298 SIGN LANGUAGE AMONG NORTH AMERICAN INDIANS. 
dares to touch her merchandise, she replies by gesture “ Te voglio da no 
cuorno!” freely translated, “Tl give you one ina horn!” This gesture 
is drawn with clearer outline in Fig. 79, and has many significations, 
according to the subject-matter and context, 
and also as applied to different parts of the 
body. Applied to the head it has allusion, de- 
seending from high antiquity, to a marital mis- 
fortune which was probably common in prehis- 
toric times as well as the present. It is also 
often used as an amulet against the jettatwra 
or evil eye, and misfortune in general, and directed toward another per- 
son is a prayerful wish for his or her preservation from evil. This use 
is ancient, as is Shown on medals and statues, and is supposed by some 
to refer to the horns of animals slaughtered in sacrifice. The position 
of the fingers, Fig. 80, is also given as 
one of Quintilian’s oratorical gestures 
by the words ‘ Duo quoque medii sub 
pollicem veniunt,” and is said by him to 
be vehement and connected with re- 
proach or argument. In the present 
case, aS a response to an impertinent 
or disagreeable petition, it simply means, ‘instead of giving what you 
ask, I will give you nothing but what is vile and useless, as horns are.” 
Fic. 79. 
Fig. 81 tells a story which is substantially the foundation of the slen- 
der plot of most modern scenic pantomimes preliminary to the bursting 
forth from their chrysalides of Harlequin, Columbine, Pantaloon, and 
company. <A young girl, with the consent of her parents, has for some 
time promised her hand to an honest youth. The old mother, in despite 
of her word, has taken a caprice to give her daughter to another suitor. 
The father, though much under the sway of his spouse, is in his heart 
desirous to keep his engagement, and has called in the notary to draw 
the contract. At this moment the scene begins, the actors of which, for 
greater perspicuity and brevity, may be provided with stage names as 
follows: 
Cecea, diminutive for Francisca, the mother of— 
Nanella, diminutive of Antoniella, the betrothed of— 
Peppino, diminutive of Peppe, which is diminutive of Guiseppe. 
Pasquale, husband of Cecea and father of Nanella. 
Tonno, diminutive of Antonio, favored by Cecca. 
D. Alfonso, notary. 
Cecca tries to pick a quarrel with Peppino, and declares that the con- 
tract shall not be signed. He reminds her of her promise, and accuses 
her of breach of faith. In her passion she calls on her daughter to re- 
pudiate her lover, and casting her arms around her, commands her to 
make the sign of breaking off friendship—“ scocchiare”—which she has 
herself made to Peppino, and which consists in extending the hand 
9 
