ADMIRATION, JOY, SUSPICION, REVENGE, REMorse.

In ADMIRATION the faculty of sight is enjoyed to the utmost, and all else is forgotten. The brow is expanded and unruffled, the eyebrow gently raised, the eyelid lifted so as to expose the coloured circle of the eye, while the lower part of the face is relaxed in a gentle smile. The mouth is open, the jaw a little fallen, and by the relaxation of the lower lip we just perceive the edge of the lower teeth and the tongue. The posture of the body is most expressive when it seems arrested in some familiar action.

Joy is distinguishable from pleasure. It consists, not so much in the sense of gratification, as in the delight occasioned by the conviction that the long expected pleasure is within our reach, and by the lively anticipation of the enjoyment which is now decked out and adorned in its most favourite and alluring shape. A certain sensation of want is mingled with joy; a recollection of the alternate hopes and fears which formerly distracted the mind, as contrasted with the immediate assurance of gratification.

In joy the eyebrow is raised moderately, but without any angularity; the forehead is smooth; the eye full, lively, and sparkling; the nostril is moderately inflated, and a smile is on the lips. In all the exhilarating emotions, the eyebrow, the eyelids, the nostril,

and the angle of the mouth are raised. In the depressing passions it is the reverse. For example, in discontent the brow is clouded, the nose peculiarly arched, and the angle of the mouth drawn down very remarkably.

I have here given a sketch of the testy, pettish, peevish countenance bred of melancholy; one who is incapable of receiving satisfaction from whatever source it may be offered; he cannot endure any man to look steadily upon him, or even speak to him, or laugh, or jest, or be familiar, or hem, or point, without thinking himself contemned, insulted, or neglected.

This arching of the mouth and peculiar form of the wings of the nose are produced by the conjoint action of the triangular muscle which depresses the angles of the mouth (N. Plate II.) and the SUPERBUS, whose individual action protrudes the lower lip.

The very peevish turn given to the eyebrows, this acute upward inflection of their inner extremity, and the meeting of the perpendicular and transverse furrows in the middle of the forehead, are produced by the opposed action of the middle part of the frontal muscle, (OCCIPITO FRONTALIS A.) and the corrugator muscle (B.).

Habitual SUSPICION and JEALOUSY are symptoms and accompaniments of melancholy. ENVY may be classed with these expressions. But it is an ungenerous repining, not a momentary passion

* It consumes a man as a moth does a garment to be a living anatomy, a skeleton, to be a lean and pale carcass quickened with the fiend, "intabescetque videndo."

"La' invidia, crudelissimo dolore di animo, per il bene altrui; fa ritirar tutti i membri, come contraere, & offuscar le ciglia, stringere i denti, ritirar' le labbra torcersi con certa passione di sguardo quasi in atto di volere intendere & spiare i fatti altrui," &c.-Lomazz. p. 130.

Suspicion is characterised by earnest attention, with a certain timorous obliquity of the eyes. Spenser characterises suspicion as being

foul, ill-favour'd, and grim,

Under his eyebrows looking still askance,
And ever as Dissemblance laught on him,
Lowring on her with dangerous eye glance,
Showing his nature in his countenance.

His rolling eyes did never rest in place,

But walkt each where for fear of hid mischance,

Holding a lattice still before his face,

Through which he still did peep as forward he did pass.

Jealousy is marked by a more frowning and dark obliquity of the eyes, as if he said, "I have an eye of you:" with the lowering eyebrow there is combined a cruel expression of the lower part of the face.

Jealousy is a fitful and unsteady passion: much of its character is in the rapid vicissitudes from love to hate; now absent, moody, and distressed; now courting love; now ferocious and revengeful— it is therefore difficult to represent it in painting. In poetry only can it truly be presented in the vivid colours of nature; and even of poets, Shakspeare alone seems to have been equal to the task. Sometimes it may be personified in the countenance of a mean, pitiful, suspicious, yet oppressed creature: or again in a bold lowering countenance, the body as if shrunk into itself like one brooding over his state, and piecing out a tissue of trifling incidents to abuse his judgment.

In jealousy the eyelid is fully lifted, and the eyebrows strongly knit, so that the eyelid almost entirely disappears, and the eyeball glares from under the bushy eyebrow. There is a general tension on the muscles which concentrate round the mouth, and the lips are drawn so as to show the teeth with an expression of cruelty, depending in a great measure, perhaps, on the turn of the nostril, which accompanies the drawing of the lips. The mouth should express that bitter anguish which the Italian poet has rather too distinctly told:

Again:

Triema 'l cor dentro e trieman fuor le labbia

Non puo la lingua disnodar parola,
La bocca amara e par che tosco v' habbia.

E per l'ossa un tremor freddo gli scorre,
Con cor trafitto, e con pallida faccia

E con voce tremante, e bocca amara.

There seems to be a natural succession in RAGE, Revenge, and REMORse. I do not mean morally, but with a view to our present inquiry concerning the traits of expression. A slight change on the lineaments of rage gives the expression of revenge, while the cruel eye of revenge is tempered by the relaxing energy of the lower part of the countenance in remorse.

RAGE is that excess or vehemence of anger that can be no longer restrained; whether the object be near or remote, the frame is