ing downwards. If the danger threaten from a dis tance, the terror arising is expressed by looking forwards, and not starting back, but merely in the retired position. But if the dread of impending death from the hand of an enemy awaken this passion, the coward flies. Of this there is a fine example in the battles of Alexander, by Le Brun. Fig. 168 represents terror as described by Engel. It is that of a man alarmed by lightning and thunder. He shuts his eyes, covers them with one hand and extends 168 169 the other behind him, as if to ward off the dreaded stroke. Aversion, as already observed, is expressed by two gestures. (See p. 122.) Horror, which is aversion or astonishment mingled with terror, is seldom capable of retreating, but remains. in one attitude, with the eyes riveted on the object, the arms, with the hands vertical, held forward to guard the person, and the whole frame trembling. (Fig. 169.) Listening in order to obtain the surest and most various information, first casts the eye quickly in the apparent direction of the sounds; if nothing is seen, the ear is turned towards the point of expectation, the eye is bent on vacancy, and the arm is extended, with the hand vertical; but all this passes in a moment. If the sounds proceed from different points at the same time, both hands are held up, and the face and eyes alternately change from one side to the other with a rapidity governed by the nature of the sound; if it be alarming, with trepidation; if pleasing, with gentle motion. (Fig. 99 ) The figure is listening fear. Admiration, if of surrounding natural objects, of a pleasing kind, holds both hands vertical, and across, and then moves them outwards to the position extended as in the figure. (Fig. 100.) In admiration arising from some extraordinary or unexpected circumstances, the hands are thrown up supine elevated, together with the face and the eyes. Veneration crosses both hands on the breast, casts 101 102 down the eyes slowly, and bows the head. (Fig.101.) Deprecation advances in the extended position of the feet, approaching to kneeling, clasps the hands forcibly together throws back the head, sinking it between the shoul ders, and looks earnestly up to the person implored (Fig. 102.) In appealing to heaven, the right hand is laid on the breast, then the left is projected supine upwards; the eyes are first directed forwards, and then upwards. (Fig. 103.) In the appeal to conscience, the right hand is laid on the breast, the left drops unmoved, the eyes are fixed upon the person addressed (Fig. 80, p. 99); sometimes both hands press the breast. Shame in the extreme sinks on the knee, and covers the eyes with both hands. (Fig. 104.) This is a feminine expression of it. Mild resignation falls on the knee, 103 crosses the arms on the breast, and looks forwards and upwards towards heaven. (Fig. 105.) Resignation mixed with desperation, stands erect and unmoved, the head thrown back, the eyes turned upward, and fixed, the arms crossed. A fine instance is seen in Fig. 106, from an attitude of Mrs. Siddons. Grief arising from sudden and afflicting intelligence, covers the eyes with one hand, advances forwards, and throws back the other hand. (Fig. 107, and Fig. 81, p. 99.) Attention demanding silence, holds the finger on the lips, and leans forwards, sometimes repressing with the left hand. (Fig. 82, p. 99.) Distress, when extreme, lays the palm of the hand upon the forehead, throws back the head and body, and retires with a long and sudden step. (Fig. 83. p. 99. Deliberation on ordinary subjects, holds the chin and sets the arm a-kimbo. (Fig. 84, p. 99.) Self-sufficiency folds the arms, and sets himself on his centre. (Fig. 48, p. 92.) This was a favourite posture of Bonaparte. Pride throws back the body, and holds the head high. These few complex significant gestures are some of the most obvious, and principally such as occurred in the illustration of other parts of this system; they serve, however, in some degree, to explain the nature of these gestures. But among the writers who have treated particularly of significant gestures, none have written with greater ingenuity than Engel: we will borrow, therefore, an example or two from him. Surprise causes the body and lower limbs to retire and affection stimulates the person to advance. (Fig. 108.) The figure represents Frederick de Reuss, in a German play, who unexpectedly sees his dear friend. He withdraws, in surprise, his body and lower limbs, and, in the ardour of friendship, immediately stretches forwards his head and his arms. When the thoughts flow without difficulty or opposition, the movement of the limbs is free and direct. But when difficulties occur, or obstacles are discovered, a man either arrests his action entirely, or changes it to something altogether different. The direction of his eyes, and the action of his head, are also, under similar circumstances, quite altered. The eyes, instead of moving freely from object to object, become fixed, and the head is thrown back, if be 108 fore hanging down on the breast. As an example of these effects, M. Engel refers to a scene in a play of Lessing, in which an old gentleman is very much puzzled how to ma nage, in a situation of great difficulty and delicacy. In the commencement of his deliberations he is represented as in Fig. 109, and in the next period of them, as in Fig. 110. These examples are introduced by M. Engel to illus 109 110 trate his analogous gestures, but they may also be very well applied to illustrate the complex, significant gestures, which are the present subject of investigation. The description which he gives of melancholy, contrasted with anxiety, is, throughout. correct, and full of nice discrimination |