puts his hands before his face." Shakespeare, in Titus Andronicus (act ii. sc. 5), makes Marcus say to his niece, "Ah! now thou turn'st away thy face for shame."* Shame shyness, and extreme modesty, all in different degrees manifest themselves by blushing. When these feelings are shown in language, the voice is in general weak and faltering.

* Darwin's "Expression of the Emotions," pp. 322, 323.

LECTURE XVIII.

The Subject of the Expression of the Emotions continued-Guilt-Remorse-Craft -Slyness-Pride-Courage-Helplessness-Obstinacy-Resignation-Indignation -Anger-Hatred-Rage-Jealousy-Contempt-Disdain--Scorn-Disgust-Conclusion of the Analysis of the Human Emotions.

UILT in many respects presents the same external signs as shame. There is the same tendency to blushing, the same restless, shifting movements of the eyes, which, however, exhibit, it is said, a special reluctance to look upon the person wronged. Many of the marks which characterise fear are also to be noticed in guilt in many instances. Mr. Darwin mentions in the case of one of his own children it was shown at a very early age by an unnatural brightness in the eyes, and by an odd, affected manner, impossible to describe.

Remorse, which seems to be a complex emotion, consisting of guilt, shame, anxiety, and sorrow, exhibits the several characteristics of feelings. Dr. Burgh says that remorse casts down the countenance and clouds it with anxiety, draws down the eyebrows, and the eyes are often bent upon the ground. The lips are firmly pressed together, and in extreme cases the teeth are gnashed. The muscular tension is often extreme, and the whole body is strained and violently agitated. If this strong remorse is succeeded by the more gracious disposition of penitence or contrition, then the eyes are often raised to heaven, but with a great appearance of doubt, anxiety, and fear, and as often cast down again to the earth. Tears frequently flow. The knees are bent, or the whole person is prostrated on the ground. The arms are extended, and the hands clasped in supplication. The voice of deprecation is interrupted by frequent sighs; comparatively high keys and rising inflections prevail, and the tones are weak and tremulous.

Craft and slyness are manifested by dispositions that betray themselves more by the eyes and their peculiar movements, than by any other feature in the countenance. Mr. Herbert Spencer in his "Elements of Psychology" (2d edit., p. 552) says, "When there is a desire to see something on one side of the visual field without being supposed to see it, the tendency is to check the conspicuous movement of the head, and to make the requisite adjustment entirely with the eyes, which are therefore drawn very much to one side. Hence, when the eyes are turned to one side, while the face is not turned on the same side, we get the natural language of what is termed slyness."

LECT. XVIII.] KING'S COLlege lectuRES ON ELOCUTION.

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Pride assumes a lofty look, bordering upon the aspect of firmness and determination. Dr. Burgh states it is characterised by the eyes being open, but with the eyebrows considerably contracted and drawn down. The mouth is firmly closed, and the lower lip in general slightly protruded. Mr. Darwin says, of all the complex emotions, pride, perhaps, is the most plainly expressed. A proud man exhibits his sense of superiority over others by holding his head and body erect. He is haughty (haut) or high, and makes himself appear as large as possible; so that, metaphorically, he is said to be swollen or puffed up with pride. The arrogant man looks down on others, and with lowered eyelids hardly condescends to see them; or he may show his contempt by slight movements about the nostrils or lips; hence the muscle which everts the lower lip has been called the musculus superbus. The whole expression of pride stands in direct antithesis to that of humility, so that nothing need here be said of the latter state of mind.*

The eyes

Courage gives a free, open air to the whole countenance. are bright and sparkling, the lips firmly pressed together, the chest expanded, and the whole figure erect and free in movement. is firm, full, and often characterised by the light, bounding poise.

The voice

Helplessness, or the inability to do as desired, is often shown by an action that appears to be common throughout the world, namely, shrugging the shoulders. Mr. Darwin says that this gesture implies an unintentional or unavoidable action on our own part, or one that we cannot perform; or an action performed by another person that we cannot prevent. It accompanies such speeches as "It was not my fault;" "It is impossible for me to grant this favour;" "He must follow his own course, I cannot stop him." Shrugging the shoulders likewise expresses patience, or the absence of any intention to resist, hence the muscles which raise the shoulders are sometimes called, as I have been informed by an artist, "the patience muscles." Shylock the Jew says―

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Signor Antonio, many a time and oft

In the Rialto you have rated me

About my monies and my usances:

Still have I borne it with a patient shrug."

In this action, while the shoulders are raised, the arms are usually bent at the elbows, showing the palms of the hands with extended fingers; the head is thrown a little on one side, the eyebrows are raised, and at the moment of the action the mouth is commonly open.

Obstinacy, or a dogged resolve not to do a thing, is shown by the shrug of the shoulders being higher and more decided, and mouth compressed.

Resignation, or submission, appears to be often manifested by the open hands being placed one over the other on the lower part of the body, and the countenance is mild and placid in expression.

I come now to the consideration of those passions which may be called the strongest and most painful in their character, alike as regards * Darwin's "Expression of the Emotions," p. 263, 264.

their subjects and objects. I take first under this head indignation, anger, hatred, and rage; for these emotions of the mind differ from each other only in degree, and it cannot be said that there are any precise boundaries that separate the one from the other. These passions appear to be manifested in nearly the same manner among all races of mankind. From the stimulus which indignation and anger give to the general system, the action of the heart is increased, and in consequence of the more rapid circulation of the blood, the eyes become bright and the cheeks flush. The corrugator muscles are called powerfully into action, and a strongly-marked frown is produced, while at the same time the corners of the mouth are drawn down and the lips are closely compressed; respiration being also quickened, and all the muscles that contribute to this function acting in conjunction, the ale or wings of the nostrils are somewhat spread out to allow of a freer ingress of air.

Shakespeare admirably describes all these signs in Henry the Fifth's address to his soldiers before the siege of Harfleur—

"Once more unto the breach, dear friends, once more;

Or close the wall up with our English dead!

In peace, there's nothing so becomes a man

As modest stillness and humility:

But when the blast of war blows in our ears,
Then imitate the action of the tiger;
Stiffen the sinews, summon up the blood,
Disguise fair Nature with hard-favoured rage;
Then, lend the eye a terrible aspect;

Let it pry through the portage of the head,

Like the brass cannon; let the brow o'erwhelm it,
As fearfully as doth a gallèd rock

O'erhang and jutty his confounded base,
Swill'd with the wild and wasteful ocean—
Now set the teeth, and stretch the nostril wide ;
Hold hard the breath, and bend up every spirit
To his full height! Now on! you noblest English,
Whose blood is fetched from fathers of war-proof;
Fathers, that, like so many Alexanders,

Have, in these parts, from morn till even fought,
And sheath'd their swords for lack of argument ! .
I see you stand like greyhounds in the slips,
Straining upon the start. The game's a-foot;
Follow your spirit; and upon this charge,

Cry, Heaven for Harry! England! and St. George!"

HENRY V., act iii. sc. 1.

In certain cases the action of the heart is so much impeded in extreme rage, that the countenance, instead of flushing, becomes deadly pale, or livid, or sometimes almost purple. Mr. Darwin says that, in general, energy is given to the will and strength to the muscles by the excited condition of the brain under the influence of anger and rage.

"The body is held erect commonly, as if ready for instant action; but sometimes it is bent forward towards the offending person with the limbs more or less rigid. The mouth is generally closed with firmness, showing fixed determination, and the teeth are clenched or ground together. Such gestures as the raising of the arms with the fists clenched as if to strike the offender are common. Few men, in a great passion and telling some one to begone, can resist acting as if they intended to strike or push the man violently away. The desire, indeed, to strike often becomes so intolerably strong, that inanimate objects are struck or dashed to the ground, but the gestures frequently become altogether purposeless, or frantic. . . . However, the muscular system is sometimes affected in a different way altogether, for trembling is a frequent consequence of extreme rage. The paralysed lips then refuse to obey the will, and the voice 'sticks in the throat,' or it is rendered loud, harsh, or discordant. There is in most cases a strongly marked frown on the forehead, for this follows from the sense of anything displeasing or difficult, together with concentration of mind. But sometimes the brow, instead of being much contracted or lowered, remains smooth, with the glaring eyes kept widely open. The eyes are always bright, or may, as Homer expresses it, 'glisten with fire.' They are sometimes bloodshot, and are said to protrude from their sockets, the result, no doubt, of the head being gorged with blood, as shown by the veins being distended." When anger expresses itself in language, it is in very varied keys, but always in the most emphatic falling inflections and the heaviest poise of the voice.

Jealousy is of all the mixed emotions perhaps the most complex in character. Dr. Burgh says it is compounded of love, hatred, hope, fear, shame, anxiety, suspicion, grief, pity, envy, pride, rage, cruelty, vengeance, and madness. Therefore, to portray jealousy well, as represented in such a character as Othello, requires that the actor should know how to represent truly all these passions by turns, and several of them together. The following is the description of the manifestations of this emotion given by D. Burgh:

"Jealousy shows itself by restlessness, peevishness, anxiety, and thoughtfulness. Sometimes it bursts out in piteous complaint and tears, then a gleam of hope that all is yet well lights up the countenance with a momentary smile. The next moment, perhaps, the face clouds over with a general gloom, showing the mind again overcast with horrid suspicions and frightful imaginations. Then, perhaps, the arms are tightly folded on the breast, or the hands may be violently clenched, while the rolling, bloodshot eyes dart lightning glances of rage and fury. The jealous man, tortured with all these conflicting passions, hurries to and fro, and has no more rest than a ship has, tempest-tossed in a troubled sea, the sport of winds and waves. Again, after awhile, his passion is for a time subdued, and he dwells in his imagination on the memories of past happiness, and calls up the image of his beloved. In Sir C. Bell's "Anatomy of Expression," p. 95, there are some excellent remarks on the expression of rage.

+ Darwin's "Expression of the Emotions," pp. 241, 242.