’To be, or not to be?—­that is the Question: 
  Whether ’tis nobler in the Mind to suffer
  The Slings and Arrows of outrageous Fortune,
  Or to take Arms against a Sea of Troubles,
  And by opposing end them.  To die, to sleep;
  No more; and by a Sleep to say we end
  The Heart-ach, and the thousand natural Shocks
  That Flesh is Heir to; ’tis a Consummation
  Devoutly to be wish’d.  To die, to sleep—­
  To sleep; perchance to dream!  Ay, there’s the Rub. 
  For in that sleep of Death what Dreams may come,
  When we have shuffled off this Mortal Coil,
  Must give us pause—­There’s the Respect
  That makes Calamity of so long Life;
  For who would bear the Whips and Scorns of Time,
  Th’ Oppressor’s Wrongs, the proud Man’s contumely,
  The Pangs of despis’d Love, the Law’s Delay,
  The Insolence of Office, and the Spurns
  That patient Merit of th’ unworthy takes,
  When he himself might his Quietus make
  With a bare Bodkin?  Who would Fardles bear,
  To groan and sweat under a weary Life? 
  But that the Dread of something after Death,
  The undiscover’d Country, from whose Bourn
  No Traveller returns, puzzles the Will,
  And makes us rather chuse those Ills we have,
  Than fly to others that—­we know not of.’

As all these Varieties of Voice are to be directed by the Sense, so the Action is to be directed by the Voice, and with a beautiful Propriety, as it were to enforce it.  The Arm, which by a strong Figure Tully calls The Orator’s Weapon, is to be sometimes raised and extended; and the Hand, by its Motion, sometimes to lead, and sometimes to follow the Words, as they are uttered.  The Stamping of the Foot too has its proper Expression in Contention, Anger, or absolute Command.  But the Face is the Epitome of the whole Man, and the Eyes are as it were the Epitome of the Face; for which Reason, he says, the best Judges among the Romans were not extremely pleased, even with Roscius himself in his Masque.  No Part of the Body, besides the Face, is capable of as many Changes as there are different Emotions in the Mind, and of expressing them all by those Changes.  Nor is this to be done without the Freedom of the Eyes; therefore Theophrastus call’d one, who barely rehearsed his Speech with his Eyes fix’d, an absent Actor.

As the Countenance admits of so great Variety, it requires also great Judgment to govern it.  Not that the Form of the Face is to be shifted on every Occasion, lest it turn to Farce and Buffoonery; but it is certain that the Eyes have a wonderful Power of marking the Emotions of the Mind, sometimes by a stedfast Look, sometimes by a careless one, now by a sudden Regard, then by a joyful Sparkling, as the Sense of the Words is diversified:  for Action is, as it were, the Speech of the Features and Limbs, and must therefore conform itself always to the Sentiments