Enquiry into an obscure subject, fixes the body in one posture, the head stooping, and the eye poring, the eyebrows drawn down.

Attention to an esteemed, or superior character, has the same aspect, and requires silence; the eyes often cast down upon the ground; sometimes fixed on the face of the speaker; but not too pertly.

Modesty, or submission, bends the body forward; levels the eyes, to the breast, if not to the feet, of the superior character.  The voice low; the tone submissive; and words few.

Perplexity, or anxiety, which is always attended with some degree of fear and uneasiness, draws all the parts of the body together; gathers up the arms upon the breast, unless one hand covers the eyes, or rubs the forehead; draws down the eyebrows; hangs the head upon the breast; casts down the eyes; shuts and pinches the eye-lids close; shuts the month, and pinches the lips close, or bites them.  Suddenly the whole body is vehemently agitated.  The person walks about busily; stops abruptly:  then he talks to himself, or makes grimaces.  If he speaks to another, his pauses are very long; the tone of his voice, unvarying, and his sentences broken, expressing half, and keeping in half of what arises in his mind.

Vexation, occasioned by some real or imaginary misfortune, agitates the whole frame; and, besides expressing itself with the looks, gestures, restlessness, and tone of perplexity, it adds complaint, fretting, and lamenting.

Pity, a mixed passion of love and grief, looks down upon distress with lifted hands; eyebrows drawn down; mouth open, and features drawn together.  Its expression, as to looks and gesture, is the same with those of suffering, (see Suffering) but more moderate, as the painful feelings are only sympathetic, and therefore one remove, as it were, more distant from the soul, than what one feels in his own person.

Grief, sudden and violent, expresses itself by beating the head; groveling on the ground; tearing of garments, hair, and flesh; screaming aloud, weeping, stamping with the feet, lifting the eyes, from time to time, to heaven; hurrying to and fro, running distracted, or fainting away, sometimes without recovery.  Sometimes violent grief produces a torpid silence, resembling total apathy.

Melancholy, or fixed grief, is gloomy, sedentary, motionless.  The lower jaw falls; the lips pale; the eyes are cast down, half shut, eye-lids swelled and red, or livid, tears trickling silent, and unwiped; with a total inattention to every thing that passes.  Words, if any, few, and those dragged out, rather than spoken; the accents weak, and interrupted, sighs breaking into the middle of sentences and words.