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 
