owards the ears, crisps the nose, half
shuts the eyes, and sometimes fills them with tears. The front wrinkled
into frowns, and the eyebrows overhanging the eyes, like clouds fraught
with tempest, shew a mind agitated with fury. Above all, the eye shews
the very spirit in a visible form. In every different state of the mind,
it assumes a different appearance. Joy brightens and opens it. Grief
half-closes, and drowns it in tears. Hatred and anger, flash from it
like lightning. Love darts from it in glances, like the orient beam.
Jealousy, and squinting envy, dart their contagious blasts from the eye.
And devotion raises it to the skies, as if the soul of the holy man were
going to take its flight to heaven.

The force of attitude and looks alone appears in a wonderously striking
manner, in the works of the painter and statuary, who have the delicate
art of making the flat canvas and rocky marble utter every passion of
the human mind, and touch the soul of the spectator, as if the picture,
or statue, spoke the pathetic language of Shakspear. It is no wonder,
then, that masterly action, joined with powerful elocution, should be
irresistible. And the variety of expression, by looks and gestures, is
so great, that, as is well known, a whole play can be represented
without a word spoken.

The following are, I believe, the principal passions, humours,
sentiments and intentions, which are to be expressed by speech and
action. And I hope it will be allowed by the reader, that it is nearly
in the following manner, that nature expresses them.

_Tranquility_, or _apathy_, appears by the composure of the countenance,
and general repose of the body and limbs, without the exertion of any
one muscle. The countenance open; the forehead smooth; the eyebrows
arched; the mouth just not shut; and the eyes passing with an easy
motion from object to object, but not dwelling long upon any one.

_Cheerfulness_, adds a smile, opening the mouth a little more.

_Mirth_, or _laughter_, opens the mouth still more towards the ears;
crisps the nose; lessens the aperture of the eyes, and sometimes fills
them with tears; shakes and convulses the whole frame, giving
considerable pain, which occasions holding the sides.

_Raillery_, in sport, without real animosity, puts on the aspect of
cheerfulness. The tone of voice is sprightly. With contempt, or disgust,
it casts a look asquint, from time to time, at the object; and quits the
cheerful aspect fo