Chapter 21

[360]This chapter has already appeared (almost exactly as now printed) in the form of magazine articles in Scribner's Magazine and in the Popular Science Monthly for 1887.

[361]P. A. Chadbourne: Instinct, p. 28 (New York, 1872).

[362]"It would be very simple-minded to suppose that bees follow their queen, and protect her and care for her, because they are aware that without her the hive would become extinct. The odor or the aspect of their queen is manifestly agreeable to the bees—that is why they love her so. Does not all true love base itself on agreeable perceptions much more than on representations of utility?" (G. H. Schneider, Der Thierische Wille, p. 187.)A priori, there is no reason to suppose thatanysensation might not insomeanimal causeanyemotion andanyimpulse. To us it seems unnatural that an odor should directly excite anger or fear; or a color, lust. Yet there are creatures to which some smells are quite as frightful as any sounds, and very likely others to which color is as much a sexual irritant as form.

[363]Der Thierische Wille, pp. 282-3.

[364]In the instincts of mammals, and even of lower creatures, the uniformity and infallibility which, a generation ago, were considered as essential characters do not exist. The minuter study of recent years has found continuity, transition, variation, and mistake, wherever it has looked for them, and decided that what is called an instinct is usually only a tendency to act in a way of which theaverageis pretty constant, but which need not be mathematically 'true.' Cf. on this point Darwin's Origin of Species: Romanes's Mental Evol., chaps. xi to xvi incl., and Appendix; W. L. Lindsay's Mind in Lower Animals, vol. i. 133-141: ii. chaps. v, xx; and K. Semper's Conditions of Existence in Animals, where a great many instances will be found.

[365]Spalding, Macmillan's Magazine, Feb. 1878, p. 287.

[366]Ibid.p. 289.

[367]For the cases in full see Mental Evolution in Animals, pp. 213-317.

[368]Transactions of American Neurological Association, vol. i. p. 129 (1875).

[369]"Mr. Spalding," says Mr. Lewes (Problems of Life and Mind, prob. i. chap. ii. § 22, note), "tells me of a friend of his who reared a gosling in the kitchen, away from all water; when this bird was some months old, and was taken to a pond, it not only refused to go into the water, but when thrown in scrambled out again, as a hen would have done. Here was an instinct entirely suppressed." See a similar observation on ducklings in T. R. R. Stebbing: Essays on Darwinism (London, 1871), p. 73.

[370]Senses and Intellect. 3d ed. pp. 413-675.

[371]Nature, xii. 507 (1875).

[372]See, for some excellent pedagogic remarks aboutdoing yourselfwhat you want to get your pupils to do, and not simply telling them to do it: Baumann, Handbuch der Moral (1879), p. 32 ff.

[373]Sympathy has been enormously written about in books on Ethics. A very good recent chapter is that by Thos. Fowler: The Principles of Morals, part ii. chap. ii.

[374]"I must now refer to a very general passion which occurs in boys who are brought up naturally, especially in the country. Everyone knows what pleasure a boy takes in the sight of a butterfly, fish, crab or other animal, or of a bird's nest, and what a strong propensity he has for pulling apart, breaking, opening, and destroying all complex objects, how he delights in pulling out the wings and legs of flies, and tormenting one animal or another, how greedy he is to steal secret dainties, with what irresistible strength the plundering of birds' nests attracts him without his having the least intention of eating the eggs or the young birds. This fact has long been familiar, and is daily remarked by teachers; but an explanation of these impulses which follow upon a mere perception of the objects, without in most cases any representation being aroused of a future pleasure to be gained, has as yet been given by no one, and yet the impulses are very easy to explain. In many cases it will be said that the boy pulls things apart from curiosity. Quite correct: but whence comes this curiosity, this irresistible desire to open everything and see what is inside? What makes the boy take the eggs from the nest and destroy them when he never thinks of eating them? These are effects of an hereditary instinct, so strong that warnings and punishments are unable to counteract it." (Schneider: Der Menschliche Wille, p. 224. See also Der Thierische Wille, pp. 180-2.)

[375]It is not surprising, in view of the facts of animal history and evolution, that the very special object blood should have become the stimulus for a very special interest and excitement. That the sight of it should make people faint is strange. Less so that a child who sees his blood flow should forthwith become much more frightened than by the mere feeling of the cut. Horned cattle often, though not always, become furiously excited at the smell of blood. In some abnormal human beings the sight or thought of it exerts a baleful fascination. "B and his father were at a neighbor's one evening, and, while paring apples, the old man accidentally cut his hand so severely as to cause the blood to flow profusely. B was observed to become restless, nervous, pale, and to have undergone a peculiar change in demeanor. Taking advantage of the distraction produced by the accident, B escaped from the house and proceeded to a neighboring farm-yard, where he cut the throat of a horse, killing it." Dr. D. H. Tuke, commenting on this man's case (Journal of Mental Science, October, 1885), speaks of the influence of blood upon him—his whole life had been one chain of cowardly atrocities—and continues: "There can be no doubt that with some individuals it constitutes a fascination.... We might speak of amania sanguinis. Dr. Savage admitted a man from France into Bethlehem Hospital some time ago, one of whose earliest symptoms of insanity was the thirst for blood, which he endeavored to satisfy by going to an abattoir in Paris. The man whose case I have brought forward had the same passion for gloating over blood, but had no attack of acute mania. The sight of blood was distinctly a delight to him, and at any time blood aroused in him the worst elements of his nature. Instances will easily be recalled in which murderers, undoubtedly insane, have described the intense pleasure they experienced in the warm blood of children."

[376]"Bombonnel, having rolled with a panther to the border of a ravine, gets his head away from the open mouth of the animal, and by a prodigious effort rolls her into the abyss. He gets up, blinded, spitting a mass of blood, not knowing exactly what the situation is. He thinks only of one thing, that he shall probably die of his wounds, but that before dying he must take vengeance on the panther. 'I didn't think of my pain,' he tells us. 'Possessed entirely by the fury with which I was transported, I drew my hunting-knife, and not understanding what had become of the beast, I sought for her on every side in order to continue the struggle. It was in this plight that the Arabs found me when they arrived.'" (Quoted by Guyan, La Morale sans Obligation, etc., p. 210.)

[377]Psychologie de l'Enfant, pp. 72-74. In an account of a young gorilla quoted from Falkenstein, by R. Hartmann ('Anthropoid Apes,' International Scientific Series, vol. lii (New York, 1886), p. 265), it is said: "He very much disliked strange noises. Thunder, the rain falling on the skylight, and especially the long-drawn note of a pipe or trumpet, threw him into such agitation us to cause a sudden affection of the digestive organs, and it became expedient to keep him at a distance. When he was slightly indisposed, we made use of this kind of music with results as successful as if we had administered purgative medicine."

[378]Der Menschliche Wille, p. 224.

[379]Cf. Romanes. Mental Evolution, etc., p. 156.

[380]In the 'Overland Monthly' for 1887, a most interesting article on Laura Bridgman's writings has been published by Mr. E. C. Sandford. Among other reminiscences of her early childhood, while she still knew nothing of the sign-language, the wonderful blind deaf-mute records the following item in her quaint language: "My father [he was a farmer and probably did his own butchering] used to enter his kitchen bringing some killed animals in and deposited them on one of sides of the room many times. As I perceived it it make me shudder with terror because I did not know what the matter was. I hated to approach the dead. One morning I went to take a short walk with my Mother. I went into a snug house for some time. They took me into a room where there was a coffin. I put my hand in the coffin & felt something so queer. It frightened me unpleasantly. I found something dead wrapped in a silk h'd'k'f so carefully. It must have been a body that had had vitality.... I did not like to venture to examine the body for I was confounded."

[381]I lately saw a boy of five (who had been told the story of Hector and Achilles) teaching his younger brother, aged three, how to play Hector, while he himself should play Achilles, and chase him round the walls of Troy. Having armed themselves, Achilles advanced, shouting "Where's my Patroklos?" Whereupon the would-be Hector piped up, quite distracted from hisrôle, "Where's my Patroklos? I want a Patroklos! I want a Patroklos!"—and broke up the game. Of what kind of a thing a Patroklos might be he had, of course, no notion—enough that his brother had one for him to claim one too.

[382]In 'The Nation' for September 3, 1886, President G. S. Hall has given some account of a statistical research on Boston school-boys, by Miss Wiltse, from which it appears that only nineteen out of two hundred and twenty-nine had made no collections.

[383]Quoted in Lindsay, 'Mind in Lower Animals,' vol. ii. p. 151.

[384]Cf. Flint, Mind, vol. i. pp. 330-383; Sully,ibid.p. 567. Most people probably have theimpulseto keep bits of useless finery, old tools, pieces of once useful apparatus, etc.; but it is normally either inhibited at the outset by reflection, or, if yielded to, the objects soon grow displeasing and are thrown away.

[385]Der Menschliche Wille, p. 205.

[386]Professor Lazarus (Die Reize des Spieles, Berlin, 1883, p. 44) denies that we have aninstinctto play, and says the root of the matter is theaversion to remain unoccupied, which substitutes a sham occupation when no real one is ready. No doubt this is true; but why the particular forms of sham occupation? Theelementsof all bodily games and of ceremonial games are given by direct excito-motor stimulations—just as when puppies chase one another and swallows have a parliament.

[387]Inquiries into Human Faculty, p. 72.

[388]Expression of the Emotions (New York, 1873), p. 330.

[389]"The certainty that we are well dressed," a charming woman has said, "gives us a peace of heart compared to which that yielded by the consolations of religion is as nothing."

[390]Thackeray, in his exquisite Roundabout Paper, 'On a Chalk-Mark on the Door,' says: "You get truth habitually from equals only; so, my good Mr. Holyshade, don't talk to me about the habitual candor of the young Etonian of high birth, or I have my own opinion ofyourcandor or discernment when you do. No. Tom Bowling is the soul of honor, and has been true to Black-eyed Syousan since the last time they parted at Wapping Old Stairs; but do you suppose Tom is perfectly frank, familiar, and above-board in his conversation with Admiral Nelson, K. C. B.? There are secrets, prevarications, fibs, if you will, between Tom and the admiral—between your crew (of servants) andtheircaptain. I know I hire a worthy, clean, agreeable, and conscientious male or female hypocrite at so many guineas a year to do so and so for me. Were he other than hypocrite, I would send him about his business."

[391]The insane symptom called "mysophobia," or dread of foulness, which leads a patient to wash his hands perhaps a hundred times a day, hardly seems explicable without supposing a primitive impulse to clean one's self of which it is, as it were, the convulsive exaggeration.

[392]"We often find modesty coming in only in the presence of foreigners, especially of clothed Europeans. Only before these do the Indian women in Brazil cover themselves with their girdle, only before these do the women on Timor conceal their bosom. In Australia we find the same thing happening." (Th. Waitz, Anthropologie der Naturvölker, vol. i. p 358.) The author gives bibliographical references, which I omit.

[393]To most of us it is even unpleasant to sit down in a chair still warm from occupancy by another person's body. To many, hand-shaking is disagreeable.

[394]Some will, of course, find the list too large, others too small. With the boundaries of instinct fading into reflex action below, and into acquired habit or suggested activity above, it is likely that there will always be controversy about just what to include under the class-name. Shall we add the propensity to walk along a curbstone, or any other narrow path, to the list of instincts? Shall we subtract secretiveness, as due to shyness or to fear? Who knows? Meanwhile our physiological method has this inestimable advantage, that such questions of limit have neither theoretical nor practical importance. The facts once noted, it matters little how they are named. Most authors give a shorter list than that in the text. The phrenologists add adhesiveness, inhabitiveness, love of approbation, etc., etc., to their list of 'sentiments,' which in the main agree with our list of instincts. Fortlage, in his System der Psychologie, classes among theTriebeall the vegetative physiological functions. Santlus (Zur Psychologie der Menschlichen Triebe, Leipsic, 1864) says there are at bottom but three instincts, that of 'Being,' that of 'Function,' and that of 'Life.' The 'Instinct of Being' he subdivides intoanimal, embracing the activities of all the senses; andpsychical, embracing the acts of the intellect and of the 'transempiric consciousness.' The 'Instinct of Function' he divides intosexual, inclinational(friendship, attachment, honor); andmoral(religion, philanthropy, faith, truth, moral freedom, etc.). The 'Instinct of Life' embracesconservation(nutrition, motion);sociability(imitation, juridical and ethical arrangements); andpersonal interest(love of independence and freedom, acquisitiveness, self-defence). Such a muddled list as this shows how great are the advantages of the physiological analysis we have used.

In speaking of the instincts it has been impossible to keep them separate from the emotional excitements which go with them. Objects of rage, love, fear, etc., not only prompt a man to outward deeds, but provoke characteristic alterations in his attitude and visage, and affect his breathing, circulation, and other organic functions in specific ways. When the outward deeds are inhibited, these latter emotional expressions still remain, and we read the anger in the face, though the blow may not be struck, and the fear betrays itself in voice and color, though one may suppress all other sign.Instinctive reactions and emotional expressions thus shade imperceptibly into each other. Every object that excites an instinct excites an emotion as well.Emotions, however, fall short of instincts, in that the emotional reaction usually terminates in the subject's own body, whilst the instinctive reaction is apt to go farther and enter into practical relations with the exciting object.

Emotional reactions are often excited by objects with which we have no practical dealings. A ludicrous object, for example, or a beautiful object are not necessarily objects to which wedoanything; we simply laugh, or stand in admiration, as the case may be. The class of emotional, is thus rather larger than that of instinctive, impulses, commonly so called. Its stimuli are more numerous, and its expressions are more internal and delicate, and often less practical. The physiological plan and essence of the two classes of impulse, however, is the same.

As with instincts, so with emotions, the mere memory or imagination of the object may suffice to liberate the excitement.One may get angrier in thinking over one's insult than at the moment of receiving it; and we melt more over a mother who is dead than we ever did when she was living. In the rest of the chapter I shall use the wordobjectof emotion indifferently to mean one which is physically present or one which is merely thought of.

It would be tedious to go through a complete list of the reactions which characterize the various emotions. For that the special treatises must be referred to. A few examples of their variety, however, ought to find a place here. Let me begin with the manifestations of Grief as a Danish physiologist, C. Lange, describes them:[396]

"The chief feature in the physiognomy of grief is perhaps its paralyzing effect on the voluntary movements. This effect is by no means as extreme as that which fright produces, being seldom more than that degree of weakening which makes it cost an effort to perform actions usually done with ease. It is, in other words, a feeling of weariness; and (as in all weariness) movements are made slowly, heavily, without strength, unwillingly, and with exertion, and are limited to the fewest possible. By this the grieving person gets his outward stamp: he walks slowly, unsteadily, dragging his feet and hanging his arms. His voice is weak and without resonance, in consequence of the feeble activity of the muscles of expiration and of the larynx. He prefers to sit still, sunk in himself and silent. The tonicity or 'latent innervation' of the muscles is strikingly diminished. The neck is bent, the head hangs ('bowed down' with grief), the relaxation of the cheek- and jaw-muscles makes the face look long and narrow, the jaw may even hang open. The eyes appear large, as is always the case where theorbicularismuscle is paralyzed, but they may often be partly covered by the upper lid which droops in consequence of the laming of its ownlevator. With this condition of weakness of the voluntary nerve- and muscle-apparatus of the whole body, there coexists, as aforesaid, just as in all states of similar motor weakness, a subjective feeling of weariness and heaviness, of something which weighs upon one; one feels 'downcast,' 'oppressed,' 'laden,' one speaks of his 'weight of sorrow,' one must 'bear up' under it, just as one must 'keep down' his anger. Many there are who 'succumb' to sorrow to such a degree that they literally cannot stand upright, but sink or lean against surrounding objects, fall on their knees, or, like Romeo in the monk's cell, throw themselves upon the earth in their despair."But this weakness of the entire voluntary motor apparatus (the so-called apparatus of 'animal' life) is only one side of the physiology of grief. Another side, hardly less important, and in its consequencesperhaps even more so, belongs to another subdivision of the motor apparatus, namely, the involuntary or 'organic' muscles, especially those which are found in the walls of the blood-vessels, and the use of which is, by contracting, to diminish the latter's calibre. These muscles and their nerves, forming together the 'vaso-motor apparatus,' act in grief contrarily to the voluntary motor apparatus. Instead of being paralyzed, like the latter, the vascular muscles are more strongly contracted than usual, so that the tissues and organs of the body become anæmic. The immediate consequence of this bloodlessness is pallor and shrunkenness, and the pale color and collapsed features are the peculiarities which, in connection with the relaxation of the visage, give to the victim of grief his characteristic physiognomy, and often give an impression of emaciation which ensues too rapidly to be possibly due to real disturbance of nutrition, or waste uncompensated by repair. Another regular consequence of the bloodlessness of the skin is a feeling of cold, and shivering. A constant symptom of grief is sensitiveness to cold, and difficulty in keeping warm. In grief, the inner organs are unquestionably anæmic as well as the skin. This is of course not obvious to the eye, but many phenomena prove it. Such is the diminution of the various secretions, at least of such as are accessible to observation. The mouth grows dry, the tongue sticky, and a bitter taste ensues which, it would appear, is only a consequence of the tongue's dryness. [The expression 'bitter sorrow' may possibly arise from this.] In nursing women the milk diminishes or altogether dries up. There is one of the most regular manifestations of grief, which apparently contradicts these other physiological phenomena, and that is the weeping, with its profuse secretion of tears, its swollen reddened face, red eyes, and augmented secretion from the nasal mucous membrane."

"But this weakness of the entire voluntary motor apparatus (the so-called apparatus of 'animal' life) is only one side of the physiology of grief. Another side, hardly less important, and in its consequencesperhaps even more so, belongs to another subdivision of the motor apparatus, namely, the involuntary or 'organic' muscles, especially those which are found in the walls of the blood-vessels, and the use of which is, by contracting, to diminish the latter's calibre. These muscles and their nerves, forming together the 'vaso-motor apparatus,' act in grief contrarily to the voluntary motor apparatus. Instead of being paralyzed, like the latter, the vascular muscles are more strongly contracted than usual, so that the tissues and organs of the body become anæmic. The immediate consequence of this bloodlessness is pallor and shrunkenness, and the pale color and collapsed features are the peculiarities which, in connection with the relaxation of the visage, give to the victim of grief his characteristic physiognomy, and often give an impression of emaciation which ensues too rapidly to be possibly due to real disturbance of nutrition, or waste uncompensated by repair. Another regular consequence of the bloodlessness of the skin is a feeling of cold, and shivering. A constant symptom of grief is sensitiveness to cold, and difficulty in keeping warm. In grief, the inner organs are unquestionably anæmic as well as the skin. This is of course not obvious to the eye, but many phenomena prove it. Such is the diminution of the various secretions, at least of such as are accessible to observation. The mouth grows dry, the tongue sticky, and a bitter taste ensues which, it would appear, is only a consequence of the tongue's dryness. [The expression 'bitter sorrow' may possibly arise from this.] In nursing women the milk diminishes or altogether dries up. There is one of the most regular manifestations of grief, which apparently contradicts these other physiological phenomena, and that is the weeping, with its profuse secretion of tears, its swollen reddened face, red eyes, and augmented secretion from the nasal mucous membrane."

Lange goes on to suggest that this may be a reaction from a previously contracted vaso-motor state. The explanation seems a forced one. The fact is that there are changeable expressions of grief. The weeping is as apt as not to be immediate, especially in women and children. Some men can never weep. The tearful and the dry phases alternate in all who can weep, sobbing storms being followed by periods of calm; and the shrunken, cold, and pale condition which Lange describes so well is more characteristic of a severe settled sorrow than of an acute mental pain. Properly we have two distinct emotions here, both prompted by the same object, it is true, but affecting different persons, or the same person at different times, andfeelingquite differently whilst they last, as anyone's consciousness will testify. There is an excitement during the crying fit which is not without a certain pungent pleasureof its own; but it would take a genius for felicity to discover any dash of redeeming quality in the feeling of dry and shrunken sorrow.—Our author continues:

"If the smaller vessels of the lungs contract so that these organs become anæmic, we have (as is usual under such conditions) the feeling of insufficient breath, and of oppression of the chest, and these tormenting sensations increase the sufferings of the griever, who seeks relief by long-drawn sighs, instinctively, like every one who lacks breath from whatever cause.[397]"The anæmia of the brain in grief is shown by intellectual inertia, dullness, a feeling of mental weariness, effort, and indisposition to work, often by sleeplessness. Indeed it is the anæmia of the motor centres of the brain which lies at the bottom of all that weakening of the voluntary powers of motion which we described in the first instance."

"The anæmia of the brain in grief is shown by intellectual inertia, dullness, a feeling of mental weariness, effort, and indisposition to work, often by sleeplessness. Indeed it is the anæmia of the motor centres of the brain which lies at the bottom of all that weakening of the voluntary powers of motion which we described in the first instance."

My impression is that Dr. Lange simplifies and universalizes the phenomena a little too much in this description, and in particular that he very likely overdoes the anæmia-business. But such as it is, his account may stand as a favorable specimen of the sort of descriptive work to which the emotions have given rise.

Take next another emotion, Fear, and read what Mr. Darwin says of its effects:

"Fear is often preceded by astonishment, and is so far akin to it that both lead to the senses of sight and hearing being instantly aroused. In both cases the eyes and mouth are widely opened and the eyebrows raised. The frightened man at first stands like a statue, motionless and breathless, or crouches down as if instinctively to escape observation. The heart beats quickly and violently, so that it palpitates or knocks against the ribs; but it is very doubtful if it then works more efficiently than usual, so as to send a greater supply of blood to all parts of the body; for the skin instantly becomes pale as during incipient faintness. This paleness of the surface, however, is probably in large part, or is exclusively, due to the vaso-motor centre being affected in such a manner as to cause the contraction of the small arteries of the skin. That the skin is much affected under the sense of great fear, we see in the marvellous manner in which perspiration immediately exudes from it. This exudation is all the more remarkable, as the surface is then cold, and hence the term, a cold sweat; whereas the sudorific glands are properly excited into action when the surface is heated. The hairs also on the skin stand erect, and the superficial muscles shiver. In connection with the disturbed action of the heart the breathing is hurried. The salivary glands act imperfectly; the mouth becomes dry and is often opened and shut. I have also noticed that under slight fear there is strong tendency to yawn. One of the best marked symptoms is the trembling of all the muscles of the body; and this is often first seen in the lips. From this cause, and from the dryness of the mouth, the voice becomes husky or indistinct or may altogether fail. 'Obstupui steteruntque comæ, et vox faucibus hæsit.'... As fear increases into an agony of terror, we behold, as under all violent emotions, diversified results. The heart beats wildlyor must fail to act and faintness ensue; there is a death-like pallor; the breathing is labored; the wings of the nostrils are widely dilated; there is a gasping and convulsive motion of the lips, a tremor on the hollow cheek, a gulping and catching of the throat; the uncovered and protruding eyeballs are fixed on the object of terror; or they may roll restlessly from side to side,huc illuc volens oculos totumque pererrat. The pupils are said to be enormously dilated. All the muscles of the body may become rigid or may be thrown into convulsive movements. The hands are alternately clenched and opened, often with a twitching movement. The arms may be protruded as if to avert some dreadful danger, or may be thrown wildly over the head. The Rev. Mr. Hagenauer has seen this latter action in a terrified Australian. In other cases there is a sudden and uncontrollable tendency to headlong flight; and so strong is this that the boldest soldiers may be seized with a sudden panic."[398]

Finally take Hatred, and read the synopsis of its possible effects as given by Sig. Mantegazza:[399]

"Withdrawal of the head backwards, withdrawal of the trunk; projection forwards of the hands, as if to defend one's self against the hated object; contraction or closure of the eyes; elevation of the upper lip and closure of the nose,—these are all elementary movements of turning away. Next threatening movements, as: intense frowning; eyes wide open; display of teeth; grinding teeth and contracting jaws; opened mouth with tongue advanced: clenched fists; threatening action of arms; stamping with the feet; deep inspirations—panting; growling and various cries; automatic repetition of one word or syllable; sudden weakness and trembling of voice; spitting. Finally, various miscellaneous reactions and vaso-motor symptoms: general trembling; convulsions of lips and facial muscles, of limbs and of trunk; acts of violence to one's self, as biting fist or nails; sardonic laughter; bright redness of face; sudden pallor of face; extreme dilatation of nostrils; standing up of hair on head."

Were we to go through the whole list of emotions which have been named by men, and study their organic manifestations, we should but ring the changes on the elements which these three typical cases involve. Rigidity of this muscle, relaxation of that, constriction of arteries here, dilatation there, breathing of this sort or that, pulse slowing or quickening, this gland secreting and that one dry, etc., etc. We should, moreover, find that our descriptions had noabsolute truth; that they only applied to the average man; that every one of us, almost, has some personal idiosyncrasy of expression, laughing or sobbing differently from his neighbor, or reddening or growing pale where others do not. We should find a like variation in the objects which excite emotion in different persons. Jokes at which one explodes with laughter nauseate another, and seem blasphemous to a third; and occasions which overwhelm me with fear or bashfulness are just what give you the full sense of ease and power. The internal shadings of emotional feeling, moreover, merge endlessly into each other. Language has discriminated some of them, as hatred, antipathy, animosity, dislike, aversion, malice, spite, vengefulness, abhorrence, etc., etc.; but in the dictionaries of synonyms we find these feelings distinguished more by their severally appropriate objective stimuli than by their conscious or subjective tone.

The result of all this flux is that the merely descriptive literature of the emotions is one of the most tedious parts of psychology. And not only is it tedious, but you feel that its subdivisions are to a great extent either fictitious or unimportant, and that its pretences to accuracy are a sham. But unfortunately there is little psychological writing about the emotions which is not merely descriptive. As emotions are described in novels, they interest us, for we are made to share them. We have grown acquainted with the concrete objects and emergencies which call them forth, and any knowing touch of introspection which may grace the page meets with a quick and feeling response. Confessedly literary works of aphoristic philosophy also flash lights into our emotional life, and give us a fitful delight. But as far as "scientific psychology" of the emotions goes, I may have been surfeited by too much reading of classic works on the subject, but I should as lief read verbal descriptions of the shapes of the rocks on a New Hampshire farm as toil through them again. They give one nowhere a central point of view, or a deductive or generative principle. They distinguish and refine and specifyin infinitum, without ever getting on to another logical level. Whereas the beauty of all truly scientific workis to get to ever deeper levels. Is there no way out from this level of individual description in the case of the emotions? I believe there is a way out, but I fear that few will take it.

The trouble with the emotions in psychology is that they are regarded too much as absolutely individual things. So long as they are set down as so many eternal and sacred psychic entities, like the old immutable species in natural history, so long all thatcanbe done with them is reverently to catalogue their separate characters, points, and effects. But if we regard them as products of more general causes (as 'species' are now regarded as products of heredity and variation), the mere distinguishing and cataloguing becomes of subsidiary importance. Having the goose which lays the golden eggs, the description of each egg already laid is a minor matter. Now the general causes of the emotions are indubitably physiological. Prof. O. Lange, of Copenhagen, in the pamphlet from which I have already quoted, published in 1885 a physiological theory of their constitution and conditioning, which I had already broached the previous year in an article in Mind. None of the criticisms which I have heard of it have made me doubt its essential truth. I will therefore devote the next few pages to explaining what it is. I shall limit myself in the first instance to what may be called thecoarseremotions, grief, fear, rage, love, in which every one recognizes a strong organic reverberation, and afterwards speak of thesubtleremotions, or of those whose organic reverberation is less obvious and strong.

Our natural way of thinking about these coarser emotions is that the mental perception of some fact excites the mental affection called the emotion, and that this latter state of mind gives rise to the bodily expression. My theory, on the contrary, is thatthe bodily changes follow directly the perception of the exciting fact, and that our feeling of the same changes as they occuristhe emotion. Common-sense says, we lose our fortune, are sorry and weep; we meet abear, are frightened and run; we are insulted by a rival, are angry and strike. The hypothesis here to be defended says that this order of sequence is incorrect, that the one mental state is not immediately induced by the other, that the bodily manifestations must first be interposed between, and that the more rational statement is that we feel sorry because we cry, angry because we strike, afraid because we tremble, and not that we cry, strike, or tremble, because we are sorry, angry, or fearful, as the case may be. Without the bodily states following on the perception, the latter would be purely cognitive in form, pale, colorless, destitute of emotional warmth. We might then see the bear, and judge it best to run, receive the insult and deem it right to strike, but we should not actuallyfeelafraid or angry.

Stated in this crude way, the hypothesis is pretty sure to meet with immediate disbelief. And yet neither many nor far-fetched considerations are required to mitigate its paradoxical character, and possibly to produce conviction of its truth.

To begin with, no reader of the last two chapters will be inclined to doubt the fact thatobjects do excite bodily changesby a preorganized mechanism, or the farther fact thatthe changes are so indefinitely numerous and subtle that the entire organism may be called a sounding-board, which every change of consciousness, however slight, may make reverberate. The various permutations and combinations of which these organic activities are susceptible make it abstractly possible that no shade of emotion, however slight, should be without a bodily reverberation as unique, when taken in its totality, as is the mental mood itself. The immense number of parts modified in each emotion is what makes it so difficult for us to reproduce in cold blood the total and integral expression of any one of them. We may catch the trick with the voluntary muscles, but fail with the skin, glands, heart, and other viscera. Just as an artificially imitated sneeze lacks something of the reality, so the attempt to imitate an emotion in the absence of its normal instigating cause is apt to be rather 'hollow.'

The next thing to be noticed is this, thatevery one of thebodily changes, whatsoever it be, isfelt,acutely or obscurely, the moment it occurs.If the reader has never paid attention to this matter, he will be both interested and astonished to learn how many different local bodily feelings he can detect in himself as characteristic of his various emotional moods. It would be perhaps too much to expect him to arrest the tide of any strong gust of passion for the sake of any such curious analysis as this; but he can observe more tranquil states, and that may be assumed here to be true of the greater which is shown to be true of the less. Our whole cubic capacity is sensibly alive; and each morsel of it contributes its pulsations of feeling, dim or sharp, pleasant, painful, or dubious, to that sense of personality that every one of us unfailingly carries with him. It is surprising what little items give accent to these complexes of sensibility. When worried by any slight trouble, one may find that the focus of one's bodily consciousness is the contraction, often quite inconsiderable, of the eyes and brows. When momentarily embarrassed, it is something in the pharynx that compels either a swallow, a clearing of the throat, or a slight cough; and so on for as many more instances as might be named. Our concern here being with the general view rather than with the details, I will not linger to discuss these, but, assuming the point admitted that every change that occurs must be felt, I will pass on.

I now proceed to urge the vital point of my whole theory, which is this:If we fancy some strong emotion, and then try to abstract from our consciousness of it all the feelings of its bodily symptoms, we find we have nothing left behind,no 'mind-stuff' out of which the emotion can be constituted, and that a cold and neutral state of intellectual perception is all that remains. It is true that, although most people when asked say that their introspection verifies this statement, some persist in saying theirs does not. Many cannot be made to understand the question. When you beg them to imagine away every feeling of laughter and of tendency to laugh from their consciousness of the ludicrousness of an object, and then to tell you what the feeling of its ludicrousness would be like, whether it be anything more than the perception that the object belongs to the class 'funny,'they persist in replying that the thing proposed is a physical impossibility, and that they alwaysmustlaugh if they see a funny object. Of course the task proposed is not the practical one of seeing a ludicrous object and annihilating one's tendency to laugh. It is the purely speculative one of subtracting certain elements of feeling from an emotional state supposed to exist in its fulness, and saying what the residual elements are. I cannot help thinking that all who rightly apprehend this problem will agree with the proposition above laid down. What kind of an emotion of fear would be left if the feeling neither of quickened heart-beats nor of shallow breathing, neither of trembling lips nor of weakened limbs, neither of goose-flesh nor of visceral stirrings, were present, it is quite impossible for me to think. Can one fancy the state of rage and picture no ebullition in the chest, no flushing of the face, no dilatation of the nostrils, no clenching of the teeth, no impulse to vigorous action, but in their stead limp muscles, calm breathing, and a placid face? The present writer, for one, certainly cannot. The rage is as completely evaporated as the sensation of its so-called manifestations, and the only thing that can possibly be supposed to take its place is some cold-blooded and dispassionate judicial sentence, confined entirely to the intellectual realm, to the effect that a certain person or persons merit chastisement for their sins. In like manner of grief: what would it be without its tears, its sobs, its suffocation of the heart, its pang in the breast-bone? A feelingless cognition that certain circumstances are deplorable, and nothing more. Every passion in turn tells the same story. A purely disembodied human emotion is a nonentity. I do not say that it is a contradiction in the nature of things, or that pure spirits are necessarily condemned to cold intellectual lives; but I say that forus, emotion dissociated from all bodily feeling is inconceivable. The more closely I scrutinize my states, the more persuaded I become that whatever moods, affections, and passions I have are in very truth constituted by, and made up of, those bodily changes which we ordinarily call their expression or consequence; and the more it seems to me that if I were to become corporeally anæsthetic, I should be excludedfrom the life of the affections, harsh and tender alike, and drag out an existence of merely cognitive or intellectual form. Such an existence, although it seems to have been the ideal of ancient sages, is too apathetic to be keenly sought after by those born after the revival of the worship of sensibility, a few generations ago.

Let not this view be called materialistic. It is neither more nor less materialistic than any other view which says that our emotions are conditioned by nervous processes. No reader of this book is likely to rebel against such a saying so long as it is expressed in general terms; and if any one still finds materialism in the thesis now defended, that must be because of the special processes invoked. They aresensationalprocesses, processes due to inward currents set up by physical happenings. Such processes have, it is true, always been regarded by the platonizers in psychology as having something peculiarly base about them. But our emotions must always beinwardlywhat they are, whatever be the physiological ground of their apparition. If they are deep, pure, worthy, spiritual facts on any conceivable theory of their physiological source, they remain no less deep, pure, spiritual, and worthy of regard on this present sensational theory. They carry their own inner measure of worth with them; and it is just as logical to use the present theory of the emotions for proving that sensational processes need not be vile and material, as to use their vileness and materiality as a proof that such a theory cannot be true.

If such a theory is true, then each emotion is the resultant of a sum of elements, and each element is caused by a physiological process of a sort already well known. The elements are all organic changes, and each of them is the reflex effect of the exciting object. Definite questions now immediately arise—questions very different from those which were the only possible ones without this view. Those were questions of classification: "Which are the proper genera of emotion, and which the species under each?" or of description: "By what expression is each emotion characterized?" The questions now arecausal: "Just what changes does this object and what changes does that objectexcite?" and "How come they to excite these particular changes and not others?" We step from a superficial to a deep order of inquiry. Classification and description are the lowest stage of science. They sink into the background the moment questions of genesis are formulated, and remain important only so far as they facilitate our answering these. Now the moment the genesis of an emotion is accounted for, as the arousal by an object of a lot of reflex acts which are forthwith felt,we immediately see why there is no limit to the number of possible different emotions which may exist, and why the emotions of different individuals may vary indefinitely,both as to their constitution and as to objects which call them forth. For there is nothing sacramental or eternally fixed in reflex action. Any sort of reflex effect is possible, and reflexes actually vary indefinitely, as we know.

"We have all seen men dumb, instead of talkative, with joy; we have seen fright drive the blood into the head of its victim, instead of making him pale; we have seen grief run restlessly about lamenting, instead of sitting bowed down and mute; etc., etc., and this naturally enough, for one and the same cause can work differently on different men's blood-vessels (since these do not always react alike), whilst moreover the impulse on its way through the brain to the vaso-motor centre is differently influenced by different earlier impressions in the form of recollections or associations of ideas."[400]

In short,any classification of the emotions is seen to be as true and as 'natural' as any other,if it only serves some purpose; and such a question as "What is the 'real' or 'typical' expression of anger, or fear?" is seen to have no objective meaning at all. Instead of it we now have the question as to how any given 'expression' of anger or fear may have come to exist; and that is a real question of physiological mechanics on the one hand, and of history on the other, which (like all real questions) is in essence answerable, although the answer may be hard to find. On a later page I shall mention the attempts to answer it which have been made.

I have thus fairly propounded what seems to me the most fruitful way of conceiving of the emotions. It mustbe admitted that it is so far only a hypothesis, onlypossiblya true conception, and that much is lacking to its definite proof. The only way coercively todisprove it, however, would be to take some emotion, and then exhibit qualities of feeling in it which should bedemonstrablyadditional to all those which could possibly be derived from the organs affected at the time. But to detect with certainty such purely spiritual qualities of feeling would obviously be a task beyond human power. We have, as Professor Lange says, absolutely no immediate criterion by which to distinguish between spiritual and corporeal feelings; and, I may add, the more we sharpen our introspection, the morelocalizedall our qualities of feeling become (see above, Vol. I. p. 300) and the more difficult the discrimination consequently grows.[401]

A positive proof of the theory would, on the other hand, be given if we could find a subject absolutely anæsthetic inside and out, but not paralytic, so that emotion-inspiring objects might evoke the usual bodily expressions from him, but who, on being consulted, should say that no subjective emotional affection was felt. Such a man would be like one who, because he eats, appears to bystanders to be hungry, but who afterwards confesses that he had no appetite at all. Cases like this are extremely hard to find. Medical literature contains reports, so far as I know, of but three. In the famous one of Remigius Leins no mention is made by the reporters of his emotional condition. In Dr. G. Winter's case[402]the patient is said to be inert and phlegmatic, but no particular attention, as I learn from Dr. W., was paid to his psychic condition. In the extraordinary case reported by Professor Strümpell (to which I must refer later in another connection)[403]we read that the patient, a shoemaker's apprentice of fifteen, entirely anæsthetic, insideand out, with the exception of one eye and one ear, had shownshameon the occasion of soiling his bed, andgrief, when a formerly favorite dish was set before him, at the thought that he could no longer taste its flavor. Dr. Strümpell is also kind enough to inform me that he manifestedsurprise, fear,andangeron certain occasions. In observing him, however, no such theory as the present one seems to have been thought of; and it always remains possible that, just as he satisfied his natural appetites and necessities in cold blood, with no inward feeling, so his emotional expressions may have been accompanied by a quite cold heart.[404]Any new case which turns up of generalized anæsthesia ought to be carefully examined as to the inward emotional sensibility as distinct from the 'expressions' of emotion which circumstances may bring forth.

Let me now notice a few objections. The replies will make the theory still more plausible.

First Objection. There is no real evidence, it may be said,for the assumption that particular perceptionsdoproduce wide-spread bodily effects by a sort of immediate physical influence, antecedent to the arousal of an emotion or emotional idea.

Reply.There is most assuredly such evidence. In listening to poetry, drama, or heroic narrative we are often surprised at the cutaneous shiver which like a sudden wave flows over us, and at the heart-swelling and the lachrymal effusion that unexpectedly catch us at intervals. In listening to music the same is even more strikingly true. If we abruptly see a dark moving form in the woods, our heart stops beating, and we catch our breath instantly and before any articulate idea of danger can arise. If our friend goes near to the edge of a precipice, we get the well-known feeling of 'all-overishness,' and we shrink back, although we positivelyknowhim to be safe, and have no distinct imagination of his fall. The writer well remembers his astonishment, when a boy of seven or eight, at fainting when he saw a horse bled. The blood was in a bucket, with a stick in it, and, if memory does not deceive him, he stirred it round and saw it drip from the stick with no feeling save that of childish curiosity. Suddenly the world grew black before his eyes, his ears began to buzz, and he knew no more. He had never heard of the sight of blood producing faintness or sickness, and he had so little repugnance to it, and so little apprehension of any other sort of danger from it, that even at that tender age, as he well remembers, he could not help wondering how the mere physical presence of a pailful of crimson fluid could occasion in him such formidable bodily effects.

Professor Lange writes:

"No one has ever thought of separating the emotion produced by an unusually loud sound from the true inward affections. No one hesitates to call it a sort of fright, and it shows the ordinary signs of fright. And yet it is by no means combined with the idea of danger, or in any way occasioned by associations, memories, or other mental processes. The phenomena of flight follow the noise immediately without a trace of 'spiritual' fear. Many men can never grow used to standing beside a cannon when it is fired off, although they perfectly know that there is danger neither for themselves nor for others—the bare sound is too much for them."[405]

Imagine two steel knife-blades with their keen edges crossing each other at right angles, and moving to and fro. Our whole nervous organization is 'on-edge' at the thought; and yet what emotion can be there except the unpleasant nervous feeling itself, or the dread that more of it may come? The entire fund and capital of the emotion here is the senseless bodily effect which the blades immediately arouse. This case is typical of a class: where an ideal emotion seems to precede the bodily symptoms, it is often nothing but an anticipation of the symptoms themselves. One who has already fainted at the sight of blood may witness the preparations for a surgical operation with uncontrollable heart-sinking and anxiety. He anticipates certain feelings, and the anticipation precipitates their arrival. In cases of morbid terror the subjects often confess that what possesses them seems, more than anything, to be fear of the fear itself. In the various forms of what Professor Bain calls 'tender emotion,' although the appropriate object must usually be directly contemplated before the emotion can be aroused, yet sometimes thinking of the symptoms of the emotion itself may have the same effect. In sentimental natures the thought of 'yearning' will produce real 'yearning.' And, not to speak of coarser examples, a mother's imagination of the caresses she bestows on her child may arouse a spasm of parental longing.

In such cases as these we see plainly how the emotion both begins and ends with what we call its effects or manifestations. It has no mentalstatusexcept as either the vivid feeling of the manifestations, or the idea of them; and the latter thus constitute its entire material, and sum and substance. And these cases ought to make us see how in all cases the feeling of the manifestations may play a much deeper part in the constitution of the emotion than we are wont to suppose.

The best proof that the immediate cause of emotion is a physical effect on the nerves is furnished bythose pathological cases in which the emotion is objectless. One of the chief merits, in fact, of the view which I propose seems to be that we can so easily formulate by its means pathologicalcases and normal cases under a common scheme. In every asylum we find examples of absolutely unmotived fear, anger, melancholy, or conceit; and others of an equally unmotived apathy which persists in spite of the best of outward reasons why it should give way. In the former cases we must suppose the nervous machinery to be so 'labile' in some one emotional direction that almost every stimulus (however inappropriate) causes it to upset in that way, and to engender the particular complex of feelings of which the psychic body of the emotion consists. Thus, to take one special instance, if inability to draw deep breath, fluttering of the heart, and that peculiar epigastric change felt as 'precordial anxiety,' with an irresistible tendency to take a somewhat crouching attitude and to sit still, and with perhaps other visceral processes not now known, all spontaneously occur together in a certain person; his feeling of their combinationisthe emotion of dread, and he is the victim of what is known as morbid fear. A friend who has had occasional attacks of this most distressing of all maladies tells me that in his case the whole drama seems to centre about the region of the heart and respiratory apparatus, that his main effort during the attacks is to get control of his inspirations and to slow his heart, and that the moment he attains to breathing deeply and to holding himself erect, the dread,ipso facto, seems to depart.[406]

The emotion here is nothing but the feeling of a bodily state, and it has a purely bodily cause.

"All physicians who have been much engaged in general practice have seen cases of dyspepsia in which constant low spirits and occasional attacks of terror rendered the patient's condition pitiable in the extreme. I have observed these cases often, and have watched them closely, and I have never seen greater suffering of any kind than I have witnessed during these attacks.... Thus, a man is suffering from what we call nervous dyspepsia. Some day, we will suppose in the middle of the afternoon, without any warning or visible cause, one of these attacks of terror comes on. The first thing the man feels is great but vague discomfort. Then he notices that his heart is beating much too violently. At the same time shocks or flashes as of electrical discharges, so violent as to be almost painful, pass one after another through his body and limbs. Then in a few minutes he falls into a condition of the most intense fear. He is not afraid of anything; he is simply afraid. His mind is perfectly clear. He looks for a cause of his wretched condition, but sees none. Presently his terror is such that he trembles violently and utters low moans; his body is damp with perspiration; his mouth is perfectly dry; and at this stage there are no tears in his eyes, though his suffering is intense. When the climax of the attack is reached and passed, there is a copious flow of tears, or else a mental condition in which the person weeps upon the least provocation. At this stage a large quantity of pale urine is passed. Then the heart's action becomes again normal, and the attack passes off."[407]

Again:

"There are outbreaks of rage so groundless and unbridled that all must admit them to be expressions of disease. For the medical layman hardly anything can be more instructive than the observation of such a pathological attack of rage, especially when it presents itself pure and unmixed with other psychical disturbances. This happens in that rather rare disease named transitory mania. The patient predisposed to this—otherwise an entirely reasonable person—will be attacked suddenly without the slightest outward provocation, and thrown (to use the words of the latest writer on the subject, O. Schwartzer, Die transitorische Tobsucht, Wien, 1880), 'into a paroxysm of the wildest rage, with a fearful and blindly furious impulse to do violence and destroy.' He flies at those about him; strikes, kicks, and throttles whomever he can catch; dashes every object about which he can lay his hands on; breaks and crushes what is near him; tears his clothes; shouts, howls, and roars, with eyes that flash and roll, and shows meanwhile all those symptoms of vaso-motor congestion which we have learned to know as the concomitants of anger. His face is red, swollen, his cheeks hot, his eyes protuberant and their whites bloodshot, the heart beatsviolently, the pulse marks 100-120 strokes a minutes. The arteries of the neck are full and pulsating, the veins are swollen, the saliva flows. The fit lasts only a few hours, and ends suddenly with a sleep of from 8 to 12 hours, on waking from which the patient has entirely forgotten what has happened."[408]

In these (outwardly) causeless emotional conditions the particular paths which are explosive are discharged by any and every incoming sensation. Just as, when we are seasick, every smell, every taste, every sound, every sight, every movement, every sensible experience whatever, augments our nausea, so the morbid terror or anger is increased by each and every sensation which stirs up the nerve-centres. Absolute quiet is the only treatment for the time. It seems impossible not to admit that in all this the bodily condition takes the lead, and that the mental emotion follows. Theintellectmay, in fact, be so little affected as to play the cold-blooded spectator all the while, and note the absence of a real object for the emotion.[409]

A few words from Henle may close my reply to this first objection:

"Does it not seem as if the excitations of the bodily nerves met the ideas half way, in order to raise the latter to the height of emotions? [Note how justly this expresses our theory!] That they do so is proved by the cases in which particular nerves, when specially irritable, share in the emotion and determine its quality. When one is suffering from an open wound, any grievous or horrid spectacle will cause pain in thewound. In sufferers from heart-disease there is developed a psychic excitability, which is often incomprehensible to the patients themselves, but which comes from the heart's liability to palpitate. I said that the very quality of the emotion is determined by the organs disposed to participate in it. Just as surely as a dark foreboding, rightly grounded on inference from the constellations, will be accompanied by a feeling of oppression in the chest, so surely will a similar feeling of oppression, when due to disease of the thoracic organs, be accompanied by groundless forebodings. So small a thing as a bubble of air rising from the stomach through the œsophagus, and loitering on its way a few minutes and exerting pressure on the heart, is able during sleep to occasion a nightmare, and during waking to produce a vague anxiety. On the other hand, we see that joyous thoughts dilate our blood-vessels, and that a suitable quantity of wine, because it dilates the vessels, also disposes us to joyous thoughts. If both the jest and the wine work together, they supplement each other in producing the emotional effect, and our demands on the jest are the more modest in proportion as the wine takes upon itself a larger part of the task."[410]

Second Objection.If our theory be true, a necessary corollary of it ought to be this: that any voluntary and cold-blooded arousal of the so-called manifestations of a special emotion ought to give us the emotion itself. Now this (the objection says) is not found to be the case. An actor can perfectly simulate an emotion and yet be inwardly cold; and we can all pretend to cry and not feel grief; and feign laughter without being amused.

Reply.In the majority of emotions this test is inapplicable; for many of the manifestations are in organs over which we have no voluntary control. Few people in pretending to cry can shed real tears, for example. But, within the limits in which it can be verified, experience corroborates rather than disproves the corollary from our theory, upon which the present objection rests. Every one knows how panic is increased by flight, and how the giving way to the symptoms of grief or anger increases those passions themselves. Each fit of sobbing makes the sorrow more acute, and calls forth another fit stronger still, until at last repose only ensues with lassitude and with theapparent exhaustion of the machinery. In rage, it is notorious how we 'work ourselves up' to a climax by repeated outbreaks of expression. Refuse to express a passion, and it dies. Count ten before venting your anger, and its occasion seems ridiculous. Whistling to keep up courage is no mere figure of speech. On the other hand, sit all day in a moping posture, sigh, and reply to everything with a dismal voice, and your melancholy lingers. There is no more valuable precept in moral education than this, as all who have experience know: if we wish to conquer undesirable emotional tendencies in ourselves, we must assiduously, and in the first instance cold-bloodedly, go through theoutward movementsof those contrary dispositions which we prefer to cultivate. The reward of persistency will infallibly come, in the fading out of the sullenness or depression, and the advent of real cheerfulness and kindliness in their stead. Smooth the brow, brighten the eye, contract the dorsal rather than the ventral aspect of the frame, and speak in a major key, pass the genial compliment, and your heart must be frigid indeed if it do not gradually thaw!

This is recognized by all psychologists, only they fail to see its full import. Professor Bain writes, for example:

"We find that a feeble [emotional] wave... is suspended inwardly by being arrested outwardly; the currents of the brain and the agitation of the centres die away if the external vent is resisted at every point. It is by such restraint that we are in the habit of suppressing pity, anger, fear, pride—on many trifling occasions. If so, it is a fact that the suppression of the actual movements has a tendency to suppress the nervous currents that incite them, so that the external quiescence is followed by the internal. The effect would not happen in any caseif there were not some dependence of the cerebral wave upon the free outward vent or manifestation.... By the same interposition we may summon up a dormant feeling. By acting out the external manifestations, we gradually infect the nerves leading to them, and finally waken up the diffusive current by a sort of actionab extra.... Thus it is that we are sometimes able to assume a cheerful tone of mind by forcing a hilarious expression."[411]

We have a mass of other testimony of similar effect. Burke, in his treatise on the Sublime and Beautiful, writes as follows of the physiognomist Campanella:

"This man, it seems, had not only made very accurate observations on human faces, but was very expert in mimicking such as were in any way remarkable. When he had a mind to penetrate into the inclinations of those he had to deal with, he composed his face, his gesture, and his whole body, as nearly as he could, into the exact similitude of the person he intended to examine; and then carefully observed what turn of mind he seemed to acquire by the change. So that, says my author, he was able to enter into the dispositions and thoughts of people as effectually as if he had been changed into the very men. I have often observed [Burke now goes on in his own person] that, on mimicking the looks and gestures of angry, or placid, or frightened, or daring men, I have involuntarily found my mind turned to that passion whose appearance I strove to imitate; nay, I am convinced it is hard to avoid it, though one strove to separate the passion from its corresponding gestures."[412]

Against this it is to be said that many actors who perfectly mimic the outward appearances of emotion in face, gait, and voice declare that they feel no emotion at all. Others, however, according to Mr. Wm. Archer, who has made a very instructive statistical inquiry among them, say that the emotion of the part masters them whenever they play it well.[413]Thus:

"'I often turn pale,' writes Miss Isabel Bateman, 'in scenes of terror or great excitement. I have been told this many times, and I can feel myself getting very cold and shivering and pale in thrilling situations.' 'When I am playing rage or terror,' writes Mr. Lionel Brough, 'I believe I do turn pale. My mouth gets dry, my tongue cleaves to my palate. In Bob Acres, for instance (in the last act), Ihave to continually moisten my mouth, or I shall become inarticulate. I have to "swallow the lump," as I call it.' All artists who have had much experience of emotional parts are absolutely unanimous.... 'Playing with the brain,' says Miss Alma Murray, 'is far less fatiguing than playing with the heart. An adventuress taxes the physique far less than a sympathetic heroine. Muscular exertion has comparatively little to do with it.'... 'Emotion while acting,' writes Mr. Howe, 'will induce perspiration much more than physical exertion. I always perspired profusely while acting Joseph Surface, which requires little or no exertion.'... 'I suffer from fatigue,' writes Mr. Forbes Robertson, 'in proportion to the amount of emotion I may have been called upon to go through, and not from physical exertion.'... 'Though I have played Othello,' writes Mr. Coleman, 'ever since I was seventeen (at nineteen I had the honor of acting the Moor to Macready's Iago), husband my resources as I may, this is the one part, the part of parts, which always leaves me physically prostrate. I have never been able to find a pigment that would stay on my face, though I have tried every preparation in existence. Even the titanic Edwin Forrest told me that he was always knocked over in Othello, and I have heard Charles Kean, Phelps, Brooke, Dillion, say the same thing. On the other hand, I have frequently acted Richard III. without turning a hair.'"[414]

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