Distraction opens the eyes to a frightful wideness, rolls them hastily 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 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 upon the stage. It may be dwelt upon by the pleader at the bar; or it may have a place in a sermon. The passion is still grief. But the manner of expressing it will be different in each of the speakers, if they have judgment.
A correct speaker does not make a movement of limb, or feature, for which he has not a reason. If he addresses heaven, he looks upward. If he speaks to his fellow-creatures, he looks round upon them. The spirit of what he says, or is said to him, appears in his look. If he expresses amazement, or would excite it, he lifts up his hands and eyes. If he invites to virtue and happiness, he spreads his arms, and looks benevolent. If he threatens the vengeance of heaven against vice, he bends his eye-brow into wrath and menaces with his arm and countenance. He does not needlessly saw the air with his arm, nor stab himself with his finger. He does not clap his right hand upon his breast, unless he has occasion to speak of himself, or to introduce conscience, or somewhat sentimental. He does not start back, unless he wants to express horror or aversion. He does not come forward, but when he has occasion to solicit. He does not raise his voice, but to express somewhat peculiarly emphatical. He does not lower it, but to contrast the raising of it. His eyes, by turns, according to the humour of the matter he has to express, sparkle fury, brighten into joy, glance disdain, melt into grief, frown disgust and hatred, languish into love, or glare distraction.