when strong passion has decked the soul or awakened its more earnest excitements, it seems almost to bound against the very casements of its mystic residence, so as to leave no doubt of the evolutions and dramatic exercises which are being consummated within. Then it is that glances of light dart forth from that palace to minister joy, hope, love, fear, hatred, and those innumerable comminglings of spirits, as they hasten over the hills and vales of time.
Many learned and intelligent men have endeavoured to mark out the path and lines, the hues and contours in which these passions, feelings, and characteristics are content to take their way; and, although some of these philosophers have failed to satisfy the critics, or agree in principles, yet they have cast considerable light on a most interesting subject relating to man's social happiness. In determining some of these principles, the voice, motion of the hand, and carriage of the figure, are known to perform a part. Lavater, Gall, and others, have left their valuable experience in their works. The motion of the ball of the eye, the clashing of the lashes, the rapid or monotonous action of the upper lid, the increased brilliancy, and sometimes the presence of tears, or vermilion hue on the cheek, all perform a part in this display. To this we must add, the state of health, age, moral condition, and intellectual cultivation, all which have their share in expression. If this is so, how difficult is the task we have presumed to enter upon; but, in the enunciation, we shall depend on the liberal concession of our readers.
Some principles may be alleged,—for instance, where there is strong understanding, the look is pleasing, whilst the eye moves calmly, passing in curves, the pupil is contracted, the brows are bent downward, and the ball is prominent; whereas, when the feelings predominate, the eye performs its motions more actively, and is fluctuating
