them that the internal organs are affected and united by sensibilities
different in kind from those which are bestowed upon the
surface of animal bodies; the external sensibility being only one of
those many endowments with which animals are furnished to correspond
with the elements around them. Though the heart has
no common sensibility, yet we have proof that by its peculiar
sensibilities it is held united in the closest connexions and sympathies
with the other vital organs—that it participates in all the
changes of the general system, and is affected by the passions of
the mind.
Connected with the heart, and depending upon its peculiar and
excessive sensibility, there is an extensive apparatus of muscles and
nerves. These constitute the organs of breathing and of speech
obviously; but I shall prove that they are more—that they are the
organs of expression, and necessary to the development of emotions,
of which by their activity they become the outward signs.
We discover that certain states of the mind produce sensation
in the heart, and through that corporeal influence, directly from
the heart, indirectly from the mind, an extensive class of agents
are put in motion. We find this influence has sway, at so early a
period of our existence, that we shall be forced to acknowledge that
the operation or play of the organs of expression precede the mental
emotions with which they are to be joined, accompany them in their
first dawn, strengthen them, and direct them; and thus it is not
perhaps too much to conclude that the organs of the body, which
move in sympathy with the mind, produce the same uniformity
among men in their internal feelings and emotions or passions, as
there is in their ideas of external nature through the uniform
operations of the organs of sense.
Let us place examples before us, and then try whether the
received doctrines of the passions will furnish us with an explanation
of the phenomena, or whether we must go deeper, and seek
the assistance of anatomy.
In the expression of the passions there is a compound influence
in operation. Let us contemplate the expression of terror. We
can readily conceive why a man stands with eyes intently fixed on
the object of his fears, the eyebrows elevated to the utmost, and
the eye largely uncovered; or why, with hesitating and bewildered
steps, his eyes are rapidly and wildly in search of something. In
this we only perceive the intent application of his mind to the
object of his apprehensions—its direct influence on the outward
organ. But observe him further: there is a spasm on his breast,
he cannot breathe freely, the chest is elevated, the muscles of his
neck and shoulders are in action, his breathing is short and rapid,
there is a gasping and a convulsive motion of his lips, a tremor on
his hollow cheek, a gulping and catching of his throat; and why
does his heart knock at his ribs, while yet there is no force of
circulation ?—for his lips and cheeks are ashy pale.