the expression of emotion in man and animals-第2章

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＇5＇　‘De　la　Physionomie　et　de　la　Parole；'　par　Albert　Lemoine；　1865；　p。　　101。

From　reasons　which　will　presently　be　assigned；　Sir　C。　Bell　did　not　attempt　to　follow　out　his　views　as　far　as　they　might　have　been　carried。　He　does　not　try　to　explain　why　different　muscles　are　brought　into　action　under　different　emotions；　why；　for　instance；　the　inner　ends　of　the　eyebrows　are　raised；　and　the　corners　of　the　mouth　depressed；　by　a　person　suffering　from　grief　or　anxiety。

In　1807　M。　Moreau　edited　an　edition　of　Lavater　on　Physiognomy；＇6＇　in　which　he　incorporated　several　of　his　own　essays；　containing　excellent　descriptions　of　the　movements　of　the　facial　muscles；　together　with　many　valuable　remarks。　He　throws；　however；　very　little　light　on　the　philosophy　of　the　subject。　For　instance；　M。　Moreau；　in　speaking　of　the　act　of　frowning；　that　is；　of　the　contraction　of　the　muscle　called　by　French　writers　the　_soucilier_　（_corrigator　supercilii_）；　remarks　with　truth：〃Cette　action　des　sourciliers　est　un　des　symptomes　les　plus　tranches　de　l'expression　des　affections　penibles　ou　concentrees。〃　　He　then　adds　that　these　muscles；　from　their　attachment　and　position；　are　fitted　〃a　resserrer；　a　concentrer　les　principaux　traits　de　la　_face_；　comme　il　convient　dans　toutes　ces　passions　vraiment　oppressives　ou　profondes；　dans　ces　affections　dont　le　sentiment　semble　porter　l'organisation　a　revenir　sur　elle…meme；　a　se　contracter　et　a　_s'amoindrir_；　comme　pour　offrir　moins　de　prise　et　de　surface　a　des　impressions　redoutables　ou　importunes。〃　He　who　thinks　that　remarks　of　this　kind　throw　any　light　on　the　meaning　or　origin　of　the　different　expressions；　takes　a　very　different　view　of　the　subject　to　what　I　do。


＇6＇　‘L'Art　de　connaitre　les　Hommes；'　&c。；　par　G。　Lavater。　　The　earliest　edition　of　this　work；　referred　to　in　the　preface　to　the　edition　of　1820　in　ten　volumes；　as　containing　the　observations　of　M。　Moreau；　is　said　to　have　been　published　in　1807；　and　I　have　no　doubt　that　this　is　correct；　because　the　‘Notice　sur　Lavater'　at　the　commencement　of　volume　i。　is　dated　April　13；　1806。　　In　some　bibliographical　works；　however；　the　date　of　18051809　is　given；　but　it　seems　impossible　that　1805　can　be　correct。　Dr。　Duchenne　remarks　（‘Mecanisme　de　la　Physionomie　Humaine；'…8vo　edit。　1862；　p。　　5；　and　‘Archives　Generales　de　Medecine；'　Jan。　et　Fev。　1862）　that　M。　Moreau　〃_a　compose　pour　son　ouvrage　un　article　important_；〃　&c。；　in　the　year　1805；　and　I　find　in　volume　i。　　of　the　edition　of　1820　passages　bearing　the　dates　of　December　12；　1805；　and　another　January　5；　1806；　besides　that　of　April　13；　1806；　above　referred　to。　In　consequence　of　some　of　these　passages　having　thus　been　COMPOSED　in　1805；　Dr。　Duchenne　assigns　to　M。　Moreau　the　priority　over　Sir　C。　Bell；　whose　work；　as　we　have　seen；　was　published　in　1806。　　This　is　a　very　unusual　manner　of　determining　the　priority　of　scientific　works；　but　such　questions　are　of　extremely　little　importance　in　comparison　with　their　relative　merits。　　The　passages　above　quoted　from　M。　Moreau　and　from　Le　Brun　are　taken　in　this　and　all　other　cases　from　the　edition　of　1820　of　Lavater；　tom。　　iv。　　p。　　228；　and　tom。　　ix。　　p。　　279。　　〃　In　the　above　passage　there　is　but　a　slight；　if　any；　advance　in　the　philosophy　of　the　subject；　beyond　that　reached　by　the　painter　Le　Brun；　who；　in　1667；　in　describing　the　expression　of　fright；　says：〃Le　sourcil　qui　est　abaisse　d'un　cote　et　eleve　de　l'autre；　fait　voir　que　la　partie　elevee　semble　le　vouloir　joindre　au　cerveau　pour　le　garantir　du　mal　que　l'ame　apercoit；　et　le　cote　qui　est　abaisse　et　qui　parait　enfle；　…nous　fait　trouver　dans　cet　etat　par　les　esprits　qui　viennent　du　cerveau　en　abondance；　comme　polir　couvrir　l'aine　et　la　defendre　du　mal　qu'elle　craint；　la　bouche　fort　ouverte　fait　voir　le　saisissement　du　coeur；　par　le　sang　qui　se　retire　vers　lui；　ce　qui　l'oblige；　voulant　respirer；　a　faire　un　effort　qui　est　cause　que　la　bouche　s'ouvre　extremement；　et　qui；　lorsqu'il　passe　par　les　organes　de　la　voix；　forme　un　son　qui　n'est　point　articule；　que　si　les　muscles　et　les　veines　paraissent　enfles；　ce　n'est　que　par　les　esprits　que　le　cerveau　envoie　en　ces　parties…la。〃　I　have　thought　the　foregoing　sentences　worth　quoting；　as　specimens　of　the　surprising　nonsense　which　has　been　written　on　the　subject。

‘The　Physiology　or　Mechanism　of　Blushing；'　by　Dr。　Burgess；　appeared　in　1839；　and　to　this　work　I　shall　frequently　refer　in　my　thirteenth　Chapter。

In　1862　Dr。　Duchenne　published　two　editions；　in　folio　and　octavo；　of　his　‘Mecanisme　de　la　Physionomie　Humaine；'　in　which　he　analyses　by　means　of　electricity；　and　illustrates　by　magnificent　photographs；　the　movements　of　the　facial　muscles。　　He　has　generously　permitted　me　to　copy　as　many　of　his　photographs　as　I　desired。　　His　works　have　been　spoken　lightly　of；　or　quite　passed　over；　by　some　of　his　countrymen。　It　is　possible　that　Dr。　Duchenne　may　have　exaggerated　the　importance　of　the　contraction　of　single　muscles　in　giving　expression；　for；　owing　to　the　intimate　manner　in　which　the　muscles　are　connected；　as　may　be　seen　in　Henle's　anatomical　drawings＇7＇the　best　I　believe　ever　published　it　is　difficult　to　believe　in　their　separate　action。　Nevertheless；　it　is　manifest　that　Dr。　Duchenne　clearly　apprehended　this　and　other　sources　of　error；　and　as　it　is　known　that　he　was　eminently　successful　in　elucidating　the　physiology　of　the　muscles　of　the　hand　by　the　aid　of　electricity；　it　is　probable　that　he　is　generally　in　the　right　about　the　muscles　of　the　face。　　In　my　opinion；　Dr。　Duchenne　has　greatly　advanced　the　subject　by　his　treatment　of　it。　No　one　has　more　carefully　studied　the　contraction　of　each　separate　muscle；　and　the　consequent　furrows　produced　on　the　skin。　　He　has　also；　and　this　is　a　very　important　service；　shown　which　muscles　are　least　under　the　separate　control　of　the　will。　　He　enters　very　little　into　theoretical　considerations；　and　seldom　attempts　to　explain　why　certain　muscles　and　not　others　contract　under　the　influence　of　certain　emotions。　A　distinguished　French　anatomist；　Pierre　Gratiolet；　gave　a　course　of　lectures　on　Expression　at　the　Sorbonne；　and　his　notes　were　published　（1865）　after　his　death；　under　the　title　of　‘De　la　Physionomie　et　des　Mouvements　d'Expression。'　This　is　a　very　interesting　work；　full　of　valuable　observations。　　His　theory　is　rather　complex；　and；　as　far　as　it　can　be　given　in　a　single　sentence　（p。　65）；　is　as　follows：〃Il　resulte；　de　tous　les　faits　que　j'ai　rappeles；　que　les　sens；　l'imagination　et　la　pensee　ellememe；　si　elevee；　si　abstraite　qu'on　la　suppose；　ne　peuvent　s'exercer　sans　eveiller　un　sentiment　correlatif；　et　que　ce　sentiment　se　traduit　directement；　sympathiquement；　symboliquement　ou　metaphoriquement；　dans　toutes　les　spheres　des　organs　exterieurs；　qui　la　racontent　tous；　suivant　leur　mode　d'action　propre；　comme　si　chacun　d'eux　avait　ete　directement　affecte。〃

＇7＇　‘Handbuch　der　Systematischen　Anatomie　des　Menschen。'　Band　I。　Dritte　Abtheilung；　1858。

Gratiolet　appears　to　overlook　inherited　habit；　and　even　to　some　extent　habit　in　the　individual；　and　therefore　he　fails；　as　it　seems　to　me；　to　give　the　right　explanation；　or　any　explanation　at　all；　of　many　gestures　and　expressions。　　As　an　illustration　of　what　he　calls　symbolic　movements；　I　will　quote　his　remarks　（p。　37）；　taken　from　M。　Chevreul；　on　a　man　playing　at　billiards。　　〃Si　une　bille　devie　legerement　de　la　direction　que　le　joueur　pretend　zlui　imprimer；　ne　l'avez…vous　pas　vu　cent　fois　la　pousser　du　regard；　de　la　tete　et　meme　des　epaules；　comme　si　ces　mouvements；　purement　symboliques；　pouvaient　rectifier　son　trajet？　　Des　mouvements　non　moins　significatifs　se　produisent　quand　la　bille　manque　d'une　impulsion　suffisante。　Et　cliez　les　joueurs　novices；　ils　sont　quelquefois　accuses　au　point　d'eveiller　le　sourire　sur　les　levres　des　spectateurs。〃　Such　movements；　as　it　appears　to　me；　may　be　attributed　simply　to　habit。　As　often　as　a　man　has　wished　to　move　an　object　to　one　side；　he　has　always　pushed　it　to　that　side　when　forwards；　he　has　pushed　it　forwards；　and　if　he　has　wished　to　arrest　it；　he　has　pulled　backwards。　Therefore；　when　a　man　sees　his　ball　travelling　in　a　wrong　direction；　and　he　intensely　wishes　it　to　go　in　another　direction；　he　cannot　avoid；　from　long　habit；　unconsciously　performing　movements　which　in　other　cases　he　has　fo