The Expression of the Emotions in Man and Animals Part 1

The Expression of Emotion in Man and Animals.

by Charles Darwin.

INTRODUCTION.

MANY works have been written on Expression, but a greater number on Physiognomy,--that is, on the recognition of character through the study of the permanent form of the features. With this latter subject I am not here concerned. The older treatises,[1] which I have consulted, have been of little or no service to me. The famous 'Conferences'[2] of the painter Le Brun, published in 1667, is the best known ancient work, and contains some good remarks. Another somewhat old essay, namely, the 'Discours,' delivered 1774-1782, by the well-known Dutch anatomist Camper,[3] can hardly be considered as having made any marked advance in the subject. The following works, on the contrary, deserve the fullest consideration.

Sir Charles Bell, so ill.u.s.trious for his discoveries in physiology, published in 1806 the first edition, and in the third edition of his 'Anatomy and Philosophy of Expression.'[4] He may with justice be said, not only to have laid the foundations of the subject as a branch of science, but to have built up a n.o.ble structure. His work is in every way deeply interesting; it includes graphic descriptions of the various emotions, and is admirably ill.u.s.trated. It is generally admitted that his service consists chiefly in having shown the intimate relation which exists between the movements of expression and those of respiration. One of the most important points, small as it may at first appear, is that the muscles round the eyes are involuntarily contracted during violent expiratory efforts, in order to protect these delicate organs from the pressure of the blood. This fact, which has been fully investigated for me with the greatest kindness by Professors Donders of Utrecht, throws, as we shall hereafter see, a flood of light on several of the most important expressions of the human countenance. The merits of Sir C.

Bell's work have been undervalued or quite ignored by several foreign writers, but have been fully admitted by some, for instance by M.

Lemoine,[5] who with great justice says:--"Le livre de Ch. Bell devrait etre medite par quiconque essaye de faire parler le visage de l'homme, par les philosophes aussi bien que par les artistes, car, sous une apparence plus legere et sous le pretexte de l'esthetique, c'est un des plus beaux monuments de la science des rapports du physique et du moral."

From reasons which will presently be a.s.signed, Sir C. Bell did not attempt to follow out his views as far as they might have been carried.

He does not try to explain why different muscles are brought into action under different emotions; why, for instance, the inner ends of the eyebrows are raised, and the corners of the mouth depressed, by a person suffering from grief or anxiety.

In 1807 M. Moreau edited an edition of Lavater on Physiognomy,[6] in which he incorporated several of his own essays, containing excellent descriptions of the movements of the facial muscles, together with many valuable remarks. He throws, however, very little light on the philosophy of the subject. For instance, M. Moreau, in speaking of the act of frowning, that is, of the contraction of the muscle called by French writers the _soucilier_ (_corrigator supercilii_), remarks with truth:--"Cette action des sourciliers est un des symptomes les plus tranches de l'expression des affections penibles ou concentrees." He then adds that these muscles, from their attachment and position, are fitted "a resserrer, a concentrer les princ.i.p.aux traits de la _face_, comme il convient dans toutes ces pa.s.sions vraiment oppressives ou profondes, dans ces affections dont le sentiment semble porter l'organisation a revenir sur elle-meme, a se contracter et a _s'amoindrir_, comme pour offrir moins de prise et de surface a des impressions redoutables ou importunes." He who thinks that remarks of this kind throw any light on the meaning or origin of the different expressions, takes a very different view of the subject to what I do.

The earliest edition of this work, referred to in the preface to the edition of 1820 in ten volumes, as containing the observations of M.

Moreau, is said to have been published in 1807; and I have no doubt that this is correct, because the 'Notice sur Lavater' at the commencement of volume i. is dated April 13, 1806. In some bibliographical works, however, the date of 1805--1809 is given, but it seems impossible that 1805 can be correct. Dr. d.u.c.h.enne remarks ('Mecanisme de la Physionomie Humaine,'-8vo edit. 1862, p. 5, and 'Archives Generales de Medecine,'

Jan. et Fev. 1862) that M. Moreau "_a compose pour son ouvrage un article important_," &c., in the year 1805; and I find in volume i. of the edition of 1820 pa.s.sages bearing the dates of December 12, 1805, and another January 5, 1806, besides that of April 13, 1806, above referred to. In consequence of some of these pa.s.sages having thus been COMPOSED in 1805, Dr. d.u.c.h.enne a.s.signs to M. Moreau the priority over Sir C.

Bell, whose work, as we have seen, was published in 1806. This is a very unusual manner of determining the priority of scientific works; but such questions are of extremely little importance in comparison with their relative merits. The pa.s.sages above quoted from M. Moreau and from Le Brun are taken in this and all other cases from the edition of 1820 of Lavater, tom. iv. p. 228, and tom. ix. p. 279. In the above pa.s.sage there is but a slight, if any, advance in the philosophy of the subject, beyond that reached by the painter Le Brun, who, in 1667, in describing the expression of fright, says:--"Le sourcil qui est abaisse d'un cote et eleve de l'autre, fait voir que la partie elevee semble le vouloir joindre au cerveau pour le garantir du mal que l'ame apercoit, et le cote qui est abaisse et qui parait enfle,--nous fait trouver dans cet etat par les esprits qui viennent du cerveau en abondance, comme polir couvrir l'aine et la defendre du mal qu'elle craint; la bouche fort ouverte fait voir le saisiss.e.m.e.nt du coeur, par le sang qui se retire vers lui, ce qui l'oblige, voulant respirer, a faire un effort qui est cause que la bouche s'ouvre extremement, et qui, lorsqu'il pa.s.se par les organes de la voix, forme un son qui n'est point articule; que si les muscles et les veines paraissent enfles, ce n'est que par les esprits que le cerveau envoie en ces parties-la." I have thought the foregoing sentences worth quoting, as specimens of the surprising nonsense which has been written on the subject.

'The Physiology or Mechanism of Blushing,' by Dr. Burgess, appeared in 1839, and to this work I shall frequently refer in my thirteenth Chapter.

In 1862 Dr. d.u.c.h.enne published two editions, in folio and octavo, of his 'Mecanisme de la Physionomie Humaine,' in which he a.n.a.lyses by means of electricity, and ill.u.s.trates by magnificent photographs, the movements of the facial muscles. He has generously permitted me to copy as many of his photographs as I desired. His works have been spoken lightly of, or quite pa.s.sed over, by some of his countrymen. It is possible that Dr.

d.u.c.h.enne may have exaggerated the importance of the contraction of single muscles in giving expression; for, owing to the intimate manner in which the muscles are connected, as may be seen in Henle's anatomical drawings[7]--the best I believe ever published it is difficult to believe in their separate action. Nevertheless, it is manifest that Dr.

d.u.c.h.enne clearly apprehended this and other sources of error, and as it is known that he was eminently successful in elucidating the physiology of the muscles of the hand by the aid of electricity, it is probable that he is generally in the right about the muscles of the face. In my opinion, Dr. d.u.c.h.enne has greatly advanced the subject by his treatment of it. No one has more carefully studied the contraction of each separate muscle, and the consequent furrows produced on the skin. He has also, and this is a very important service, shown which muscles are least under the separate control of the will. He enters very little into theoretical considerations, and seldom attempts to explain why certain muscles and not others contract under the influence of certain emotions.

A distinguished French anatomist, Pierre Gratiolet, gave a course of lectures on Expression at the Sorbonne, and his notes were published (1865) after his death, under the t.i.tle of 'De la Physionomie et des Mouvements d'Expression.' This is a very interesting work, full of valuable observations. His theory is rather complex, and, as far as it can be given in a single sentence (p. 65), is as follows:--"Il resulte, de tous les faits que j'ai rappeles, que les sens, l'imagination et la pensee ellememe, si elevee, si abstraite qu'on la suppose, ne peuvent s'exercer sans eveiller un sentiment correlatif, et que ce sentiment se traduit directement, sympathiquement, symboliquement ou metaphoriquement, dans toutes les spheres des organs exterieurs, qui la racontent tous, suivant leur mode d'action propre, comme si chacun d'eux avait ete directement affecte."

Gratiolet appears to overlook inherited habit, and even to some extent habit in the individual; and therefore he fails, as it seems to me, to give the right explanation, or any explanation at all, of many gestures and expressions. As an ill.u.s.tration of what he calls symbolic movements, I will quote his remarks (p. 37), taken from M. Chevreul, on a man playing at billiards. "Si une bille devie legerement de la direction que le joueur pretend zlui imprimer, ne l'avez-vous pas vu cent fois la pousser du regard, de la tete et meme des epaules, comme si ces mouvements, purement symboliques, pouvaient rectifier son trajet? Des mouvements non moins significatifs se produisent quand la bille manque d'une impulsion suffisante. Et cliez les joueurs novices, ils sont quelquefois accuses au point d'eveiller le sourire sur les levres des spectateurs." Such movements, as it appeirs to me, may be attributed simply to habit. As often as a man has wished to move an object to one side, he has always pushed it to that side when forwards, he has pushed it forwards; and if he has wished to arrest it, he has pulled backwards.

Therefore, when a man sees his ball travelling in a wrong direction, and he intensely wishes it to go in another direction, he cannot avoid, from long habit, unconsciously performing movements which in other cases he has found effectual.

As an instance of sympathetic movements Gratiolet gives (p. 212) the following case:--"un jeune chien A oreilles droites, auquel son maitre presente de loin quelque viande appetissante, fixe avec ardeur ses yeux sur cet objet dont il suit tous les mouvements, et pendant que les yeux regardent, les deux oreilles se portent en avant comme si cet objet pouvait etre entendu." Here, instead of speaking of sympathy between the ears and eyes, it appears to me more simple to believe, that as dogs during many generations have, whilst intently looking at any object, p.r.i.c.ked their ears in order to perceive any sound; and conversely have looked intently in the direction of a sound to which they may have listened, the movements of these organs have become firmly a.s.sociated together through long-continued habit.

Dr. Piderit published in 1859 an essay on Expression, which I have not seen, but in which, as he states, he forestalled Gratiolet in many of his views. In 1867 he published his 'Wissenschaftliches System der Mimik und Physiognomik.' It is hardly possible to give in a few sentences a fair notion of his views; perhaps the two following sentences will tell as much as can be briefly told: "the muscular movements of expression are in part related to imaginary objects, and in part to imaginary sensorial impressions. In this proposition lies the key to the comprehension of all expressive muscular movements." (s. 25) Again, "Expressive movements manifest themselves chiefly in the numerous and mobile muscles of the face, partly because the nerves by which they are set into motion originate in the most immediate vicinity of the mind-organ, but partly also because these muscles serve to support the organs of sense." (s. 26.) If Dr. Piderit had studied Sir C. Bell's work, he would probably not have said (s. 101) that violent laughter causes a frown from partaking of the nature of pain; or that with infants (s. 103) the tears irritate the eyes, and thus excite the contraction of the surrounding in muscles. Many good remarks are scattered throughout this volume, to which I shall hereafter refer.

Short discussions on Expression may be found in various works, which need not here be particularised. Mr. Bain, however, in two of his works has treated the subject at some length. He says,[8] "I look upon the expression so-called as part and parcel of the feeling. I believe it to be a general law of the mind that along with the fact of inward feeling or consciousness, there is a diffusive action or excitement over the bodily members." In another place he adds, "A very considerable number of the facts may be brought under the following principle: namely, that states of pleasure are connected with an increase, and states of pain with an abatement, of some, or all, of the vital functions." But the above law of the diffusive action of feelings seems too general to throw much light on special expressions.

Mr. Herbert Spencer, in treating of the Feelings in his 'Principles of Psychology' (1855), makes the following remarks:--"Fear, when strong, expresses itself in cries, in efforts to hide or escape, in palpitations and tremblings; and these are just the manifestations that would accompany an actual experience of the evil feared. The destructive pa.s.sions are shown in a general tension of the muscular system, in gnashing of the teeth and protrusion of the claws, in dilated eyes and nostrils in growls; and these are weaker forms of the actions that accompany the killing of prey." Here we have, as I believe, the true theory of a large number of expressions; but the chief interest and difficulty of the subject lies in following out the wonderfully complex results. I infer that some one (but who he is I have not been able to ascertain) formerly advanced a nearly similar view, for Sir C. Bell says,[9] "It has been maintained that what are called the external signs of pa.s.sion, are only the concomitants of those voluntary movements which the structure renders necessary." Mr. Spencer has also published[10]

a valuable essay on the physiology of Laughter, in which he insists on "the general law that feeling pa.s.sing a certain pitch, habitually vents itself in bodily action," and that "an overflow of nerve-force undirected by any motive, will manifestly take first the most habitual routes; and if these do not suffice, will next overflow into the less habitual ones." This law I believe to be of the highest importance in throwing light on our subject.'

All the authors who have written on Expression, with the exception of Mr. Spencer--the great expounder of the principle of Evolution--appear to have been firmly convinced that species, man of course included, came into existence in their present condition. Sir C. Bell, being thus convinced, maintains that many of our facial muscles are "purely instrumental in expression;" or are "a special provision" for this sole object.[12] But the simple fact that the anthropoid apes possess the same facial muscles as we do,[13] renders it very improbable that these muscles in our case serve exclusively for expression; for no one, I presume, would be inclined to admit that monkeys have been endowed with special muscles solely for exhibiting their hideous grimaces. Distinct uses, independently of expression, can indeed be a.s.signed with much probability for almost all the facial muscles.

Sir C. Bell evidently wished to draw as broad a distinction as possible between man and the lower animals; and he consequently a.s.serts that with "the lower creatures there is no expression but what may be referred, more or less plainly, to their acts of volition or necessary instincts."

He further maintains that their faces "seem chiefly capable of expressing rage and fear."[14] But man himself cannot express love and humility by external signs, so plainly as does a dog, when with drooping ears, hanging lips, flexuous body, and wagging tail, he meets his beloved master. Nor can these movements in the dog be explained by acts of volition or necessary instincts, any more than the beaming eyes and smiling cheeks of a man when he meets an old friend. If Sir C. Bell had been questioned about the expression of affection in the dog, he would no doubt have answered that this animal had been created with special instincts, adapting him for a.s.sociation with man, and that all further enquiry on the subject was superfluous.

Although Gratiolet emphatically denies[15] that any muscle has been developed solely for the sake of expression, he seems never to have reflected on the principle of evolution. He apparently looks at each species as a separate creation. So it is with the other writers on Expression. For instance, Dr. d.u.c.h.enne, after speaking of the movements of the limbs, refers to those which give expression to the face, and remarks:[16] "Le createur n'a donc pas eu a se preoccuper ici des besoins de la mecanique; il a pu, selon sa sagesse, ou--que l'on me pardonne cette maniere de parler--par une divine fantaisie, mettre en action tel ou tel muscle, un seul ou plusieurs muscles a la fois, lorsqu'il a voulu que les signes caracteristiques des pa.s.sions, meme les plus fugaces, lussent ecrits pa.s.sagerement sur la face de l'homme. Ce langage de la physionomie une fois cree, il lui a suffi, pour le rendre universel et immuable, de donner a tout etre humain la faculte instinctive d'exprimer toujours ses sendments par la contraction des memes muscles."

Many writers consider the whole subject of Expression as inexplicable.

Thus the ill.u.s.trious physiologist Muller, says,[17] "The completely different expression of the features in different pa.s.sions shows that, according to the kind of feeling excited, entirely different groups of the fibres of the facial nerve are acted on. Of the cause of this we are quite ignorant."

No doubt as long as man and all other animals are viewed as independent creations, an effectual stop is put to our natural desire to investigate as far as possible the causes of Expression. By this doctrine, anything and everything can be equally well explained; and it has proved as pernicious with respect to Expression as to every other branch of natural history. With mankind some expressions, such as the bristling of the hair under the influence of extreme terror, or the uncovering of the teeth under that of furious rage, can hardly be understood, except on the belief that man once existed in a much lower and animal-like condition. The community of certain expressions in distinct though allied species, as in the movements of the same facial muscles during laughter by man and by various monkeys, is rendered somewhat more intelligible, if we believe in their descent from a common progenitor.

He who admits on general grounds that the structure and habits of all animals have been gradually evolved, will look at the whole subject of Expression in a new and interesting light.

The study of Expression is difficult, owing to the movements being often extremely slight, and of a fleeting nature. A difference may be clearly perceived, and yet it may be impossible, at least I have found it so, to state in what the difference consists. When we witness any deep emotion, our sympathy is so strongly excited, that close observation is forgotten or rendered almost impossible; of which fact I have had many curious proofs. Our imagination is another and still more serious source of error; for if from the nature of the circ.u.mstances we expect to see any expression, we readily imagine its presence. Notwithstanding Dr.

d.u.c.h.enne's great experience, he for a long time fancied, as he states, that several muscles contracted under certain emotions, whereas he ultimately convinced himself that the movement was confined to a single muscle.

In order to acquire as good a foundation as possible, and to ascertain, independently of common opinion, how far particular movements of the features and gestures are really expressive of certain states of the mind, I have found the following means the most serviceable. In the first place, to observe infants; for they exhibit many emotions, as Sir C. Bell remarks, "with extraordinary force;" whereas, in after life, some of our expressions "cease to have the pure and simple source from which they spring in infancy."[18]

In the second place, it occurred to me that the insane ought to be studied, as they are liable to the strongest pa.s.sions, and give uncontrolled vent to them. I had, myself, no opportunity of doing this, so I applied to Dr. Maudsley and received from him an introduction to Dr. J. Crichton Browne, who has charge of an immense asylum near Wakefield, and who, as I found, had already attended to the subject.

This excellent observer has with unwearied kindness sent me copious notes and descriptions, with valuable suggestions on many points; and I can hardly over-estimate the value of his a.s.sistance. I owe also, to the kindness of Mr. Patrick Nicol, of the Suss.e.x Lunatic Asylum, interesting statements on two or three points.

Thirdly Dr. d.u.c.h.enne galvanized, as we have already seen, certain muscles in the face of an old man, whose skin was little sensitive, and thus produced various expressions which were photographed on a large scale. It fortunately occurred to me to show several of the best plates, without a word of explanation, to above twenty educated persons of various ages and both s.e.xes, asking them, in each case, by what emotion or feeling the old man was supposed to be agitated; and I recorded their answers in the words which they used. Several of the expressions were instantly recognised by almost everyone, though described in not exactly the same terms; and these may, I think, be relied on as truthful, and will hereafter be specified. On the other hand, the most widely different judgments were p.r.o.nounced in regard to some of them. This exhibition was of use in another way, by convincing me how easily we may be misguided by our imagination; for when I first looked through Dr. d.u.c.h.enne's photographs, reading at the same time the text, and thus learning what was intended, I was struck with admiration at the truthfulness of all, with only a few exceptions. Nevertheless, if I had examined them without any explanation, no doubt I should have been as much perplexed, in some cases, as other persons have been.

Fourthly, I had hoped to derive much aid from the great masters in painting and sculpture, who are such close observers. Accordingly, I have looked at photographs and engravings of many well-known works; but, with a few exceptions, have not thus profited. The reason no doubt is, that in works of art, beauty is the chief object; and strongly contracted facial muscles destroy beauty.[19] The story of the composition is generally told with wonderful force and truth by skilfully given accessories.

Fifthly, it seemed to me highly important to ascertain whether the same expressions and gestures prevail, as has often been a.s.serted without much evidence, with all the races of mankind, especially with those who have a.s.sociated but little with Europeans. Whenever the same movements of the features or body express the same emotions in several distinct races of man, we may infer with much probability, that such expressions are true ones,--that is, are innate or instinctive. Conventional expressions or gestures, acquired by the individual during early life, would probably have differed in the different races, in the same manner as do their languages. Accordingly I circulated, early in the year 1867, the following printed queries with a request, which has been fully responded to, that actual observations, and not memory, might be trusted. These queries were written after a considerable interval of time, during which my attention had been otherwise directed, and I can now see that they might have been greatly improved. To some of the later copies, I appended, in ma.n.u.script, a few additional remarks:--

(1.) Is astonishment expressed by the eyes and mouth being opened wide, and by the eyebrows being raised?

(2.) Does shame excite a blush when the colour of the skin allows it to be visible? and especially how low down the body does the blush extend?

(3.) When a man is indignant or defiant does he frown, hold his body and head erect, square his shoulders and clench his fists?

(4) When considering deeply on any subject, or trying to understand any puzzle, does he frown, or wrinkle the skin beneath the lower eyelids?

(5.) When in low spirits, are the corners of the mouth depressed, and the inner corner of the eyebrows raised by that muscle which the French call the "Grief muscle"? The eyebrow in this state becomes slightly oblique, with a little swelling at the Inner end; and the forehead is transversely wrinkled in the middle part, but not across the whole breadth, as when the eyebrows are raised in surprise. (6.) When in good spirits do the eyes sparkle, with the skin a little wrinkled round and under them, and with the mouth a little drawn back at the corners?

(7.) When a man sneers or snarls at another, is the corner of the upper lip over the canine or eye tooth raised on the side facing the man whom he addresses?

(8) Can a dogged or obstinate expression be recognized, which is chiefly shown by the mouth being firmly closed, a lowering brow and a slight frown?

(9.) Is contempt expressed by a slight protrusion of the lips and by turning up the nose, and with a slight expiration?

(10) Is disgust shown by the lower lip being turned down, the upper lip slightly raised, with a sudden expiration, something like incipient vomiting, or like something spit out of the mouth?

(11.) Is extreme fear expressed in the same general manner as with Europeans?

(12.) Is laughter ever carried to such an extreme as to bring tears into the eyes?

(13.) When a man wishes to show that he cannot prevent something being done, or cannot himself do something, does he shrug his shoulders, turn inwards his elbows, extend outwards his hands and open the palms; with the eyebrows raised?

(14) Do the children when sulky, pout or greatly protrude the lips?

(15.) Can guilty, or sly, or jealous expressions be recognized? though I know not how these can be defined.

(16.) Is the head nodded vertically in affirmation, and shaken laterally in negation?