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FEELINGS AND EMOTIONS
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nearly shut. He then orders the painting taken down and hung in a slightly different position. At last, he stands passively in front of his new art treasure, or perhaps draws up a chair in front of it. He may thus sit, passively lost in contemplative appreciation of the , painting for several hours. This is an extreme develop
ment of expression of the emotion of artistic satisfaction.
, II. Physiological Expressions
a. Complacent, passive, self-satisfied facial expressions; inert, indolent, self-assured postures of the body, such as slouching down in an easy chair, with muscles relaxed, or reclining lazily on a couch or hammock. Small gestures of self-sufi&ciency, such as a condescending wave of the hand or nod of the head, indicating approval or permission to do something.
b. In simple bodily satisfaction following consumption of food, the bodily symptoms of dominance are never wholly supplanted by the bodily symptoms of compliance. After eating a hearty meal, the systolic blood pressure may drop ten or twenty millimeters below its level prior to taking food, but its final level is still considerably higher than that shown during states of inactivity prior to the onset of hunger. Saliva and
(gastric juices continue to flow heavily for twenty min^ utes or more after the food has been eaten, and diges
I tive processes continue extremely active for half an
!' hour after eating, and more active than usual for an
hour or more after the meal. This flow of gastric V juices and increase of digestive activities must be re
(1 garded as bodily symptoms of compliance in satisfac
j tion.
' Passion
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I Passion combines submission and inducement, with submission
I in the ascendancy. We may take the case of a young man who goes to see a Ziegfeld revue. The little blonde girl at the end of the front row attracts him greatly. He begins to feel excited about her. He seems irresistibly drawn to her, and he tries to ; attract her attention during the ball-throwing scene between the I
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