and easy, fhew tranquillity, or joy. Mirth opens the mouth to ward the ears, crisps the nofe, half-fhuts the eyes, and some. times fills them with tears. The front wrinkled into frowns, and the eyebrows over-hanging the eyes, like clouds, fraught with tempeft, fhew a mind agitated with fury. Above all, the eye fhews the very spirit in a vifible form. In every dif. ferent state of the mind, it affumes a different appearance. Joy brightens and opens it. Grief half-clofes, and drowns it in tears. Hatred and anger, flash from it like lightning. Love, darts from it in glances, like the orient beam. Jealousy and fquinting envy, dart their contagious blafts from the eye. And devotion raifes it to the fkies, as if the foul of the holy man were going to take its flight to heaven.

The ancients used some gestures which are unknown to us, as, to exprefs grief, and other violent emotions of the mind, they used to strike their knees with the palms of their

hands.

The force of attitude and looks, alone appears in a wonderoufly ftriking manner, in the works of the painter and ftatuary; who have the delicate art of making the flat canvas and rocky marble utter every paffion of the human mind, and touch the foul of the fpectator, as if the picture, or statue, poke the pathetic language of Shakespear. It is no wonder, then, that mafterly action joined with powerful elocution fhould be irresistible. And the variety of expreffion by looks and gestures, is fo great, that, as is well known, a whole play can be reprefented without a word spoken.

The following are, I believe, the principal paffions, humours, fentiments, and intentions, which are to be expreffed by Speech and action. And I hope it will be allowed by the reader, that it is nearly in the following manner, that nature expreffes them.

Tranquillity, or apathy, appears by the compofure of the countenance, and general repose of the body and limbs, with out the exertion of any one muscle. The countenance open; the forehead fmooth; the eyebrows arched; the mouth just not fout; and the eyes paffing with an eafy motion from object to object, but not dwelling long upon any one.

Cheerfulness, adds a fmile, opening the mouth a little more. Mirth, or laughter, opens the mouth ftill more towards the ears; crifps the nofe; leffens the aperture of the eyes, and fometimes fills them with tears; fhakes and convulfes the whole frame; giving confiderable pain, which occafions bolding the fides.

* AUCT. AD HEREN, L. III. N.XV, Quintil, INST. ORAT.P.457. Raillery,

Raillery, in fport, without real animofity, puts on the afpect of cheerfulness. The tone of voice is sprightly. With contempt, or difguft, it cafts a look afquint, from time to time, at the object; and quits the cheerful afpect for one mixed between an affected grin and fournefs. The upper lip is drawn up with an air of disdain. The arms are fet a-kimbo on the hips; and the right hand now and then thrown out toward the object, as if one were going to strike another a flight back-hand blow. The pitch of the voice is rather loud, the tone arch and fneering; the fentences fhort; the expreffions fatyrical, with mock-praife intermixed. There are instances. of raillery in fcripture itself, as 1 Kings xviii. and Ifa. xliv. And the excellent Tillotson has not fcrupled to indulge a ftrain of that fort now and then, especially in expofing the mock folemnities of that most ludicrous (as well as odious) of all religions, popery. Nor fhould I think raillery unworthy the attention of the lawyer; as it may occafionally come in, not unufefully, in his pleadings, as well as any other stroke of ornament, or entertainment *.

Buffoonry, affumes an arch, fly, leering gravity. Muft not quit its ferious afpect, though all should laugh to burst ribs of fteel. This command of face is fomewhat difficult; though not fo hard, I fhould think, as to reftrain the contrary symppathy, I mean of weeping with those who weep.

Joy, when fudden and violent, expreffes itfelf by clapping of bands, and exultation, or leaping. The eyes are opened wide; perhaps filled with tears; often raised to heaven, efpecially by devout perfons. The countenance is smiling, not compofedly, but with features aggravated. The voice rifes, from time to time, to very high notes.

Delight, or pleafure, as when one is entertained, orravished with mufic, painting, oratory, or any fuch elegancy, fhews itself by the looks, geftures, and utterance of joy; but moderated.

Gravity, or ferioufnefs, the mind fixed upon fome important fubject, draws down the eyebrows a little; cafts down, or fhuts, or raifes the eyes to heaven; buts the mouth, and pinches the lips clofe. The pofture of the body and limbs is compofed, and without much motion. The jpeech, if any, flow and folemn; the tone unvarying.

Enquiry, into an obscure subject, fixes the body in one pofture, the bead stooping, and the eye poring, the eyebrows drawn down.

ridiculum acri

Fortius et melius magnas plerumque fecat res,

HOR.

Attention,

2

Attention, to an efteemed, or fuperior character, has the fame aspect; and requires filence; the eyes often caft down upon the ground; fometimes fixed on the face of the fpeaker; but not too pertly.

Modefty, or fubmiffion, bends the body forwards; levels the eyes to the breaft, if not to the feet, of the fuperior character. The voice low; the tone fubmifive; and words few.

Perplexity, or anxiety, which is always attended with fome degree of fear and uneafinefs, draws all the parts of the body together; gathers up the arms upon the breaft, unless one hand, covers the eyes, or rubs the forehead; draws down the eyebrows; bangs the head upon the breaft; cafts down the eyes fhuts and pinches the eyelids clofe; fhuts the mouth, and pinches the lips clofe, or bites them. Suddenly the whole body is vehemently agitated. The perfon walks about bufily; ftops abruptly. Then he talks to himself, or makes grimaces. If he fpeaks to another, his pauses are very long ; the tone of his voice unvarying; and his jentences broken; expreffing half, and keeping in half of what arifes in his mind.

Vexation, occafioned by fome real or imaginary misfortune, agitates the whole frame, and, befides expreffing itself with the looks, geftures, reftleffness, and tone of perplexity, it adds complaint, fretting, and lamenting.

Pity, a mixed paffion of love and grief, looks down upon diftrefs with lifted hands; eyebrows drawn down; mouth open, and features drawn together. Its expreffion, as to looks, and gesture, is the fame with thofe of fuffering, (fee Suffering, but more moderate, as the painful feelings are only fympathetic, and therefore one remove as it were, more diftant from the foul, than what one feels in his own perfon.

Grief, fudden, and violent, expreffes itself by beating the head; groveling on the ground; tearing of garments, hair, and fejh; fereaming aloud, weeping, ftamping with the feet, lifting the eyes, from time to time to heaven; hurrying to and fro, running diftracted, or fainting away, fometimes without recovery. Sometimes violent grief produces a torpid fullen filence, refembling total apathy *.

Melancholy, or fixed grief, is gloomy, fedentary, motionless. The lower jaw falls; the lips pale, the eyes are caft down, half but, eyelids fwelled and red, or livid, tears trickling filent, and unwiped; with a total inattention to every thing that pafles. Words, if any, few, and thofe dragged out, rather than Spoken; the accents weak, and interrupted, fighs breaking into the middle of fentences and words.

• Curæ leves loquuntur; ingentes Rupent. Senec. Hipp.

Despair,

Defpair, as in a condemned criminal, or one who has loft all hope of falvation, bends the eyebrows downward; clouds the forehead; rolls the eyes around frightfully; opens the mouth toward the ears; bites the lips; widens the noftrils; gnalhes with the teeth, like a fierce wild beaft. The heart is too much hardened to suffer tears to flow; yet the eyeballs will be red and inflamed, like thofe of an animal in a rabid state. The head is hung down upon the breast. The arms are bended at the elbows; the fifts clenched hard; the veins and muscles fwelled; the skin livid; and the whole body ftrained and violently agitated; groans, expreffive of inward torture, more frequently uttered than words. If any words, they are few, and expreffed with a fullen, eager bitterness; the tone of voice often loud and furious. As it often drives people to diftraction, and felf-murder, it can hardly be over-acted by one who would reprefent it.

Fear, violent and fudden, opens very wide the eyes and mouth; shortens the nofe; draws down the eyebrows; gives the countenance an air of wildness; covers it with deadly palenefs; draws back the elbows parallel with the fides; lifts up the open bands, the fingers together, to the height of the breaft, fo that the palms face the dreadful object, as fhields oppofed against it. One foot is drawn back behind the other, fo that the body feems brinking from the danger, and putting itself in a posture for flight. The heart beats violently; the breath is fetched quick and fort; the whole body is thrown into a general tremor. The voice is weak and trembling; the fentences are short, and the meaning confused and incoherent. Imminent danger, real or fancied, produces, in timorous perfons, as women and children, violent brieks, without any articulate found of words; and fometimes irrecoverably confounds the underftanding; produces fainting, which is fometimes followed by death.

Shame, or a fenfe of one's appearing to a disadvantage, before one's fellow-creatures, turns away the face from the beholders; covers it with blushes; bangs the head; cafts down the eyes, draws down the eyebrows; either strikes the perfon dumb, or, if he attempts to fay any thing in his own defence, caufes his tongue to faulter, and confounds his utterance; and puts him upon making a thousand gestures and grimaces, to keep himself in countenance; all which only heighten the confufion of his appearance.

Remorfe, or a painful fense of guilt, cafts down the countenance, and clouds it with anxiety; hangs down the head; draws the eyebrows down upon the eyes. The right hand beats the breast. The teeth gnash with anguish. The whole

C

body

body is frained and violently agitated. If this ftrong remorse is fucceeded by the more gracious difpofition of penitence, or contrition; then the eyes are raised (but with great appearance of doubting and fear) to the throne of heavenly mercy; and immediately caft down again to the earth. Then floods of tears are feen to flow. The knees are bended; or the body proftrated on the ground. The arms are fpread in a fuppliant pofture, and the voice of deprecation is uttered with fighs, groans, timidity, hefstation, and trembling

Courage, fteady and cool, opens the countenance, gives the whole form an erect and graceful air. The accents are ftrong, full-mouthed and articulate, the voice firm and even.

Boafting, or affected courage, is loud, bluftering, threatening. The eyes ftare; the eyebrows drawn down; the face is red and bloated; the mouth pouts out; the voice hollow and thundering; the arms are fet a-kimbo; the head often nodding in a menacing manner; and the right fift, clenched, is brandifhed, from time to time, at the perfon threatened. The right foot is often ftamped upon the ground, and the legs take fuch large frides, and the steps are fo heavy, that the earth feems to tremble under them.

Pride affumes a lofty look, bordering upon the afpect and attitude of anger. The eyes open, but with the eyebrows confiderably drawn down; the mouth pouting out; mostly but, and the lips pinched close. The words walk out a-frut, with a flow, ftiff, bombastic affectation of importance. The ams generally a-kimbo, and the legs at a distance from one another, taking large tragedy-ftrides.

Obftinacy adds to the afpect of pride, a dogged fournefs, like that of malice. See Malice..

See

Authority opens the countenance, but draws down the eye-brows a little, fo far as to give the look of gravity. Gravity.

Commanding requires an air a little more peremptory, a' look a little fevere or ftern. The hand is held out, and moved torvard the perfon to whom the order is given, with the palm upwards, and the head nods toward him.

Forbidding, on the contrary, draws the head backward, and pufhes the band from one with the palm downward, as if going to lay it upon the perfon, to hold him down. immoveable, that he may not do what is forbidden him.

Affirming, efpecially with a judicial oath, is expreffed by lifting the open right hand, and eyes toward heaven; or, if conference is appealed to, by laying the right band upon the breaft.

3

Denying