GESTURES FACIAL EXPRESSION. 503 



In rage, the features are unsteady ; the eyeballs are largely seen, 

 roll, and are inflamed. The forehead is alternately knit and raised in 

 furrows by the motion of the eyebrows ; and the nostrils are inflated to 

 the utmost ; the lips are swelled, and, being drawn, open the corners 

 of the mouth. The action of the muscles is strongly marked. The 

 whole countenance is at times pale ; at others, inflated, dark and almost 

 livid ; the words are passed forcibly through the fixed teeth, and the 

 hair is on end. 



Fear has different degrees. Mere bodily fear resembles the mean 

 anticipation of pain. The eyeball is largely uncovered ; the eyes are 

 staring, and the eyebrows elevated to the utmost stretch. To these are 

 added a spasmodic affection of the diaphragm and muscles of the chest, 

 which affects the breathing, and produces a gasping in the throat, with 

 an inflation of the nostrils, convulsive opening of the mouth, and drop- 

 ping of the jaw ; the lips nearly concealing the teeth, yet allowing the 

 tongue to be seen, and the space between the nostril and lip being full. 

 There is a hollowness and convulsive motion of the cheeks, and a trem- 

 bling of the lips and muscles on the sides of the neck. The lungs are 

 kept distended; and the breathing is short and rapid. The surface is 

 pale from the recession of blood ; and the hair is lifted up by the creep- 

 ing of the skin. In fear, where the apprehended danger is more remote, 

 but is approaching, the person trembles and looks pale ; a cold sweat 

 is on the face ; the scream of fear is heard ; the eyes start forward ; 

 the lips are drawn wide ; the hands are clenched, and the expression 

 becomes more strictly animal, and indicative of such fear as is common 

 to brutes. 



In terror or that kind of fear in which the mind participates more 

 there i? a more varying depression in the features, and an action of 

 those muscles, which are peculiar to man, and seem to indicate his 

 superior intelligence and mental feeling. The eye is bewildered ; the 

 inner extremity of the eyebrows is turned up, and strongly knit by 

 the action of the corrugator and orbicular muscles ; and distracting 

 thoughts, anxiety and alarm are strongly indicated by this expression, 

 which does not belong to animals. The cheek is slightly elevated, and 

 all the muscles, that concentrate about the mouth, are in action. 



In admiration, the forehead is expanded and unruffled ; the eyebrow 

 gently raised ; the eyelid lifted so as to expose the coloured circle of 

 the eye, whilst the lower part of the face is relaxed into a gentle smile. 

 The mouth is open ; the jaw is a little fallen ; and, by the relaxation 

 of the lower lip, we just perceive the edge of the lower teeth and the 

 tongue. 



In joy, the eyebrow is raised moderately, but without any angularity; 

 the forehead is smooth ; the eye full, lively and sparkling ; the nostril 

 moderately inflated, and a smile is on the lips. 



This subject is, however, interminable. Enough has been stated to 

 exhibit the anatomy of the varying characters of facial expression. It 

 will be found beautifully treated and illustrated in the work of Sir 

 Charles Bell, to which reference has been made. 



From all that has been said, it is evident, that the countenance is a 

 good general index of the existing state of the feelings ; but farther 



