EXPRESSION. 53 



It may be doubted if there are any gestures to 

 which the principle of symbolism, which I have at- 

 tempted to illustrate, does not apply. True, move- 

 ment upwards, downwards, forwards, and backwards, 

 with quickness or slowness, tension or relaxation, 

 form but a small number of elements of gesture 

 compared with the varieties of mental condition 

 expressed, yet there are combinations, adjustments, 

 and accessories which give them a wide range of ex- 

 pression. Take the condition of relaxation, for 

 example ; it may be seen in enjoyed repose, or in 

 sorrow, weariness, or despair. But, keeping feature 

 entirely out of the question, in enjoyment of repose 

 the attitude exhibits careful selection with a view to 

 comfort, which in the excess of sorrow or despair is 

 entirely absent. In despair the body is thrown 

 back, and causes its relaxation to indicate the use- 

 lessness of having anything further to do with that 

 which is before the mind's eye ; in weariness it 

 turns to one side as if change could alone give 

 relief from utter lifelessness ; while in sorrow the 

 body is folded on itself as if the heart would nurse 

 its own bitterness, and yield to prostration, with the 

 world shut out. 



But especially is the direction of the eye the 

 appropriate supplement of gesture, and its con- 

 nection with this may fairly be taken into 



