ARROGANCE and PRESUMPTION, by their natural force, impel the body to motion, haughtily turning the speaker away from, or impelling him impudently up to, those whom he addresses. By their swelling self-importance, they incline to lofty, erect, and expansive attitudes. They jerk up the head, curl the lip, expand the nostrils, and give the eye the downward glance of contempt: they incline, also, to scornful action, in the form of contemptuous and repulsive waves of the hand.

Example.-Malvolio, (in "Twelfth Night," elated with the idea that his noble mistress has fallen in love with him,) speaking to Sir Toby, Fabian, and Maria,

"Go, hang yourselves, all! You are idle, shallow things; I am not of your element."

GRIEF enfeebles the whole mien and attitude, and, when deeply felt, is expressed in the alternate drooping and upturning of the head and eyes, and the alternate raising and dropping of the hands.

Example.-"Oh! I have lost you all,

Parents, and home, and friends!"

Joy impels to brisk and springing movement;—when highly excited, clasps and raises the hands, or throws them up, widely apart; and, when ecstatic or exultant, waves the hand above the head.

Examples.-"Joy, joy forever! my task is done!

The gates are past, and heaven is won!"

Liberty! Freedom!— Tyranny is dead!”

FEAR, when it extends no further than apprehension, timidity or cowardice, inclines to narrow, confined, and cowering postures, and trembling motion; but, when it amounts to alarm and terror, it causes shrinking and starting, wide positions of the feet, and hurried retreating. Its feebler form, as expressed in gesture, draws in the hands, keeps them close to the body, half-turns away the head, and keeps the eyelids down: its stronger expression causes the eyes to stare, the nostrils to ex

pand, the mouth to open, the head to turn rapidly, in alternate motion to and from the object of dread; the arms are projected rigidly, on a line level with the shoulder; the hands vertical, fingers stiffened and outspread, as if to keep off the approaching object of terror.

Examples.-Timidity and Apprehension.-"I dare not take a step further. I am too near the brink already!"

Cowardice." I feel my valor oozing out at the palms of my

hands."

Fear and Alarm.-"Ah! what is that sound that now larums his ear?"

Dread.- "Step softly, that the blind mole may not hear a footfall!".

Terror.- "The foe! they come, they come !"

COURAGE braces the whole body in every limb, and renders the posture firm, and, sometimes, defiant, or, at once, braced and expanded. It clinches the hand in resolve and determination, and straightens or projects the arm toward the invading object. False courage, or FALSE CONFIDENCE and BOASTING, exaggerates the style of true courage, assumes wide positions and a bold, swaggering gait, and adopts large, lofty, and sweeping gestures.

Examples.-Genuine Courage." Come one, come all !—
This rock shall fly

From its firm base, as soon as I!"

Boasting." On level ground, I could beat forty of ye!" ANGER is expressed, in attitude, by wide positions, rapid strides towards the object of anger, and by stamping;-in action, one or both hands clinched. The expression in the features are a fierce frown, a darting eye, set teeth, and expandea nostrils.

Example.

"And dar'st thou, then,
To beard the lion in his den,
The Douglas in his hall?'

INDIFFERENCE is expressed by a careless posture; — head partly averted;-arms, perhaps, folded.

Example." If you did, I care not."

EARNESTNESS approaches the object of attention, leans for ward, extends the arms towards the attractive object. Example." Speak!-I am bound to hear!"

AVERSION withdraws from its object, averts the face with a frown, curls and parts the lips, expands the nostrils, and uses repellent gesture. LOATHING has the same traits more strongly marked.

Example.-Aversion." I like not yon lean Cassius !"

Loathing.-"Vipers that creep where man disdains to climb!' EAGERNESS and ARDOR spring toward their object; head and body leaning forward; eyes widely open and sparkling; mouth slightly open with a partial smile, nostrils moderately expanded, arms and hands reaching forward, as if to grasp an object.

Example.-"Oh! speak again, bright angel!”

HATRED and DETESTATION incline away from, and brace themselves against their object. In action, the arms are stiffened, the hands clinched. The expression in the features is that of a fierce, frowning, flashing eye; distended nostrils; set teeth; wide-parted lips, and grinning mouth; head drawn back.

Examples.-"I hate him, for he is a Christian !"

"Curs'd be my tribe, if I forgive him!"

ENTREATY and SUPPLICATION reach toward the person who is addressed, and thus produce an advancing movement and an inclining or kneeling posture. In action, the arms are projected; hands wide-open or clasped. The facial expression is marked by eye-brows slightly raised, eyes glancing earnestly, nostrils expanded, mouth open, and somewhat curved downward, as in pit

Examples.-"Let me, upon my knee, prevail in this !"
"O God of battles! steel my soldiers' hearts,
Pluck their hearts from them not to-day, O Lord!
Oh! not to-day!"

ADMIRATION, when (1.) deliberate, leans back, to enjoy the contemplation of its object; when (2.) earnest and intense, it leans forward toward, or hangs over, its object. In the former of these moods, (1.) it is thus expressed in action: arms and hands expanded, or elevated, or both. The expression in the features is marked by the placid brow and smiling mouth and eye. In the latter mood, (2,) the gesture is that of both arms extended, parallel toward the object; hands open or clasped; the features a-glow with earnest and ardent expression, combining love and joy.

Examples.-(1.) "Fair stars! are not your beings pure ?"

(2.) "Perdition catch my soul, but I do love thee !"

REVENGE, when (1.) deep-seated and deliberate, braces the attitude of the whole body, as in deep determination. In action, the arm is thrown violently downward, the hand clinched. The facial expression is marked by a fierce frown, glaring eye, set teeth, mouth drawn down, lips wide apart. (2.) When revenge is violently impassioned, it becomes violent in movement, and exaggerated in every one of the preceding details of gesture and aspect.

Examples.

(1.) "If it feed nothing else, it will feed my revenge."
(2.) "Oh! that the slave had forty thousand lives-

My great revenge had stomach for them all!"

PRIDE erects the whole frame, and throws the head upward and backward, moves with a wide and firm step, folds the arms, or places one akimbo, waves away, superciliously, the person who excites it, turns the eye upward, expands the nostrils, and curves the mouth downward.

Example." The hand of Douglas is his own,
And never shall in friendly grasp

The hand of such as Marmion clasp!"

(1.) HAUGHTINESS, (2.) CONTEMPT, and (3.) SCORN, have the same general traits as Pride, but much more strongly marked. In the expression of these emotions, the attitude is yet more erect, the whole bearing more lofty and disdainful; the back turned towards the opposite party. Haughtiness prefers the gestures and expression of Pride: Contempt and Scorn are expressed, in action, by an occasional disdainful downward and outward sweep of the arm and hand. The features exhibit the eyebrows alternately rising and falling; the eye glancing from head to foot of the person who excites the emotion; the nostrils widely distended; lips curled and projected.

Examples.-(1.) " Then, when I am thy captive, talk of chains, Proud limitary cherub!"

(2.) "You, wretch !—you could live and enjoy yourself while the noble-minded are betrayed,-while nameless and birthless villains tread on the neck of the brave and long-descended !" (3.) "You common cry of curs-I banish you!"

HUMILITY keeps attitude confined and subdued, and avoids movement, or change of posture; the head sinking; the body bent; the arm and hand waving submissively downward, or drawn inward, and laid upon the chest over the heart; the hands sometimes folded and gently sinking in front of the body.

Example.-"I humbly thank your Grace!"

DEFIANCE. When (1.) it anticipates being attacked, braces itself in the attitude of resistance, inclining backward; but when (2.) it becomes bold and violent, it takes the attitude of attack, faces the opponent, and approaches him. The action, in defiant resistance, (1.) is exhibited thus: arms braced, and hands clinched, but held downwards, the features marked by