Let us have regard to his corporeal structure. There is a simplicity in it, that at first perhaps we slightly consider. But how exactly is it fashioned for strength and agility! It is in no way incumbered. It is like the marble when it comes out of the hand of the consummate sculptor; every thing unnecessary is carefully chiseled away; and the joints, the muscles, the articulations, and the veins come out, clean and finished. It has long ago been observed, that beauty, as well as virtue, is the middle between all extremes: that nose which is neither specially long, nor short, nor thick, nor thin, is the perfect nose; and so of the rest. In like manner, when I speak of man generally, I do not regard any aberrations of form, obesity, a thick calf, a thin calf; I take the middle between all extremes; and this is emphatically man.
Man cannot keep pace with a starting horse: but he can persevere, and beats him in the end.
What an infinite variety of works is man by his corporeal form enabled to accomplish! In this respect he casts the whole creation behind him.
What a machine is the human hand! When we analyse its parts and its uses, it appears to be the most consummate of our members. And yet there are other parts, that may maintain no mean rivalship against it.
What a sublimity is to be attributed to his upright form! He is not fashioned, veluti pecora, quae natura prona atque ventri obedientia finxit. He is made coeli convexa tueri. The looks that are given him in his original structure, are "looks commercing with the skies."
How surpassingly beautiful are the features of his countenance; the eyes, the nose, the mouth! How noble do they appear in a state of repose! With what never-ending variety and emphasis do they express the emotions of his mind! In the visage of man, uncorrupted and undebased, we read the frankness and ingenuousness of his soul, the clearness of his reflections, the penetration of his spirit. What a volume of understanding is unrolled in his broad, expanded, lofty brow! In his countenance we see expressed at one time sedate confidence and awful intrepidity, and at another godlike condescension and the most melting tenderness. Who can behold the human eye, suddenly suffused with moisture, or gushing with tears unbid, and the quivering lip, without unspeakable emotion? Shakespear talks of an eye, "whose bend could awe the world."
What a miraculous thing is the human complexion! We are sent into the world naked, that all the variations of the blood might be made visible. However trite, I cannot avoid quoting here the lines of the most deep-thinking and philosophical of our poets:
We understood
Her by her sight: her pure and eloquent blood
Spoke in her cheeks, and so distinctly wrought,
That one might almost say her body thought.
What a curious phenomenon is that of blushing! It is impossible to witness this phenomenon without interest and sympathy. It comes at once, unanticipated by the person in whom we behold it. It comes from the soul, and expresses with equal certainty shame, modesty, and vivid, uncontrollable affection. It spreads, as it were in so many stages, over the cheeks, the brow, and the neck, of him or her in whom the sentiment that gives birth to it is working.
Thus far I have not mentioned speech, not perhaps the most inestimable of human gifts, but, if it is not that, it is at least the endowment, which makes man social, by which principally we impart our sentiments to each other, and which changes us from solitary individuals, and bestows on us a duplicate and multipliable existence. Beside which it incalculably increases the perfection of one. The man who does not speak, is an unfledged thinker; and the man that does not write, is but half an investigator.