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Attention, to an esteemed, or superior character, has the same aspect; and requires silence; the eyes oftea cast
the ground; sometimes fixed on 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 tew.
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 ; shụts the mouth, and pinches the lips close, or bitės them. Suddenly the whole body is vehemently agitated. The person walks about busily, stops abruptly. Then he talks to himself, 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.
V'exation, occasioned by some real or imaginary misfortune, agitates the whole frame; and besides expressing itself with 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 looks and gestures, 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 onc 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, sedentary, 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 hope of salvation, bends the eyebrows downward ; clouds the forehead; rolls the eyes round 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 eyeballs will be red and inflamed like those of an animal in a rabid state. The head is hung down upon 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 overacted 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 against it. One foot is drawn back behind the other, so that the body seems skrinking 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 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 falter, and confounds his atterance; 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, fullmouthed, and articulate ; the voice firm and even.
Boasting, or affected courage, is loud, blustering, threatening. The eyes stare; the eyebrows drawn down; the face red and bloated; the mouth pouts out; the voice hollow and thundering ; the arms are set akimbo; 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 astrut, with a slow, stiff, bombastic affectation of importance. The arnis generally akimbo, and the legs at a distance from one another, taking large tragedy strides.
Obstinacy, adds to the aspect of pride, a dogged sourress, like that of malice. See Malice.
Authority, opens the countenance; but draws down the eyebrows a little, so far as to give the 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 toward the person, to whom the order is given, with the palm upwards, and the head nods toward 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, 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.
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, waved gentlytoward 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 eyebrows 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 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 means clearing a person after a trial of guilt: whereas the former supposes guilt, and signifies merely delivering the guilty person from punishment. Pardoning requires some degree of severity of aspect and tone of voice, because the pardoned person 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 hy the hand. It differs from teaching (see Teaching) in that the look of authority is not wanted 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 suit 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 the 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 accompanied 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 benefretor'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 con fession and deprecation, are to be uttered with all that hu mility of looks and gesture, which can exhibit the most pro found 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 eyebrows are drawn down in the most respectful manner ; the features, and the whole body and limbs, are all compos