ANALYSIS OF THE PASSIONS. 201 however, different; for the hand is spread out as if resisting some. thing pressing upon one, and the face is averted from the person to whom we deny anything, or to whom we deny that anything affecting him or others injuriously has been committed. 30. Differing is a mixture of denying and refusing, with a slight infusion of anger, and manifests itself in a sharp, abrupt tone, and a little hauteur in the air. When it increases in vehemence, all these manifestations are heightened, and it becomes Quarrelling. 31. Agreeing, when done with frankness and good-will, gives the face an open, joyous look, and imparts cordiality to the whole appearance; and when it succeeds a disagreement, it becomes reconciliation, and is warm and glowing. When it signifies mere assent in opinion, it very slightly moves the countenance with Admiration. 32. Exhorting differs in the intensity of its expressions, according to the party who is supposed to speak in a hortative manner. Its general external manifestations are a spirited look, a bright eye, strong inspirations of air, inflated nostrils, a courageous bearing, a rapid and vehement utterance, all betokening the inward enthusiasm with which the mind is filled. 33. Judging requires a grave, sedate, serious, and reserved air. The countenance must be open, disingenuous, and candid, displaying deep attention. The voice must be solemn, slow, clear, and emphatic-accompanied by few gestures and the greatest appearance of impartiality. 34. Reproving imparts a stern roughness and slightly scornful tone to the voice, and gives to the body the general signs of displeasure and aversion. The countenance is severe the hand held out almost menacingly and forbidding. 35. Acquitting is the act of releasing from any accusation or suspicion of guilt. This mood of mind expresses itself in a calm, kindly tone; its manner is bland, affable, and benignant; the countenance is open and pleasant; the right hand is gently waved to the party addressed, as if dismissing him. 36. Condemning is the pronouncing of a person to be blameworthy, censurable, or meriting punishment, and displays itself (1) in a stern manner, slightly tinctured with compassion; austerity of countenance, mingled with sympathy, and an appearance of painful regret, should be expressed; the voice not just so harsh as if expressing displeasure. If, however (2), the fault be heinous, and the detestation and abhorrence be strongly felt, the voice should be harsh and slightly husky, while the face assumes a sternly forbidding aspect. The hand should be held forth, the palm downwards, in the direction of the party presumed to be guilty. 37. Teaching, explaining, or illustrating the most usual mode of address in an exordium-requires (1) an open, pleasant coun tenance; a steady eye-the eyebrow, however, somewhat over shading it; and a gentle vertical motion of the right hand-sometimes with the forefinger laid open in the palm of the other, sometimes pointing in one or other direction, as the case demands. The manner (2) firm, grave, authoritative, and commanding; the form closely knit and drawn up; the voice clear, slow, carefully emphasized, and accurately intonated-varying according to the subject, and free both from pedantry and petulant dogmatism. 38. Pardoning is the absolving of an individual from the punishment of guilt, and differs from acquitting in this: that in the former case the person is really guilty, while in the latter the guilt is only supposititious, and by the acquittal he is rendered free even from suspicion; hence there is a greater harshness of tone and manner, and a greater infusion of displeasure into the voice and gesture than in acquitting. 39. Arguing is the producing of reasons or considerations why a thing should be believed or disbelieved. It may either be done solus, as in a demonstrative sermon or lecture, or it may be in debate. In whichever way, however, arguing is manifested, its great design is persuasion; hence there is a necessity of adapting the style of argumentation employed to the parties on whose minds conviction is to be wrought; and in each case the gestural manifestations will differ. Generally, however, it may be remarked that, in arguing, a calm, attentive, and decided appearance-a steady, clear, unhesitating and emphatic utterance, with moderate gesticulation with the hands, make the greatest impres sion on an ordinary audience. 40. Dismissing the sending away of a person from one's presence, or the discharging of a subject from the mind-implies authority in the person so discharging another party, and hence an air of condescension is necessarily to be expressed if the dismission or leave be approbatively given, or anger if displeasure be the cause of the discharge. In the first case (1) a kind tone and look, and a gentle inclination of the head towards the person is assumed, and the right hand is waved permissively to the party; in the latter case (2) a mixture of displeasure, aversion, and wounded pride is felt; the mien is haughty; the voice loud in tone and vehement in utterance; the hand is thrown out violently in the direction of the offending person; and the face is half averted. 41. Refusing is the act of not granting an application or request. If this be accompanied with a feeling of displeasure, the external manifestations are similar to the state of mind referred to immediately above. If it be done unwillingly, from want of power, there is a reluctance manifested; the words are slowly and regretfully expressed; the head is shaken somewhat sorrowfully; ANALYSIS OF THE PASSIONS. 209 the hands are stretched forth to the person; and the whole frame betokens an anxiety to befriend, if possible, the applicant. 42. Granting is the act of bestowing without compensation or reward, generally in answer to a request, or the conceding of some point of form or opinion, without any convincing reason being asked or given. As it thus presupposes a sort of friendliness coexisting in the parties, it is usually (1) expressed by a hearty, kindly, and affectionate look and tone, with some of theee acts which betoken sincerity; e. g., the hand laid on the left breast, or extended approbatively to the person. When, however (2), it is given reservedly, there is a cold, haughty formality assumed, and a general stiffness and uneasiness displays itself in the voice and manner. 43. Dependence is the state of being in subjection to another, and is evinced by a mixture of Humility and Modesty. 44. Veneration is a combination of esteem and admiration for the great, the good, the wise, and holy. In its lowest exercise (1) it is hero-worship, loyalty, and the prime element in partisanship; and in its highest modes of manifestation (2) it becomes the worship and adoration of the one SUPREME. In uninformed minds, it expends itself in idolatry and superstition. Its general tone and manner is that of dependence, inferiority, and gratitude. It imparts (3) meekness and submissiveness to the deportment, lowers the head, declines the eyebrows, half shuts the eyes, spreads serenity over the countenance, and closes the mouth. Sometimes, however, (4) the head is slightly elevated, the eyes reverentially upturned, and the hands imploringly raised to a level with the chest; the voice low, equable, timid, diffident, anxious, and somewhat hesitating; while in the ascription of praise or thanks, a degree of cheerfulness may be imparted to the tone. 45. Hope is that passion of the mind which contemplates enjoyment as future and attainable. "Still it whispers promised pleasure, And bids the lovely scenes at distance-hail!" It bends the body forward, raises the head, brightens the eye, and makes it eager and wistful-spreads a glow of joy over the countenance-inclines the mouth to dimple into smiles-spreads the arms—and opens the hands as if to clasp the object of its longing aspirations. The voice is joyous, yet unequal-eager, yet anxious -full of anticipation, yet unnerved by doubt. 46. Desire is that internal act or emotion of the mind towards an object which appears worthy of being sought, and possessed of some pleasure-giving quality, on account of which we wish to obtain it, which, by influencing the will, induces us to attempt to acquire it. It is less confident in the attainment of its object, and, consequently, more eager and ardent, than Hope. It is expressed by the bending forward of the body, and the outstretching of the arm, as if to grasp the wished-for pleasure; the mouth is half open, the nostrils inflated, the eyeballs stretched, the eyebrows corrugated to the middle of the forehead, the eyelids expanded, and the whole demeanor characterized by wistfulness—the voice is cheerful and gay, though supplicative. 47. Love is Desire moderated by Veneration and Respect, or, as it is defined by Shakespeare— "It is to be all made of sighs and tears It is to be all made of faith and service It is to be all made of phantasie All made of passion, and all made of wishes All adoration, duty, and obedience All humbleness-all patience and impatience- No passion is more difficult to describe, for none exhibits itself 50. Wonder is, to a certain extent (1), a silent passion--it agitates the mind ́so suddenly and violently as for a time to suspend the action of its powers, and among others, the faculty of speech. When, however (2), the tongue is freed from the paralysis which impeded its exercise, it becomes loquacious with exclamatory phrases. When it is a simple passion (3), it opens the eyes wide and staringly-either raises them to the skies, or rivets them on the object,-spreads the hands outwards and upwards; the body becomes rigid, and the mouth gapes slightly. It combines with other passions, and forms Fear, Amazement, Horror, Perplexity, &c. 51. Admiration is a complex passion, partaking of the nature of Wonder and Esteem. The flow of speech is copious, ready, and figurative; the tone elevated and rapturous. The eyebrow is raised; the eye widened gradually, and fixed pleasingly on the object. The hands are held out about the height of the breast, in the direction of the object. The face is glowing, expressive, and animated. 52. Gratitude is a feeling of thankfulness which springs up in ANALYSIS OF THE PASSIONS. 21I the heart towards any one who has bestowed kindness upon us, and seems to us to be a compound of Love, Admiration, and Respect. The mien should be submissive and respectful; the tone of voice should be sincere and hearty; the right hand laid upon the left breast, to express the reality of the emotion which is felt. 53. Curiosity gives a keen, pert inquisitiveness to the countenance-sharpness to the eye; opens the mouth; extends the neck; inclines the body forward; and frequently imparts volubility to the tongue, and extravagance_to_the_gesture. It is compounded of Inquiry, Admiration, Desire, Perplexity, and often Envy. 54. Persuasion. How admirably true to Nature are the lines in which Anacreon gives the following order to the painter who is to create on the canvas the ideal of his mistress "Paint her lips like Persuasion's, This implies the flattering attractiveness which this passion calls into the countenance. The tone is kind, soft, winning, insinuating, and emphatic. Every effort which can work upon the feelings is exerted by it. 55. Tempting is, of course, only a dishonest application of the above, and is expressed much after the same fashion,-only heightening the flattery, and imparting greater cunning to the manner. 56. Promising is an act of the benevolent affections, and consequently displays a degree of good-will, suavity, and kindliness. The tone of voice is gentle and pleasing; the face cheerful, and expressive of benevolence. The head nods assent; the hands are held out towards the party addressed; and the hand may be laid upon the breast in token of sincerity. In 57. Affectation is the attempted assumption of what is not natural to us-the imitation of some quality, property, &c., which does not really inhere in, or belong to ourselves. It displays itself in many different forms, and in each receives a distinct name. The affectation of learning is pedantry; of virtueprudery; of honesty-hypocrisy; of piety-canting, &c. each of these cases the external expression of the passion differs, although the thing remains the same; indeed, the best general direction which could be given for the accurate delineation of Affectation, would be to gently overdo and caricature the real feeling. The pedant has a general air of stiff and unwieldy pomposity, which seems to say— "I am Sir Oracle, Let no dog bark when I do ope my mouth." The words are delivered with a superabundance of emphasis, a |