The Expression of Emotion in Man and Animals | Page 4

of the body most affected--
Blushing in the various races of man--Accompanying gestures--
Confusion of mind--Causes of blushing--Self-attention, the
fundamental element--Shyness--Shame, from broken moral laws and
conventional rules--Modesty--Theory of blushing--Recapitulation
309-346
CHAP. XIV.--CONCLUDING REMARKS AND SUMMARY.
The three leading principles which have determined the chief
movements of expression--Their inheritance--On the part which the
will and intention have played in the acquirement of various
expressions-- The instinctive recognition of expression--The bearing of
our subject on the specific unity of the races of man--On the successive
acquirement of various expressions by the progenitors of man-- The
importance of expression--Conclusion 347-366
LIST OF ILLUSTRATIONS.
FIG. PAGE 1. Diagram of the muscles of the face, from Sir C. Bell 24
2. " " " Henle . . . . . . . . . . . . . . . . 24 3. " " " " . . . . . . . . . . . . . . . . 25 4
Small dog watching a cat on a table 43 5 Dog approaching another dog
with hostile intentions 52 6. Dog in a humble and affectionate frame of
mind 53 7. Half-bred Shepherd Dog 54 8. Dog caressing his master 55
9. Cat, savage, and prepared to fight 58 10. Cat in an affectionate frame
of mind 59 11. Sound-producing quills from the tail of the Porcupine
93 12. Hen driving away a dog from her chickens......98 13. Swan
driving away an intruder.................99 14. Head of snarling
dog.........................117 15. Cat terrified at a dog.......................125 16.
Cynopithecus niger, in a placid condition....135 17. The same, when

pleased by being caressed.....135 18. Chimpanzee disappointed and
sulky............139 19. Photograph of an insane woman................296 20.
Terror.......................................299 21. Horror and
Agony.............................306
Plate I. to face page 147 Plate V. to face page 254. " II. " 178. " VI. "
264. " III. " 200. " VII. " 300. " IV. " 248.
_N. B_.--Several of the figures in these seven Heliotype Plates have
been reproduced from photographs, instead of from the original
negatives; and they are in consequence somewhat indistinct.
Nevertheless they are faithful copies, and are much superior for my
purpose to any drawing, however carefully executed.

ON THE EXPRESSION OF THE EMOTIONS IN MAN AND
ANIMALS.
INTRODUCTION.
MANY works have been written on Expression, but a greater number
on Physiognomy,--that is, on the recognition of character through the
study of the permanent form of the features. With this latter subject I
am not here concerned. The older treatises,[1] which I have consulted,
have been of little or no service to me. The famous `Conferences'[2] of
the painter Le Brun, published in 1667, is the best known ancient work,
and contains some good remarks. Another somewhat old essay, namely,
the `Discours,' delivered 1774-1782, by the well-known Dutch
anatomist Camper,[3] can hardly be considered as having made any
marked advance in the subject. The following works, on the contrary,
deserve the fullest consideration.
Sir Charles Bell, so illustrious for his discoveries in physiology,
published in 1806 the first edition, and in
[1] J. Parsons, in his paper in the Appendix to the `Philosophical
Transactions' for 1746, p. 41, gives a list of forty-one old authors who
have written on Expression.
[2] Conferences sur l'expression des differents Caracteres des Passions.'
Paris, 4to, 1667. I always quote from the republication of the
`Conferences' in the edition of Lavater, by Moreau, which appeared in
1820, as given in vol. ix. p. 257.
[3] `Discours par Pierre Camper sur le moyen de representer les
diverses passions,' &c. 1792. 1844 the third edition of his `Anatomy

and Philosophy of Expression.'[4] He may with justice be said, not only
to have laid the foundations of the subject as a branch of science, but to
have built up a noble structure. His work is in every way deeply
interesting; it includes graphic descriptions of the various emotions,
and is admirably illustrated. It is generally admitted that his service
consists chiefly in having shown the intimate relation which exists
between the movements of expression and those of respiration. One of
the most important points, small as it may at first appear, is that the
muscles round the eyes are involuntarily contracted during violent
expiratory efforts, in order to protect these delicate organs from the
pressure of the blood. This fact, which has been fully investigated for
me with the greatest kindness by Professors Donders of Utrecht, throws,
as we shall hereafter see, a flood of light on several of the most
important expressions of the human countenance. The merits of Sir C.
Bell's work have been undervalued or quite ignored by several foreign
writers, but have been fully admitted by some, for instance by M.
Lemoine,[5] who with great justice says:--"Le livre de Ch. Bell devrait
etre medite par quiconque essaye de faire