he dust; foams at
the mouth; utters, with hideous bellowings, execrations, blasphemies,
and all that is fierce and outrageous, rushes furiously on all who
approach; and, if not restrained, tears its own fiesh, and destroys
itself.

_Sickness_ has infirmity and feebleness in every motion and utterance.
The eyes dim, and almost closed; cheeks pale and hollow; the jaw fallen;
the head hung down, as if too heavy to be supported by the neck. A
general inertia prevails. The voice trembling; the utterance through the
nose; every sentence accompanied with a groan; the hand shaking, and the
knees tottering under the body; or the body stretched helpless on the
bed.

_Fainting_ produces a sudden relaxation of all that holds the human
frame together, every sinew and ligament unstrung. The colour flies from
the vermilion cheek; the sparkling eye grows dim. Down the body drops,
as helpless, and senseless, as a mass of clay, to which, by its colour
and appearance, it seems hastening to resolve itself--Which leads me to
conclude with:

_Death_ the awful end of all flesh; which exhibits nothing in appearance
different from what I have been just describing; for fainting continued
ends in death,--a subject almost too serious to be made a matter of
artificial imitation.

_Lower_ degrees of every passion are to be expressed by more moderate
exertions of voice and gesture; as every public speaker's discretion
will suggest to him.

_Mixed_ passions, or emotions of the mind, require a mixed expression.
_Pity_, for example, is composed of grief and love. It is therefore
evident, that a correct speaker must, by his looks and gestures, and by
the tone and pitch of his voice, express both grief and love, in
expressing pity, and so of the rest.

It is to be remembered, that the action, in expressing the various
humours and passions, for which I have here given rules, is to be suited
to the age, sex, condition, and circumstances of the character. Violent
anger, or rage, for example, is to be expressed with great agitation;
(see _Anger_) but the rage of an infirm old man, of a woman, and of a
youth, are all different from one another, and from that of a man in the
flower of his age, as every speaker's discretion will suggest. A hero
may shew fear, or sensibility of pain; but not in the same manner as a
girl would express those sensations. Grief may be expressed by a person
reading a melancholy story or description of a room. It may be acted