• Lips with coarse, irregular and ill defined outline, always indicate a corresponding rudeness and vulgarity of character. ... Lips with fine, regular, well defined outline, on the contrary, always indicate a corresponding delicacy of character.

On the sense of touch, it is not necessary to dwell. `A finer organization of skin, especially where it covers the tips of the fingers, always indicates a finer sense of touch and corresponding sensibility of character, and vice versa.”

We have now only to consider the mouth and nose, as well as the prominences of the chin, cheeks and forehead, as constituting a portion of the organ of voice.

The great length and narrowness of the space between the nose and the chin, always indicates shrillness and acuteness of voice.-Hence the negro, who has this form of mouth, has a voice extremely acute; because, by this means, the palate is elevated, and the ellipsis of the jaws rendered

narrow or acute.

The shortness and compressedness of this space, always indicates a voice which is correspondingly flat and compressed, arising from the opposite cause, namely, the flatness of the palate &c.

The width of the jaws always indicates a fuller voice, when they are not, at the same time, compressed, but are moderately capacious in height.

Thus, as the elevation or depression of the voice depends upon a corresponding closing of the glottis or flute part of the throat, so the fulness, or the poorness, or the flatness of

the voice, depends upon the form of the ellipsis of the jaws, which we have been just describing."

Another quality of the voice is indicated by the form of the only other parts of the face, which yet remain to be mentioned, namely, the prominences of the cheeks, and those of the forehead immediately over the eyes.".

This quality the resonance of the voice, is always in proportion to the elevation of these parts; for the first mentioned prominences contain cavities called the maxillary, and the latter, cavities called the frontal sinuses, in which this resonance actually takes place.

POSTSCRIPT. In speaking of the peculiar situation of each organ of sense, it would perhaps have tended to the completion of the subject to have observed, that the proper organ of touch not being placed in the face, together with the other organs of sense, but at the tips of the fingers, is owing to this, that the organ of touch is neither, like the eye and ear, affected by media universally diffused, nor, like the nose and tongue, by objects which are easily transported to them, but by solids which are sometimes not easily moved, and sometimes require an organ of a certain length and flexibility, to come in contact with their various parts. Hence, it has the present situation. Moreover, even if solids had all been easily moveable, and readily applicable to a fixed organ, yet, as the hands must have been employed to move them thither, it was evidently, in many respects, most advantageous, that the organ of touch should reside in themselves; unnecessary movement is thus avoided, and the quickest and most accurate knowledge of objects acquired. It is for these reasons, then, that the organ of touch, instead of residing in the face, like those of the other senses, is borne about at the tips of the fingers.

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PART FIFTH.

APPLICATION OF THE PRECEDING PRINCIPLES TO THE EXPRESSION OF THE PASSIONS.

In the production and conduct of the passions, there is a certain regular mechanism, which is susceptible of as accurate a disquisition, as the laws of motion, optics, hydrostatics, or any part of natural philosophy.

HUME'S ESSAYS.

IN PLACIDITY, no one muscle is brought into particular action: all are in a state of repose, without appearing relaxed or inert. There is, in the eye, a tranquillity void of languor, and the lips are in unconstrained contact.

As, in this case, no muscle is in action, no application of the preceding principles is required.

In FRIENDLY GREETING and TACIT JOY, the angles of the mouth are very slightly drawn up, but never without other tokens of an incipient smile. The eye-brows are never drawn inward. Those parts alone act, which have immediate communication with the seventh pair or fa

cial nerve.

As, in this case also, all the muscles employed are less actuated than in the following one, the application of the preceding principles to these actions will then be more properly introduced.

In LAUGHTER, all the effects produced by the former affection are greatly increased, and others are superadded. The whole countenance inclines forward, but without the attention being fixed upon any determinate object. The outward edges of the orbicular muscle of the eye are contracted, producing wrinkles and folds around the eyes. The lips are opened by the action of the same muscle: hence the teeth, particularly the upper, are made to appear; small wrinkles arise at the corners of the mouth; and the cheeks become fuller &c.-If an arch, or a wanton look be further added, the eye is turned sideways, and the upper eye-lid is contracted in the manner of a wink... With regard to the general figure, a lively contented laughter raises his head, and his breath is agitated. In the excess of the emotion, he places both his hands to his sides, as it were to support his body. At length, his legs begin to refuse their of fice; and, if the fit continued, he would fall to the ground. Tears also are shed when laughter advances to excess." Hence, says Shakespeare,

• More merry tears

• The passion of loud laughter never shed.”

Midsummer-Night Dream.

In these motions, it is evident, that the attention not being fixed on any determinate object, is owing to the senses and the mind being already fully impressed; and the partial closure of the eye is to prevent such impression. The lips are opened, the cheeks elevated, and the teeth rendered apparent, in order to permit the rapid motion of the breath in respiration; and if the angles of the lips are especially elevated, that is owing to their connexion with the orbicular muscles of the

eye-lids, which are, at the same time, powerfully employed in closing these organs. The eye being turned sideways, and the upper eye-lid contracted into a wink, has an arch or wanton look, only because this deviation of a minute and particular part, from the general air of the countenance, indicates the existence of some minute and particular object, in the midst of the general emotion."

In SURPRISE OR WONDER, the eye-lid is opened, and the eye stands motionless in the socket, in consequence of the intercostal nerve being affected, and acting on the third pair. The same nerve, at the same time, acting upon the eighth pair, respiration is suspended, the free motion of the heart is impeded, and the mouth is opened, as the maxillary muscles, destined to that purpose, are affected; but as these act only on the lower maxilla, the teeth are not discovered... With regard to the general figure, the hands are extended, and more particularly the fingers, from the action of their muscular plexus.

Some of the circumstances, attending this emotion, have been beautifully painted by the most philosophical of all poets-Darwin.

‹ The virgin, Novelty, whose radiant train

Soars o'er the clouds, or sinks beneath the main,
With sweetly-mutable seductive charms,

Thrills the young sense, the tender heart alarms.
Hence, in life's portico, starts young Surprise,

With step retreating, and expanded eyes.—Temple of Nature, Canto III How admirable an opportunity for the display of this feeling, has Congreve given in the following passage.

'Let me not stir, nor breathe, lest I dissolve
That tender, lovely form, of painted air,
So like Almeria. Ha! it sinks, it falls;
I'll catch it ere it goes, and grasp her shade,
"Tis life, 'tis warm! 'tis she! 'tis she herself!
It is Almeria! 'tis, it is my wife.

Mourning Bride, Act II. Scene II.