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 
