The following are, I believe, the principal passions, humours, sentiments and intentions, which are to be expressed by speech and action.  And I hope it will be allowed by the reader, that it is nearly in the following manner, that nature expresses them.

Tranquility, or apathy, appears by the composure of the countenance, and general repose of the body and limbs, without the exertion of any one muscle.  The countenance open; the forehead smooth; the eyebrows arched; the mouth just not shut; and the eyes passing with an easy motion from object to object, but not dwelling long upon any one.

Cheerfulness, adds a smile, opening the mouth a little more.

Mirth, or laughter, opens the mouth still more towards the ears; crisps the nose; lessens the aperture of the eyes, and sometimes fills them with tears; shakes and convulses the whole frame, giving considerable pain, which occasions holding the sides.

Raillery, in sport, without real animosity, puts on the aspect of cheerfulness.  The tone of voice is sprightly.  With contempt, or disgust, it casts a look asquint, from time to time, at the object; and quits the cheerful aspect for one mixed between an affected grin and sourness—­the upper lip is drawn up with an air of disdain.  The arms are set a-kimbo on the hips, and the right hand now and then thrown out toward the object, as if one were going to strike another a slight back-handed blow.  The pitch of the voice rather loud, the tone arch and sneering; the sentences short; the expressions satyrical, with mock-praise intermixed.  There are instances of raillery in scripture itself, as 1 Kings xviii. and Isa. xliv.  It is not, therefore, beneath the dignity of the pulpit-orator, occasionally to use it, in the cause of virtue, by exhibiting vice in a ludicrus appearance.  Nor should I think raillery unworthy the attention of the lawyer; as it may occasionally come in, not unusefully, in his pleadings, as well as any other stroke of ornament, or entertainment.

Buffoonery assumes an arch, sly, leering gravity.  Must not quit its serious aspect, though all should laugh to burst ribs of steel.  This command of face is somewhat difficult, though not so hard, I should think, as to restrain the contrary sympathy, I mean of weeping with those who weep.

Joy, when sudden and violent, expresses itself by clapping of hands, and exultation, or leaping.  The eyes are opened wide; perhaps filled with tears; often raised to heaven, especially by devout persons.  The countenance is smiling; not composedly, but with features aggravated.  The voice rises from time to time, to very high notes.

Delight, or pleasure, as when one is entertained, or ravished with music, painting, oratory, or any such elegancy, shews itself by the looks, gestures, and utterance of joy; but moderated.

Gravity, or seriousness, the mind fixed upon some important subject, draws down the eyebrows a little; casts down, or shuts, or raises the eyes to heaven; shuts the mouth, and pinches the lips close.  The posture of the body and limbs is composed, and without much motion.  The speech, if any, slow and solemn; the tone unvarying.