affection; that they blaze and seem to flash fire in rage; that they melt in grief and pity; that they are raised up in joy, hope, and supplication; that they are cast down in gloom, despondency, and shame; that in the expression of scorn and contempt, they appear to measure their object from head to foot; that they are widely opened, and stare more or less in amazement, wonder, and surprise; that they are protruded in horror; are restless in anxiety; are fixed and resolute in confidence, courage, and secrecy; and seem cast on vacancy in abstract thought. The muscles which perform these varied functions are the orbicular muscles. (See diagrams.)

The eyebrows and eyelids are most important adjuncts to the expressiveness of the eyes. The eyebrows are elevated in amazement, joy, and hope; they are depressed in grief, despair, and authority; they are knitted together and produce the frown of anger and the other sterner passions, and seem to droop in weakness and dejection. The muscles which control these actions are the corrugator and orbicular muscles. (See diagrams.)

What Quinctilian says on these points is as truthful as it is eloquent. He states, in the third chapter of his eleventh book, as follows :—“ In order to bring about all the various expressions of the eyes, the eyelids and the cheeks lend assistance by their auxiliary service, and the eyebrows also contribute greatly. For they give the form to the eyes in a certain degree, and altogether control the forehead. By them the forehead is contracted, raised, or lowered; and accordingly as any circumstance particularly affects the mind, the blood which is affected in its movement by the emotions, when it reaches the skin, delicate with modesty, is diffused in blushes; and when it suddenly retires through fear, it entirely forsakes the forehead, which it leaves pale and cold. When the blood is temperate, the forehead appears like the serene sky. It is a fault in the eyebrows either to be altogether immovable or to move too much, or to be at variance by being unequally raised, or to be in any manner different from what we have mentioned. For anger is manifested by the contraction of the brows, sorrow by their depression, and cheerfulness by their relaxation.”

The nostrils play comparatively a subordinate part in the expression of the emotions. When we are calm and composed they are relaxed, but become rigid in violent passion, in which condition also, the Abbé Dubroca says, he has observed that the ale of the nostrils become swollen and are greatly distended. In disgust, scorn, and contempt the nostrils are drawn up, and (according to Quinctilian) in the manifestation of pride and haughtiness. The muscles which act upon them are those of the pyramidalis nasi and the levator labii superioris alæque nasi. The cheeks contribute to expression chiefly by their becoming more or less flushed or pale under the influence of certain emotions.

Last of all we come to the mouth and lip, which, as organs of expression, are as important, even if not more important, than the eyes themselves. The mouth indeed may well excite our deepest interest and attention, whether on account of the variety and precision of its action, or the language and tones which issue from it, or the general impression

which its shape and character make upon the beholder. The description which Buffon gives of the mouth and lips may well be cited here, for it is as eloquent as it is true:-"La bouche et les lèvres sont, après les yeux, les parties du visage qui ont le plus de mouvement et d'expression; les passions influent sur ces mouvemens; la bouche en marque les différens caractères par les différentes formes qu'elle prend: l'organe de la voix anime encore cette partie et la rend plus vivante que tous les autres ; la couleur vermeille des lèvres, la blancheur de l'émail des dents, tranchent avec tant d'avantage sur les autres couleurs du visage qu'elles paraissent en faire le point de vue principal: on fixe en effet les yeux sur la bouche d'un homme qui parle, et on les y arrête plus longtemps que sur toutes les autres parties. Chaque mot, chaque articulation, chaque son produisent des mouvemens différents dans les lèvres. Quelques variées et quelques rapides que soient ces mouvemens, on pourrait les distinguer tous les uns des autres. On a vu des sourds en connaître si parfaitement les différences et les nuances successives, qu'ils entendaient ce qu'on disait en voyant comme on le disait.”*

Dr. Austin well remarks that it is more important to attend to the mouth than even to the eyes themselves. "The eyes," he says, "can at all times assume the character suited to the expression of the moment. But the mouth being one of the softest features is soonest changed, and if it once loses its character of sweetness, it changes perhaps for ever. How few mouths which have been beautiful in youth (that season of happiness and smiles) preserve that character beyond youth; whilst the eyes are often found to retain their lustre, or to flash occasionally with their early brightness even in advanced life. Every bad habit defaces, the soft beauty of the mouth, and leaves indelible on it the traces of their injury. The stains of intemperance discolour it ; ill-nature draws it down; envy deforms, and voluptuousness bloats it. The impressions of sorrow upon it are easily traced; the injuries which it suffers from illhealth are manifest, and accidents may often deform its symmetry. It is sweetened by benevolence, chiselled by taste, rendered firm by wisdom, and composed by discretion; and these traces, if habitually fixed, last unaltered in its soft forms throughout every varying stage of life. We should, therefore, labour in our own persons, and watch those of the young under our control, to form, if possible, this pliant and characteristic feature to that grace and beauty of form which is so apt to be marred by ill-temper and bad passions. But whatever may be the beauty and expression of the mouth which prepossesses in favour of an orator, a well-formed mouth is to be desired on another and most important account, which is for the advantage of more perfect articulation and grace in delivery. An ill-formed, uncouth, underhung or gaping mouth can never finish perfectly or correctly the articulation of words, nor deliver them with that winning grace which delights the ear as well as the eye of every hearer. The authors of the fantastic legends of the 'Fairy Tales' often allude to the magic gift of dropping at every word pearls and diamonds from the lips. A near approach to this imaginary gift is made in real life by those who acquire the most perfect Buffon: "Hist. Nat. de l'Homme," p. 527.

eloquence; who join to correct and finished enunciation the graces of a refined taste and the riches of a cultivated mind. On their lips sit persuasion and delight, and the words which fall from them may well be compared to the brightest gems."

The muscles which act upon the lips are the levator labii superioris and the levator labii proprius, while the shape and opening and shutting of the mouth are produced by the actions of those muscles which are termed the zygomatic, the malaris, the little zygomatic, the depressor anguli oris, the quadratus menti and the risorius. The lips play a most prominent part in the manifestation of all the emotions. In joy and laughter they are drawn back at the corners and raised; in sorrow and dejection they are depressed, and in some instances slightly projected; in scorn and contempt they are curled upwards, in disgust downwards; in decision and energy they are firmly compressed together; in weakness and irresolution they are relaxed; in agony they are often tightly pressed together; and in the case of vexation, it may frequently be noticed that the lower lip is bitten by the upper front teeth. I have also observed that in persons of quick and lively intellect the lips are highly muscular, elastic, and mobile in their actions; while in persons of weak intellect the lips are loose and pendulous.

In fear, in languor, in wonder, and in the act of eager listening, it will be observed in most cases that the lower jaw falls, and the mouth is consequently more or less open in extent. Mr. Darwin in his "Expression of the Emotions" notices all these facts, and the last eight chapters of his most deeply interesting work may be read by the student with the greatest profit and advantage.

* Austin's “Chironomia,” pp. 123, 124.

LECTURE XVII.

Erasmus Darwin's Theory of the Mode in which we become acquainted with the Emotions of others-Opinion of Edmund Burke-Views of the Tragedian, Betterton -Expression of the various Emotions: Joy, Pleasure, Cheerfulness, Love, Affection, Sympathy, Pity, Devotion, Veneration, Gravity, Seriousness, Perplexity, Attention, Surprise, Wonder, Amazement, Admiration, Appeal, Persuasion, Hope, Desire, Tranquillity, Acquiescence, Negation, Raillery, Irony, Anxiety, Dejection, Grief, Misery, Despair, Fear, Terror, Horror, Meditation, Abstraction, Reverie, Vexation, Ill-Temper, Determination, Shame-Views of Dr. Burgh, Sir C. Bell, and Mr. Darwin.

N my last Lecture I brought before your notice analytically the various features of the human countenance, and the parts they severally play in the manifestation of the different emotions. This evening I propose regarding the subject synthetically, and examining how they act in combination in expressing the emotions.

The elder Darwin justly remarks in one of his notes to his "Temple of Nature," that "there are two ways by which we become acquainted with the passions of others: first, by having observed the effects of them, as of fear or anger, on our own bodies, we know at sight when others are under the influence of these passions. So children, long before they can speak or understand the language of their parents, may be frightened by an angry countenance, or soothed by smiles and blandishments; and secondly, when we assume the countenance, or put ourselves in the attitude that any passion naturally occasions, we soon, in some degree, acquire that passion; hence, when those who are angry indulge themselves by giving vent to their anger in loud oaths and violent actions of the arms and hands, they actually increase their anger by the very mode in which they express themselves; and on the contrary, the counterfeited smile of pleasure in indifferent or disagreeable company soon brings with it a portion of the reality, as is well illustrated by Mr. Burke in his 'Essay on the Sublime and Beautiful,' when he says that public speakers who use gesture not only seem in earnest, but for the time actually become so, even though at first they might have been indifferent; and again Burke remarks: 'It appears to me very clearly from this, and from many other examples, that when the body is disposed by any means whatsoever to such emotions as it would acquire by the means of a

certain passion, it will of itself excite something very like that passion in the mind.""

I think there can be no doubt of the truth of this, and it is confirmed by the authority of many eminent observers in past and present times. I have in my possession an old book (date 1710) containing the biography of the great tragedian of the latter part of the seventeenth century, Betterton, which contains also an elaborate treatise by him on the art of dramatic elocution, of the existence of which few seem to be aware. This treatise abounds in illustrations of the truth of the remarks of Edmund Burke and Dr. Darwin, and similar instances may also be found in the recently published biographies of the two eminent actors, Young and Macready.

No doubt the restraints which high moral principles, or the culture of good society, lay upon the external and uncontrolled expression of our more violent passions, will do much to keep them within proper bounds; and hence one of the advantages of education and civilisation.

I propose, then, now to enter into an examination of the mode in which our various passions and emotions affect our physical organisation, and render themselves externally visible to others; and in this investigation I will take first in order the more pleasurable and amiable feelings of our nature, and then those of a sterner and more painful character. Such an investigation is well worthy of our most attentive study, for, as Betterton observes in his "Treatise," every passion or emotion of the mind has its proper and peculiar countenance, tone of voice, and gesture; and the whole body of man-all his looks, and every sound of his voice, like strings on an instrument, receive their sounds from the various impulses of his passions. Joy, especially when sudden and intense, expresses itself by clapping the hands, leaping, shouting, loud laughter, and other apparently purposeless actions. The sound of laughter is produced (as Mr. Darwin remarks) by a deep inspiration, followed by short, interrupted, spasmodic contractions of the chest, and especially of the diaphragm. Hence we hear of "Laughter holding both his sides." The lower jaw often quivers up and down, and during the action of laughing, the mouth is opened more or less widely, with the corners drawn much backwards as well as a little upwards, and the upper lip is somewhat raised. The drawing back of the corners is best seen in moderate laughter, and especially in a broad smile-the latter epithet showing how the mouth is widened.* The eyes are bright and sparkling, opened wide, save in the act of laughing, and are often, when the joy partakes of a religious character, cast upwards, and not unfrequently in extreme joy or rapture are suffused with tears. The voice is pitched in the highest keys, and abounds in extreme rising inflections-the light bounding poise and quick time. In what may be termed moderate joy, such as pleasure, high spirits, cheerfulness, we have the characteristics of expression as in joy, only more or less subdued in their manifestation. Indeed, Sir Charles Bell says, "In all the exhilarating emotions, the eyebrows, eyelids, the nostrils, and the angles of the mouth are raised, and the whole face seems to expand."

Darwin's "Expression of the Emotions," p. 230.