A system of elocution, with special reference to gesture, to the treatment of stammering, and defective articulation .. . employed chiefly indramatic representation. They are combinations ofsimple significant gestures, variously associated accord-ing to the mingled passions which they represent. Theboldest and most magnificent of them are termed atti-tudes. The following are examples of complex signifi-cant gestures: Reproach puts on a stern aspect: the brow is con-tracted, the lip is turned up with scorn, and the wholebody is expressive ofaversion. Fig. 166represents Queen Ka-tharine, in the
A system of elocution, with special reference to gesture, to the treatment of stammering, and defective articulation .. . employed chiefly indramatic representation. They are combinations ofsimple significant gestures, variously associated accord-ing to the mingled passions which they represent. Theboldest and most magnificent of them are termed atti-tudes. The following are examples of complex signifi-cant gestures: Reproach puts on a stern aspect: the brow is con-tracted, the lip is turned up with scorn, and the wholebody is expressive ofaversion. Fig. 166represents Queen Ka-tharine, in the trialscene, in the play ofHenry VIII. reproach-ing Wolsey for the in-juries which had beenneaped upon her. Apprehension is theprospect of future evilaccompanied with un-easiness of mind. is a good represents Hamlet in the act of exclaiming, Ay, theres the Soliloquy, p. 249.] Terror excites the person who suffers under it, toavoid the dreaded object, or to escape from it. If it besome dangerous reptile on the ground, and very near,the expression is represented by starting back and look-. * This Chapter should have followed p. 130. 6 ELOCUTION ing downwards. If the danger threaten from a dis-tance, the terror arising is expressed by looking for-wards, and not starting back, but merely in the retiredposition. But if the dread of impending death fromthe hand of an enemy awaken this passion, the cowardflies. Of this there is a fine example in the battles of Alexander, byLeBrun. as de-scribed by En-gel. It is thatof a man a-larmed bylightning andthunder. Heshuts hiseyes,covers themwith one handand extends the other behind him, as if to ward off the dreaded , as already observed, is expressed by twogestures. (See p. 122.) Horror, which is aversion or astonishment mingledwith terror, is seldom capable of retreating, but remainsin one attitude, with the eyes riveted on the object, thearms, with the hands vertical, hel
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