancients, nor yet from the labours of our own countrymen,any sufficiently detailed and precise precepts for the fifth division of the art of rhetoric, namelyrhetorical delivery, called by the ancients actio and pronuntiatio. (ix)

Austin observed that British orators were skilled in the first four divisions of rhetoric: inventio, dispositio, elocutio, and memoria. However, the fifth division, pronuntiatio or delivery, was all but ignored. Delivery, which is often

Gilbert Austin 3

improperly referred to as elocution (elocutio), concerns the use of voice and gesture in an oration. Rather than studythe art of delivery, orators trusted to the inspiration of the moment to guide their voices and gestures. Austindescribes this as a reliance on "gestures imperfectly conceived...which will consequently be imperfectly executed"(5).Chironomia is a treatise on the importance of good delivery. Good delivery, Austin notes, can "conceal in somedegree the blemishes of the composition, or the matter delivered, and...add lustre to its beauties" (187). In the firstpart of the book, Austin traces the study of the art of delivery from the classical world to the eighteenth century. Thesecond part of the book is devoted to a description of the notation system Austin designed to teach students ofrhetoric the management of gesture and voice. The system of notation is accompanied by a series of illustrationsdepicting positions of the feet, body, and hands.Throughout Chironomia, Austin instructs speakers to avoid the appearance of vulgarity or rusticity. Austin firstdeveloped the system of notation described in Chironomia at his school for privileged young men. Austin's goal wasto prepare his students for a life in the church or politics by training them to become better orators. Although Austin'ssystem was eventually dismissed as too rigidly prescriptive, Chironomia was a highly influential book during thenineteenth century.

Influences

Discussing the need for a treatise on delivery, Austin writes "during my examination of modern writers, it hasappeared to me, that, with little exception, they have neglected to pay due attention to the precepts and authority ofthe great and ancient masters" (v). Austin remedies this oversight by compiling a collection of classical sources onthe art of delivery. Austin was heavily influenced by Cicero and Quintilian. Cicero refers to action as the "languageof the body" and the art of delivery as "corporeal eloquence" (Austin [1806] 1966:1). Austin attributes to Quintilianthe use of the word chironomia to refer to the art of gesture (2). In Chironomia, Austin quotes extensively fromCicero’s De oratore and Quintilian's Institutio oratoria.Austin also cites Ludovicus Cressolius's 1620 book Vacationes Autumales sive de perfecta Oratoris, Actione, etPronuntiatione and the work of Caussinus as influences. Despite their use of the term elocution for the art Austincalls delivery, Austin refers to Thomas Sheridan's Lectures on Elocution (1762) and John Walker's Elements ofElocution (1781) in his discussion of voice and countenance.Austin's work would appear to be a direct descendent of John Bulwer’s book Chirologia, or, The natural language ofthe hand which, when it was published in 1644, also included Bulwer's work Chironomia; or, The art of manualrhetoricke. However, Austin does not mention Bulwer anywhere in his Chironomia. Robb and Thonssen (1966)suggest this is because Austin was unfamiliar with Bulwer's book (xi).

Voice and countenance

Austin was concerned with both the quality and management of the voice; he considered the former a gift of natureand the latter a matter of art (29). Austin developed rules for the management of articulation, pronunciation, andemphasis. On articulation, Austin writes

[words] are to be delivered out from the lips, as beautiful coins newly issued from the mint, deeply andaccurately impressed, perfectly finished, neatly struck by the proper organs, distinct, sharp, in duesuccession, and of due weight. (38)

Austin agreed with Sheridan's advice that good articulation consisted of pronouncing each syllable distinctly andwith proper emphasis (37). Austin's rules for pronunciation address the issue of the provincial accent, somethingAustin labels "a stain of rusticity" (47). Austin encouraged his students to rid themselves of their provincial accent infavour of a courtly accent.In addition to his rules for the management of the voice, Austin also addresses issues of vocal quality includingpitch, volume, and variety. Austin was also concerned with the management of facial expression. Austin stresses the

Gilbert Austin 4

importance of using appropriate tones of voice, facial expressions, and gestures to convey sincerity.

Gesture

Austin describes gesture as the "action and position of all the parts of the body" (133) and attributes to gesture thepower to convey meaning. During the eighteenth century, speakers preferred the natural style of gesture but Austinwarns against this style saying that speakers who rely on nature run the risk of displaying "the untutoredextravagance and uncouth motions of the vulgar" (138 see Plate 2, Figures 8 and 9 below). By following Austin’sguidelines, speakers could improve their delivery by matching their gestures to their words. Austin advises hisstudents, however, that gesture should be used with restraint and only when appropriate (137).

System of notation

Austin's system of notation begins with the placement of the body in an imaginary sphere (see Plate 2, Fig. 18below). The speaker then moves his or her body, feet, or hands toward one of the points on the sphere. Eachmovement is assigned a notation that specifies the direction and manner in which the speaker should move. Thespeaker should include these notations in the text of his or her speech so that he or she knows when and how tomove. Notation regarding the hands is written above the sentence; notation regarding the feet is written below. Forinstance, the notation Bcl. e f sh. above a word indicates that the speaker should clasp both hands and extend themforward at shoulder height in a shaking motion (see Plate 8, Fig. 75 below). The notation L 1 x under a wordindicates that the speaker should advance the left foot and bend the right knee. Austin also provides a notationsystem for the voice. Notation marks are placed at the beginning of a passage and then throughout the text wheneverthe speaker is to change the tone or rapidity of his or her vocal delivery.

Illustrations

The text of Chironomia is accompanied by 12 engraved plates depicting various positions of the feet, arms, andbody. Austin credits George Chinnery as the original artist but claims that he could not afford to pay Chinnery tocomplete the engravings. An anonymous young man was employed to alter and complete the plates (Austin [1806]1966:viii).

"The position of the orator is equallyremoved from the awkwardness of the

rustic with toes turned in and knees bent,and from the affectation of the

dancing-master, constrained and preparedfor springing agility, and for conceited

display" (Chironomia Plate 1, Figures 8,9).

Influence and criticism

Robb and Thonssen (1966) write, "until the teaching of [François]Delsarte...Austin was the authority on teaching gesture" (xvii). With thepublication of Chironomia, Austin's influence extended beyond his ownschool to classrooms throughout Britain and America. By the end of thenineteenth century, however, Chironomia had fallen from favour. Austin'smethod was considered too mechanical for modern tastes. G. P. Mohrmann(1968) claims the misperception of Chironomia as rigidly prescriptive is dueto a lack of critical analysis of Austin's method (18). Spoel (1998) describesChironomia as "a unique socially and historically situated representation ofbodily discipline" (5). Chironomia remains of interest to scholars not only forits insight into late-eighteenth and early-nineteenth century rhetoricalpractices but also for its collection of classical writings on delivery.

Gilbert Austin 5

"The human figure being supposed to beso placed within this sphere, that the

centre of the breast shall coincide with itscentre, and that the diameter of the

horizontal circle perpendicular to a radiusdrawn to the projecting point, shall passthrough the shoulders, the positions andmotions of the arms are referred to anddetermined by these circles and theirintersections" (Chironomia Plate 2,

Figure 18.)

Clasped, crossed, and folded handpositions. (Chironomia Plate 8, Figures

75, 76, 78)

Further reading

• Austin, Gilbert. "Description of an Apparatus for Impregnating Water andOther Substances Strongly with Carbonic Acid Gas." Transactions of theRoyal Irish Academy 1799. 131-34.

• ---. "Description of an Apparatus for Transferring Gasses Over Water orMercury." Transactions of the Royal Irish Academy 1803. 3-9.

• ---. "Description of a Portable Barometer." Transactions of the Royal IrishAcademy 1790. 99-105.

• ---. "On a New Construction of a Condenser and Air-Pump." PhilosophicalTransactions of the Royal Society of London 1813. 138-145.

• Dermody, Thomas. Poems. Dublin: 1789. New York: Garland, 1978.• Howell, Wilbur Samuel. Eighteenth-Century British Logic and Rhetoric.

Princeton: Princeton UP, 1971.

Resources

• Austin, Gilbert. Chironomia, or a Treatise on Rhetorical Delivery.London: 1806. Ed. Mary Margaret Robb and Lester Thonssen. Carbondale,IL: Southern Illinois UP, 1966.

• Mohrmann, G. P., "The Real Chironomia." Southern Speech Journal 34(Fall 1968): 17-27.

• Poe, Edgar Allan. "Marginalia." [1] Democratic Review December 1844.580-594.

• Robb, Mary Margaret, and Lester Thonssen. "Editor’s Introduction."Austin, Chironomia ix-xxi.

• Spoel, Philippa M. "The Science of Bodily Rhetoric in Gilbert Austin’sChironomia." Rhetoric Society Quarterly 28 (Fall 1998): 5-27.

External links• Animated graphic based on illustrations from Chironomia [2]

References[1] http:/ / www. eapoe. org/ works/ misc/ mar1244. htm[2] http:/ / krause. emich. edu/ elocution. html

Richard Brinsley Sheridan 6

Richard Brinsley Sheridan

The Right HonourableRichard Brinsley Butler Sheridan

Treasurer of the Navy

In office1806–1807

Prime Minister Lord Grenville

Preceded by George Canning

Succeeded by George Rose

Personal details

Born October 30, 1751Dublin, Ireland

Died July 7, 1816 (aged 64)14 Savile Row, London, England

Political party Whig

Profession Statesman, playwright

Richard Brinsley Butler Sheridan (30 October 1751 – 7 July 1816) was an Irish-born playwright and poet andlong-term owner of the London Theatre Royal, Drury Lane. For thirty-two years he was also a Whig Member of theBritish House of Commons for Stafford (1780–1806), Westminster (1806–1807) and Ilchester (1807–1812). Suchwas the esteem he was held in by his contemporaries when he died that he was buried at Poets' Corner inWestminster Abbey. He is known for his plays such as The Rivals, The School for Scandal and A Trip toScarborough.

Richard Brinsley Sheridan 7

LifeR. B. Sheridan was born in 1751 in Dublin, Ireland, where his family had a house on then-fashionable Dorset Street.While in Dublin Sheridan attended the English Grammar School in Grafton Street. The family moved permanently toEngland in 1758 when he was age seven.[1] He was a pupil at Harrow School outside London from 1762 to 1768. Hismother, Frances Sheridan, was a playwright and novelist. She had two plays produced in London in the early 1760s,though she is best known for her novel The Memoirs of Sidney Biddulph (1761). His father, Thomas Sheridan, wasfor a while an actor-manager at the Smock Alley Theatre but, following his move to England in 1758, he gave upacting and wrote a number of books concerning education and, especially, the standardisation of the Englishlanguage in education.In 1772 Richard Sheridan fought a famous duel against Captain Thomas Mathews. Mathews had written anewspaper article defaming the character of Elizabeth Linley, the woman Sheridan intended to marry, and honourdictated that a duel must be fought. A first duel was fought in London where they agreed to fight in Hyde Park, butfinding it too crowded they went to the Castle Tavern in Henrietta Street, Covent Garden. Far from its romanticimage, the duel was short and bloodless. Mathews lost his sword and, according to Sheridan, was forced to 'beg forhis life' and sign a retraction of the article. The apology was made public and Mathews, infuriated by the publicitythe duel had received, refused to accept his defeat as final and challenged Sheridan to another duel. Sheridan was notobliged to accept this challenge, but would have become a social pariah if he had not. The second duel, fought inAugust 1772 at Kingsdown near Bath, was a much more ferocious affair. This time both men broke their swords butcarried on fighting in a 'desperate struggle for life and honour'. Both were wounded, Sheridan dangerously, being'borne from the field with a portion of his antagonist's weapon sticking through an ear, his breast-bone touched, hiswhole body covered with wounds and blood, and his face nearly beaten to jelly with the hilt of Mathews' sword'.Fortunately his remarkable constitution pulled him through, and eight days after this bloody affair the Bath Chroniclewas able to announce that he was out of danger. Mathews escaped in a post chaise.

Playwright

Sheridan by Sir Joshua Reynolds.

In 1772, Richard Sheridan, at the age of 21, eloped with andsubsequently married Elizabeth Ann Linley and set up house inLondon on a lavish scale with little money and no immediate prospectsof any — other than his wife's dowry. The young couple entered thefashionable world and apparently held up their end in entertaining.When Sheridan settled in London, he began writing for the stage. Lessthan two years later, in 1775, his first play, The Rivals, was produced atLondon's Covent Garden Theatre. It was a failure on its first night.Sheridan cast a more capable actor for the role of the comic Irishmanfor its second performance, and it was a smash which immediatelyestablished the young playwright's reputation and the favour offashionable London. It has gone on to become a standard of Englishliterature.

Shortly after the success of The Rivals, Sheridan and his father-in-lawThomas Linley the Elder, a successful composer, produced the opera,The Duenna. This piece was accorded such a warm reception that it

played for seventy-five performances.

In 1776, Sheridan, his father-in-law, and one other partner, bought a half interest in the Drury Lane theatre and, twoyears later, bought out the other half. Sheridan was the manager of the theatre for many years, and later became soleowner with no managerial role.

Richard Brinsley Sheridan 8

His most famous play The School for Scandal (Drury Lane, 8 May 1777) is considered one of the greatest comediesof manners in English. It was followed by The Critic (1779), an updating of the satirical Restoration play TheRehearsal, which received a memorable revival (performed with Oedipus Rex in a single evening) starring LaurenceOlivier as Mr Puff, opening at the New Theatre on 18 October 1945 as part of an Old Vic Theatre Company season.Having quickly made his name and fortune, in 1776 Sheridan bought David Garrick's share in the Drury Lane patent,and in 1778 the remaining share. His later plays were all produced there.[2] In 1778 Sheridan wrote The Camp whichcommented on the ongoing threat of a French invasion of Britain. The same year Sheridan's brother-in-law ThomasLinley, a young composer who worked with him at Drury Lane Theatre, died in a boating accident. Sheridan had arivalry with his fellow playwright Richard Cumberland and included a parody of Cumberland in his play The Critic.On 24 February 1809 (despite the much vaunted fire safety precautions of 1794) the theatre burned down. On beingencountered drinking a glass of wine in the street while watching the fire, Sheridan was famously reported to havesaid: "A man may surely be allowed to take a glass of wine by his own fireside."[3]

Member of Parliament

In Uncorking Old Sherry (1805), James Gillraycaricatured Sheridan as a bottle of sherry,

uncorked by Pitt and bursting out with puns,invective, and fibs.

In 1780, Sheridan entered Parliament as the ally of Charles James Foxon the side of the American Colonials in the political debate of thatyear. He is said to have paid the burgesses of Stafford five guineasapiece for the honour of representing them. As a consequence, his firstspeech in Parliament had to be a defence against the charge of bribery.

In 1787 Sheridan demanded the impeachment of Warren Hastings, thefirst Governor-General of India. His speech in the House of Commonswas described by Edmund Burke, Charles James Fox and William Pittas the greatest ever delivered in ancient or modern times.[4]

In 1793 during the debates on the Aliens Act designed to preventFrench Revolutionary spies and saboteurs from flooding into thecountry, Edmund Burke made a speech in which he claimed there werethousands of French agents in Britain ready to use weapons against theauthorities. To dramatically emphasise his point he threw down a knifeonto the floor of the House of Commons. Sheridan is said to haveshouted out "Where's the fork?", which led to much of the housecollapsing in laughter.[5]

During the invasion scare of 1803 Sheridan penned an Address to thePeople:

THEY, by a strange Frenzy driven, fight for Power, for Plunder, and extended Rule—WE, for ourCountry, our Altars, and our Homes.—THEY follow an ADVENTURER, whom they fear—and obey aPower which they hate—WE serve a Monarch whom we love—a God whom we adore...They call on usto barter all of Good we have inherited and proved, for the desperate Chance of Something better whichthey promise.—Be our plain Answer this: The Throne WE honour is the PEOPLE'S CHOICE—theLaws we reverence are our

Richard Brinsley Sheridan 9

Physical Air,—or—Britannia recover'd from aTrance;—also, the Patriotic Courage of Sherry

Andrew; & a peep thro' the Fog (1803) by JamesGillray, showing Sheridan as a Silenus-like andragged Harlequin defending Henry Addingtonand Lord Hawkesbury on the Dover coast from

the advancing French rowboats filled with Frenchsoldiers, led by Napoleon. Sheridan says: "Let'em come! damn'me!!!—Where are the French

Buggabo's? Single handed I'd beat forty of 'em!!!dam'me I'd pay 'em like Renter Shares, sconce off

their half Crowns!!!—mulct them out of theirBenefits, &c, come Drury Lane Slang over em!."

brave Fathers' Legacy—the Faith we follow teaches us tolive in bonds of Charity with all Mankind, and die withHope of Bliss beyond the Grave. Tell your Invaders this;and tell them too, we seek no Change; and, least of all,such Change as they would bring us.[6]

He held the posts of Receiver-General of the Duchy of Cornwall(1804–1807) and Treasurer of the Navy (1806–1807).

When he failed to be re-elected to Parliament in 1812, after 32 years,his creditors closed in on him and his last years were harassed by debtand disappointment. On hearing of his debts, the American Congressoffered Sheridan £20,000 in recognition of his efforts to prevent theAmerican War of Independence. The offer was refused.

In December 1815 he became ill, largely confined to bed. Sheridandied in poverty, and was buried in the Poets' Corner of WestminsterAbbey; his funeral was attended by dukes, earls, lords, viscounts, theLord Mayor of London, and other notables.

In 1825 the Irish writer Thomas Moore published a two-volumesympathetic biography Memoirs of the Life of Richard BrinsleySheridan which became a major influence on subsequent perceptionsof him. A Royal Society of Arts blue plaque was unveiled in 1881 tocommemorate Sheridan at 14 Savile Row in Mayfair.[7]

Family life

He was twice married. He and his first wife had two children:• Thomas Sheridan, who married Caroline Henrietta Callander, daughter of Col. Sir James Campbell Callander, of

Craigforth, Stirling, and Ardkinglas [Argyll], and was the father of Helen Blackwood, Baroness Dufferin andClaneboye, Caroline Norton and Georgiana Seymour, Duchess of Somerset

• Edith Marcia Caroline Sheridan (d. 9 April 1876), m. 30 June 1864 to John Francis Thynne, of Haynes Park (17June 1830 – 30 January 1910, Justice of Peace, of the Marquesses of Bath, and had issue. In 1795, Richard B.Sheridan married Hester Jane Ogle (1776–1817), daughter of the Dean of Winchester. They had at least onechild: Charles Brinsley Sheridan (1796–1843)

At one time Sheridan owned Downe House, Richmond Hill in London.

Richard Brinsley Sheridan 10

Works

Programme cover for 1887 revival ofThe Rivals

• The Rivals (first acted 17 January 1775)• St Patrick's Day (first acted 2 May 1775)• The Duenna (first acted 21 November 1775)• A Trip to Scarborough (first acted 24 February 1777)• The School for Scandal (first acted 8 May 1777)• The Camp (first acted 15 October 1778)• The Critic (first acted 30 October 1779)• The Glorious First of June (first acted 2 July 1794)• Pizarro (first acted 24 May 1799; with incidental music by Jan Ladislav

Dussek)

He also wrote a selection of poems, and political speeches for his time inparliament.

Adaptations and Cultural References

• In The Duchess (2008) film, a biography of Georgiana Cavendish, Duchess of Devonshire, Sheridan is played byAidan McArdle and The School for Scandal is performed in the movie. Sheridan is played by Barry Stanton in theMadness of King George (1994)

• In the Yes, Prime Minister episode 'The Patron of the Arts', two of Sheridan's plays are named as ones the primeminister could not see: 'The Rivals', "there were too many cabinet ministers after his job", and 'The School forScandal', "well, not after the education secretary had been found in bed with a married primary schoolheadmistress". Later, the same prime minister being asked to name a famous English playwright other thanShakespeare says "Sheridan, Oscar Wilde, George Bernard Shaw" and is told, "they were all Irish"

• In the Blackadder III episode 'Amy and Amiability', Blackadder, dressed in a black mask and cape, is asked if heintends to become a highwayman and replies sarcastically "No, I'm auditioning for the part of Arnold the Bat inSheridan's new comedy."

• The very first sentence of Jules Verne's "Around the World in Eighty Days" is "Mr. Phileas Fogg lived, in 1872,at No. 7, Saville Row, Burlington Gardens, the house in which Sheridan died in 1814" (s:Around the World inEighty Days/I) - which includes two factual mistakes: Sheridan actually lived in No. 14[8] and died in 1816.Evidently, Verne assumed as a matter of course that a French readership more than half a century later wouldknow who Sheridan was and would need no further explanation.

• Chris Humphreys has used the character of Jack Absolute from The Rivals as a basis for his books The Bloodingof Jack Absolute, Absolute Honour and Jack Absolute. These are published under the name C. C. Humphreys.

Notes[1] Sources: (http:/ / www. jamesboswell. info/ biography/ thomas-sheridan-actor-and-teacher-elocution), (http:/ / www. pgil-eirdata. org/ html/

pgil_datasets/ authors/ s/ Sheridan,T(b1719)/ life. htm), (http:/ / www. ocotilloroad. com/ geneal/ sheridan1. html#THOM2)[2] The Oxford Companion to the Theatre, edited by Phyllis Hartnoll, OUP (1951)[3][3] The Oxford Dictionary of Quotations, OUP (1999)[4] John O'Connor Power, 'Irish Wit and Humour', Time, 1890. p.480. The Making of an Orator, 1906, pp.187-194[5][5] Arnold-Baker p.393[6] Frank J. Klingberg and Sigurd B. Hustvedt (eds.), The Warning Drum. The British Home Front Faces Napoleon. Broadsides of 1803

(University of California Press, 1944), pp. 93-94.[7] "SHERIDAN, RICHARD BRINSLEY (1751-1816)" (http:/ / www. english-heritage. org. uk/ discover/ blue-plaques/ search/

sheridan-richard-brinsley-1751-1816-90). English Heritage. . Retrieved 2012-10-23.[8] http:/ / www. british-history. ac. uk/ report. aspx?compid=41494

Richard Brinsley Sheridan 11

References• David Francis Taylor, Theatres of Opposition: Empire, Revolution, and Richard Brinsley Sheridan (Oxford

University Press, 2012)•  "Sheridan, Richard Brinsley". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.• Richard Brinsley Sheridan (http:/ / www. theatrehistory. com/ irish/ sheridan001. html) Retrieved March 2, 2008• Frank J. Klingberg and Sigurd B. Hustvedt (eds.), The Warning Drum. The British Home Front Faces Napoleon.

Broadsides of 1803 (University of California Press, 1944).• Arnold-Baker, Charles. The Companion to British History. Longcross Press, 1996.• Cousin, John William (1910). "  Sheridan, Richard Brinsley". A Short Biographical Dictionary of English

Literature. London: J. M. Dent & Sons. Wikisource• Memoir of Sheridan (http:/ / www. archive. org/ download/ modernstandarddr07sarguoft/

modernstandarddr07sarguoft. pdf) Places date of birth September 1751.

External links• Information about Sheridan's life and works, with a comprehensive bibliography, at rbsheridan.co.uk (http:/ /

www. rbsheridan. co. uk).• Works by Richard Brinsley Sheridan (http:/ / www. gutenberg. org/ author/ Richard+ Brinsley+ Sheridan) at

Project Gutenberg• Full text of Thomas Moore's Memoirs of the Life of the Right Honorable Richard Brinsley Sheridan, Vol. 1 (http:/

/ www. gutenberg. net/ etext/ 6741), Vol. 2 (http:/ / www. gutenberg. net/ etext/ 7775)• Portraits of Richard Brinsley Sheridan (http:/ / www. npg. org. uk/ collections/ search/ person.

php?LinkID=mp04094) at the National Portrait Gallery, London

Thomas Sheridan (actor)

Thomas Sheridan.

Thomas Sheridan (1719 – 14 August 1788) was an Irish stage actor, aneducator, and a major proponent of the elocution movement. Hereceived his M.A. in 1743 from Trinity College in Dublin, and was thegodson of Jonathan Swift. He also published a "respelled" dictionary ofthe English language (1780). He was married (1747) to FrancesChamberlaine. His son is the more famous Richard Brinsley Sheridan,while his daughter Alice also wrote numerous works. His work is verynoticeable in the writings of Hugh Blair.

Life

Thomas Sheridan was the third son of Dr Thomas Sheridan, anAnglican divine.[1] He attended Westminster School in 1732-1733 but,because of his father’s financial problems, he had to finish his initialeducation in Dublin. In 1739, he earned his BA from Trinity College,Dublin and he went on to earn his MA from Trinity in the early 1740s.He had his début in acting when he played the title role in Shakespeare’sRichard III in Dublin. Soon after, he was noted as the most popular actor in Ireland, being compared often withDavid Garrick. Not only an actor, he also wrote The Brave Irishman or Captain O'Blunder which premièred in 1738.He became the manager of the Dublin theatre sometime in the 1740s.

Thomas Sheridan (actor) 12

Sheridan left his acting career, although he continued to manage theatre companies and occasionally play bit parts,and moved permanently to England with his family in 1758. There, his time was spent as a teacher and an educatoroffering a very successful lecture course. In 1762 Sheridan published Lectures on Elocution. Following that work, hepublished A Plan of Education (1769), Lectures on the Art of Reading (1775), and A General Dictionary of theEnglish Language (1780). Each of these works was based on some form of an argument taken in an earlier workBritish Education: Or, The source of the Disorders of Great Britain. Being an Essay towards proving, that theImmorality, Ignorance, and false Taste, which so generally prevail, are the natural and necessary Consequences ofthe present to defective System of Education. With an attempt to shew, that a revival of the Art of Speaking, and theStudy of Our Own Language, might contribute, in a great measure, to the Cure of those Evils (1756).He lived in London for a number of years before moving to Bath where he founded an academy for the regularinstruction of Young Gentlemen in the art of reading and reciting and grammatical knowledge of the English tongue.This venture apparently proving to be unsuccessful, he returned to Dublin and the theatre in 1771. Thomas’s sonRichard became a partial owner of the Theatre Royal in London in 1776. Two years later Thomas was appointedmanager of the theatre, a position he held until 1781.

BeliefsSheridan attempted to supply the willing student with a guide to public speaking that was correct, appropriate, andsuccessful. What he actually wanted was a total reform of the British education system, as he saw it disregardingelocution and/or rhetorical delivery. In his work British Education, Sheridan revealed that poor preaching wasnegatively affecting religion itself.Sheridan's belief in the valuable effects of strong and correct public speaking was so strong that he was sure studyingelocution would help ensure perfection in all of the arts. In British Education, Sheridan writes that preaching fromthe pulpit "must either effectually support religion against all opposition, or be the principal means of itsdestruction."Convinced that English preaching was not done as well as it should be, Sheridan focused on delivery as the principalavenue toward delivering effective messages to an audience: "Before you can persuade a man into any opinion, hemust first be convinced that you believe it yourself. This he can never be, unless the tones of voice in which youspeak come from the heart, accompanied by corresponding looks, and gestures, which naturally result from a manwho speaks in earnest." Sheridan believed that elocution was not restricted to the voice, but embodied the entireperson with facial expressions, gestures, posture, and movement.

A Course of Lectures on ElocutionPublished in 1762, this work is considered by many to be Sheridan's most well-known. He established a niche for hisinsights through decrying the current state of public speaking, as he often did: "so low is the state of elocutionamongst us, that a man who is master even of these rudiments of rhetoric, is comparatively considered, as one ofexcellent delivery." Besides establishing the points previously mentioned, the quote also offers a more narrowdefinition of rhetoric that seems to be influenced by Peter Ramus.Central to Sheridan's work was his emphasis on the importance of tones to eloquence. These tones, which correlatedwith the expressive effects one can give to their speaking, were something Sheridan considered an important part ofpersuasion. He stated, "The tones expressive of sorrow, lamentation, mirth, joy, hatred, anger, love, &c. are the samein all nations, and consequently can excite emotions in us analogous to those passions, when accompanying wordswhich we do not understand: nay the very tones themselves, independent of words, will produce the same effects."For Sheridan, how a message was communicated was apparently as important as the message itself. He uses theexample of someone saying in a calm demeanor, "My rage is rouzed to a pitch of frenzy, I can not command it:Avoid me, be gone this moment, or I shall tear you to pieces" to show the importance of tones to a message.

Thomas Sheridan (actor) 13

Because of this, Sheridan set out to address what he thought John Locke had left out in his treatment of language:"(t)he nobler branch of language, which consists of the signs of internal emotions, was untouched by him as foreignto his purpose."

Selected plays•• Captain O'Blunder

References[1] Charles Partington (1838), "Sheridan, Thomas" (http:/ / books. google. co. uk/ books?id=eLkTAAAAQAAJ& pg=PA946), The British

Cyclopaedia of Biography,

Bibliography• "Sheridan, Thomas (1719-1788)". Dictionary of National Biography. London: Smith, Elder & Co. 1885–1900.• Bizzell, Patricia, and Bruce Herzberg, eds. The Rhetorical Tradition. 2nd ed. Boston: Bedford/St. Martin's, 2001.• Howell, Wilbur Samuel. Eighteenth-Century British Logic and Rhetoric. Princeton, NJ: Princeton University

Press, 1971.

External links• Encyclopædia Britannica (http:/ / www. britannica. com/ eb/ article-9067315/ Thomas-Sheridan)• Thomas Sheridan (1719-1788) (http:/ / www. jamesboswell. info/ biography/

thomas-sheridan-actor-and-teacher-elocution) at James Boswell - a Guide

ElocutionElocution is the study of formal speaking in pronunciation, grammar, style, and tone.

HistoryIn Western classical rhetoric, elocution was one of the five core disciplines of pronunciation, which was the art ofdelivering speeches. Orators were trained not only on proper diction, but on the proper use of gestures, stance, anddress. (Another area of rhetoric, elocutio, was unrelated to elocution and, instead, concerned the style of writingproper to discourse.)Elocution emerged as a formal discipline during the eighteenth century. One of its important figures was ThomasSheridan, actor and father of Richard Brinsley Sheridan. Thomas Sheridan's lectures on elocution, collected inLectures on Elocution (1762) and his Lectures on Reading (1775), provided directions for marking and reading aloudpassages from literature. Another actor, John Walker, published his two-volume Elements of Elocution in 1781,which provided detailed instruction on voice control, gestures, pronunciation, and emphasis.With the publication of these works and similar ones, elocution gained wider public interest. While training on proper speaking had been an important part of private education for many centuries, the rise in the nineteenth century of a middle class in Western countries (and the corresponding rise of public education) led to great interest in the teaching of elocution, and it became a staple of the school curriculum. American students of elocution drew selections from what were popularly deemed "Speakers." By the end of the century, several Speaker texts circulated throughout the United States, including McGuffey's New Juvenile Speaker, the Manual of Elocution and Reading, the Star Speaker, and the popular Delsarte Speaker. Some of these texts even included pictorial depictions of body

Elocution 14

movements and gestures to augment written descriptions.

Sample curriculumAn example of this can be seen in the Table of Contents of McGuffey's New Sixth Eclectic Reader of 1857:

Principles of ElocutionI. ArticulationII. InflectionsIII. Accent and EmphasisIV. Instructions for Reading VerseV. The VoiceVI. Gesture

New Sixth Reader. Exercises in ArticulationExercise I. — The Grotto of AntiparosExercise II. — The Thunder StormExercise III. — Description of a StormIV. Hymn to the Night-WindV. — The Cataract of Lodore

On InflectionVI. — Industry Necessary for the OratorVII. — The Old House Clock [etc.]

References• Sullivan, Mark (1996). "Educating the American Mind". In Dan Rather. Our Times. America Finding Itself.

New York: Scribner. p. 152–157. ISBN 0-684-81573-7.

Further reading• Carol Poster, ed. The Elocutionary Movement: British rhetoric in the eighteenth & nineteenth centuries. Bristol:

Thoemmes Continuum. ISBN 1-84371-023-4.

External links• Digital library of old American textbooks [1]

• An article on oratory in 19th century education [2]

• Digital facsimile of A.A. Griffith's Lessons in Elocution, 1865 [3]

• Digital Book Lessons in Elocution by William Scott, 1820 [4]

Elocution 15

References[1] http:/ / digital. library. pitt. edu/ cgi-bin/ t/ text/ text-idx?c=nietz[2] http:/ / www. assumption. edu/ ahc/ rhetoric/ oratorybooks. html[3] http:/ / www. hti. umich. edu/ cgi/ t/ text/ text-idx?c=moa;idno=AJD1102. 0001. 001[4] http:/ / books. google. com/ books?hl=en& id=L1gCAAAAYAAJ& dq=elocution& printsec=frontcover& source=web&

ots=AVHOkZSwW8& sig=RHRFpiPH6cq6QjInUhfc9n48FCw#PPA1,M1

Elocutio

Part of a series of articleson

Rhetoric

The five canons:

•• Inventio•• Dispositio•• Elocutio•• Memoria•• Pronuntiatio

Elocutio is the term for the mastery of stylistic elements in Western classical rhetoric and comes from the Latinloqui, "to speak". Although today we associate the word elocution more with eloquent speaking, for the classicalrhetorician it connoted "style".It is the third of the five canons of classical rhetoric (the others being inventio, dispositio, memoria, and pronuntiatio)that concern the crafting and delivery of speeches and writing. Beginning in the Renaissance, writers increasinglyemphasized the stylistic aspects of rhetoric over the other divisions of rhetoric.An orator or writer had a number of things to decide in developing a style for a particular discourse. First, there wasthe level of style; plain (attenuata or subtile), middle (mediocris or robusta), or high (florida or gravis). Writers wereinstructed to match the basic style to their subject matter and their audience. For instance, Quintilian in his InstitutioOratoria deemed the plain style suitable for instruction, the middle for moving oration, and the high for charmingdiscourse. Today, we associate elocution and rhetoric with the last of these styles, but for rhetoricians, each style wasuseful in rhetoric.The ancient authors agreed that the four ingredients necessary in order to achieve good style included correctness,clearness, appropriateness, and ornament.Sometimes translated as “purity”, correctness meant that rhetors should use words that were current and shouldadhere to the grammatical rules of whatever language they wrote. Correctness rules are standards of grammar andusage drawn from traditional grammar. In regard to clarity, most ancient teachers felt that clarity meant that rhetorsshould use words in their ordinary or everyday senses. The object of clarity was to allow meaning to “shine through”,like light through a window.Appropriateness probably derives from the Greek rhetorical notion to prepon, meaning to say or do whatever isfitting in a given situation. Ancient teachers taught that close attention to kairos will help to determine theappropriate style.The last and most important of the excellences of style is ornament, which is defined as extraordinary or unusual useof language. Ornamentation was divided into three broad categories: figures of speech, figures of thought, andtropes. Figures of speech are any artful patterning or arrangement of language. Figures of thought are artfulpresentations of ideas, feelings, concepts; figures of thought that depart from the ordinary patterns of argument.Tropes are any artful substitution of one term for another.

Elocutio 16

A great amount of attention was paid to figures of speech, which were classified into various types and sub-types.One Renaissance writer, Henry Peacham, enumerated 184 different figures of speech, although it could be arguedthat this was a manifestation of the increasing over-emphasis on style that began in the Renaissance.Also important to elocutio were subjects we would generally regard as grammatical: the proper use of punctuationand conjunctions; the desirable order of words in a sentence (unlike English, many languages are not as dependenton word order to establish relationships between words, and so choices of word order may revolve more around formthan function); and the length of sentences.

Pronuntiatio

Part of a series of articleson

Rhetoric

The five canons:

•• Inventio•• Dispositio•• Elocutio•• Memoria•• Pronuntiatio

Pronuntiatio was the discipline of delivering speeches in Western classical rhetoric. It is the one of five canons ofclassical rhetoric (the others being inventio, dispositio, elocutio, and memoria) that concern the crafting and deliveryof speeches. In literature the equivalent of ancient pronuntiatio is the recitation of epics (Aris. Po. 26.2.).[1]

As with memoria, the canon that dealt with the memorization of speeches, pronuntiatio was not extensively writtenabout in Classical texts on rhetoric. Its importance declined even more, once the written word became the focus ofrhetoric, although after the eighteenth century it again saw more interest in the works of men such as Gilbert Austin.In public speaking today, it may be somewhat over-emphasized, but that is probably more because other parts ofrhetoric are downplayed.Rhetoricians laid down guidelines on the use of the voice and gestures (actio) in the delivery of oratory. There wereinstructions on the proper modulation of the voice (volume and pitch), as well as the phrasing, pace, and emphasis ofspeech. Also covered were the physical aspects of oration: stance, gestures, posture, and facial expressions. Therewas also the concept of exercitatio (or practice exercises) that enabled speakers to both memorize their speeches andto practice their delivery.This excerpt from Quintilian's Institutio oratoria provides an example of the types of advice provided byrhetoricians:

"The head, being the chief member of the body, has a corresponding importance in delivery, serving notmerely to produce graceful effect, but to illustrate our meaning as well. To secure grace it is essential that thehead should be carried naturally and erect. For a droop suggests humility, while if it be thrown back it seemsto express arrogance, if inclined to one side it gives an impression of languor, while if it is held too stiffly andrigidly it appears to indicate a rude and savage temper." (Institutio oratoria, XI iii 68-69, translated by H. E.Butler, Loeb Classical Library, 1922)

While the content, structure, and style of oration were (and continue to be) the most important elements of oratory,there is no doubt that effective delivery enhances its persuasive power, and that poor delivery detracts greatly fromits intended effect.Delivery is based on the technology of the times. During Cicero's time, delivery was predominantly speaking.Written delivery developed because of the written language, and now delivery is both spoken and written.

Pronuntiatio 17

Technology has taken away the distinctions between written and oral delivery.Written discourse did not become important until reading became more common. Because the ancients did not usepunctuation, their writing consisted of one long stream of words called scriptio continua. During the editing process,modern rhetors must go through three stages: correctness rule, formatting, and presentation. Writers face moreproblems than speakers because they must be conscious of spelling, punctuation, and grammar. Punctuation is usefulin written discourse because it marks the end of a thought and allows the reader to pause and process theinformation. Visual rhetoric focuses on images and how words function as images. The delivery of oculardemonstration is the use of words to produce mental images in the audience. Textual presentation allows the writerto grab the reader's attention before actually reading the text based on the appearance of the text. The invention ofword processors has allowed writers to enhance the appearance of their text and use effects to put emphasis oncertain words or thoughts. Delivery refers not only to written or spoken language, but also refers to photographs,paintings, or movies. From Ancient Rhetorics for Contemporary Students by Sharon Crowley and Debra Hawhee,3rd edition, Pearson Longman, 2004.

References[1] Heinrich Lausberg, David E. Orton, R. Dean Anderson, Handbook of literary rhetoric: a foundation for literary study, BRILL, 1998, pp. 480

Gesture

Military air marshallers use hand and body gestures todirect flight operations aboard aircraft carriers.

A gesture is a form of non-verbal communication in which visiblebodily actions communicate particular messages, either in place ofspeech or together and in parallel with words. Gestures includemovement of the hands, face, or other parts of the body. Gesturesdiffer from physical non-verbal communication that does notcommunicate specific messages, such as purely expressivedisplays, proxemics, or displays of joint attention.[1] Gesturesallow individuals to communicate a variety of feelings andthoughts, from contempt and hostility to approval and affection,often together with body language in addition to words when theyspeak.

Gesture processing takes place in areas of the brain such as Broca'sand Wernicke's areas, which are used by speech and signlanguage.[2]

Studies of gesture

Gestures have been studied throughout the centuries from different view points.[3] During the Roman Empire,Quintilian studied in his Institution Oratoria how gesture may be used in rhetorical discourse. Another broad study ofgesture was published by John Bulwer in 1644. Bulwer analyzed dozens of gestures and provided a guide on how touse gestures to increase eloquence and clarity for public speaking.[4] Andrea De Jorio published an extensive accountof gestural expression in 1832.[5]

Gesture 18

Categories of gestures

Pointing at another person with an extended finger is considered rudein many cultures.

Although the study of gesture is still in its infancy,some broad categories of gestures have been identifiedby researchers. The most familiar are the so-calledemblems or quotable gestures. These are conventional,culture-specific gestures that can be used asreplacement for words, such as the handwave used inthe US for "hello" and "goodbye". A single emblematicgesture can a have very different significance indifferent cultural contexts, ranging from complimentaryto highly offensive [6] The page List of gesturesdiscusses emblematic gestures made with one hand,two hands, hand and other body parts, and body andfacial gestures.

Another broad category of gestures comprises thosegestures used spontaneously when we speak. Thesegestures are closely coordinated with speech. Theso-called beat gestures are used in conjunction withspeech and keep time with the rhythm of speech toemphasize certain words or phrases. These types ofgestures are integrally connected to speech and thoughtprocesses.[7] Other spontaneous gestures used when wespeak are more contentful and may echo or elaboratethe meaning of the co-occurring speech. For example, agesture that depicts the act of throwing may be synchronous with the utterance, "He threw the ball right into thewindow." [7]

Gestural languages such as American Sign Language and its regional siblings operate as complete natural languagesthat are gestural in modality. They should not be confused with finger spelling, in which a set of emblematic gesturesare used to represent a written alphabet.

Gesture 19

Social significance

Vitarka mudra, Tarim Basin, 9th century.

Many animals, including humans, use gestures to initiate a matingritual. This may include elaborate dances and other movements.Gestures play a major role in many aspects of human life.Gesturing is probably universal; there has been no report of acommunity that does not gesture. Gestures are a crucial part ofeveryday conversation such as chatting, describing a route,negotiating prices on a market; they are ubiquitous. Gestures havebeen documented in the arts such as in Greek vase paintings,Indian Miniatures or European paintings.

Gestures play a central role in religious or spiritual rituals such asthe Christian sign of the cross. In Hinduism and Buddhism, amudra (Sanskrit, literally "seal") is a symbolic gesture made withthe hand or fingers. Each mudra has a specific meaning, playing acentral role in Hindu and Buddhist iconography. An example is theVitarka mudra, the gesture of discussion and transmission ofBuddhist teaching. It is done by joining the tips of the thumb andthe index together, while keeping the other fingers straight.

Neurology

Gestures are processed in the same areas of the brain as speech and sign language such as the left inferior frontalgyrus (Broca's area) and the posterior middle temporal gyrus, posterior superior temporal sulcus and superiortemporal gyrus (Wernicke's area).[2] It has been suggested that these parts of the brain originally supporting thepairing of gesture and meaning and then were adapted in human evolution "for the comparable pairing of sound andmeaning as voluntary control over the vocal apparatus was established and spoken language evolved".[2] As a result,it underlies both symbolic gesture and spoken language in the present human brain. Their common neurologicalbasis also supports the idea that symbolic gesture and spoken language are two parts of a single fundamentalsemiotic system that underlies human discourse.[7]

Electronic interfaceThe movement of gestures can be used to interact with technology like computers, using touch or multi-touchpopularised by the iPhone, physical movement detection and visual motion capture, used in video game consoles.

References[1] Kendon, Adam. (2004) Gesture: Visible Action as Utterance. Cambridge: Cambridge University Press. ISBN 0-521-83525-9[2] Xu J, Gannon PJ, Emmorey K, Smith JF, Braun AR. (2009). Symbolic gestures and spoken language are processed by a common neural

system. (http:/ / www. ncbi. nlm. nih. gov/ pmc/ articles/ PMC2779203/ pdf/ pnas. 0909197106. pdf) Proc Natl Acad Sci U S A.106:20664–20669. doi:10.1073/pnas.0909197106 PMID 19923436

[3] Kendon, A (1982). "The study of gesture: Some observations on its history". Recherches Sémiotiques/Semiotic Inquiry 2 (1): 45-62.[4] [[John Bulwer Bulwer, J (1644). Chirologia: or the Naturall Language of the Hand. London.[5] Gesture in Naples and Gesture in Classical Antiquity (http:/ / books. google. com/ books?id=lw8tzmu9-GYC&

printsec=frontcover#v=onepage& q& f=false). Indiana University Press. 1832/2002. ISBN 0-253-21506-4. .[6][6] Morris, Desmond, Collett, Peter, Marsh, Peter, O'Shaughnessy, Marie. 1979. Gestures, their origins and distribution. London. Cape[7][7] McNeill (1992). Hand and Mind. Chicago: University of Chicago Press

Gesture 20

Further reading• Bulwer, J (1644). Chirologia: or the Naturall Language of the Hand.• Goldin-Meadow, S (2003). Hearing gesture: How our hands help us think (http:/ / books. google. com/

books?id=LCJ5eQdsolsC& printsec=frontcover#v=onepage& q& f=false). Cambridge, MA: Harvard UniversityPress. ISBN 0-674-01837-0.

• Kendon, A (2004). Gesture: Visible Action as Utterance (http:/ / books. google. com/books?id=hDXnnzmDkOkC& printsec=frontcover#v=onepage& q& f=false). Cambridge: Cambridge UniversityPress. ISBN 0-521-54293-6.

• Kita, S (2003). Pointing: Where Language, Culture and Cognition Meet. Lawrence Erlbaum Associates.ISBN 0-8058-4014-1.

• McNeill, D (2005). Gesture and Thought (http:/ / books. google. com/ books?id=N0SmyU4TKRwC&printsec=frontcover#v=onepage& q& f=false). Chicago: University of Chicago Press. ISBN 0-226-51462-5.

External links• International Society for Gesture Studies (http:/ / www. gesturestudies. com) devoted to the study of human

gesture

Article Sources and Contributors 21

Article Sources and ContributorsChironomia  Source: http://en.wikipedia.org/w/index.php?oldid=479805691  Contributors: AnonMoos, Aquarius Rising, DionysosProteus, Formlessness, Pjoef, Uuchie, 2 anonymous edits

Gilbert Austin  Source: http://en.wikipedia.org/w/index.php?oldid=406869860  Contributors: Aquarius Rising, Ardfern, Avengerx, Boothy443, Dsp13, Gkerkvliet, LeitchCM, Mattbarton.exe,RogDel, Sarah777, Scrivener-uki, Tassedethe, 6 anonymous edits

Richard Brinsley Sheridan  Source: http://en.wikipedia.org/w/index.php?oldid=519358216  Contributors: 123456abcdef123, ABF, Adam sk, AdjustShift, Advance, AlbertSM, Aldebaran69,Ardfern, Arniep, Ashot Gabrielyan, AySz88, Billinghurst, Biruitorul, Bjf, Bjmullan, BoBo, Britannicus, Brograve, Broux, BrownHairedGirl, CS-7, Cardigras, Ceoil, Charles Matthews,Chicheley, Choess, Connor Craig I.Q 131, Courcelles, Craigy144, D6, Daibhid C, DavidCane, DavidFarmbrough, Daytrivia, Deb, Dgarq, Dr Almost, Dunnettreader, Dyknowsore, Eloquence,Erik Kennedy, Eubulides, Fawcett5, Fergananim, Filiocht, Firsfron, Flapdragon, Fuzheado, Gareth E Kegg, Gh, Gold heart, Gondooley, Good Olfactory, Historybuff2283, Hohenloh, INeverCry,Inter, JB82, JackofOz, Jacquesfrancis, JamesMLane, Java13690, Jdforrester, Jean-no, John K, John Thaxter, John of Reading, Johnny Ghost, Johnwcowan, Joseph Solis in Australia, Jsteph, Juju2402, Kbdank71, Kbthompson, Kenilworth Terrace, Koavf, Krsmith, Kscally, Leandrod, LibLord, Lord Cornwallis, Lord Emsworth, LordFoppington, Lradrama, Magnus Manske, Mahlum,Mauls, Mayumashu, Mermaid from the Baltic Sea, Michaelhendry, MissAlyx, Mtiedemann, Natalie West, Neddyseagoon, Nenya, Nickforster, NoahElhardt, Nunh-huh, Ocohen, Octavian3, OldMoonraker, Opera hat, PBS-AWB, Paul A, Pete Eyles, PhnomPencil, Pkeets, Politicaljunkie23, PrivateWiddle, Rbh00, Rbraunwa, Riley Huntley, Rmhermen, Rothorpe, Ruzulo, SDC, Sannse,Scrivener-uki, Seanwal111111, Showtime2009, Smerus, Someguy1221, Ssilvers, Surtsicna, Tarquin, Tassedethe, Thegauravsethi, Thf1977, Tony1, Troutsneeze, Tweedly-dee, UtherSRG,VFIC123, Waacstats, Wikidude1, Woohookitty, Writtenright, Ww2censor, Xn4, Youngamerican, Zoe, Zoso Jade, Александър, 104 anonymous edits

Thomas Sheridan (actor)  Source: http://en.wikipedia.org/w/index.php?oldid=491543680  Contributors: Acélan, Alai, Anticipation of a New Lover's Arrival, The, BrownHairedGirl, Caerwine,Colonel Warden, D6, Dark Mage, Docu, Dpaking, Ergo4sum, Fergananim, Gkerkvliet, Gothmog.es, Hephaestos, Hohenloh, Iridescent, Ironholds, Jamespeterka, Kbthompson, Kiwimandy,Lindsy, Lord Cornwallis, Michael David, Myanw, Ottava Rima, PatGallacher, RedWolf, Rich Farmbrough, Scrivener-uki, Seanwal111111, ShellyT-P, Thf1977, 15 anonymous edits

Elocution  Source: http://en.wikipedia.org/w/index.php?oldid=521758150  Contributors: 16@r, ASOTMKX, Andycjp, Angr, B4hand, Boris Breuer, CardinalDan, CinchBug, DJ Clayworth,DMacks, Dinglebarf, Dpaking, Dpm64, Frecklefoot, Furrykef, Gong, Graham87, Jensu, Kamezuki, Kchishol1970, Ketiltrout, Ksommerville, Melba1, Michael Hardy, Nagelfar, Nbarth,NerdyScienceDude, Paul Stansifer, Raven in Orbit, Remuel, Scott Sanchez, Scrivener-uki, Sgeiger, Thf1977, Thorwald, ThurnerRupert, TonyTheTiger, TutterMouse, TwoTwoHello, Upholder,Vacation9, Vary, Wereon, William Avery, 45 anonymous edits

Elocutio  Source: http://en.wikipedia.org/w/index.php?oldid=398492388  Contributors: Nicke L, Robofish, Wood04, 4 anonymous edits

Pronuntiatio  Source: http://en.wikipedia.org/w/index.php?oldid=517431744  Contributors: Aleksd, Baltshazzar, Davokills, Dpaking, Kibagrl, Michael Hardy, Nbarth, Pgwillia, Pritchlb,Tassedethe, TimNelson, 5 anonymous edits

Gesture  Source: http://en.wikipedia.org/w/index.php?oldid=521625704  Contributors: 16@r, 2004-12-29T22:45Z, AAA765, AGToth, ARUNKUMAR P.R, Acegikmo1, Adambisset, Addict2006, Adodge, Agonotheta, Alai, Alansohn, Alexarje, Altenmann, Ancheta Wis, Andycjp, Angr, AnonMoos, Ante Aikio, ArabianShark, Arj, Aussieprince, Avicennasis, Bassbonerocks, Bayang,Bdve, BenFrantzDale, Biker Biker, Bloblaw, Bob Hu, Brossow, Btrauman, Bus stop, CambridgeBayWeather, Can't sleep, clown will eat me, CanisRufus, Cansem, Capedmarauder, Carnildo,Caylan12-06, Cdc, Celestianpower, CesarB, Ceyockey, Cfailde, Chris 73, Christopherlin, Chuckiesdad, Cimon Avaro, Circeus, Citroënist, Cmdrjameson, Cnilep, Coccyx Bloccyx, Colossus,Conkyworm, Corvun, Crazycomputers, Cremepuff222, Cresix, Cronocrata, Dale Arnett, David Shankbone, DavidLevinson, Dbenbenn, Dcandeto, Dfrg.msc, Discospinster, Dorvaq, DreamGuy,Dwaipayanc, Dysmorodrepanis, Dysprosia, Edison, Eep², Ellywa, Ericross, EsNicole!, Esowteric, Espoo, Evercat, Exert, Exploding Boy, Fama Clamosa, Farside, Fibonacci, Florian Blaschke,Frankie, Fubar Obfusco, Furrykef, Furtim, Fëaluinix, Galoubet, Gareth Wyn, Gesture, Gholson, Gilliam, Gogo Dodo, Goobleesh, Hadal, Hajor, Harry491, Hawkeye216, Hdezela, Heybop,Howabout1, Hu12, HubHikari, Idont Havaname, Ihcoyc, J Arendsen, J.delanoy, JHunterJ, Jacobolus, Jagdfeld, Jaksmata, Japanese Searobin, Jarl of Torvaldsland, Jatos, Jayt15, Jeremykemp,Jfdwolff, Jiang, JoaoLuisPinto, JohnLai, Johntex, Johnwalton, Joseph Solis in Australia, Jreferee, Jrleighton, Junes, JustSomeKid, Justinfr, KVDP, Kafuffle, KansaiKitsune, Kbdank71,Kchishol1970, Kdammers, Keegan, Kenneth M Burke, Kikos, Kimchi.sg, Kitch, Klrpt, Krsont, Kyle Barbour, LedgendGamer, Lesgles, Lightblade, LilHelpa, Lisa1021, LittleHow, Llosoc, Lsi,Lue3378, MER-C, Major Danby, Majorly, Makeemlighter, Mattbednar, Mattisse, Maximaximax, Mboverload, Mcecil82, Mcy jerry, Melaen, Mergray, Metallicakicksass101, Mezzaluna, MichaelHardy, Michael2, Mike2000, Mio 9 aa, Mns190, Montrealais, Mr sandman, MrOllie, Muntuwandi, Myanw, Mzajac, NawlinWiki, Neelix, Neg, Netkinetic, Neutrality, Newsceptic, Ngorongoro,Nimh00, Nohat, Ntennis, Nv8200p, Omegatron, One-dimensional Tangent, Otac0n, Paul Barlow, Pegasovagante, Penbat, Pengo, Per Honor et Gloria, Philip Trueman, Philippe, Philwelch,Pietdesomere, Pinnerup, PizzaMargherita, PoccilScript, Ponder, Poorpaddy, Priceyeah, Przepla, PseudoSudo, Queenmomcat, RW Marloe, Racingclub, Rajeshodayanchal, Raven in Orbit,Rbchristiansen, Remember, Reveilled, Rich Farmbrough, Riki, Rjwilmsi, Robert A West, Robinh, Roo72, Ruyn, SD6-Agent, Sam Hocevar, SamanthaPr, Sargoth, Schaefer, Scientizzle, ScottSanchez, Shlomke, Sietse Snel, Silence, Silvermane, SimonP, Skotte, Somercet, Sparky the Seventh Chaos, Speedyturtle, Spudtater, Sputnikcccp, Srleffler, Stedder, Stormy56, StuffOfInterest,Swamp Ig, Tacubus, Tertiary7, Tide rolls, Timwi, Tktktk, Tpl, Tregoweth, Tsiaojian lee, TuukkaH, Tyron1, Uncle G, UtherSRG, Vandit.P, Victrav, Vttale, WAS, WLU, WatchingWhales, Welsh,Whouk, Witkacy, Woohookitty, Xsist10, Yvwv, Zanimum, Zarand, Zerak-Tul, 489 ,דוד שי anonymous edits

Image Sources, Licenses and Contributors 22

Image Sources, Licenses and ContributorsImage:Chironomia HandGestures.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Chironomia_HandGestures.jpg  License: Public Domain  Contributors: Ardfern, Javier Carro,LeitchCM, Man vyiImage:Jbulwer.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Jbulwer.jpg  License: Public Domain  Contributors: 99fresve, AnonMoos, ArnoldReinhold, Origamiemensch, SagaCityImage:Chironomia_StandingFigures.PNG  Source: http://en.wikipedia.org/w/index.php?title=File:Chironomia_StandingFigures.PNG  License: Public Domain  Contributors: Ardfern,LeitchCMImage:Chironomia_Sphere.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Chironomia_Sphere.jpg  License: Public Domain  Contributors: Ardfern, LeitchCM, WstImage:Chironomia_HandGestures.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Chironomia_HandGestures.jpg  License: Public Domain  Contributors: Ardfern, Javier Carro,LeitchCM, Man vyifile:Richard Brinsley Sheridan.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Richard_Brinsley_Sheridan.jpg  License: Public Domain  Contributors: Karl Anton HickelFile:Richard Sheridan.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Richard_Sheridan.jpg  License: Public Domain  Contributors: sir Joshua ReynoldsImage:Uncorking-Old-Sherry-Gillray.jpeg  Source: http://en.wikipedia.org/w/index.php?title=File:Uncorking-Old-Sherry-Gillray.jpeg  License: Public Domain  Contributors: Anne97432,Eubulides, Infrogmation, Man vyi, Ottava Rima, 2 anonymous editsImage:Britannia recover'd from a trance.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Britannia_recover'd_from_a_trance.jpg  License: Public Domain  Contributors:AndreasPraefcke, Churchh, Infrogmation, Ingolfson, Man vyi, Mu, PetrusbarbygereFile:Opera-comique-1887.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Opera-comique-1887.jpg  License: Public Domain  Contributors: Tim rileyFile:Wikisource-logo.svg  Source: http://en.wikipedia.org/w/index.php?title=File:Wikisource-logo.svg  License: logo  Contributors: Guillom, Jarekt, MichaelMaggs, NielsF, Rei-artur,Rocket000File:Thomas Sheridan.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Thomas_Sheridan.jpg  License: Public Domain  Contributors: Frank C. Müller, Guliolopez, Kaganer, Palachde la Vila, RcbutcherImage:Us navy helicopter landing signals illustration.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Us_navy_helicopter_landing_signals_illustration.jpg  License: Public Domain Contributors: basically US Navy, composed by Jeremy Kemp (en:User:Jeremykemp)Image:Unclesamwantyou.jpg  Source: http://en.wikipedia.org/w/index.php?title=File:Unclesamwantyou.jpg  License: Public Domain  Contributors: Brian0918, BrokenSphere, Cyberuly, FrankC. Müller, Hux, Infrogmation, Jeanot, Mithril, Morio, Nonenmac, Redtigerxyz, Saperaud, Skipjack, Takabeg, Verne Equinox, Wolfmann, Wst, 5 anonymous editsImage:VitarkaMudra.JPG  Source: http://en.wikipedia.org/w/index.php?title=File:VitarkaMudra.JPG  License: Public Domain  Contributors: Per Honor et Gloria

License 23

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