The Expression of Emotion in Man and Animals [3]
vers lui, ce qui l'oblige, voulant respirer, a faire un effort qui est cause que la bouche s'ouvre extremement, et qui, lorsqu'il passe par les organes de la voix, forme un son qui n'est point articule; que si les muscles et les veines paraissent enfles, ce n'est que par les esprits que le cerveau envoie en ces parties-la." I have thought the foregoing sentences worth quoting, as specimens of the surprising nonsense which has been written on the subject.
`The Physiology or Mechanism of Blushing,' by Dr. Burgess, appeared in 1839, and to this work I shall frequently refer in my thirteenth Chapter.
In 1862 Dr. Duchenne published two editions, in folio and octavo, of his `Mecanisme de la Physionomie Humaine,' in which he analyses by means of electricity, and illustrates by magnificent photographs, the movements of the facial muscles. He has generously permitted me to copy as many of his photographs as I desired. His works have been spoken lightly of, or quite passed over, by some of his countrymen. It is possible that Dr. Duchenne may have exaggerated the importance of the contraction of single muscles in giving expression; for, owing to the intimate manner in which the muscles are connected, as may be seen in Henle's anatomical drawings[7]--the best I believe ever published it is difficult to believe in their separate action. Nevertheless, it is manifest that Dr. Duchenne clearly apprehended this and other sources of error, and as it is known that he was eminently successful in elucidating the physiology of the muscles of the hand by the aid of electricity, it is probable that he is generally in the right about the muscles of the face. In my opinion, Dr. Duchenne has greatly advanced the subject by his treatment of it. No one has more carefully studied the contraction of each separate muscle, and the consequent furrows produced on the skin. He has also, and this is a very important service, shown which muscles are least under the separate control of the will. He enters very little into theoretical considerations, and seldom attempts to explain why certain muscles and not others contract under the influence of certain emotions. A distinguished French anatomist, Pierre Gratiolet, gave a course of lectures on Expression at the Sorbonne, and his notes were published (1865) after his death, under the title of `De la Physionomie et des Mouvements d'Expression.' This is a very interesting work, full of valuable observations. His theory is rather complex, and, as far as it can be given in a single sentence (p. 65), is as follows:--"Il resulte, de tous les faits que j'ai rappeles, que les sens, l'imagination et la pensee ellememe, si elevee, si abstraite qu'on la suppose, ne peuvent s'exercer sans eveiller un sentiment correlatif, et que ce sentiment se traduit directement, sympathiquement, symboliquement ou metaphoriquement, dans toutes les spheres des organs exterieurs, qui la racontent tous, suivant leur mode d'action propre, comme si chacun d'eux avait ete directement affecte."
[7] `Handbuch der Systematischen Anatomie des Menschen.' Band I. Dritte Abtheilung, 1858.
Gratiolet appears to overlook inherited habit, and even to some extent habit in the individual; and therefore he fails, as it seems to me, to give the right explanation, or any explanation at all, of many gestures and expressions. As an illustration of what he calls symbolic movements, I will quote his remarks (p. 37), taken from M. Chevreul, on a man playing at billiards. "Si une bille devie legerement de la direction que le joueur pretend zlui imprimer, ne l'avez-vous pas vu cent fois la pousser du regard, de la tete et meme des epaules, comme si ces mouvements, purement symboliques, pouvaient rectifier son trajet? Des mouvements non moins significatifs se produisent quand la bille manque d'une impulsion suffisante. Et cliez les joueurs novices, ils sont quelquefois accuses au point d'eveiller le sourire sur les levres des spectateurs." Such movements, as it appears to me, may be attributed simply to habit. As often as a man has wished to move
`The Physiology or Mechanism of Blushing,' by Dr. Burgess, appeared in 1839, and to this work I shall frequently refer in my thirteenth Chapter.
In 1862 Dr. Duchenne published two editions, in folio and octavo, of his `Mecanisme de la Physionomie Humaine,' in which he analyses by means of electricity, and illustrates by magnificent photographs, the movements of the facial muscles. He has generously permitted me to copy as many of his photographs as I desired. His works have been spoken lightly of, or quite passed over, by some of his countrymen. It is possible that Dr. Duchenne may have exaggerated the importance of the contraction of single muscles in giving expression; for, owing to the intimate manner in which the muscles are connected, as may be seen in Henle's anatomical drawings[7]--the best I believe ever published it is difficult to believe in their separate action. Nevertheless, it is manifest that Dr. Duchenne clearly apprehended this and other sources of error, and as it is known that he was eminently successful in elucidating the physiology of the muscles of the hand by the aid of electricity, it is probable that he is generally in the right about the muscles of the face. In my opinion, Dr. Duchenne has greatly advanced the subject by his treatment of it. No one has more carefully studied the contraction of each separate muscle, and the consequent furrows produced on the skin. He has also, and this is a very important service, shown which muscles are least under the separate control of the will. He enters very little into theoretical considerations, and seldom attempts to explain why certain muscles and not others contract under the influence of certain emotions. A distinguished French anatomist, Pierre Gratiolet, gave a course of lectures on Expression at the Sorbonne, and his notes were published (1865) after his death, under the title of `De la Physionomie et des Mouvements d'Expression.' This is a very interesting work, full of valuable observations. His theory is rather complex, and, as far as it can be given in a single sentence (p. 65), is as follows:--"Il resulte, de tous les faits que j'ai rappeles, que les sens, l'imagination et la pensee ellememe, si elevee, si abstraite qu'on la suppose, ne peuvent s'exercer sans eveiller un sentiment correlatif, et que ce sentiment se traduit directement, sympathiquement, symboliquement ou metaphoriquement, dans toutes les spheres des organs exterieurs, qui la racontent tous, suivant leur mode d'action propre, comme si chacun d'eux avait ete directement affecte."
[7] `Handbuch der Systematischen Anatomie des Menschen.' Band I. Dritte Abtheilung, 1858.
Gratiolet appears to overlook inherited habit, and even to some extent habit in the individual; and therefore he fails, as it seems to me, to give the right explanation, or any explanation at all, of many gestures and expressions. As an illustration of what he calls symbolic movements, I will quote his remarks (p. 37), taken from M. Chevreul, on a man playing at billiards. "Si une bille devie legerement de la direction que le joueur pretend zlui imprimer, ne l'avez-vous pas vu cent fois la pousser du regard, de la tete et meme des epaules, comme si ces mouvements, purement symboliques, pouvaient rectifier son trajet? Des mouvements non moins significatifs se produisent quand la bille manque d'une impulsion suffisante. Et cliez les joueurs novices, ils sont quelquefois accuses au point d'eveiller le sourire sur les levres des spectateurs." Such movements, as it appears to me, may be attributed simply to habit. As often as a man has wished to move