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motions and configurations, we may clearly express anguish, sorrow, composure, cheerfulness, mirth, anger, contempt, derision, approbation, courtesy, fondness, &c, &c. Among other things there is a great variety of significant smiles, on which most of these expressions depend.

There is a considerable diversity of expression in the forehead, and some in the chin, the nose, and the cheeks, on which I have not room to enlarge.

When the expression of one feature, as the eye, for example, is ambiguous or doubtful, it is generally interpreted by that of some other, and still more decisively by that of all the features combined, among which, so far as they are actuated by nature, there is always a perfect accordance.

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The most important expressions of the features, both single and combined, may readily be learned by any one, who will attend a little to the tions of the passions in ordinary life. I shall excuse myself, therefore, from a particular description of them.

The physiognomical expressions should always be suited to the nature of the subject, and to the

relative characters of the speaker and the hearers; and it may be laid down as a rule, that where there is no occasion for severity, the countenance of the speaker should always be attractive and pleasant, though often serious and occasionally pensive..

ATTITUDE.

Another general class of expressions, to which no little attention is due, consists in the general attitudes or postures of the body. By inclining the body more or less forward, we may aid expressions of dejection, humility, respect, condescension, eagerness, &c. By an erect posture we may express fortitude, resolution, dignity, and the like; while an inclination backward is significant of vanity, insolence, and pride. In discoursing on dignified or solemn subjects, the general posture of the speaker should be erect; and in every thing inviting and persuasive, a little inclined toward his audience.

MOTIONS.

There is an important significance in many bodily motions beside those of the features. The speaker should never continue for many

successive moments in the stiff attitude of a statue, but should exhibit motions or changes corresponding to the diversities of thought he delivers. Where the whole person of the speaker is exposed to view, it is hardly consistent with graceful or forcible expression for him to continue long on the same ground, but he must alter his general position, and sometimes walk to and fro in an expressive manner. In those forms of public speaking, in which this is not permitted or required, and with which I am chiefly concerned, there is or should be considerable motion in the trunk of the body, but much more in the head and the hands. The face should be frequently turned toward every part of the auditory, as significant of impartial attention to all. Beside this there are various expressive motions performed by this organ, such as the nod of assent, the shake of denial, the recoil of fear, abhorrence, and disgust, the demission of modesty and dejection, and the elevation of joy and triumph.

With the hands we may invite, or repel, direct, demonstrate, or show, command, or threaten, and by different degrees of energy express the different degrees of our inward feeling.

•The first concern of every public speaker, in regard to the subject we are now considering, should be to avoid every thing offensive, awkward, or absurd in gesticulation; and the second, to make every motion significant; conducive either to force or grace. A superabundance of action, like all other excesses, destroys and perverts the effect. An extravagance of this kind in the pulpit or on the bench is a great blemish; and especially if the speaker is personating the infinite God, or his blessed Son. To say no more, action is always to be accommodated to the nature of the subject, to the office of the speaker, and to the tastes and customs of those he addresses; and is ever to be remembered that too little action is safer than too much..

BOOK II.

PRINCIPLES OF COMPOSITION.

INTRODUCTION.

It was no part of my original design, to treat of composition; nor is it my present expectation, to produce much on this subject, that is new and important. It has however appeared to me, that far greater attention is due to the style of English composition, than it generally receives. In this remark, I have particular reference to the several constituents of euphony and expression. These are of vast importance in every public address; and on these points, it may not be found impossible, to add something useful to the precepts, which are scattered here and there, through the many excellent books, already extant.

It is evident, there must be a natural affinity between the principles of composition and those

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