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retains it, to give force to his arms. Instinct produces the same effect in fear, for the moment of alarm is marked by a sudden inspiration, and a state of preparation for action. This, the painter requires to know before he can give an accurate representation of these conditions of the frame. But it is even more important to the physician. In the asthmatic, for example, the chest is kept distended, and the whole attitude is that best calculated to aid the actions of the muscles of respiration; and so that attitude and these actions become symptomatic of the disease.

And can there be a better lesson whereby symptoms are to be learned, than in the observation of the natural sympathies and appearances presented when the frame is wrought upon by the sentiments of the mind? An uninformed person walks through the wards of an hospital with a sensation varying only in intensity, but the physician sees a thousand features of disease to which he is blind, and suffers hopes and fears to which he is a stranger. The physician sees but a part, yet that partial view is attended with a train of consequences which none can perceive but those who are acquainted with the secret ties which bind the parts together.

It is the observation of these ties, these cords of sympathy which unite the body in its natural and healthful motions, in its agency under passion, and when suffering from disease, which the author proposes to be the chief subject of the following Essays. No one will deny that the signs in the eye must be noticed with more interest, and consequently with more minuteness, in proportion as the classification of its muscles and the sources of its sympathies are better understood.

It is repeatedly shown in these Essays, that the marks of passion and of bodily suffering are the same, and that the respiratory organs are the source of all expression, as well as of a very extensive range of symptoms in disease. Let us take an example of a mortal affection, to which my attention was first drawn by the study of expression.

When a soldier is desperately wounded by gunshot, or when amputation, or any other great operation of surgery is performed, a class of obscure symptoms sometimes arise, and the man dies, without the proximate cause of his death being comprehended. The cause of his death is inflammation in the lungs, but with symptoms so slight as to have no correspondence with the common description of pulmonary inflammation. There is no violent pain, no cough, no inflammatory pulse; you observe only a tremulous motion and swelling of the upper lip, and working of the muscles of the nostrils. Called to him by this sign, you find his voice feeble and his words cut; and with symptoms no more marked than these, he dies.

When we learn that the muscles about the lips and nostrils are respiratory muscles, and when we know that a respiratory nerve goes purposely to combine these muscles with the motion of the thorax, and above all, when by such investigation of the anatomy, we find that these same motions indicate some powerful emotions of the mind, are we not prepared to be more attentive observers, and to discover such symptoms as must remain obscure to those who have no clew to them?

Perhaps it may be proper to make some apology for the sketches which accompany the text. I have often found it necessary to take the aid of the pencil, in slight marginal illustrations, in order to express what I despaired of making intelligible by the use of language merely; as in speaking of the forms of the head, or'the operation of the muscles of the face. The slightness of these sketches, as they appeared in the manuscript, explained sufficiently the humble intentions of the Author. But, under the graver, they have assumed an appearance more soft and finished, than was perhaps to be desired; and certainly stand more in need of an apology for their incorrectness.

It was intended to place a sketch of hydrophobia on page 108, forgetting that the plate belonged to the subject treated of in page 126. It was necessary to fill the marginal space with another illustration of the subject, after the work was printed.

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