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, important emotions of their own selec- tion. I shall also try to show why John Bunny expresses laughter better than he does rage, why Alice Joyce is more successful in expressing re- proach than remorse, why Henry Walthal can express sarcasm and re- straint better than he can affection and idolatry, and so on. I now call your attention to the il- lustration showing a man repelling a glass that is being offered to him. If 1 should tell you that it represents a reformed drunkard who is trying to resist temptation, you would prob- ably declare that it was an exquisite bit of drawing. You would see that the man's face bore signs of previous dissipation, that he was trying hard to reform, that he was sorely tempted, that he loves the liquor and yearns for it, yet that there is a higher voice within him urging him to refuse. You would recognize the expressions of love (of liquor), fear, hatred, de- termination, dread, yearning, aver- sion, resolution, wretchedness, and per- haps several others. Kindly turn to the list of one hundred and sixty-eight emotions and sensations on pp. 108- .109 and see how many of them this drawing represents. The more you study this picture, the more you will see in it. It is really a great picture, and the wonder is that some great painter has not taken it as a model for a wonderful masterpiece. But now 111 I must inform you that Sir C. Bell, who drew the picture for his "Anat- omy of Expression," did not mean to represent any such thing as I have described. The correct title is'' Hydro- phobia—Head Repelled by Sight of Water." This is disappointing, no doubt. The picture now loses interest. The expression on the face is not so complex. It is not universal, nor so human as it first appeared. It is not such a great picture, after all. Now, what does all this show ? It shows that facial expression alone is not com- plete; that it is indeterminate; that it is not conclusive; that it may mean different things under different cir- cumstances. I ask you now to place a handkerchief around the arms of the figure so that you can see only the face. What do you now see? Is it the same man? What story does his expression tell? If you can for- get what is under the handkerchief, you will agree, I think, that the man is nothing but an ordinary prize- fighter; that he is agitated by some kind of emotion, perhaps fear and cruelty intermixed; and that he has none of the higher virtues. Thus we see that, to tell the whole story, more than facial expression is needed. I prefer my own interpretation of