ANIMALS. 321 



When the raiiid reflects with regret upon some good unattain- 

 ed or lost, it f6«ls an internal emotion, which acting upon the 

 diaphragm, and that upon the lungs, produces a sigh ; this, when 

 the mind is strongly affected, is repeated ; sorrow succeeds these 

 iirst emotions, and tears are often seen to follow : sobbing is the 

 sigh still more invigorated ; and lamentation, or crying, proceeds 

 from the continuance of the plaintive tone of the voice, which 

 seems to implore pity. " Thei'e is yet a silent agony, in which 

 the mind appears to disdain all external help, and broods over its 

 distresses with gloomy reserve. This is the most dangerous state 

 of mind : accidents or friendship may lessen the louder kinds o. 

 grief J but all remedies for this, must be bad from within ; and 

 there despair too often finds the most deadly enemy." 



Laughter is a sound of the voice, interrupted and pursued for 

 some continuance. The muscles of the belly, and the diaphragm, 

 are employed in the slightest exertions ; but those of the ribs are 

 strongly agitated in the louder ; and the head sometimes is thrown 

 backward, in order to raise them with greater ease. The smile 

 is often an indication of kindness and good will: it is also often 

 found used as a mark of contempt and ridicule. 



Blushing proceeds from different passions ; being produced by 

 shame, anger, pride, and joy. Paleness is often also the effect 

 of anger ; and almost ever attendant on fright and fear. These 

 alterations in the colour of the countenance are entirely involun- 

 tary : all the other expressions of the passions are, in some small 

 degree, under control ; but blushing and paleness betray our se- 

 '.ret purposes ; and we might as well attempt to stop them, as 

 the circulation of the blood, by which they are caused. 



The whole head, as well as the features of the face, 

 takes peculiar attitudes from its passions : it bends forward, 

 to express humility, shame, or sorrow ; it is turned to one side, 

 in languor or in pity ; it is thrown with the chin forward, in 

 arrogance and pride ; erect in self-conceit and obstinacy : it is 

 thrown backwards in astonishment ; and combines its motions 

 to the one side and the other, to express contempt, ridicule, an- 

 ger, and resentment. " Painters, whose study leads to the con- 

 templation of external forms, are much more adequate judges of 

 these than any naturalist can be ; and it is with these a general 

 remark, that no one passion is regularly expressed on different 

 countenances in the same manner ; but that grief often sits upon 



