664 Sir James Crichton-Browne [May 27, 



And to carry our analogy a little further, we can by comparing 

 the works of different painters arrive at certain definite conclusions 

 as to their colour proclivities, and satisfy ourselves that one has a 

 partiality for yellow, another prefers rose-madder, and a third neutral 

 tints. And so by comparing the facial manifestations of feeling in 

 different men and women, we can discover their general emotional 

 tone and temperament and put down one as spiteful, another as 

 melancholic, and a third as choleric. 



And to take still another step in analogy ; we know that the 

 pigments on the palette of the painter are not ultimate colours, but 

 would on final analysis resolve themselves into the primary colours 

 red, blue, or green, and yet we find the recognition and distinction 

 of these pigments convenient, nay, essential in all practical artistic 

 work and in conversation, and so we know that the feelings in a 

 man's mind which we identify by the expressions flitting across his 

 face, are not ultimate states of mind, but might be resolved into 

 simpler and simpler constituents, last of all perhaps into the primitive 

 feelings of defence, accompanying contraction, and of attack, accom- 

 panying expansion in the lowest organisms (the negative and positive 

 emotional poles), and yet we find the differentiation and the naming 

 of these several feelings not only convenient but essential in all 

 physiological work, and in all intercourse between man and man. 

 We all know by our daily experience that there are such feelings as 

 jealousy, modesty, compassion, and contempt ; and whatever the 

 composition of these feelings may be, or however intricate the enlace- 

 ments which connect them with other feelings, we treat them as 

 realities, and know tolerably well what we mean when we are talking 

 about them. 



Now the feelings of the mind, whether crude or subtle, are 

 expressed in several different ways, but always in movement. 

 Expression in its widest sense includes form, gesture, play of 

 feature, visceral changes, and language, but each of these implies 

 movement. Form, which corresponds with the development of the 

 skeleton and the chiselling of the soft parts, depends on the move- 

 ments of growth ; gesture depends on the movements of the muscles 

 of the trunk and limbs ; play of feature on the movements of the 

 muscles of the face ; visceral changes on the movements of the blood- 

 vessels supplying internal organs ; and language on the movements 

 of the muscles of the larynx, tongue, and lips. Almost every feeling 

 that arises in the mind, we have now reason to believe, expresses 

 itself in all these ways, except in the most evolved and highly 

 symoolic way, that is to say, in speech. The central excitement 

 corresponding with feeling aroused by any object in our environment 

 or recalled in memory, reverberates through the whole organism, 

 and may by delicate instruments be detected, not only in the 

 quivering of the muscles, but in the heart-beats, the respiration, the 

 sweat-glands, the pupils of the eyes, and indeed everywhere. But 

 while each feeling thus diffuses its effects generally throughout the 



