of these extreme emotions on the face. There is an action of . certain
muscles both in laughter and in weeping. Nor can we account
for actions so peculiar and so distinctly marked, by supposing them
concomitant or accidental to certain voluntary motions which the
passion suggests.
The depressing of the angle of the mouth gives an air of despondence
and languor to the countenance when accompanied with
a general relaxation of the features, or, in other words, of the
muscles. When the corrugator which knits the brows co-operates
with it, there is mingled in the expression something of mental
energy of moroseness or pain. If the frontal muscle joins its
operation, an acute turn upwards is given to the inner part of the
eyebrow, very different from the effect of the general action of the
frontal muscle, and decidedly characteristic of an aguish debilitating
pain, or of discontent, according to the prevailing cast of the rest
of the countenance.
But a very limited observation will teach us, that while languor
and despondency are indicated by depression of the angle of the
mouth, the depression must be slight, not violent: for the d e p
r e s s o r a n g u l i o r is (n .) cannot act strongly without the combination
of a muscle, viz. the s u p e r b u s , which quickly produces a
revolution in the expression, and makes the nether lip pout contemptuously.
In sorrow general languor pervades the whole countenance.
The violence and tension of grief, the agitations, the restlessness,
the lamentations, and the tumult, have, like all strong excitements,
gradually exhausted the frame. Sadness and regret, with
depression of spirits and fond recollections, have succeeded; and
lassitude of the whole body, with dejection of face and heaviness
of the eyes, are the most striking characteristics. The bps are
relaxed and the lower jaw drops; the upper eyelid falls down and
m 2