Divisions of Gesture Speech – Sign Language
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These are corporeal motion and facial expression. An attempt has been made by some writers to discuss these general divisions separately, and its success would be practically convenient if it were always understood that their connection is so intimate that they can never be altogether severed. A play of feature, whether instinctive or voluntary, accentuates and qualifies all motions intended to serve as signs, and strong instinctive facial expression is generally accompanied by action of the body or some of its members. But, so far as a distinction can be made, expressions of the features are the result of emotional, and corporeal gestures, of intellectual action. The former in general and the small number of the latter that are distinctively emotional are nearly identical among men from physiological causes which do not affect with the same similarity the processes of thought. The large number of corporeal gestures expressing intellectual operations require and admit of more variety and conventionality. Thus the features and the body among all mankind act almost uniformly in exhibiting fear, grief, surprise, and shame, but all objective conceptions are varied and variously portrayed. Even such simple indications as those for “no” and “yes” appear in several differing motions. While, therefore, the terms sign language and gesture speech necessarily include and suppose facial expression when emotions are in question, they refer more particularly to corporeal motions and attitudes. For this reason much of the valuable contribution of Darwin in his Expression of the Emotions in Man and Animals is not directly applicable to sign language. His analysis of emotional gestures into those explained on the principles of serviceable associated habits, of antithesis, and of the constitution of the nervous system, should, nevertheless, always be remembered. Even if it does not strictly embrace the class of gestures which form the subject of this paper, and which often have an immediate pantomimic origin, the earliest gestures were doubtless instinctive and generally emotional, preceding pictorial, metaphoric, and, still subsequent, conventional gestures even, as, according to Darwin’s cogent reasoning, they preceded articulate speech.
While the distinction above made between the realm of facial play and that of motions of the body, especially those of the arms and hands, is sufficiently correct for use in discussion, it must be admitted that the features do express intellect as well as emotion. The well-known saying of Charles Lamb that “jokes came in with the candles” is in point, but the most remarkable example of conveying detailed information without the use of sounds, hands, or arms, is given by the late President T.H. Gallaudet, the distinguished instructor of deaf-mutes, which, to be intelligible, requires to be quoted at length:
One day, our distinguished and lamented historical painter, Col. John Trumbull, was in my school-room during the hours of instruction, and, on my alluding to the tact which the pupil referred to had of reading my face, he expressed a wish to see it tried. I requested him to select any event in Greek, Roman, English, or American history of a scenic character, which would make a striking picture on canvas, and said I would endeavor to communicate it to the lad. ‘Tell him,’ said he, ‘that Brutus (Lucius Junius) condemned his two sons to death for resisting his authority and violating his orders.’
I folded my arms in front of me, and kept them in that position, to preclude the possibility of making any signs or gestures, or of spelling any words on my fingers, and proceeded, as best I could, by the expression of my countenance, and a few motions of my head and attitudes of the body, to convey the picture in my own mind to the mind of my pupil.
It ought to be stated that he was already acquainted with the fact, being familiar with the leading events in Roman history. But when I began, he knew not from what portion of history, sacred or profane, ancient or modern, the fact was selected. From this wide range, my delineation on the one hand and his ingenuity on the other had to bring it within the division of Roman history, and, still more minutely, to the particular individual and transaction designated by Colonel Trumbull. In carrying on the process, I made no use whatever of any arbitrary, conventional look, motion, or attitude, before settled between us, by which to let him understand what I wished to communicate, with the exception of a single one, if, indeed, it ought to be considered such.
The usual sign, at that time, among the teachers and pupils, for a Roman, was portraying an aquiline nose by placing the forefinger, crooked, in front of the nose. As I was prevented from using my finger in this way, and having considerable command over the muscles of my face, I endeavored to give my nose as much of the aquiline form as possible, and succeeded well enough for my purpose….
The outlines of the process were the following:
A stretching and stretching gaze eastward, with an undulating motion of the head, as if looking across and beyond the Atlantic Ocean, to denote that the event happened, not on the western, but eastern continent. This was making a little progress, as it took the subject out of the range of American history.
A turning of the eyes upward and backward, with frequently-repeated motions of the head backward, as if looking a great way back in past time, to denote that the event was one of ancient date.
The aquiline shape of the nose, already referred to, indicating that a Roman was the person concerned. It was, of course, an old Roman.
Portraying, as well as I could, by my countenance, attitude, and manner an individual high in authority, and commanding others, as if he expected to be obeyed.
Looking and acting as if I were giving out a specific order to many persons, and threatening punishment on those who should resist my authority, even the punishment of death.
Here was a pause in the progress of events, which I denoted by sleeping as it were during the night and awakening in the morning, and doing this several times, to signify that several days had elapsed.
Looking with deep interest and surprise, as if at a single person brought and standing before me, with an expression of countenance indicating that he had violated the order which I had given, and that I knew it. Then looking in the same way at another person near him as also guilty. Two offending persons were thus denoted.
Exhibiting serious deliberation, then hesitation, accompanied with strong conflicting emotions, producing perturbation, as if I knew not how to feel or what to do.
Looking first at one of the persons before me, and then at the other, and then at both together, as a father would look, indicating his distressful parental feelings under such afflicting circumstances.
Composing my feelings, showing that a change was coming over me, and exhibiting towards the imaginary persons before me the decided look of the inflexible commander, who was determined and ready to order them away to execution. Looking and acting as if the tender and forgiving feelings of the father had again got the ascendency, and as if I was about to relent and pardon them.
These alternating states of mind I portrayed several times, to make my representations the more graphic and impressive.
At length the father yields, and the stern principle of justice, as expressed in my countenance and manners, prevails. My look and action denote the passing of the sentence of death on the offenders, and the ordering them away to execution.
He quickly turned round to his slate and wrote a correct and complete account of this story of Brutus and his two sons.
While it appears that the expressions of the features are not confined to the emotions or to distinguishing synonyms, it must be remembered that the meaning of the same motion of hands, arms, and fingers is often modified, individualized, or accentuated by associated facial changes and postures of the body not essential to the sign, which emotional changes and postures are at once the most difficult to describe and the most interesting when intelligently reported, not only because they infuse life into the skeleton sign, but because they may belong to the class of innate expressions.