IN WHICH THE SUBJECT OF EXPRESSION IS FURTHER PROSECUTED. THE further we proceed in this inquiry, the subject becomes more difficult, and presents innumerable delicacies; and in what remains I shall not pretend to much regularity, but rather indulge in some detached remarks, keeping, I hope, true to the observation of nature, and as indifferent as possible to theory. N We shall consider the whole features which are acted upon by emotion, and are expressive of intelligence, as forming the countenance. This definition embraces the forehead, that smooth table, on which principally the emotions, while they last, are written in most expressive characters. Some would persuade us that the fine forehead is beautiful because it indicates the size and perfection of the brain; but I should, on the contrary, say, and I am certain I have the prevailing sentiment of the peasant and the philosopher in my favour, that we look there for the expression of emotion, and that we have no thoughts of the brain in contemplating a fine countenance, but that we are insensibly and irresistibly drawn to love that which indicates human character in its loveliest moods. Under the smooth skin of the forehead lie muscles which move with every passing thought. It is lovely to see it serene, because we admire the unruffled mind; so do we admire the placid sea, because it is indicative of the softness of the breeze, and the safety of those who trust to it; but when we love it quiet we know that the storm may rise to convert its beauty into darkness and terror: so in the face, we value it not as a mere fixed form of beauty, which may remain like a bust before us, but as the varying index of the mind. The forehead, the eyebrow, and the eyes constitute by far the fairest and most expressive part of the human countenance, and there we must look for the indications of pleasure, for whatever human sympathy the heart most longs for. The forehead is important to the human face, not because we have conviction of its form being the indication of the size of the brain, and therefore of the degree of intellect; but because it is an index of the thoughts and emotions, and is a particular and appropriate organ of expression. We have already had occasion to remark, that the expression which is peculiarly human affects chiefly the angle of the mouth and the inner extremity of the eyebrow. And it is to these points that we have principally to attend in all our observations concerning the expression of passion. These are the most moveable parts of the face: to these points the muscles are concentrated; and it is upon the changes which they undergo, that expression is acknowledged chiefly to depend. To demonstrate how important these points of the features are, we have only to make that experiment which Peter of Cortona made before Francis the First of France; to sketch a placid countenance, and touch lightly with the pencil the angle of the lips and the inner extremity of the eyebrows. By elevating or depressing these, we shall quickly convey the expression of grief or of laughter. These parts, however, and all the features of an impassioned countenance, have an accordance with each other. When the angles of the mouth are depressed in grief, the eyebrows are not elevated at the outer angles, as in laughter. When a smile plays around the mouth, or the cheek is elevated in laughter, the brows are not ruffled as in grief. The characters of such opposite passions |