"Facial" Quotes from Famous Books
 ... except from the response of the children themselves, which the teacher must be able to sense accurately and unfailingly. Much may be added to the effect of stories by skillful use of the various arts of expression, such as facial expression, voice tone, quality, and inflection, and gesture. The use of mimicry, imitation, and impersonation is also very effective if this ability comes naturally to the one who attempts to use it, but these would better ...
— How to Teach Religion - Principles and Methods • George Herbert Betts
... her regard for Dick Swinton spared her any reference to the young man's death; but others, who loved gossip and were blind to facial signs, babbled to her of the rector's trouble. The poor man was so broken, they said, that he could not conduct the Sunday services. A friend was doing duty for him. But Mrs. Swinton had come out splendidly, and was throwing herself ...
— The Scarlet Feather • Houghton Townley
... knit brows and stumbling moments when he sought dim-remembered words, he plied the man with questions. To the rest it was like a pantomime,—the meaningless grunts and waving arms and facial expressions of puzzlement, surprise, and understanding. At times a passion wrote itself on the face of the Indian, and a sympathy on the face of La Flitche. Again, by look and gesture, St. Vincent was referred to, and once a sober, mirthless laugh ...
— A Daughter of the Snows • Jack London
... painter's pictorial use of shadow on those powerful and scantily draped figures and the animation he put into the bodies of the wine-pressers. And down there in a corner he had perfectly reproduced the attitude and facial expression of the worker at rest, holding out his cup for a drink. "There's another of those queer and interesting children. But oh, most wonderful of all is the opposite panel that ought to be called Abundance. See that mother, holding her lusty baby. ...
— The City of Domes • John D. Barry
... Sforza, and Galeazzo Sforza. The relief is very low, rising at no point more than half an inch above the surface of the ground, but so carefully modulated as to present a wonderful variety of light and shade, and to render the facial ...
— Renaissance in Italy Vol. 3 - The Fine Arts • John Addington Symonds
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