flesh; screaming aloud, weeping, stamping with the feet, lifting the eyes from time to time, to heaven; hurrying to and fro, running distracted, or fainting away, sometimes without recovery. Sometimes violent grief produces a torpid silence, resembling total apathy.

Melancholy, or fixed grief, is gloomy, sedentary, motionless. The lower jaw falls; the lips pale, the eyes are cast down, halfshut, eye-lids swelled and red, or livid, tears trinkling silent, and unwiped; with a total inattention to every thing that passes. Words, if any, few, and those dragged out, rather than spoken; the accents weak, and interrupted, sighs breaking into the mid dle of sentences and words.

Despair, as in a condemned criminal, or one, who has lost all hopes of salvation, bends the eye-brows downward: clouds the forehead; rolls the eyes around frightfully; opens the mouth towards the ears; bites the lips; widens the nostrils; gnashes with the teeth, like a fierce wild beast. The heart is too much hardened to suffer tears to flow; yet the eye-balls will be red and inflamed, like those of an animal in a rapid state. The head is hung down upon the breast. The arms are bended at the elbows: the fists are clinched hard; the veins and muscles swelled: the skin livid; and the whole body strained and violently agitated; groans, expressive of inward torture, more frequently uttered than words. If any words, they are few, and expressed with a sullen, eager bitterness; the tone of voice often loud and furious, As it often drives people to distraction and self-murder, it can hardly be over-acted by one who would represent it.

Fear, violent and sudden, opens very wide the eyes and mouth; shortens the nose; draws down the eye-brows; gives the countenance an air of wildness: covers it with a deadly paleness; draws back the elbows parallel with the sides; lifts up the open hands, the hands, the fingers together, to the height of the breast, so that the palms face the dreadful object, as shields opposed against it. One foot is drawn back behind the other, so that the body seems shrinking from the danger, and putting itself in a posture for flight. The heart beats violently; the breath is fetched quick and short; the whole body is thrown in a general tremor. The voice is weak and trembling; the sentences are short, and the meaning confused and incoherent. Imminent danger, real, or fancied, produces, in timorous persons, as women and children, violent shrieks, without any articulate sound of words, and sometimes irrecoverably confounds the understanding; produces fainting, which is sometimes followed by death.

Shame, or a sense of one's appearing to a disadvantage, before one's fellow creatures; turns away the face from the beholders; covers it with blushes; hangs the head; casts down the eyes; draws down the eye-brows; either strikes the person dumb,

or, if he attempts to say any thing in his own defence, causes his tongue to faulter, and confounds his utterance; and puts him upon making a thousand gestures and grimaces, to keep himself in countenance; all of which only heigthen the confusion of his appearance.

Remorse, or a painful sense of guilt, casts down the countenance, and clouds it with anxiety; hangs down the head, draws the eye-brows down upon the eyes. The right hand beats the breast. The teeth gnash with anguish. The whole body is strained and violently agitated. If this strong remorse is succeeded by the more gracious disposition 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 cast down again to the earth. Then floods of tears are seen to flow. The knees are bended; or the body prostrated on the ground. The arms are spread in a suppliant posture, and the voice of deprecation is uttered with sighs, groans, timidity, hesitation, and trembling.

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

Boasting, or affected courage, is loud, blustering, threatening. The eyes stare; the eye-brows drawn down: the face red and bloated; the mouth pouts out; the voice hollow and thundering; the arms are set a-kimbo; the head often nodding in a menacing manner; and the right fist clenched, is brandished, from time to time, at the person threatened. The right foot is often stamped upon the ground, and the legs take such large strides, and the steps are so heavy, that the earth seems to tremble under them.

Pride, assumes a lofty look, bordering upon the aspect and attitude of anger. The eyes open, but with the eye-brows considerably drawn down; the mouth pouting out, mostly shut, and the lips pinched close. The words walk out a-strut with a slow, stiff, bombastic affectation of importance. The arms generally a-kimbo, and the legs at a distance from one another, taking large tragedy-strides.

Obstinacy, adds to the aspect of pride, a dogged sourness, like that of malice. See Malice.

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

Commanding, requires an air a little peremptory, with a look a little severe or stern. The hand is held out, and moved to-ward the person, to whom the order is given with the palm upwards, and the head nods towards him.

Forbidding, on the contrary, draws the head backwards, and' pushes the hand from one with the palm downward, as if going

to lay it upon the person, to hold him down immoveable, that he may not do what is forbidden him.

Affirming, especially with a judicial oath, is expressed by lifting the open right hand, and eyes, towards heaven; or, if conscience is appealed to, by laying the right hand upon the breast, Denying, is expressed by pushing the open right hand from one; and turning the face the contrary way. See Aversion. Differing, in sentiment may be expressed as refusing. See Refusing.

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 passed, as neglect of duty or the like.

Judging, demands a grave, steady look, with deep attention; the countenance altogether clear from any appearance of either disgust or favour. The accents slow, distinct, emphatical, accompanied with little action, and that very grave.

Reproving, puts on a stern aspect, roughens the voice and is. accompanied with gestures, not much different from those of Threatening but not so lively.

Acquitting, is performed with a benevolent, tranquil countenance, and tone of voice; the right hand if not both, open wa ving gently toward the person acquitted, expressing dismission. See Dismissing..

Condemning, assumes a severe look, but mixed with pity.. The sentence is to be expressed as with reluctance.

The eye

Teaching, explaining, inculcating, or giving orders to an inferior, requires an air of superiority to be assumed. The features are to be composed to an authoritive gravity. steady, and open, the eye-brow a little drawn down over it; but not so much as to look surly or dogmatical. The tone of voice varying according as the emphasis required, of which a good deal is necessary in expressing matter of this sort. The pitch of the voice to be strong and clear; the articulation distinct; the utterance slow, and the manner peremptory. This is the proper man ner of pronouncing the commandments in the communion office. But (I am sorry to say it) they are too commonly spoken in the same manner as the prayers, than which nothing can be more unnatural.

Pardoning, differs from acquitting in that the latter means clearing a person after trial: of guilt: whereas the former supposes guilt, and signifies merely delivering the guilty persons from punishment. Pardoning requires some degree of severity of aspect and tone of voice, because the pardoned persons is not an object of entire unmixed approbation; otherwise its expression is much the same as-granting. See Granting.

Arguing, requires a cool, sedate, attentive aspect, and a

clear, slow, emphatical accent, with much demonstration by the hand. It differs from teaching (see Teaching) in that the look of authority is not wanting in arguing.

Dismissing, with approbation, is done with a kind aspect and tone of voice; the right hand open, gently waved toward the person. With displeasure, besides the look and tone of voice which suits displeasure, the hand is hastily thrown out toward the person dismissed, the back part toward him, the countenance at the same time turned away from him.

Refusing, when accompanied with displeasure, is expressed nearly in the same way. Without displeasure it is done with a visible reluctance, which occasions the bringing out of words slowly, with such a shake of the head and shrug of the shoulders, as is natural upon hearing of somewhat, which gives us concern.

Granting, when done with unreserved good will, is accompa nied with a benevolent aspect, and tone of voice; the right hand pressed to the left breast, to signify how heartily the favour is granted, and the benefactor's joy in conferring it.

Dependence. See Modesty.

Veneration, or worshipping, comprehends several articles, as ascription, confession, remorse, intercession, thanksgiving, deprecation, petition, &c. Ascription, of honour and praise to the peerless, supreme Majesty of Heaven, and confession and deprecation, are to be uttered with all that humility of looks and gestures which can exhibit the most profound self-abasement and annihilation, before One, whose superiority is infinite. The head is a little raised but with the most apparent timidity and dread; the eye is lifted, but immediately cast down again, or closed for a moment; the eye-brows are down in the most respectful manner; the features, and the whole body and limbs, are all composed to the most profound gravity, one posture continuing, without considerable change, during the whole performance of the duty. The knees bended, or the whole body prostrate, or if the posture be standing which scripture does not disallow, bending forward, as ready to prostrate itself. The arms spread out, but modestly, as high as the breast; the hands open. The tone of the voice will be submissive, timid, equal, trembling, weak, suppliant. The words will be brought out with a visible anxiety and diffidence, approaching to hesitation; few, and slow; nothing of vain repetition, harranguing, flowers of rhetoric or affected figures of speech; all simplicity, humility, and lowliness, such as becomes a reptile of the dust, when presuming to address Him, whose greatness is tremendous beyond all created conception. In intercession of our fellow creatures which is prescribed in the scriptures, and in thanksgiving, the countenance will naturally assume a small degree of cheerfulness beyond what it was clothed with in confession of sin, and deprecation of punishment. But

all affected ornament of speech, or gesture in devotion deserves the severest censure, as being somewhat much worse than absurd. Respect for a superior, puts on the looks and gestures of modesty. See Modesty.

Hope, brightens the countenance; arches the eye-brows, gives the eyes an anger, wishful look; opens the mouth to half a smile; 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. Desire differs from hope as to expression, in this particular, that there is more appearance of doubt and anxiety in the former than in the latter. For it is one thing to desire what is agreeable, and another to have a prospect of actually obtaining it.

Desire, expresses itself by bending the body forward, and stretching the arms toward the object, as to grasp it. The countenance smiling, but eager and wishful; the eyes wide open, and eye-brows raised; the mouth open: the tone of the voice suppliant, but lively and cheerful, unless there be distress as well as desire; the expressions fluent and copious; if no words are used, sighs instead of them, but this is chiefly in distress.

Love, (successful) lights up the countenance into smiles. The forehead is smoothed, and enlarged; the eye-brows are arched; the mouth a little open, and smiling; the eyes languishing, and half shut, dote upon the beloved object. The countenance assumes the eager and wishful look of desire (see Desire above) but mixed with an air of satisfaction and repose. The accents are soft and winning: the tone of voice persuasive, flattering, pathetic, various, musical, rapturous, as in joy (see Joy.) The attitude much the same with that of desire. Sometimes both hands pressed eagerly to the bosom. Love, unsuccessful, adds an air of anxiety and melancholy. See Perplexity and Melancholy.

Giving, inviting, soliciting, and such like actions, which suppose some degree of affection, real or pretended, are accompanied with much the same looks and gestures as express love, but more moderate.

Wonder or amazement (without any other interesting passion, as love, esteem, &c.) opens the eyes, and makes them appear very prominent; sometimes raises them to the skies; but oftener, and more expressively, fixes them on the object, if the cause of the passion be a present 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, stooping posture of amazement: the mouth open; the hands held up open, nearly in the attitude of fear. (See Fear.) The first excess of this passion, stops all utterance.