ANGER,

(Violent) or rage, expresses itself with rapidity, interruption, noise, harshness, and trepidation. The neck stretched out; the head forward, often nodding and shaken in a menacing manner, against the object of the passion. The eyes red, inflamed, staring, rolling, and sparkling; the eyebrows drawn down over them, and the forehead wrinkled into clouds; nostrils stretched wide, every vein swelled, every muscle strained; the breast heaving, and the breath fetched hard. The mouth open, and drawn on each side toward the ears, shewing the teeth, in a gnashing posture. The face bloated, pale, red, or sometimes almost black. The feet stamping; the right arm often thrown out, and menacing with the clenched fist shaken, and a general and violent agitation of the whole body.

PEEVISHNESS,

Or ill nature, is a lower degree of anger; and is there. fore expressed in the above manner, only more moderate; with half sentences, and broken speeches uttered hastily; the upper lip drawn up disdainfully; the eyes asquint upon the object of displeasure.

MALICE,

Or spite, sets the jaws, or gnashes with the teeth, sends blasting flashes from the eyes; draws the mouth toward the ears; clenches both fists, and bends the elbows in a straining manner. The tone of voice and expression are much the same with that of anger; but the pitch not so loud.

ENVY,

Is a little more moderate in its gestures, than malice; but much the same in kind.

REVENGE,

Expresses itself as malice. [see malice.]

CRUELTY.

[see anger, aversion, malice, and other irascible pas

sions.

COMPLAINING,

As when one is under violent bodily pain, distorts the features, almost closes the eyes, sometimes raises them

wishfully; opens the mouth, gnashes with the teeth, draws up the upper lip, draws down the head upon the breast, and the whole body together. The arms are violently bent at the elbows, and the fist strongly clenched. The voice is uttered in groans, lamentations, and violent screams. Extreme torture produces.fainting and death. FATIGUE,

From severe labour, gives a general languor to the whole body. The countenance is dejected. [see grief.] The arms hang listless; the body, if sitting, or lying along be not the posture, stoops as in old age. [see dotage.] The legs, if walking, are dragged heavily along, and seem at every step ready to bend under the weight of the body. The voice is weak, and the words hardly enough articulated to be understood.

AVERSION,

Or hatred, expressed to, or of any person, or any thing that is odious to the speaker, occasions his drawing back, as avoiding the approach of what he hates, the hands at the same time thrown out spread, as if to keep it off. The face turned away from that side toward which the hands are thrown out, the eyes looking angrily, and asquint the same way the hands are directed; the eyebrows drawn downwards, the upper lip disdainfully drawn up, but the teeth set. The pitch of the voice loud, the tone chiding, unequal, surly, vehement. The sentences short and abrupt.

COMMENDATION,

Or approbation, from a superior, puts on the aspect of love, (excluding desire and respect,) and expresses itself in a mild tone of voice; the arms gently spread; the palms of the hand towards the person approved. Exhorting or encouraging, as of an army by the general, is expressed with some part of the looks and action of courage:

JEALOUSY.

Jealousy is a ferment of love, hatred, hope, fear, shame, anxiety, suspicion, grief, pity, envy, pride, rage, cruelty, vengeance, madness, and if there be any other tormenting passion which can agitate the human mind; therefore to express jealousy well, requires that one know how to represent justly all these passions by turns,

see love, hatred, &c.] and often several of them together. Jealousy shews itself by restlessness, peevishness, thoughtfulness, anxiety, absence of mind. Sometimes it bursts out in piteous complaint and weeping; then a gleam of hope, that all is yet well, lights up the countenance into a momentary smile. Immediately the face clouded with a general gloom, shews the mind overcast again with horrid suspicions, and frightful imaginations. Then the arms are folded upon the breast, the fists violently clenched, the rolling, bloody eyes dart fury. He hurries to and fro, he has no more rest, than a ship in a troubled sea, the sport of wind and waves. Again he composes himself a little to reflect on the charms of the suspected person. She appears to his imagination like the sweetness of the rising dawn. Then his monster. breeding fancy represents her as false as she is fair. Then he roars out as one on the rack, when the cruel engine rends every joint, and every sinew bursts. Then he throws himself on the ground. He beats his head against the pavement. Then he springs up, and with the look and action of a fury bursting hot from the abyss, he snatches the instrument of death, and, after ripping up the bosom of the loved, suspected, hated, lamented fair one, he stabs himself to the heart, and exhibits a striking proof, how terrible a creature a puny mortal is, when agitated by an infernal passion.

DOTAGE,

Or infirm old age, shews itself by talkativeness, boast. ing of the past, hollowness of eyes and cheeks, dimness of sight, deafness, tremor of voice, the accents, through default of teeth, scarce intelligible, hams weak, knees tottering, head paralytic, hollow coughing, frequent expectoration, breathless wheezing, laborious groaning, the body stooping under the insupportable load of years, which soon will crush it into the dust, from whence it had its origin.

FOLLY,

That is of a natural idiot, gives the face an habitual thoughtless, brainless grin. The eyes dance from object to object, without fixing steadily upon any one. A thou sand different and incoherent passions, looks, gestures, speeches, and absurdities, are played off every moment.

DISTRACTION,

Opens the eyes to a frightful wideness, rolls them has. tily and wildly from object to object, distorts every feature; gnashes with the teeth; agitates all parts of the body; rolls in the 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 restrained, tears its own flesh, and destroys itself.

SICKNESS,

Has infirmity and feebleness in every motion and utter. ance. 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 grean; 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 vermillion cheek; the sparkling eye grows dim. Down the body drops, as helpless and as senseless as a mass of clay, to which, by its colour and appearance it seems hastening to resolve itself. Which

leads to conclude with

DEATH,

The awful end of all flesh, which exhibits nothing in appearance different from what I have been just describ

ing, for fainting continued ends in death, a subject almost too serious to be made a matter of artificial imitation.

I. Macbeth's soliloquy.

[Macbeth, full of his bloody designs against good king, Duncan, fancies he sees a dagger in the air.]

STARTING.

Is this a dagger which I see before me,

[Reaching out his hand as to snatch it. The first eight lines to be spoken with the eyes staring, and fixed on one point in the air, where he is supposed to see the dagger.]

Come let me clutch thee

WONDER.

I have thee not, and yet I see thee still.

HORROR.

Art thou not fatal vision! sensible

To feeling, as to sight? or art thou but
A dagger of the mind, a false creation
Proceeding from the heat-oppressed brain ?
STARTING.

I see thee yet, in form as palpable,

[Drawing his dagger and looking on it, and then on that in the air, as comparing them.]

As this which now I draw.

HORROR.

Thou marshal'st me the way that I was going,
And such an instrument I was to use.

Mine eyes are made the fools o' th' other senses,
Or else worth all the rest.-

STARTING.

I see thee still,

HORROR.

And on thy blade and dudgeon, gouts of blood,
Which was not so before.-

[A long pause, he recollects and composes himself a little, and
gives over fixing his eyes upon the air-drawn dagger.]

DOUBTING.

-There's no such thing.

HORROR.

It is the bloody business, which informs

Thus to mine eyes

PLOTTING.

[Plotting is always to be expressed with a low voice, espe cially such a passage as this to the end.}