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 for one mixed between an affected grin and sourness—the upper lip is drawn up with an air of disdain. The arms are set a-kimbo on the hips, and the right hand now and then thrown out toward the object, as if one were going to strike another a slight back-handed blow. The pitch of the voice rather loud, the tone arch and sneering; the sentences short; the expressions satyrical, with mock-praise intermixed. There are instances of raillery in scripture itself, as 1 Kings xviii. and Isa. xliv. It is not, therefore, beneath the dignity of the pulpit-orator, occasionally to use it, in the cause of virtue, by exhibiting vice in a ludicrus appearance. Nor should I think raillery unworthy the attention of the lawyer; as it may occasionally come in, not unusefully, in his pleadings, as well as any other stroke of ornament, or entertainment.
Buffoonery assumes an arch, sly, leering gravity. Must not quit its serious aspect, though all should laugh to burst ribs of steel. This command of face is somewhat difficult, though not so hard, I should think, as to restrain the contrary sympathy, I mean of weeping with those who weep.
Joy, when sudden and violent, expresses itself by clapping of hands, and exultation, or leaping. The eyes are opened wide; perhaps filled with tears; often raised to heaven, especially by devout persons. The countenance is smiling; not composedly, but with features aggravated. The voice rises from time to time, to very high notes.
Delight, or pleasure, as when one is entertained, or ravished with music, painting, oratory, or any such elegancy, shews itself by the looks, gestures, and utterance of joy; but moderated.
Gravity, or seriousness, the mind fixed upon some important subject, draws down the eyebrows a little; casts down, or shuts, or raises the eyes to heaven; shuts the mouth, and pinches the lips close. The posture of the body and limbs is composed, and without much motion. The speech, if any, slow and solemn; the tone unvarying.
Enquiry into an obscure subject, fixes the body in one posture, the head stooping, and the eye poring, the eyebrows drawn down.
Attention to an esteemed, or superior character, has the same aspect, and requires silence; the eyes often cast down upon the ground; sometimes fixed on the face of the speaker; but not too pertly.
Modesty, or submission, bends the body forward; levels the eyes, to the breast, if not to the feet, of the superior character. The voice low; the tone submissive; and words few.
Perplexity, or anxiety, which is always attended with some degree of fear and uneasiness, draws all the parts of the body together; gathers up the arms upon the breast, unless one hand covers the eyes, or rubs the forehead; draws down the eyebrows; hangs the head upon the breast; casts down the eyes; shuts and pinches the eye-lids close; shuts the month, and pinches the lips close, or bites them. Suddenly the whole body is vehemently agitated. The person walks about busily; stops abruptly: then he talks to himself, or makes grimaces. If he speaks to another, his pauses are very long; the tone of his voice, unvarying, and his sentences broken, expressing half, and keeping in half of what arises in his mind.
Vexation, occasioned by some real or imaginary misfortune, agitates the whole frame; and, besides expressing itself with the looks, gestures, restlessness, and tone of perplexity, it adds complaint, fretting, and lamenting.