termixed. There are instances of raillery in scripture itself, as 1 Kings xviii. and Isa. xliv. It is not, therefore, beneath the dignity of the pulpit-orator, occasionally to use it, in the cause of virtue, by exhibiting vice in a ludicrous appearance. Nor should I think raillery unworthy the attention of the lawyer; as it may occasionally come in, not unusefully, in his pleadings, as well as any other stroke of ornament, or entertainment.

Buffoonery, assumes an arch, sly, leering gravity. Must not quit its serious aspect, though all should laugh to burst ribs of steel. This command of face is somewhat difficult ; though not so hard I should think, as to restrain the contrary sympathy, I mean of weeping with those who weep.

Joy, when sudden and violent, expresses itself by clapping of hands, and exultation, or leaping. The eyes are opened wide; perhaps filled with tears; often raised to heaven, especially by devout persons. The contenance is smiling, not composedly, but with features aggravated. The voice rises, from time to time, to very high notes.

Delight or pleasure, as when one is entertained, or ravished with music, painting, oratory, or any such elegancy, shows itself by the looks, gestures, and utterance of joy; but moderated.

Gravity, or seriousness, the mind fixed upon some important subject, draws down the eyebrows a little; casts down, or shuts, or raises the eyes to heaven; shuts the mouth, and pinches the lips close. The posture of the body and limbs is composed, and without much motion. The speech, if any, slow and solemn; the tone unvarying.

Inquiry, into an obscure subject, fixes the body in one posture, the head stooping, and the eye poring, the eyebrows drawn down.

Attention, to an esteemed, or superior character, has the same aspect; and requires silence; the eyes often cast down upon the ground; sometimes fixed on the face of the speaker; but not too pertly.

Modesty, or submission, bends the body forward; levels the eyes to the breast, if not to the feet, of the superior character. The voice low; the tone submissive; and words few.

Perplexity, or anxiety, which is always attended with some degree of fear and uneasiness, draws all the parts of the body together; gathers up the arms upon the breast

unless one hand covers the eyes, or rubs the forehead; draws down the eyebrows; hangs the head upon the breast; casts down the eyes, shuts and pinches the eyelids close; shuts the mouth, and pinches the lips close, or bites them. Suddenly the whole body is vehemently agitated. The person walks about busily; stops abruptly. Then he talks to himself mself; or makes grimaces. If he speaks to another, his pauses are very long; the tone of his voice unvarying, and his sentences broken, expressing half, and keeping in half of what arises in his mind.

Vexation, occasioned by some real or imaginary misfortune, agitates the whole frame; and, besides expressing itself by the looks, gestures, restlessness, and tone of perplexity, it adds complaint, fretting and lamenting.

Pity, a mixed passion of love and grief, looks down upon distress with lifted hands; eyebrows drawn down; mouth open; and features drawn together. Its expression, as to looks and gesture, is the same with those of suffering, (See suffering,) but more moderate, as the painful feelings are only sympathetic, and therefore one remove, as it were, more distant from the soul, than what one feels in his own person.

Grief, sudden, and violent, expresses itself by beating the head; grovelling on the ground, tearing of garments, hair, and 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, sedantery, motionless. The lower jaw falls; the lips pale, the eyes are cast down, half shut, eyelids swelled and red, or livid, tears trickling 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 middle of sentences and words.

Despair, as in a condemned criminal, or one, who has lost all hopes of salvation, bends the eyebrows downward; clouds the forehead; rolls the eyes around frightfully; opens the mouth toward the ears; bites the lips; widens the nostriis; 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 rabid state. The head is hung down upon the breast. The arms are bended at the elbows; the fists are clenched 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 eyebrows; 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 fingers together to the height of the breast; so that the palms face the dreadful object, as shields opposed againt it. One foot is drawn back behind the other, so that the body seems shrinking from the danger, and putting itself in a posture of flight. The heart beats violently; the breath is fetched quick and short; the whole body is thrown into 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 eyebrows; 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 heighten 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 eyebrows 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, iş loud, blustering, threatening. The eyes stare; the eyebrows drawn down; the face red and bloated; the mouth pouts out; the voice hol low 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 eyebrows 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 tragerly-strides. Obstinacy, adds to the aspect of pride, a dogged sour ness, like that of malice. See Malice.

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

Commanding, requires an air a little more peremptory, with a look a little severe or stern. The hand is held out and moved towards 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 downwards, as if going to lay it upon the person, to hold him down immovable, that he may not do what is forbidden him.

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Affirming, especially with a judicial oath, is expressed by lifting the open right hand, and eyes toward 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 amy, 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 favor. 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, waved 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.

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 authoritative gravity. The eye steady, and open, the eyebrow a little drawn down over it; but not so much as to look surley or dogmatical. The tone of voice varying according as the emphasis requires, 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 manner 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