The third language is automatic movements, which are unconscious escapes of character, unpurposed motions through which the states of the mover are betrayed, sometimes with surprising clearness and force. For instance, how often impatience, vexation, or restrained anger, breaks out in a nervous tapping of the foot or the finger! What can be more legible than the fidgety manner of one in embarrassment? And the degree and kind of the embarrassment, together with the personal grade and social position and culture of the subject, will be revealed in the peculiar nature of the fidgeting. There is a whole class of these automatic movements, such as trembling, nodding, shaking the head, biting the lips, lolling the tongue, the shiver of the flesh, the quiver of the mouth or eyelids, the shudder of the bones, and they compose a rich primordial language of revelation, perfectly intelligible and common to universal humanity. The fourth language is gestures. This is the language so marvellously flexible, copious, and powerful among many barbarous peoples. It was carried to such a pitch of perfection by the mimes of ancient Rome, that Roscius and Cicero had a contest to decide which could express a given idea in the most clear and varied manner, the actor by gestures, or the orator by words. Gestures are a purposed system of bodily motions, both spontaneous and deliberate, intended as preparatory, auxiliary, or substitutional for the expressions by speech. There is hardly any state of consciousness which cannot be revealed more vividly by pantomime than is possible in mere verbal terms. As fixed attitudes are inflected form, and automatic movements inflected attitude, so pantomimic gestures are systematically inflected motion. The wealth of meaning and power in gesticulation depends on the richness, freedom, and harmony of the character and organism. The beauty or deformity, nobleness or baseness, of its pictures are determined by the zones of the body from which the gestures start, the direction and elevation at which they terminate, their rate of moving, and the nature and proportions of the figures, segments of which their lines and curves describe. Music has no clearer rhythm, melody, and harmony to the ear than inflected gesture has to the eye. The first law of gesture is, that it follows the look or the eye, and precedes the sound or the voice. The second law is, that its velocity is precisely proportional to the mass moved. The third and profoundest law, first formulated by Delsarte, is that efferent or outward lines of movement reveal the sensitive life or vital nature of the man; that afferent or inward lines reveal the percipient and reflective life or mental nature; and that immanent or curved lines, blended of the other two, reveal the affectional life or moral nature.