To begin with a general proposition, the attitude of the feet and legs must be sympathetic with that of the other parts of the body. When standing squarely on both feet and looking directly forward, the action may be called noncommittal, general; but if the address is specialized and directed to a part of the audience, or if attention is called to some particular region, the face will naturally turn in that direction. To attain this end, while the leg and arm of the corresponding side will be drawn back, the leg and arm of the opposite side will be advanced, thus causing the speaker to face the point of address. If the speaker or the actor addresses himself, then, to persons, or to an object, on his right, the left leg will be the one more in advance and the left arm will be the one on which the burden of gesture will fall, and vice versa. It would be a mistake to suppose that every motion or gesture displayed by the actors on the stage of the halau was significant of a purpose. To do that would be to ascribe to them a flawless perfection and strength that no body of artists have ever attained. Many of their gestures, like the rhetoric of a popular orator, were mere flourishes and ornaments. With a language so full of seemingly superfluous parts, it could not well be otherwise than that their rhetoric of gesture should be overloaded with flourishes. The whole subject of gesture, including facial expression, is worthy of profound study, for it is linked to the basic elements of psychology. The illustrations adduced touch only the skirts of the subject; but they must suffice. An exhaustive analysis, the author believes, would show an intimate and causal relation between these facial expressions and the muscular movements that are the necessary accompaniments or resultants of actual speech. To illustrate, the pronunciation of the Hawaiian word _ae_ (pronounced like our aye), meaning “yes,” involves the opening of the mouth to its full extent; and this action, when accomplished, results in a sympathetic lifting of the eyebrows. It is this ultimate and completing part of the action which the Hawaiian woman adopts as her semaphore of assent.