The Expression of Emotion in Man and Animals | Page 9

laughter by man and by various monkeys, is rendered
somewhat more intelligible, if we believe in their descent from a
common progenitor. He who admits on general grounds that the
structure and habits of all animals have been gradually evolved, will
look at the whole subject of Expression in a new and interesting light.
The study of Expression is difficult, owing to the movements being
often extremely slight, and of a fleeting nature. A difference may be
clearly perceived, and yet it may be impossible, at least I have found it
so, to state in what the difference consists. When we witness any deep
emotion, our sympathy is so strongly excited, that close observation is
forgotten or rendered almost impossible; of which fact I have had many
curious proofs. Our imagination is another and still more serious source
of error; for if from the nature of the circumstances we expect to see
any expression, we readily imagine its presence. Notwithstanding Dr.
Duchenne's great experience, he for a long time fancied, as he states,
that several muscles contracted under certain emotions, whereas he
ultimately convinced himself that the movement was confined to a
single muscle.
In order to acquire as good a foundation as possible, and to ascertain,
independently of common opinion, how far particular movements of
the features and gestures are really expressive of certain states of the
mind, I have found the following means the most serviceable. In the
first place, to observe infants; for they exhibit many emotions, as Sir C.
Bell remarks, "with extraordinary force;" whereas, in after life, some of
our expressions "cease to have the pure and simple source from which
they spring in infancy."[18]
In the second place, it occurred to me that the insane ought to be
studied, as they are liable to the strongest passions, and give
uncontrolled vent to them. I had, myself, no opportunity of doing this,
so I applied to Dr. Maudsley and received from him an introduction to

Dr. J. Crichton Browne, who has charge of an immense asylum near
Wakefield, and who, as I found, had already attended to the subject.
This excellent observer has with unwearied kindness sent me copious
notes and descriptions, with valuable suggestions on many points; and I
can hardly over-estimate the value of his assistance. I owe also, to the
kindness of Mr. Patrick Nicol, of the Sussex Lunatic Asylum,
interesting statements on two or three points.
Thirdly Dr. Duchenne galvanized, as we have already seen, certain
muscles in the face of an old man, whose skin was little sensitive, and
thus produced various expressions which were photographed on a large
scale. It fortunately occurred to me to show several of the best plates,
without a word of explanation, to above twenty educated persons of
various ages and both sexes, asking them, in each case, by what
emotion or feeling the old man was supposed to be agitated; and I
recorded their answers in the words which they used. Several of the
expressions were instantly recognised by almost everyone, though
described in not exactly the same terms; and these may, I think, be
relied on as truthful, and will hereafter be specified. On the other hand,
the most widely different judgments were pronounced in regard to
some of them. This exhibition was of use in another way, by
convincing me how easily we may be misguided by our imagination;
for when I first looked through Dr. Duchenne's photographs, reading at
the same time the text, and thus learning what was intended, I was
struck with admiration at the truthfulness of all, with only a few
exceptions. Nevertheless, if I had examined them without any
explanation, no doubt I should have been as much perplexed, in some
cases, as other persons have been.
[18] "Anatomy of Expression,' 3rd edit. p. 198.
Fourthly, I had hoped to derive much aid from the great masters in
painting and sculpture, who are such close observers. Accordingly, I
have looked at photographs and engravings of many well-known works;
but, with a few exceptions, have not thus profited. The reason no doubt
is, that in works of art, beauty is the chief object; and strongly
contracted facial muscles destroy beauty.[19] The story of the
composition is generally told with wonderful force and truth by
skilfully given accessories.
[19] See remarks to this effect in Lessing's `Lacooon,' translated by W.

Ross, 1836, p. 19.
Fifthly, it seemed to me highly important to ascertain whether the same
expressions and gestures prevail, as has often been asserted without
much evidence, with all the races of mankind, especially with those
who have associated but little with Europeans. Whenever the same
movements of the features or body express the same emotions in
several distinct races of man, we may infer with much probability, that
such