Human physiology : designed for colleges and the higher classes in schools and for general reading . to you by any portraitpainter. It is related of an artist that, when a royal visitorwas admiring a sketch of the face of a weeping child, he saidto him, has your majesty a mind to see how easy it is tomake this very child laugh ? As the king said that he shouldlike to see it, the artist rubbed out a little at the corners of themouth and on the eyebrows, and added a few strokes to representthe corners of the mouth as raised, and the eyebrows as with-out wrinkles, and the face, which was the mome


Human physiology : designed for colleges and the higher classes in schools and for general reading . to you by any portraitpainter. It is related of an artist that, when a royal visitorwas admiring a sketch of the face of a weeping child, he saidto him, has your majesty a mind to see how easy it is tomake this very child laugh ? As the king said that he shouldlike to see it, the artist rubbed out a little at the corners of themouth and on the eyebrows, and added a few strokes to representthe corners of the mouth as raised, and the eyebrows as with-out wrinkles, and the face, which was the moment before thevery picture of grief, now exhibited a merry laugh. Afterwardhe as readily restored the original expression. Now in thiscase there were the same eyes in the two expressions. The al-terations were made only in the neighboring parts, and thesame eyes were apparently weeping eyes at one time andlaughing ones at another. 332. In Fig. 128 and 129 you can see now much themouth alone affects the expression of the whole apparent expression of the eye is wholly altered by the. THE LANGUAGE OF THE MUSCLES. 227 The eye has little active agency in expression. change about the mouth. If we could add at the same timea change at the eyebrows, the expression of the eye would bemuch more affected. 333. The language which is ordinarily used, in relation tothe agency of the eye in the expression of the countenance,implies that the eye itself, apart from any motion, changes inthe changing expression. How this is done is not inquired;but there seems to be an ill defined notion that the animalspirits, as it is expressed, flow into the eye more or less freelywith the changing feelings, or that a nervous influence isexerted in some way upon the eye, altering its notions are so universal, and are so inwrought into ourlanguage, and especially the language of poetry, that scientificmen even are apt to use the expressions to which they give rise,in their descr


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Keywords: ., bookauthorhookerwo, bookcentury1800, bookdecade1850, bookyear1854