NATURAL SELECTION CRITICISED. 309 



dares not look him in the eye, dares not so maintain his 

 personality before him ; while he again, the superior, has 

 the' right from above to look the other, his inferior, all 

 over. To shake the head is to gainsay ; for we mean 

 to throw into movement thereby, to controvert and 

 reverse. To throw the head up signifies contempt the 

 lifting of one's self over another. To turn up the nose 

 is disgust as at a stench. To wrinkle the brow is to 

 concentrate one's self in wrath. We make a long face 

 when we are deceived in our expectation, for we feel 

 then as though parted (sundered, dissevered). The most 

 expressive movements have their seat in the mouth and 

 its neighbourhood ; for from the mouth is speech with 

 its infinite sinuation of the lips. As for the hands, to 

 throw them up over the head when astonished, is in a 

 certain way to try and lift one's self above one's self. 

 To put hand into hand on a promise is a making to be 

 at one. The movement of the lower extremities, too, 

 the gait, is strikingly indicative. One's walk, above all 

 things, must be one of education, cultivation, refinement 

 the soul must announce therein its dominion over the 

 body, the exaltation of reason over sense. But not only 

 refinement and rusticity also, on the one hand, care- 

 lessness, affectedness, conceitedness, hypocriticalness; and, 

 on the other hand, orderliness, unassumingness, sensible- 

 ness, simple heartedness : these, too, express themselves 

 in the peculiarity of the walk, and we easily come to 

 distinguish the person and the personality by it." 



To compare the two modes now before us of looking 

 at expression, is to be struck, on the one hand, with a 

 sense of externality surface, and, on the other, with a 

 contrasting sense of internality depth. At the same 

 time those who have hitherto accustomed themselves 

 to the outside only, will feel themselves anywhere 

 but at home, doubtless, when asked to come over to the 



