The Expression of the Emotions in Man and Animals. Чарльз Дарвин
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or deep sorrow takes the place of frantic grief. The sufferer sits motionless, or gently rocks to and fro; the circulation becomes languid; respiration is almost forgotten, and deep sighs are drawn. All this reacts on the brain, and prostration soon follows with collapsed muscles and dulled eyes. As associated habit no longer prompts the sufferer to action, he is urged by his friends to voluntary exertion, and not to give way to silent, motionless grief. Exertion stimulates the hear, and this reacts on the brain, and aids the mind to bear its heavy load.
Pain, if severe, soon induces extreme depression or prostration; but it is at first a stimulant and excites to action, as we see when we whip a horse, and as is shown by the horrid tortures inflicted in foreign lands on exhausted dray-bullocks, to rouse them to renewed exertion. Fear again is the most depressing of all the emotions; and it soon induces utter, helpless prostration, as if in consequence of, or in association with, the most violent and prolonged attempts to escape from the danger, though no such attempts have actually been made. Nevertheless, even extreme fear often acts at first as a powerful stimulant. A man or animal driven through terror to desperation, is endowed with wonderful strength, and is notoriously dangerous in the highest degree.
On the whole we may conclude that the principle of the direct action of the sensorium on the body, due to the constitution of the nervous system, and from the first independent of the will, has been highly influential in determining many expressions. Good instances are afforded by the trembling of the muscles, the sweating of the skin, the modified secretions of the alimentary canal and glands, under various emotions and sensations. But actions of this kind are often combined with others, which follow from our first principle, namely, that actions which have often been of direct or indirect service, under certain states of the mind, in order to gratify or relieve certain sensations, desires, &c., are still performed under analogous circumstances through mere habit although of no service. We have combinations of this kind, at least in part, in the frantic gestures of rage and in the writhings of extreme pain; and, perhaps, in the increased action of the heart and of the respiratory organs. Even when these and other emotions or sensations are aroused in a very feeble manner, there will still be a tendency to similar actions, owing to the force of long-associated habit; and those actions which are least under voluntary control will generally be longest retained. Our second principle of antithesis has likewise occasionally come into play.
Finally, so many expressive movements can be explained, as I trust will be seen in the course of this volume, through the three principles which have now been discussed, that we may hope hereafter to see all thus explained, or by closely analogous principles. It is, however, often impossible to decide how much weight ought to be attributed, in each particular case, to one of our principles, and how much to another; and very many points in the theory of Expression remain inexplicable.
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