know how Mr. Thiers, the French gentleman, speaks. He is all alive. Your remarks are correct, my son, said the Professor Let us now look at gestures more closely. And how shall we do it? We will look in upon a happy family. Instances are at hand. Mrs. Merwin is an instance of TRANQUILLITY. Her face is calm, lips a little parted, body in repose, eyes in easy motion; and when she speaks, it is in a low, clear tone. CHEERFULNESS often adds a smile, and gives a sprightliness to her manner. Her daughter Jane is an instance of JOY. The eyes are opened wide, often raised to heaven, face glowing with light, hands sometimes clasped together; hope at times elevates the body, and the voice rises high and clear. PLEA SURE and DELIGHT are moderate joy, and may be seen, when she caresses her pets. Mr. Merwin is a good instance of all serious and earnest feelings. REVERENCE, RESPECT, and AWE are seen in his manners. The body is composed, eyebrows lowered or raised slowly, the looks earnest and searching, all motions measured, and the voice slow, solemn and deep. Let us now enter another household. Mrs. Reed is a good example of excessive GRIEF. When she lost her son, she beat her braest, tore her clothes, threw herself down, screamed aloud, and then became fixed and silent. After a time, she appears more composed. Her countenance is sad, eyes dim, looks cold, movements slow, and tones of voice high and tremulous. She is often melancholy, and then her whole face is fixed and gloomy; her tones are low, cold, and very sad. Her daughter, Sarah, is an instance of HOPE. Her face is bright, eyebrows arching, eyes sparkling, body inclines towards you, arms spread out, and voice is eager, high, clear, and somewhat like that of joy. Her sister Julia is an instance of LOVE. Her face is lit up with smiles, eyebrows arched, lips parted, look wistful, and eyes inclined to close. The air is that of languor. The voice is soft and touching. She appears as if she would move and win every body to love. Ella, her sister, supplies us with an example of WONDER and ADMIRATION. Her eyes are opened wide, and she appears as if she was about to start with joy or fear. Her voice is high, and broken. In admiration she appears more collected than in wonder. There is a look of respect. The face is open with pleasure, and the voice passes from the note of joy to that of the highest rapture. I will now turn your attention to a dark scene, Wilmer. Let me tell you about the State prison. Here we find instances to explain gestures. The State prison, you know, is a large building, in which persons who have broken the law are confined, such as thieves and murderers. They are sometimes put in close cells. At other times, they are engaged in hard labor. Trades have been introduced into some prisons, and the prisoners work at them every day. Now, Wilmer, I think it would be better to teach these poor creatures. Lectures and music would do them good. A new train of thought might give them new views of life, and prepare them to be good citizens. Kindness is the governor of the human heart. But where are the instances for gestures, father? asked Wilmer. Here, said Professor C., is one for REMORSE. There is a young man chained in his cell. His crime is theft. His head inclines on his breast; his eyes are downcast; his face is black and scowling; and when he speaks, his voice is deep, harsh, and abrupt. Now he beats his breast, and bursts into tears. Unhappy victim! but not yet lost—not lost, while he has tears to shed. There is an instance of DESPAIR—a man condemned for murder. The eyebrows are bent downward; the forehead is dark; the eyes roll wildly; the lips are bitten; the teeth ⚫are gnashed; the fist closed; the whole body strained: his words are few, and voice sullen and fierce. Doom sits on his face like an enthroned cloud of evil. This, Music and Music and Here is an Wilmer, we may now look into the Insane Asylum. you are aware, is a building for insane persons. kindness very often bring back their reason. kindness have wrought wonders among them. instance of PRIDE. It is the prince. His look is lofty and almost angry, eyebrows drawn down, mouth pouting, and lips pinched. His gait is a strut. His gait is a strut. His voice is slow, stiff, and swelling with importance. Here is an instance of ANGER. The head is raised, neck stretched out in a threatening way, eyes red and rolling restlessly, eyebrows drawn down, the body excited and strained, face pale, bloated, and sometimes red; fists clenched, feet stamping, and voice violent, loud, and hurried. But I must bring our talk to a close. The hour is past. When you grow up, Wilmer, you can learn more about gestures. You can read the lives of great men, and learn the gestures that made up their manner. Washington was marked by calm dignity of manner; Franklin was noted for ease and self-possession; Jackson for cool determination; John Randolph for scorn, and sarcastic disdain. But, after all, you must try and learn the subject of ges |