Human physiology : designed for colleges and the higher classes in schools and for general reading . THE LANGUAGE OF THE MUSCLES. 225 Muscles used in the expression of grief. and the partial closure of the eyelids. In weeping, themuscles that draw down the corners of the mouth, which inthe mere expression of sadness act slightly, now act the same time the frowning muscle wrinkles the ordinary weeping it does so but slightly, but in weepingfrom pain this muscle is strongly contracted. So it is alsowhen there is crossness mingled with the grief. Fig. 127, FIG. which
Human physiology : designed for colleges and the higher classes in schools and for general reading . THE LANGUAGE OF THE MUSCLES. 225 Muscles used in the expression of grief. and the partial closure of the eyelids. In weeping, themuscles that draw down the corners of the mouth, which inthe mere expression of sadness act slightly, now act the same time the frowning muscle wrinkles the ordinary weeping it does so but slightly, but in weepingfrom pain this muscle is strongly contracted. So it is alsowhen there is crossness mingled with the grief. Fig. 127, FIG. which is the face of a faun weeping from pain, illustrates thesepoints. Sir Charles Bell, from whose work on the Anatomyof Expression most of the figures in this chapter are taken,says that he represents the expression of weeping in the faceof a faun, because it is mean and ludicrous as seen in thecountenance of man. 331. It is very commonly supposed that the eye has much 226 HUMAN PHYSIOLOGY. Prominent agency of the mouth in expression. to do with the expression of the countenance, and hence suchphrases as these are in universal use—a speaking eye; a wildeye; the witchery of the eye; the eye flashed, &c. But the eyeof itself has no active agency in expression. The muscleswhich move it have, but not to any great extent them I shall speak in another part of this chapter. Theapparent expression which the eye has is merely apparent, andnot real. It results # altogether from the position of the partsabout the eye. This can be proved to you by any portraitpainter. It is
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