The Expression of Emotion in Man and Animals [115]
with his shoulders lifted up almost to his ears; and this at once declares that there is no thought of resistance.
As shrugging the shoulders generally implies "I cannot do this or that," so by a slight change, it sometimes implies "I won't do it." The movement then expresses a dogged determination not to act. Olmsted describes[15] an Indian in Texas as giving a great shrug to his shoulders, when he was informed that a party of men were Germans and not Americans, thus expressing that he would have nothing to do with them. Sulky and obstinate children may be seen with both their shoulders raised high up; but this movement is not associated with the others which generally accompany a true shrug. An excellent observer[16] in describing a young man who was determined not to yield to his father's desire, says, "He thrust his hands deep down into his pockets, and set up his shoulders to his ears, which was a good warning that, come right or wrong, this rock should fly from its firm base as soon as Jack would; and that any remonstrance on the subject was purely futile." As soon as the son got his own way, he "put his shoulders into their natural position."
[14] `Anatomy of Expression,' p. 166.
[15] `Journey through Texas,' p. 352.
Resignation is sometimes shown by the open hands being placed, one over the other, on the lower part of the body. I should not have thought this little gesture worth even a passing notice, had not Dr. W. Ogle remarked to me that he had two or three times observed it in patients who were preparing for operations under chloroform. They exhibited no great fear, but seemed to declare by this posture of their hands, that they had made up their minds, and were resigned to the inevitable.
We may now inquire why men in all parts of the world when they feel,-- whether or not they wish to show this feeling,--that they cannot or will not do something, or will not resist something if done by another, shrug their shoulders, at the same time often bending in their elbows, showing the palms of their hands with extended fingers, often throwing their heads a little on one side, raising their eyebrows, and opening their mouths. These states of the mind are either simply passive, or show a determination not to act. None of the above movements are of the least service. The explanation lies, I cannot doubt, in the principle of unconscious antithesis. This principle here seems to come into play as clearly as in the case of a dog, who, when feeling savage, puts himself in the proper attitude for attacking and for making himself appear terrible to his enemy; but as soon as he feels affectionate, throws his whole body into a directly opposite attitude, though this is of no direct use to him.
[16] Mrs. Oliphant, `The Brownlows,' vol. ii. p. 206.
Let it be observed how an indignant man, who resents, and will not submit to some injury, holds his head erect, squares his shoulders, and expands his chest. He often clenches his fists, and puts one or both arms in the proper position for attack or defence, with the muscles of his limbs rigid. He frowns,--that is, he contracts and lowers his brows,--and, being determined, closes his mouth. The actions and attitude of a helpless man are, in every one of these respects, exactly the reverse. In Plate VI. we may imagine one of the figures on the left side to have just said, "What do you mean by insulting me?" and one of the figures on the right side to answer, "I really could not help it." The helpless man unconsciously contracts the muscles of his forehead which are antagonistic to those that cause a frown, and thus raises his eyebrows; at the same time he relaxes the muscles about the mouth, so that the lower jaw drops. The antithesis is complete in every detail, not only in the movements of the features, but in the position of the limbs and in the attitude of the whole body, as may be seen in the accompanying plate. As the helpless or apologetic man often wishes to show his state of mind, he then acts in a conspicuous or demonstrative manner.
In
As shrugging the shoulders generally implies "I cannot do this or that," so by a slight change, it sometimes implies "I won't do it." The movement then expresses a dogged determination not to act. Olmsted describes[15] an Indian in Texas as giving a great shrug to his shoulders, when he was informed that a party of men were Germans and not Americans, thus expressing that he would have nothing to do with them. Sulky and obstinate children may be seen with both their shoulders raised high up; but this movement is not associated with the others which generally accompany a true shrug. An excellent observer[16] in describing a young man who was determined not to yield to his father's desire, says, "He thrust his hands deep down into his pockets, and set up his shoulders to his ears, which was a good warning that, come right or wrong, this rock should fly from its firm base as soon as Jack would; and that any remonstrance on the subject was purely futile." As soon as the son got his own way, he "put his shoulders into their natural position."
[14] `Anatomy of Expression,' p. 166.
[15] `Journey through Texas,' p. 352.
Resignation is sometimes shown by the open hands being placed, one over the other, on the lower part of the body. I should not have thought this little gesture worth even a passing notice, had not Dr. W. Ogle remarked to me that he had two or three times observed it in patients who were preparing for operations under chloroform. They exhibited no great fear, but seemed to declare by this posture of their hands, that they had made up their minds, and were resigned to the inevitable.
We may now inquire why men in all parts of the world when they feel,-- whether or not they wish to show this feeling,--that they cannot or will not do something, or will not resist something if done by another, shrug their shoulders, at the same time often bending in their elbows, showing the palms of their hands with extended fingers, often throwing their heads a little on one side, raising their eyebrows, and opening their mouths. These states of the mind are either simply passive, or show a determination not to act. None of the above movements are of the least service. The explanation lies, I cannot doubt, in the principle of unconscious antithesis. This principle here seems to come into play as clearly as in the case of a dog, who, when feeling savage, puts himself in the proper attitude for attacking and for making himself appear terrible to his enemy; but as soon as he feels affectionate, throws his whole body into a directly opposite attitude, though this is of no direct use to him.
[16] Mrs. Oliphant, `The Brownlows,' vol. ii. p. 206.
Let it be observed how an indignant man, who resents, and will not submit to some injury, holds his head erect, squares his shoulders, and expands his chest. He often clenches his fists, and puts one or both arms in the proper position for attack or defence, with the muscles of his limbs rigid. He frowns,--that is, he contracts and lowers his brows,--and, being determined, closes his mouth. The actions and attitude of a helpless man are, in every one of these respects, exactly the reverse. In Plate VI. we may imagine one of the figures on the left side to have just said, "What do you mean by insulting me?" and one of the figures on the right side to answer, "I really could not help it." The helpless man unconsciously contracts the muscles of his forehead which are antagonistic to those that cause a frown, and thus raises his eyebrows; at the same time he relaxes the muscles about the mouth, so that the lower jaw drops. The antithesis is complete in every detail, not only in the movements of the features, but in the position of the limbs and in the attitude of the whole body, as may be seen in the accompanying plate. As the helpless or apologetic man often wishes to show his state of mind, he then acts in a conspicuous or demonstrative manner.
In