New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . Ill GENERAL PRINCIPLES, The active and plastic principle is the soul—the true man—of which the body is butthe external expression and instrument.—Physical Peefection. ^-^MrJ E have already, in our in-troductory remarks, de-fined the word Physiog-nomy. It signifies, in itsbroadest sense (we mayrepeat), a knowled(/e ofnature, but more particu-larly the forms of things—the configuration of na-tural objects, whether ani-mate or inanimate. Inthis sense we m
New Physiognomy : or signs of character, as manifested through temperament and external forms, and especially in the "the human face divine." . Ill GENERAL PRINCIPLES, The active and plastic principle is the soul—the true man—of which the body is butthe external expression and instrument.—Physical Peefection. ^-^MrJ E have already, in our in-troductory remarks, de-fined the word Physiog-nomy. It signifies, in itsbroadest sense (we mayrepeat), a knowled(/e ofnature, but more particu-larly the forms of things—the configuration of na-tural objects, whether ani-mate or inanimate. Inthis sense we may speakof the physiognomy of acountry or a plant, as wellas of an animal or of aman; and it is Avith aninstinctive appreciation ofthis fact that we talkFig. about the face of nature, the features of a landscape, and so on. But it is mainly to the human form thai physiognomy as ascience or system, and as an art, is usually applied; thoughanimal, and even vegetable and mineral forms may be referredto in illustration of principles or of facts. In this narrowerapplication we may define it as—a knowledge of the corre-. THE LAW OF CORRESPONDENCE. SI Bpondence between the external and the interiiul niau—betweenthe physical system and the spiritual principle which aniniatcMand controls it—between the manifest effect and the hiddencause—and of the signs by means of wliicli tliis con-espond-ence is expressed in the face and other parts of the body. Asan art, it consists in reading character by means of its nidica-tions in the developments of the body as a whole, but moreparticularly of the face. We say, more particularly of the face, because it is therethat the greater number of the signs of character are mostclearly and legibly inscribed; but physiognomy, as we ])ur-pose to expound it, embraces the whole man. It takes intoaccount the temperament; the shape of the body; the sizeand form of the head; the texture of the skin; the quality ofthe hair, the degree
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