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LESSON IX.-THE WATER-DRINKER.

1. ОH, water for me! bright water for me,
And wine for the tremulous debauchee.1
Water cooleth the brow, and cooleth the brain,
And maketh the faint one strong again;

It comes o'er the sense like a breeze from the sea,
All freshness, like infant purity;

Oh, water, bright water, for me, for me!
Give wine, give wine, to the debauchee !1

2. Fill to the brim! fill, fill to the brim;
Let the flowing crystal2 kiss the rim !
For my hand is steady, my eye is true,

For I, like the flowers, drink nothing but dew.
Oh, water, bright water's a mine of wealth,

And the ores which it yieldeth are vigor and health.
So water, pure water, for me, for me!

And wine for the tremulous debauchee!

3. Fill again to the brim, again to the brim !
For water strengtheneth life and limb.
To the days of the aged it addeth length,
To the might of the strong it addeth strength;
It freshens the heart, it brightens the sight,
'Tis like quaffing a goblet of morning light!
So, water, I will drink nothing but thee,
Thou parent of health and energy!

4. When over the hills, like a gladsome bride,
Morning walks forth in her beauty's pride,
And, leading a band of laughing hours,
Brushes the dew from the nodding flowers,
Oh! cheerily then my voice is heard
Mingling with that of the soaring bird,
Who flingeth abroad his matin3 loud,

As he freshens his wing in the cold gray cloud.

5. But when evening has quitted her sheltering yew,
Drowsily flying, and weaving anew

Her dusky meshes o'er land and sea,

How gently, O sleep, fall thy poppies1 on me!
For I drink water, pure, cold, and bright,

And my dreams are of Heaven the livelong night.
So hurra for thee, water! hurra! hurra!

Thou art silver and gold, thou art ribbon and star:
Hurra for bright water! hurra! hurra!

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LESSON X.-HOW THE MIND SPEAKS THROUGH THE

NERVES AND MUSCLES.

(Adapted chiefly from Sir Charles Bell.)

"There's a language that's mute, there's a silence that speaks;

There is something that can not be told;

There are words that can only be read on the cheeks;
And thoughts-but the eye can unfold."

1. THERE is quite as much truth as poetry in the above lines—and, indeed, poets are often the most faithful interpreters of nature. Spoken and written language are not the only methods by which mind communicates with mind; and it will be found, on examination, that "the language that's mute," and that is read only in the "moving play of the muscles," forms the greater portion of the language of daily life.

2. Thoughts and feelings are expressed only by muscular motion as controlled by the nerves. Even the voice in speaking, and the hand in writing, merely translate the language of the muscles into conventional1 signs; but it is more especially of the mute language of the features, and of bodily motions, that we are now to speak. As we watch an animated speaker, we observe that not only are the muscles of the forehead, the eyebrows, the eyes, the cheeks, the nose, and the mouth in almost constant action, but the head is nodded or shaken, the shoulder is shrugged, the foot is stamped, the body variously inclined, and, above all, the hand executes a great variety of motions, and all to give force to the thoughts and feelings which the mouth utters.

3. Various muscles of the human features are also used to express thought or passion without any connection with the voice. So, also, the feelings or emotions which are attributed to the heart find expression here. Says the Son of Sirach, "The heart of a man changeth his countenance, whether for good or evil." And so also Shakspeare, "I do believe thee; I saw his heart in his face." Certain strong feelings of the mind produce a disturbed condition of the heart; thence the impulse is sent to the organs of breathing, which then give us, in this indirect way, the outward signs of the mental emotion. Sir Charles Bell says, "The man was wrong who found fault with Nature for not placing a window before the heart, in order to render visible human thoughts and intentions. There is, in truth, provision made in the countenance and outward bearing for such discoveries." These principles form a rational basis for the science of physiognomy.2

4. The heart and the lungs are so intimately connected by nerves that the closest sympathy exists between them; nor has the mind always sufficient control over them to allay. the excitement which a word or a whisper may have occasioned. Thus the "feelings of the heart," as they are called, will express themselves by outward signs, distinct from those which the mind directly controls. We can readily conceive why a man, under the influence of terror, stands with eyes intently fixed on the object of his fears, the eyebrows elevated to the utmost, and the eye largely uncovered; and why he moves with hesitating and bewildered steps, and glances his eye wildly around him. In all this, the mind acts directly on the outward organs. But observe this man further: there is a spasm on his breast; he can not breathe freely; the chest is elevated, the muscles of his neck and shoulders are in action, his breathing is short and rapid, there is a gasping and convulsive motion of his lips, a tremor on his hollow cheek, a gulping and catching of his throat-and why does his heart knock at his ribs while yet there is no force of circulation` ? for his lips are ashy pale.

5. Sometimes the mind, by a strong effort, can restrain, to some extent, the outward expressions of emotion, at least in regard to the general bearing of the body; but who, while suffering under the influence of any strong emotion, can retain the natural fullness of his features, or the healthful color of his cheek, and unembarrassed respiration? The murderer may_command his voice, and mask his purpose with light words, or carry an habitual sneer of contempt of all softer passions; but his unnatural paleness, and the sinking of his features, will betray that he suffers. Clarence says to his murderer,

"How deadly dost thou speak'!

Your eyes do mènace me: why look you pale'?"

6. Thus the frame of the body, though constituted for the support of the vital functions, becomes the instrument of expression, and in the anatomy of the system we find the cause. We see why, when the mind suffers, the breathing should be agitated, for then the ordinary involuntary motions of the respiratory organs are interfered with by a more potent3 nervous influence than ordinary; we see why the muscles of the throat should be affected with spasm-why slight quivering motions pass from time to time over the face, the lips and cheeks, and nostrils; why the voice sticks in the throat, and the paralyzed lips refuse the commands of the will; and why

even the walk should often indicate the workings of the mind, or the general character of the individual.

"You may sometimes trace

A feeling in each footstep, as disclosed
By Sallust in his Catiline, who, chased
By all the demons of all passions, showed

Their work even by the way in which he trode."

1 CON-VEN'-TION-AL, agreed upon, or arising 3 PO'-TENT, powerful. out of custom.

2 PHYS-I-ŎG'-NO-MY, the science of discerning the character from the face.

4 PAR'-A-LIZED, benumbed; incapable of motion.

LESSON XI. THE LANGUAGE OF THE COUNTENANCE.

(Continued.)

(Adapted chiefly from Sir Charles Bell.)

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Fig. 8 shows the Facial Nervethe nerve of expression of the countenance. All the principal divisions and branches of this nerve, and their exact localities, are known to anatomists and named by them; but it is not necessary to specify them here. Each nerve branch has its appropriate office to perform in moving the contiguous muscles; and it is only when we consider the vast number of combinations that may be made of them that we begin to realize the wonderful versatility of this natural language of the human countenance. It must be remembered that on the opposite side of the head is another facial nerve, the exact counterpart of the one here represented, and that the facial is but one of twelve pairs of cranial nerves distributed to the different parts of the head. Injury of the facial nerve produces paralysis of the parts to which it is distributed, rendering the muscles of the face powerless, and the countenance therefore distorted. So of the other cranial nerves; yet one of a pair-as one eye, one ear, one nostril, etc.-may be affected, and the

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1. In the preceding lesson we treated, generally, of the language of muscular motion; but the various expressions of the human countenance, in particular, are what we would now notice, together with the immediate causes which produce them. Over each side of the face and each half of the head extends. what is called the facial nerve; and it is through this and its numerous and minute ramifications1 that are produced those movements of the muscles which give to the face its wonderful variety of expression-the mute language of thought, feel

ing, and emotion. What a wonderful net-work of nervous fibres is here set apart for the purpose of producing the only universal language which is known and read of all mankind!

2. It will be interesting to know how some of the expressions of the countenance are produced. If we will notice, we shall observe that the wrinkling of the muscles of the eyebrow and forehead causes a frown to pass over the features; when a smile occurs, it is produced by the muscles which raise the corners of the mouth; and when sadness is expressed, it is by the opposite action of drawing down the corners of the mouth. Hence the origin of the common expression, "Down in the mouth." In hearty laughter, which is represented in the annexed engraving, the muscles which raise the corner of the mouth act strongly, pushing up and wrinkling the cheek, while the eyes are nearly closed by the action of the circular muscle of the eyelids. The muscles of the throat, neck, and chest are also agitated, and so violently that the individual may be said to be actually "convulsed" with laugh

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ter.

3. In severe weeping, on the contrary, the muscles that draw down the corners of the mouth act strongly, the muscles of the eyelids contract with great force, closing the eyes, and the frowning muscle at the same time wrinkles the eyebrows. The cheeks, drawn between two adverse powers, lose their joyous elevation, the breathing is cut short by sobbing, the inspiration is hurried, and the expiration is slow, with a melancholy note. In weeping, the same muscles are affected as in laughter; but they act differently, and the expression is as much opposed to that of laughter as the nature of the emotion which produces it. 4. In unrestrained rage, which is a brutal passion, the

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Fig. 10.-Crying.

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