So widely did the ancients disagree with us in respect of beauty, that, with them, a small forehead, and eye-brows joined, were accounted ornaments in the female countenance; and even to this day, in Persia, the union of the eye-brows is held in high estimation. In several parts of the Indies, it is necessary that the teeth should be black, and the hair white, to form a beauty; and, in the Marian islands, it is a principal occupation of the women, to blacken the teeth with herbs, and to whiten the hair by certain lotions. In China and Japan, the essential ingredients of beauty are, a large visage, small eyes, and almost concealed, a nose flat and bulky, little feet, and a belly enormously big. Some of the Indians of America and Asia, in order to enlarge the countenance, compress the heads of their children between two planks, others flatten them from the crown only, and others exert every effort to render them round. Every nation, and every individual, has a peculiar prejudice, or taste, with respect to beauty, which probably originates from some pleasing impression received in infancy, and therefore depends more, perhaps, on habit and chance than on the disposition of our organs.
When we come to treat of the different senses, we shall perhaps be able to determine what stress is to be laid on the ideas of beauty which we receive from the eyes. In the mean time let us examine the human countenance as it appears when agitated by the passions. In grief, joy, love, shame, and compassion, the eyes swell, and overflow with tears. The effusion of these is always accompanied with a tension of the muscles of the face, which opens the month. The natural moisture in the nose becomes increased by the tears flowing through the lachrymal ducts; they do not, however, flow uniformly, but burst out by intervals.
In sorrow the corners of the mouth are lowered, the under lip raised, the eye-lids nearly closed, the pupil elevated, and almost covered with the eye-lid; the other muscles of the face are relaxed, so that the space between the mouth and the eyes is larger than ordinary, and of consequence the .countenance appears lengthened. [See [fig. 13].]
In fear, terror, or horror, the forehead is wrinkled, the eye-brow raised, the eye-lids are extended as much as possible, and discover a part of the white over the pupil, which is lowered, and somewhat concealed by the lower eye-lid: the mouth, at the same time, is widely opened, and the lips separating, both the upper and under teeth are seen. [See [fig. 14].]
In contempt and derision the upper lip is raised on one side, and on the other there is a little motion, resembling a supercilious smile; the nose is shrivelled on the same side that the lip is raised, and the corner, of the mouth is extended; the eye on the same side is almost shut, while the other is open as usual, but the pupils of both are lowered as when looking from a height. [See [fig. 15].]
In jealousy, envy, and malice, the eye-brows fall down, and are wrinkled; the eye-lid is raised and the pupil lowered; the upper lip is raised on each side, while the corners of the mouth are rather lowered; and the middle of the under lip is raised, in order to join the middle of the upper lip. [See [fig. 16].]
In laughter the two corners of the mouth are drawn back and somewhat raised; the upper part of the cheeks is raised; and the eyes are more or less closed; the upper lip is raised, while the under one is lowered; and in immoderate laughter the mouth is opened, and the skin of the nose is shrivelled. [See [fig. 17].]
The arms, the hands, and the body in general, likewise assist the countenance by different gestures, in the expression of the emotions of the soul. In joy, for example, the eyes, the head, the arms, and the whole body, are agitated by quick and varied movements. In languor and melancholy the eyes are sunk, the head is reclined, and the whole body is motionless. In admiration, surprize, and astonishment, all motion is suspended, and we remain in one and the same attitude. These expressions of the passions are independent on the will; but there is another sort of expression, which seems to be produced by a reflection of the mind, by a command of the will, and by which the eyes, the head, the arms, and the whole body, are put in action. They appear to be so many efforts of the mind to defend the body, or at least so many secondary signs sufficient to express particular passions. In love, desire, and hope, we raise the head and eyes towards heaven, as if to implore the good we wish for; we bend the head forward, as if to hasten, by this approach, the possession of the desired object; and we extend the arms, and open the hands, in order to embrace and seize it. On the contrary, in fear, hatred, and horror, we advance the arms with precipitation, as if to repel the object of our aversion; and in order to shun it we turn aside the eyes and head, and shrink back. These movements are so quick that they appear involuntary: but it is by habit we are deceived, for they are motions which depend on reflection, and which mark the perfection of the springs of the human body, by the readiness with which each member obeys the dictates of the will.
As the passions are agitations of the mind, and as most of them have an affinity to the impressions of the senses, they may be expressed by the movements of the body, and especially by those of the visage. Of what passes within we may form a judgment from the external motions of the body, and can know the actual situation of the soul by inspecting the changes of the countenance. But as the soul has no form which can have any relation to that of matter we cannot judge of it by the figure of the body, or by the features of the countenance. An ill-formed body may contain an amiable mind; nor is the good or bad disposition of a person to be determined by the features of the face, these features having no analogy with the nature of the soul on which any reasonable conjectures may be founded.
To this kind of prejudice, nevertheless, the ancients were strongly attached; and in all ages there have been men who have attempted to form into a science of divination their pretended skill in physiognomy; but it is evident that this divination can only extend to the situation of the mind when expressed by the motion of the eyes, visage, and other parts of the body, and that the form of the nose, the mouth, and other features, are no more connected with the natural disposition of the person, than is the largeness or the thickness of the limbs to that of thought. Shall a man have more genius because he has a better-shaped nose? Shall he have less wisdom because his eyes are little, and his mouth is large? It must be acknowledged, therefore, that the divination of physiognomists is without foundation, and that nothing can be more chimerical than their pretended observations.