758 PASS 
by cultivating fimpiicity and truth, and banifliing every 
fort of diffirrrulation that tends to mifchief. 
The annexed Engraving contains fixteen figures of the 
external exprefiions of the pafiions, from the drawings 
of Le Brur. : for, though the arms, and indeed every 
part of the body, ferve likevvife, by their quick, languid, 
and varioufly-diverfified, motions, to exprefs the pafiions 
of the foul; yet this difference is molt confpicuous in 
the face. 
Fig. i. Tranquillity. —This is the natural exprefiion of 
the countenance, and may be taken as a ftandard from 
which the changes in the following figures are derived. 
2. Joy. —-Very little alteration is remarked in the face 
of thofe that feel within themfelves the fvveetnefs of joy, 
or Joy with Tranquillity. The forehead is ferene; the 
eye-brow without motion, elevated in the middle ; the 
eye pretty open, and with a laughing air; the eyeball 
lively and faining; the corners of the mouth turn up 
a little; the complexion is lively; the cheeks and lips 
are red. 
3. Admiration —caufes but little agitation in the mind, 
and therefore alters but very little the parts of the face : 
neverthelefs the eyebrow rifes; rhe eye opens a little 
more than ordinary; the eyeball placed equally be¬ 
tween the eyelids appear fixed on the object; the 
•mouth half opens, but makes no fenfible alteration m 
the cheeks. 
4. The motions that accompany Admiration zoit.h AJlo- 
vi/hment are hardly different from thofe of fimple Admi¬ 
ration, only they are more lively and ftronger marked : 
the eyebrows more elevated; the eyes more open; the 
•eyeball further from the lower eyelid, and more fteadily 
fixed : the mouth is more open, and all the parts in a 
much ftronger emotion. 
5. In Rapture —the head inclines to the rightfide; the 
eyeballs and eyebrows rife diredtly up ; the mouth half 
opens, and the two corners are alfo a little turned up : the 
other parts remain in their natural ftate. 
6. Love. —Chafte love caufes the moft delightful ex- 
preflion of countenance, to which an engraver can 
• hardly do juftice. The head inclines to the left fide; the 
lips are gently dilfevered, though the mouth cannot be 
faid to be open ; and the fpirits being in motion give a 
lively glowing colour. 
7. Hatred or Jealoujy —wrinkles the forehead ; the eye¬ 
brows are funk down and knit; the eye-ball is half hid 
under the eyebrows, which turn toward the objedt; the 
fide next the nofe finks down, and the other fide rifes 
very much ; the noftrils rife, and draw towards the eyes, 
and make wrinkles in the cheeks; the mouth fhuts, its 
fides finking down, an ( d the under-lip.is pufhed out be¬ 
yond the upper one. 
8. An objedt hated fometimes caufes Horror ; and then 
the eyebrow knits, and finks a great deal more. The 
eyeball, placed at the bottom of the eye, is half covered 
by the lower eyelid ; the mouth is half open, but clofer 
in the middle than the fides, which being drawn back, 
makes wrinkles in the cheeks; the face grows pale, and 
the eyes become livid; the mufcles and the veins are 
marked. 
9. The violence of Terror, or Affright, alters all the 
parts of the face : the eyebrow rifes in the middle; its 
mufcles are marked, fwelled, prefled oneagainft the other, 
and funk towards the nofe, which draws up as well as 
the noftrils ; the eyes are very open ; the upper eyelid is 
hid under the eyebrow ; the white of the eye is encom- 
pafled with red ; the eyeball fixes toward the lower part 
t of the eye; the lower part of the eyelid fwells and be¬ 
comes livid ; the mufcles of the nofe and chee-ks fwell, 
and thefe laft terminate in a point toward the fides of 
the noftrils ; the mouth is very open, and its corners 
very apparent; the mufcles and veins of the neck 
ftretched ; the hair Hands on end ; the colour of the 
face, that is, the end of the nofe, the lips, the ears, and 
I O N. 
round the eyes, is pale and livid; and ail ought to be 
ftrongly marked. 
10. Defpair. —The forehead wrinkles from the top to 
the bottom ; the eyebrows bend down overthe eyes, and 
prefs one another on the fides of the nofe ; the eye feems 
to be on fire, and full of blood; the eyeball is difturbed, 
hid under the eyebrow, fparkling and unfixed ; the eye¬ 
lid is fwelled and livid; the noftrils are large, qpen, and 
lifted up ; the end of the nofe finks down; the mufcles, 
tendons, and veins, are fwelled and ftretched ; the upper 
•part of the cheeks is large, marked, and narrow towards 
the jaw; the mouth, drawn backwards, is more open at the 
fides than in the middle; the lower lip is large and turned 
out; they gnafh their teeth ; they foam ; they bite their 
lips, which are pale, as is the reft of the face 5 the hair is 
ftraight, and Hands on end. 
11. The effedts of An'ger fhow its nature. The eyes 
become red and inflamed ; the eyeball is ftariijg and 
fparkling; the eyebrows are fometimes elevated and 
fometimes funk down equally : the forehead is very much 
wrinkled, with wrinkles between the eyes ; the noftrils 
are open and enlarged ; the lips prefling againft one ano¬ 
ther, the under one fifing over the upper one, leaves the 
corners of the mouth a little open, making a cruel and 
difdainful grin. 
• 14 . In this figure it has been endeavoured to combine 
the expreflion of Anger mixed with Fear. 
13. Laughter ,—which is produced by joy mixed with 
-furprife, makes the eyebrow rife towards the middle of 
the eye, and ber.d towards the fides of the nofe ; the eyes 
are almoft flmt, and fometimes appear wet, or died tears, 
which make no alteration in the face; the mouth, half 
open, fliows the teeth ; the corners of the mouth, drawn 
back, caufe a wrinkle in the cheeks, which appear fo 
-fwelled as to hide the eyes in fome meafure ; the noftrils 
are open, and all the face is of a red colour. 
14. The alterations that Weeping occafions are ftrongly 
• marked. The eyebrows fink down towards the middle of 
the forehead ; the eyes are almoft clofed, wet, and drawn 
down towards the checks ; the noftrils fwelled ; the muf¬ 
cles and veins of the forehead appear; the mouth is (hut, 
and the fides of it are drawn down, making wrinkles on 
-the cheeks; the under lip, pufhed out, prefies the upper 
one: all the face is wrinkled and contradied ; its colour 
is red, cfpecialiy qbout the eyebrows, the eyes, the nofe, 
and the cheeks. 
15. The lively attention to the misfortunes of another, 
which is called CompaJJion, caufes the eyebrows to fink to¬ 
wards the middle of the forehead ; the eyeball to be 
fixed upon the object; the fides of the noftrils next the 
nofe to he a little elevated, making wrinkles in the 
cheeks; the mouth to be open ; the upper lip to be lifted 
up and thruft forwards; the mufcles and all the parts of 
the face finking down, and turning towards the object 
which excites the paflion. 
16: Acute Pain —makes the eyebrows approach one an¬ 
other, and rife towards the middle; the eyeball is hid 
under the eyebrows ; the noftrils rife, and make a wrinkle 
in the cheeks ; the mouth half opens, and draws back ; ail 
the parts of the face are agitated in proportion to the 
violence of the fuftering, whether mental or bodily, or 
both. 
The influence of the pafiions on the thoughts and lan¬ 
guage, is a matter of univerfal experience and obferva- 
tion. When any fubjedt prefents itfelf to the mind 
with fufficient force to excite a paflion, qr veryftrong af¬ 
fections, all the powers of the imagination become im¬ 
mediately a drive, the whole foul is engaged upon its ob¬ 
ject, and the whole train of ideas is turned into a chan¬ 
nel correfpondent with the view we entertain of them. 
This ftate of mind not only manifefts itfelf by geftures, 
looks, and tones, correfpondent with the nature of the 
paflion, but it has a charadteriftic influence upon the 
language and expreflions employed to give vent to the 
paflion. 
