"Dissimilar passions have not similar expressions, neither "have similar passions dissimilar expressions. . . . . . The result " of this will be, the passions of the mind produce their ac"cordant effects on the countenance. . . . . Each frequently re"peated change, form, and state of the countenance, impresses at length a durable trait on the soft and flexible parts of the face. "The stronger the change, and the oftener it is repeated, the

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stronger, deeper, and more indelible is the trait. We shall "hereafter shew, that the like impression is made in early youth, " even on the bony parts. An agreeable change by constant "repetitions makes an impression on, and adds a feature of " durable beauty to the countenance. A disagreeable change by "constant repetition makes an impression on, and adds, a

feature of durable deformity to the countenance. A number of "such like beautiful changes, when combined, if not counter"acted, impart beauty to the face, and many deformed changes impart deformity."

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CHAPTER IV.

OF GESTURE IN GENERAL.

Objections to the use of gesture examined—Theatrical gesture not to be affected by the orator-A knowledge of the principles of gesture does not lead to incessant gesture-Nature uncultivated does not suggest proper gesture-Awkward gestures-Whether gesture is contrary to the genius of the British people-Modern public speakers in manner strongly resemble Scaurus and Rutilius-Oratory, having been brought to perfection by the ancients, not limited by the usages of the best modern speakers-Delivery highly estimated by the ancients-The precepts which have come down to us not sufficient on this subject— Ancient authorities for the necessity of correct and animated delivery— Isocrates-Demosthenes-Cicero - Quintilian-D. Halicarnassus— Pliny-Valerius Maximus-Opinions of Aristotle-Earlier writers after the revival of letters-Causinus-Cresollius-Talæus- -Sulpitius Victor.-Modern writers; Rollin-Lord Chesterfield-Dr. DarwinMaury-Edmund Burke.

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CHAPTER IV.

Of Gesture in General.

THE third division of the external part of oratory, or of delivery, is gesture. Under gesture is comprehended the action and position of all the parts of the body; of the head, the shoulders, the body or trunk; of the arms, hands, and fingers; of the lower limbs, and of the feet.

Of the importance of the due management of the voice, which constitutes the first division of delivery, no public speaker seems to entertain any doubt. Every man's experience quickly convinces him both of the necessity of making himself audible by issuing a sufficient quantity of voice, and also of so managing his voice as to accomplish this object with the greatest facility, and with the least possible inconvenience to himself. As to the countenance, the generality of public speakers do also give it something of the expression suited to their subject; and if their feelings be at any time awakened, they seldom fail to manifest them with sufficient evidence, both in their countenance and in the tones of their voice. There are some indeed who seem to think monotony of voice and inflexibility of countenance equally suited to their dignity and indifference; and who are never either moved themselves, nor attempt to move others. But, as to the use of the third division of delivery, gesture, the majority