Herrick, Modern Algcdonic TJicones. 31 



author does not hesitate to found on this observation the theory, 

 that it is not simply true that painful emotions produce flexor 

 motions and pleasurable emotions extensor motions, but that 

 the psycho-physical effect of the reflexly produced extension and 

 flexion is precisely what we term pleasure or painful emotion. 

 A farther generalization is that extension must always, from the 

 biological stand-point, occur with serviceable, and flexion with 

 harmful, irritations. 



Even the infusoria exhibit the same tendency. This lies 

 at one extreme, while at the other the pleasurable emotion of 

 assent is but an associated reproduction of earlier extensor mo- 

 tions, and vice versa. Pain and pleasurable sensations acquire 

 emotional value only through the aid of associated muscle sen- 

 sations, i.e., such as form the foundation of our empirical ego. 



These suggestions are expressed in a somewhat different 

 form in Tuke's well-known text-book. " By acting chiefly on 

 the flexor muscles, fear causes the general bending or curving 

 of the frame ; while tourage contracts the extensors, and pro- 

 duces expansion and height." 



"The opposite muscular states of contraction or tension 

 and relaxation alike find illustration in the emotion of terror, 

 for with the signs of the former already mentioned, and the 

 stare of the eye, are combined the relaxation of the masseters, 

 the sphincters, and the processes of organic life." "Calmness 

 — a placid condition of the feelings generally — is marked by a 

 gentle contraction of the muscles, indicative of repose, but at 

 the same time of latent power — by the countenance free from 

 furrows, but not relaxed into weakness. Anger or rage con- 

 tracts the masseters, inflates the nostrils, furrows the forehead, 

 and exposes and rolls the eyeballs, clenches the fist, and induces 

 a violent action and more or less rigidity of the muscles 

 generally." 



" As all movements have for their great end the preserva- 

 tion as well as the enjoyment of the individual, and as contract- 

 ion and relaxation take place primarily to attain this end, a 

 general expansiveness of expression and gesture is allied with 

 all the emotions which are excited by impressions (or generated 



