beauty, which makes fo ftrong an impreffion, is known to refult, not fo much from regular features and a fine complexion, as from good nature, good fenfe, fprightliness, fweetnefs, or other mental quality, expreffed fome way upon the countenance. Though perfect fkill in this language be rare, yet so much knowledge of it is diffused through mankind, as to be fufficient for the ordinary events of life. But by what means we come to understand this language, is a point of fome intricacy. It cannot be by fight merely; for upon the most attentive inspection of the human vifage, all that can be difcerned are figure, colour, and motion; and yet thefe, fingly or combined, never can reprefent a paffion or a fentiment. The external fign is indeed vifible. But to understand its meaning, we must be able to connect it with the paffion that caufes it; an operation far beyond the reach of eye-fight. Where then is the inftructor to be found, that can unvail this fecret connection? If we apply to experience, it is yielded, that from long and diligent obfervation, we may gather in fome measure measure in what manner those we are acquainted with exprefs their paffions externally. But with respect to strangers, of whom we have no experience, we are left in the dark. And yet we are not puzzled about the meaning of these external expreffions in a stranger, more than in a bofom-companion*. Further, had we no other means. but experience for understanding the external figns of paffion, we could not expect any uniformity or any degree of skill in the bulk of individuals. But matters are ordered fo differently, that the external expreffions of paffion form a language underftood by all, by the young as well as the old, by the ignorant as well as the learned, I talk of the plain and legible characters of this language; for undoubtedly we are much indebted to experience in deciphering the dark and more delicate expreffions. Where then shall we apply for a folution of this intricate problem, which feems to penetrate deep into human nature? In my See this explained, Effays on morality and natural reli gion, part 2. effay 5. mind it will be convenient to fufpend the inquiry, till we be better acquainted with the nature of external figns and with their operations. Thefe articles therefore fhall be premised. The external figns of paffion are of two kinds, voluntary and involuntary. The voluntary figns are alfo of two kinds: fome are arbitrary and some natural. Words are arbitrary figns, excepting a few fimple founds expreffive of certain internal emotions; and these founds, being the fame in all languages, must be the work of nature." But though words are arbitrary, the manner of employing them is not altogether fo; for each paffion has by nature peculiar expreffions and tones fuited to it. Thus the unpremeditated tones of admiration, are the fame in all men; as alfo of compaffion, refentment, and defpair. Dramatic writers ought to be well acquainted with this natural manner of expreffing paffion. The chief talent of a fine writer, is a ready command of the expreffions that nature dictates to every man when any vivid emotion. truggles for utterance; and the chief ta lent lent of a fine reader, is already command of the tones fuited to thefe expreffions. The other kind of voluntary figns, comprehends certain attitudes and gestures that naturally accompany certain emotions with a surprifing uniformity. Thus) exceffive joy is expreffed by leaping, dan cing, or fome elevation of the body and exceffive grief by finking or depreffing it. Thus proftration and kneeling have been employ'd by all nations and in all ages to fignify profound veneration. Another circum.stance, still more than uniformity, de monftrates these geftures to be natural, viz. their remarkable conformity or resemblance to the paffions that produce them*, Joy, which produceth a chearful elevation of mind, is expreffed by an elevation of body. Pride, magnanimity, courage, and the whole tribe of elevating paffions, ared expreffed by external geftures that are the fame as to the circumftance of elevation, however diftinguifhable in other refpects. Hence it comes, that an erect pofture is a fign or expreffion of dignity; Two of far nobler fhape, erect and tall, Paradife Loft, book 4. Grief, on the other hand, as well as refpect, which deprefs the mind, cannot for that reafon be expreffed more fignificantly than by a fimilar depreffion of the body. Hence, to be caft down, is a common phrase, signifying to be grieved or dispirited. One would not imagine, who has not given peculiar attention, that the body is fufceptible of fuch a variety of attitude and motion, as readily to accompany every different emotion with a correfponding gesture. Humility, for example, is expreffed naturally by hanging the head; arrogance, by its elevation; and langour or defpondence, by reclining it to one fide. The expreffions of the hands are manifold. By different attitudes and motions, the hands express defire, hope, fear they affift us in promifing, in inviting, in keeping one at a diftance: they are made inftruments of threatening, of fupplication, of praise, and of VOL. II. horror: |