out; the head forward, often nodding and shaken in a menacing manner, against the object of the paffion. The eyes red, inflamed, faring, rolling, and sparkling; the eyebrows drawn down over them, and the forehead wrinkled into clouds. The noftrils fretched wide; every vein felled; every mufcle trained; the breaft heaving, and the breath fetched bard. The mouth open, and drawn on each fide toward the ears, fhewing the teeth, in a gnashing pofture. The face bloated, pale, red, or fometimes almoft black. The feet ftamping; the right arm often thrown out, and menacing with the clenched fift fhaken, and a general and violent agitation of the whole body.

Peevishness, or ill-nature, is a lower degree of anger; and is therefore expreffed in the above manner, only more moderate; with half-fentences, and broken Speeches, uttered haftily; the upper lip drawn up difdainfully; the eyes afquint upon the object of displeasure.

Malice, or fpite, fets the jaws, or gnashes with the teeth; fends blafting flakes from the eyes; draws the mouth toward the ears; clenches both fifts, and bends the elbows in a fraining manner. The tone of voice and expreffion, are much the fame with that of anger; but the pitch not fo loud.

Envy is a little more moderate in its geftures, than malice ; but much the fame in kind.

Revenge expreffes itfelf as malice.

Cruelty. See Anger, Averfion, Malice, and the other irafcible paffions.

Complaining, as when one is under violent bodily pain, diftorts the features; almoft clofes the eyes; fometimes raifes them wishfully; opens the mouth; gnashes with the teeth; draws up the upper lip; draws down the head upon the breaft, and the whole body together. The arms are violently bent at the elbows, and the fifis itrongly clenched. The voice is uttered in groans, lamentations, and violent fereams. Extreme torture produces fainting, and death.

Fatigue, from fevere labour, gives a general languor to the whole body. The countenance is dejected. (See Grief.) The arms hang liftlefs; the body, if fitting, or lying along be not the posture, floops as in old age. (See Dotage.) The legs, if walking, are dragged heavily along, and feem at every step ready to bend under the weight of the body. The voice is weak, and the words hardly enough articulated to be understood.

Averfion, or hatred, expreffed to, or of any perfon, or thing, that is odious to the fpeaker, occafions his drawing back, as avoiding the approach of what he hates; the hands

at

at the fame time, thrown out spread, as if to keep it off. The face turned away from that fide toward which the hands are thrown out; the eyes looking angrily and afquint the fame way the hands are directed; the eyebrows drawn downward; the upper lip difdainfully drawn up; but the teeth fet. The pitch of the voice lond; the tone chiding, unequal, furly, vehement. The fentences fhort, and abrupt.

Commendation, or approbation, from a fuperior, puts on the afpect of love (excluding Defire, and Respect) and expreffes itself in a mild tone of voice; the arms gently spread; the palms of the hands toward the perfon approved. Exhorting, or encouraging, as of an army by a general, is expreffed with fome part of the looks and action of courage.

Jealousy would be likely to be well expreffed by one who had often feen prifoners tortured in the dungeons of the inquifition, or who had feen what the dungeons of the inquifition are the best earthly emblem of; I mean Hell. For next to being in the pope's, or in Satan's prifon, is the torture of him who is poffeffed with the fpirit of jealousy. Being a mixture of paffions directly contrary to one another, the perfon, whose foul is the feat of such confufion and tumult, must be in as much greater mifery than Prometheus, with the vulture tearing his liver, as the pains of the mind are greater than thofe of the body. Jealoufy is a ferment of love, batred, hope, fear, fhame, anxiety, fufpicion, grief, pity, envy, pride, rage, cruelty, vengeance, madness, and if there be any other tormenting paffion, which can agitate the human mind. Therefore to exprefs jealoufy well, requires that one know how to reprefent juftly all these paffions by turns. (See Love, Hatred, &c.) and often feveral of them together. Jealousy thews itfelf by reftleffness, peevishness, thoughtfulness, anxiety, absence of mind. Sometimes it burfts out in piteous complaint, and weeping; then a gleam of hese, that all is yet well, lights up the countenance into a momentary smile. Immediately the face, clouded with a general gloom, fhews the mind overcaft again with horrid fufpicions, and frightful imaginations. Then the arms are folded upon the breaft; the fifts violently clenched; the rolling, bloody eyes dart fury. He hurries to and fro; he has no more reft than a fhip in a troubled fea, the sport of winds and waves. Again he compafes himself a little, to reflect on the charms of the fufpected perfon. She appears to his imagination like the fweetness of the rifing dawn. Then his monfter-breeding fancy reprefents her as falfe as the is fair. Then he rears out as one on the rack, when the cruel engine rends every joint, and every finew bursts. Then he throws himself on the ground.

He

He beats his head against the pavement. Then he fprings up, and, with the look and action of a fury burfling hot from the abyfs, he fnatches the inftrument of death, and, after ripping up the bofom of the loved, fufpected, hated, lamented fair one, he ftabs himself to the heart, and exhibits a triking proof, how terrible a creature a puny mortal is, when agitated by an infernal paflion.

Dotage, or infirm old age, thews itfelf by talkativeness, boasting of the past, hollowness of eyes and cheeks, dimness of fight, deafness, tremor of voice, the accents, through default of teeth, fcarce intelligible; hams weak, knees tottering, head paralytic, hollow coughing, frequent expectoration, breathless wheezing, laborious groaning, the body frooping under the infupportable load of years, which foon will crush it into the duft, from whence it had its origin.

Folly, that is, of a natural idiot, gives the face an habitual thoughtless, brainless grin. The eyes dance from object to object, without ever fixing leadily upon any one. A thoufand different and incoherent paffions, looks, geftures, speeches.. and abfurdities, are played off every moment.

Diftraction opens the eyes to a frightful widenefs; rolls them baftily and wildly from object to object; diftorts every feature; gnashes with the teeth; agitates all the parts of the body; rolls in the duft; foams at the mouth; utters, with hideous bellowings, execrations, blafphemies, and all that is fierce and outrageous; rushes furiously on all who approach; and, if not reftrained, tears its own flesh, and deftroys itself.

Sickness has infirmity and feebleness in every motion and utterance. The eyes dim, and almott clofed; cheeks pale and hollow; the jaw fallen; the head hung down; as if too beavy to be fupported by the neck. A general inertia prevails. The voice trembling; the utterance through the nofe; every fentence accompanied with a groan; the band shaking, and the knees tottering under the body; or the body stretched helplefs on the bed.

Fainting produces a fudden relaxation of all that holds the human frame together, every finew and ligament unftrung. The colour flies from the vermilion cheek; the fparkling eye grows dim. Down the body drops, as helpless, and fenfelefs, as a mafs of clay, to which, by its colour and appearance, it seems haftening to refolve itself. Which leads me to conclude with

Death, the awful end of all flesh; which exhibits nothing in appearance different from what I have been juft defcribing; for fainting continued ends in death; a fubject almost tog ferious to be made a matter of artificial imitation,

Lower

Lower degrees of every paffion are to be expreffed by more moderate exertions of voice and gesture, as every public fpeaker's difcretion will fuggeft to him.

Mixed paffions, or emotions of the mind, require a mixed expreffion. Pity, for example, is compofed of grief and love. It is therefore evident, that a correct fpeaker muil, by his looks and geftures, and by the tone and pitch of his voice, exprefs both grief and love, in exprefling pity, and fo of the reft.

There may be other humours or paffions, befide thefe, which a reader, or fpeaker, may have occafion to exprefs. But thefe are the principal. And, if there be any others, they will occur among the following examples for practice, taken from various authors, and rules will be given for expreffing them. And though it may be alleged, that fome of thefe paflions, or humours, are fuch as hardly ever come in the way of the fpeaker at the bar, in the pulpit, or either houfe of parliament, it does not therefore follow, that the labour of ftudying and practising the proper ways of expreffing them is ufelefs. On the contrary, every speaker will find his account in enlarging his fphere of practice. A gemleman may not have occafion every day to dance a minuet; but he has occafion to go into company every day; and he will go into a room with much the better grace for his having learned to dance in the most elegant manner. The orator may not have actual occafion to express anger, jealoufy, malice, and fome few others of the more violent paffions, for which I have here given rules. But he will, by applying his organs of elocution to express them, acquire a mafterly ease and fluency in expreffing thofe he has actually occafion to express.

It is to be remembered, that the action, in expreffing the various humours and paffions, for which I have here given rules, is to be fuited to the age, fex, condition, and circumfrances of the character. Violent anger, or rage, for example, is to be expreffed with great agitation (fee Anger); but the rage of an infirm old man, of a woman, and of a youth, are all different from one another, and from that of a man in the flower of his age, as every fpeaker's difcretion will fuggeft. A hero may fhew fear, or fenfibility of pain: but not in the fame manner as a girl would exprefs those sensations. Grief may be expreffed by a perfon reading a melancholy ftory, or defcription, in a room. It may be acted upon the stage. It may be dwelt upon by the pleader at the bar; or it may have a place in a fermon. The paffion is

fill grief. But the manner of expreffing it will be different in each of the fpeakers, if they have judgment.

A correct speaker does not make a movement of limb, or feature, for which he has not a reafon. If he addresses heaven, he looks upward. If he fpeaks to his fellow-creatures, he looks round upon them. The spirit of what he says, or is faid to him, appears in his look. If he expreffes amazement, or would excite it, he lifts up his hands and eyes. If he invites to virtue and happiness, he spreads his arms, and looks bene-volence. If he threatens the vengeance of heaven against vice, he bends his eyebrow into surath, and menaces with his arm and countenance. He does not needlessly faw the air with his arm, nor ftab himself with his finger. He does not clap his right hand upon his breaft, unless he has occasion to speak of himfelf, or to introduce confcience, or fomewhat fentimental. He does not start back, unless he wants to exprefs horror or averfion. He does not come forward, but when he has occafion to folicit. He does not raife his voice, but to exprefs fomewhat peculiarly emphatical. He does not lower it, but to contraft the railing of it. His eyes, by turns, according to the humour of the matter he has to exprefs, Sparkle fury; brighten into joy; glance difdain; melt into grief; frown difguft and hatred; languish into love; or glare distraction.

But to apply properly, and in a mafterly manner, the almoft endlessly various external expreffions of the different paffions and emotions of the mind, for which nature has fo curiously fitted the human frame-hic labor-here is the difficulty. Accordingly, a confummate public speaker is truly a phenix. But much less than all this, is, generally fpeaking, fufficient for most occafions.

There is an error, which is too inconfiderately received by many judicious perfons, viz. that a public fpeaker's fhewing himfelf to be in earnest, will alone fecure him of duly affecting his audience. Were this true, the enthusiastic rant of the fanatic, who is often very much in earnest, ought to please the judicious; in whom, on the contrary, we know it excites only laughter or pity. It is granted, that nature is the rule by which we are to speak, and to judge of propriety in fpeaking. And every public speaker, who faithfully, and in a mafterly manner, follows that univerfal guide, commands attention and approbation. But a fpeaker may, either through incurable natural deficiency, or by deviating into fome incorrigible abfurdity of manner, exprefs the real and the warm fentiments of his heart, in fuch an awkward way, as shall effectually defeat his whole defign upon those who hear him,