Denying is expreffed by pushing the open right hand from one; and turning the face the contrary way. See Averfion. Differing in fentiment may be expreffed as refufing. Set Refufing.

Agreeing in opinion, or conviction, as granting. See Granting.

Exhorting, as by a general at the head of his army, requires a kind, complacent look; unless matter of offence has paffed, as neglect of duty, or the like.

Judging demands a grave, ftendy look, with deep attention; the countenance altogether clear from any appearance of either difguft or favour. The accents flow, diftinet, emphatical, accompanied with little action, and that very grave.

Reproving puts on a ftern afpect, roughens the voice, and is accompanied with geftures not much different from those of threatening, but not fo lively.

Acquitting is performed with a benevolent, tranquil countenance, and tone of voice; the right hand, if not both, open, waved gently toward the perfon acquitted, expreffing dif miffion. See Difmiffing:

Condemning affumes a fevere look, but mixed with pity. The fentence is to be expreffed as with reluctance.

Teaching, explaining, inculcating, or giving orders to an inferior, requires an air of fuperiority to be affumed. The features are to be compofed to an authoritative gravity. The eye fteady and open, the eyebrow a little drawn down over it; but not fo much as to look furly or dogmatical. The tone of voice varying according as the emphasis requires, of which a good deal is neceffary in exprefling matter of this fort. The pitch of the voice to be firing and clear; the articulation diftinct; the utterance flow, and the manner peremptory. This is the proper manner of pronouncing the commandments in the communion office. But (I am forry to say it) they are too commonly spoken in the fame manner as the prayers, than which nothing can be more unnatural.

Pardoning differs from acquitting, in that the latter means clearing a perfon after trial of guilt; whereas the former fuppofes guilt, and fignifies merely delivering the guilty perfon from punishment. Pardoning requires fome degree of Jeverity of afpect and tone of voice, because the pardoned perfon is not an object of entire unmixed approbation; otherwise its expreffion is much the fame as granting. See Granting.

Arguing requires a tool, fedate, attentive afpect, and a clear, flow, emphatical accent, with much demonftration by the hand It differs from teaching (fee Teaching) in that the look of authority is not wanting in arguing.

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Difmiffing,

Difmifing, with approbation, is done with a kind afpect and tone of voice; the right hand open, gently waved toward the perfon: with displeasure, befides the look and tone of voice which fuit difpleasure, the hand is hastily thrown out toward the perfon difmiffed, the back part toward him, the countenance at the fame time turned away from him.

Refufing, when accompanied with difpleasure, is expreffed nearly in the fame way. Without difpleasure, it is done with a vifible reluctance, which occafions the bringing out the words flowly, with fuch a shake of the head, and fhrug of the Boulders, as is natural upon hearing of fomewhat, which gives us concern.

Granting, when done with unreferved good-will, is accompanied with a benevolent aspect, and tone of voice; the right band preffed to the left breast, to fignify how heartily the favour is granted, and the benefactor's joy in conferring it." Dependence. See Modefty.

Veneration, or worshipping, comprehends feveral articles, as afeription, confeffion, remorse, interceffion, thanksgiving, deprecation, petition, &c. Afcription of honour and praise to the peerless and fupreme Majefty of heaven, and confeffion, and deprecation, are to be uttered with all that humility of looks and gesture, which can exhibit the most profound felf-abafement and annihilation, before One, whofe fuperiority is infinite. The bead is a little raised, but with the most apparent timidity, and dread; the eye is lifted; but immediately caft down again, or clofed for a moment; the eyebrows are drawn down in the most respectful manner; the features, and the whole body and limbs, are all compofed to the moft profound gravity; one pofture continuing, without confiderable change, during the whole performance of the duty. The knees bended, or the whole body proftrate, or if the posture be ftanding, which fcripture does not difallow, bending forward, as ready to proftrate itself. The arms spread out, but modeftly, as high as the breaft; the bands open. The tone of the voice will be fubmiffive, timid, equal, trembling, weak, fuppliant. The words will be brought out with a visible anxiety and diffidence, approaching to befitation; few, and flow; nothing of vain Tepetition +, baranguing, flowers of rhetoric, or affected figures of fpeech; all fimplicity, humility, and lowlinefs, fuch as becomes a reptile of the duft, when prefuming to addrefs Him, whofe greatness is tremendous beyond all created conception. In interceffion for our fellow-creatures, which is prefcribed in the fcriptures t, and in thanksgiving, the countenance will * Mark xi. 25. ↑ Mat. vi. 7. Mat. v. 44. Luke vi. 28.

naturally

naturally affume a small degree of cheerfulness beyond what it was clothed with in confeffion of fin, and deprecation of punishment. But all affected ornament of Speech, or gesture in devotion, deferves the fevereft cenfure, as being fomewhat much worse than abfurd.

Refpect for a fuperior puts on the looks and gefture of modefty. See Modefty.

Hope brightens the countenance; arches the eyebrows; gives the eyes an eager, wishful look; opens the mouth to half a mile; bends the body a little forward, the feet equal; Spreads the arms, with the hands open, as to receive the object of its longings. The tone of the voice is eager, and unevenly inclining to that of joy ; but curbed by a degree of doubt and anxiety. Defire differs from hope, as to expreffion, in this particular, that there is more appearance of doubt and anxiety in the former, than the latter. For it is one thing to deftre what is agreeable, and another to have a prospect of actually obtaining it.

Defire expreffes itself by bending the body forward, and ftretching the arms toward the object, as to grafp it. The countenance fmiling, but eager and wishful; the eyes wide open, and eyebrows raised; the mouth open; the tone of voice fuppliant, but lively and cheerful, unless there be diftrefs as well as defire; the expreffions fluent and copious; if no words are used, fighs inftead of them; but this is chiefly in diftrefs.

Love, (fuccessful) lights up the countenance into fmiles. The forehead is fmoothed, and enlarged; the eyebrows are arched; the mouth a little open, and fmiling; the eyes languifhing, and half-fout, dote upon the beloved object. The countenance affumes the eager and wishful look of defire, (lee Defire above) but mixed with an air of fatisfaction and repoje. The accents are soft, and winning; the tone of voice perfuafive, flattering, pathetic, various, mufical, rapturous, as in joy. (See Joy.) The attitude much the fame with that of defire. Sometimes both bands preffed eagerly to the bojam Love, unfuccefsful, adds an air of anxiety, and melancholy. See Perplexity, and Melancholy.

Giving, inviting, foliciting, and fuch like actions, which fuppofe fome degree of affection, real, or pretended, are accompanied with much the fame looks and geftures as exprefs love; but more moderate.

Wonder, or amazement, (without any other interesting paffion, as love, esteem, &c.) opens the eyes, and makes them appear very prominent; fometimes raifes them to the skies; but oftener, and more expreffively, fixes them on the object,

if the caufe of the paffion be a prefent and visible object, with the look, all except the wildness, of fear. (See Fear.) If the hands hold any thing, at the time when the object of wonder appears, they immediately let it drop, unconscious; and the whole body fixes in the contracted, ftooping posture of amazement; the mouth open; the hands held up open, nearly in the attitude of fear. (See Fear.) The first accefs of this paffion ftops all utterance. But it makes amends afterwards by a copious flow of words and exclamations.

Admiration, a mixed paffion, confifting of wonder, with love or esteem, takes away the familiar getture, and expreffion of fimple love. (See Love.) Keeps the respectful look, and attitude. (See Modefty and Veneration.) The eyes are opened wide, and now and then raised toward heaven. The mouth is opened. The hands are lifted up. The tone of the voice rapturous. This paffion expreffes itself copiously, making great use of the figure hyperbole.

Gratitude puts on an afpect full of complacency. (See Love.) If the object of it is a character greatly fuperior, it expreffes much fubmifion. (See Modefty.) The right band preffed upon the breast, accompanies, very properly, the expreffion of a fincere and hearty fenfibility of obligation.

Curiofity, as of a bufy-body, opens the eyes and moutk, Lengthens the neck, bends the body forward, and fixes it in one poiture, with the bands nearly in that of admiration. See Admiration. See also Defire, Attention, Hope, Enquiry, and Perplexity.

Perfuafion puts on the looks of moderate love. (See Love.) Its accents are fift, flattering, emphatical, and articulate. Tempting, or wheedling, expreffes itself much in the fame way; only carrying the fawning part to excess.

Promifing is expreffed with benevolent looks, the nod of confent, and the open hands gently moved towards the perfon to whom the promife is made; the palms upwards. The fincerity of the promiser may be expreffed by laying the right hand gently on the breaft.

Affectation difplays itfelf in a thousand different geftures, motions, airs, and looks, according to the character which the perfon affects. Affectation of learning gives a ftiff formality to the whole perfon. The words come ftalking out with the pace of a funeral proceffion; and every fentence has the folemnity of an oracle. Affectation of piety turns up the goggling whites of the eyes to heaven, as if the perfon were in a trance, and fixes them in that pofture fo long that the brain of the beholder grows giddy. Then comes up, deepgrumbling, a holy groan from the lower parts of the thorax;

but

but fo tremendous in found, and fo long protracted, that you expect to fee a goblin rife, like an exhalation, through the folid earth. Then he begins to rock from fide to fide, or backward and forward, like an aged pine on the fide of a hill, when a brisk wind blows. The hands are clasped together, and often lifted, and the head often fhaken with foolish vehemence. The tone of the voice is canting, or fing-fong lullaby, not much diftant from an Irish howl; and the words godly doggrel. Affectation of beauty, and killing, puts a fine woman by turns into all forts of forms, appearances, and attitudes, but amiable ones. She undoes, by art, or rather by awkwardness (for true art conceals itself) all that nature had done for her. Nature formed her almost an angel, and fhe, with infinite pains, makes herfelf a monkey. Therefore this fpecies of affectation is easily imitated, or taken off. Make as many, and as ugly grimaces, motions, and gestures, aş can be made; and take care that nature never peep out; and you reprefent coquettish affectation to the life.

Sloth appears by yawning, defing, fuoring, the head dangling fometimes to one fide, fometimes to the other, the arms and legs ftretched out, and every finew of the body unftrung the eyes heavy, or closed; the words, if any, crawl out of the mouth, but half-formed, fcarce audible to any ear, and broken off in the middle by a powerful fleep.

People who walk in their fleep, (of which our inimitable Shakespeare has, in his tragedy of MACBETH, drawn a fine fcene) are faid to have their eyes open; though they are not the more for that, confcious of any thing, but the dream, which has got poffeffion of their imagination. I never faw one of thofe perfons; therefore cannot defcribe their manner from nature; but I fuppofe their fpeech is pretty much like that of perfons dreaming, inarticulate, incoherent, and very different in its tone from what it is when waking.

Intoxication fhews itself by the eyes half-fhut, fleepy, ftupid, inflamed. An idiot fmile, a ridiculous furliness, or affected bravado, difgraces the bloated countenance. The mouth open, tumbles out nonfenfe in heaps, without articulation enough for any ear to take it in, and unworthy of attention, if it could be taken in. The bead feems too heavy for the neck. The arms dangle from the fhoulders, as if they were almost cut away, and hung by threds. The legs totter and bend at the knees, as ready to fink under the weight of the reeling body. And a general incapacity, coporeal and mental, exhibits human nature funk below the brutal.

Anger, (violent) or rage, expreffes itfelf with rapidity, interruption, noife, harshness, and trepidation. The neck stretched

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out;