254 THE HUMAN BODY. 



of the features, which are so animated by vision, produces a 

 painful contrast. 



In hearing the attention is also more or less characteristic. 

 If we wish to distinguish a distant noise, or perceive a sound, 

 the head inclines and turns in such a manner as to present 

 the external ear in the direction of the sound, at the same 

 time the eyes are fixed and partially closed. The movement 

 of the lips of his interlocutor is the usual means by which 

 the deaf man supplies the want of hearing; the eyes and the 

 entire head, from its position, have a peculiar and painful 

 expression of attention. In looking at the portrait of La 

 Condamine it was easily recognized as that of a deaf person. 

 Even when hearing is perfect the eyes act sometimes as 

 auxiliaries to it; in order to understand an orator perfectly, 

 it seems necessary to see him the gestures and the expres- 

 sion of the face seem to add to the clearness of the words. 

 The lesson of a teacher cannot be well understood if any 

 obstacle is interposed between him and the eyes of the listen- 

 ing pupil. 



That species of intoxication which we term ecstasy is ex- 

 pressed on the features of a musical amateur on hearing a 

 master-piece; all the powers of attention are concentrated on 

 one organ; the features are slightly contracted by the smile 

 or other expression in accordance with the character of the 

 music; the eyes are half shut or closed, though sometimes 

 they are fixed agonizingly on the singer in some difficult pas- 

 sage, or enthusiastically on some leader, like Habeneck, 

 leading his orchestra with a passionate gesture. 



If a piercing, harsh, or discordant sound strikes the car, 

 the eyes close, and at the same time the lips, the nose, and 

 the whole face contract as if the other senses were combining 

 to protect the hearing from the pain it endures, and against 

 which its immovable organ cannot defend it. It is impatient 

 suffering, and no longer the charm of a delicious sensation. 



Under the influence of the smell and the taste the expres- 

 sion of the physiognomy is extremely varied, and reflects 

 perfectly the delicacy or the force of the sensation, the 

 degree of pleasure which accompanies it, or the horror and 

 repugnance which it excites in us. Here, as in hearing, 



