EXPRESSION. 67 



the face, but confined to the forehead when the 

 mind is thrown in on itself and not intensely ex- 

 cited. Thus it is proverbially the expression of 

 care, and still more of despair. Round both 

 the mouth and the eyes, the muscles expressive of 

 control are those which draw the parts together. 

 When control is lost altogether, the radiating 

 muscles have it all their own way ; and therefore it 

 is that the brow is transversely furrowed, the eyes 

 staring, and the mouth wide open in terror. When 

 control is sought to be exercised, and emotion pulls 

 the antagonist muscles, the result is quivering, a 

 quivering sometimes seen in the rectangular furrows 

 on the forehead. Those furrows are most variable 

 in meaning. In bright sunlight the frontal is em- 

 ployed by the will against the instinctive protec- 

 tive action of the corrugators. At other times the 

 frontal takes the lead, and the corrugators try to 

 counteract it in an attempt to look grave, or an 

 absurd trifle disturbs serenity, and twitchings take 

 place out of harmony. 



But I have sufficiently spoken of the subject 

 which I have mainly sought to illustrate, namely, 

 that the principal key to a great part of expression 

 is the correlation of movements and positions with 

 ideas. I shall only add that the correlation which 

 I have sought to make plain is found elsewhere in 



