the mind is unable to free itself from the depressing idea, yet the effort to conquer this gives rise to an excited action of the brain. In these mixed passions the expression of relaxation in certain muscles,--in the face, for example,- may be combined with the active state of others, so that the features are distorted, whether in consequence merely of the antagonizing action of the opposite muscles being paralysed, or by a really convulsive contraction. Frequently also, both in the mixed and the depressing passions, some muscles of the face are affected with tremors. The voluntary motion of a muscle half paralysed by the influence of passion is frequently of a tremulous character, in consequence of its being no longer completely under the influence of the will. We experience this particularly in the muscles of the face, when, during the sway of a depressing or mixed passion, we endeavour to excite them to voluntary action; the muscles of the organ of voice also, under such circumstances, tremble in their action, and the words attempted to be uttered are tremulous.

'The nerve most prone to indicate the state of the mind during passion is the facial; it is the nerve of physiognomic expression, and its sphere of action becomes more and more limited in different animals, in proportion as the features lose their mobility and expressive character. In birds, it has no influence on the expression of the face; those only of its branches exist which are distributed to the muscles of the hyoid bone and the cutaneous muscle of the neck; and the erection of the skin of the neck, or, in some birds, of the ear feathers, is in them the only movement by which the facial nerve serves to indicate the passions. Next to the facial, the respiratory nerves, those of the internal organs of respiration, the laryngeal and phrenic nerves,† as well as those of the external thoracic and abdominal muscles, are most susceptible

*The facial nerve is the motor nerve of the face. It is distributed to the muscles of the ear and of the scalp; to those of the mouth, nose, and eyelids; and to the cutaneous muscle of the neck.'

The laryngeal nerves are distributed to the different parts of the larynx, and are, therefore, instrumental in stimulating the voice. The phrenic, or diaphragmatic nerve, is the special nerve of the diaphragm,

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of the influence of the passions. But when the disturbance of the feelings is very intense, all the spinal nerves become affected, to the extent of imperfect paralysis, or the excitement of trembling of the whole body.

'The completely different expression of the features in different passions shows that, according to the kind of feeling excited, entirely different groups of the fibres of the facial nerve are acted on. Of the cause of this we are quite ignorant.

'The disturbed action of the heart during mental emotions is a remarkable instance of the influence of the passions over the movements of organs supplied by the sympathetic nerve.' —p. 932-4.

14. With regard to the movements of the face, Sir Charles Bell is of opinion that many of them are secondary to the movements of respiration. He considers the heart and lungs as the great primary source of expression, the organs first affected by the emotional excitement of the brain. He calls attention to the extent of the actions of respiration; the remoteness of the parts agitated in sympathy with the heart. The act of respiration is not limited to the trunk; the actions of certain muscles of the windpipe, the throat, the lips, the nostrils, are necessary to expand those tubes and openings, so that the air may be admitted through them in respiration with a freedom corresponding to the increased action of the chest. Without this, the sides of these pliant tubes would fall together, and we should be suffocated by exertion or passion. Let us consider how many muscles are combined in the single act of breathing-how many are added in the act of coughing-how these are changed and modified in sneezing; -let us reflect on the various combinations of muscles of the throat, windpipe, tongue, lips, in speaking and singing,* and we shall be able justly to estimate the extent of the muscles. which are associated with the proper or simple act of dilating and compressing the chest. But how much more numerous

These, however, are not primitive or instinctive associations, the class we are most interested in tracing out at present.

are the changes wrought upon these muscles when nature employs them in the double capacity of communicating our thoughts and feelings; not in the language of sounds merely, but in the language of expression of the countenance also; for certainly the one is as much their office as the other.'

'Let us see how the machine works. Observe a man threatened with suffocation: remark the sudden and wild energy that pervades every feature; the contractions of his throat, the gasping and the spasmodic twitchings of his face, the heaving of his chest and shoulders, and how he stretches his hand and catches like a drowning man. These are efforts made under the oppressive intolerable sensation at his heart; and the means which nature employs, to guard and preserve the animal machine, giving to the vital organ a sensibility that excites to the utmost exertion.'-Anatomy of Expression, 3rd Edition, p. 91.

This last illustration does not decide the point as to the dependence of the contortion of the features upon the respiratory organs, inasmuch as the state of intense pain supposed would excite every part of the body by direct action. The previous remarks on the necessity there is for movements of the respiratory passages,-the throat, mouth, and nostrils,to accompany the action of the lungs, are very much in favour of the author's view.

But that the action on the face is not wholly a consequence of respiratory excitement is decisively proved by the expression of the eyes, for this in no way ministers to the breathing function. We are, therefore, bound to presume that while a certain amount of the facial expression is due to the sympathy or association of the parts with the movements of the lungs, there still remains a source of independent excitement derived from the brain at first hand, and by the same common impulse that affects the respiratory, vocal, and other organs. This distinctness of action is recognised in the passage above quoted from Müller.

15. Let us next, therefore, review the parts of the face concerned in expression. The muscles of the face, whereby all the movements are sustained, are arranged round three

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distinct centres,-the mouth, the nose, and the eyes. The mouth has the largest number of muscles, and is the most easily affected by states of feeling. The nose is the least endowed with mobility.

The muscles of the eyebrow have been already pointed out. The occipito-frontalis descends over the forehead, and is inserted into the eyebrow; this it raises or arches; it is opposed by the corrugator supercilii, which corrugates or wrinkles the forehead, drawing the eyebrows together. These are preeminently muscles of expression, although also employed as voluntary muscles for the purposes of vision. They are emotionally moved by opposite states of feeling, the one in the more pleasing emotions, the other in pain, doubt, and embarrassment, and the appearance they cause to a spectator comes to suggest, by association, the corresponding states of mind. The orbicular muscle of the eyelids, which closes the eye, is of the nature of a sphincter, like the muscle surrounding the mouth and constituting the lips. This is opposed by the levator palpebræ, or the elevating muscle of the upper eyelid, which opens the eye, both voluntarily and under emotion. The tensor tarsi is a very thin, small muscle, placed at the inner side of the orbit, resting against the fibrous covering of the lachrymal sac and behind the tendon of the orbicularis.'

The corrugator muscle being fixed at its inner extremity, draws the eyebrow and eyelid inwards, and throws the skin into perpendicular lines or folds, as in frowning. The occipitofrontalis will, on the contrary, elevate the brow, and wrinkle the skin transversely; which actions are so frequently repeated by most persons, and so constantly by some of a particular temperament, that the skin is marked permanently by lines in the situations just referred to. The orbicular muscle is the sphincter of the eyelids. It closes them firmly, and at the same time draws them to the inner angle of the orbit, which is its fixed point of attachment. The levator palpebræ is the direct antagonist of the orbicular muscle; for it raises the upper eyelid, and uncovers the globe of the eye. The tensor tarsi draws the eyelids towards the nose, and presses the

orifices of the lachrymal ducts closely to the surface of the globe of the eye. It may thus facilitate the entrance of the tears into the ducts, and promote their passage towards the nose.'-QUAIN, p. 248.

16. The muscles of the nose are, first, the pyramidal, 'which rests on the nasal bone, and appears like a prolongation of the occipito-frontalis, with whose fibres it is intimately connected. It extends from the root of the nose to about half-way down, where it becomes tendinous, and unites with the compressor nasi. Its chief effect seems to be that of giving a fixed point of attachment to the frontal muscle: it also wrinkles the skin at the root of the nose.'

The common elevator of the lip and nose, lies along the side and wing of the nose, extending from the inner margin of the orbit to the upper lip. It raises the wing of the nose and the upper lip together.

The compressor naris is a thin, small triangular muscle, which lies close upon the superior maxilla and the side of the nose, being transverse from without inwards and upwards.' Contrary to its name, the principal action of it must be to expand the nostril by raising the lateral cartilage. This is an action in obvious harmony with respiration, seeing that it opens the nasal passage.'

The depressor alæ nasi is a small flat muscle, lying between the mucous membrane and the muscular structure of the lip, with which its fibres are closely connected.'

Of these and other bundles of muscular fibres, traceable on the small cartilages of the nose, the only considerable or powerful muscle is the common elevator of the lip and nose, which is thoroughly under the command of the will, and produces a very marked contortion of feature, wrinkling the nose and raising the upper lip. In expressing disgust at a bad smell, this muscle is very readily brought into play, and thence it comes to be employed in expressing disgusts generally. It is, however, employed without any such intention.

17. There are ten muscles connected with the movements of the mouth. One of them, the orbicularis, is single, and