DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18825#0262
176 of EXPRESSION. [lECT. VII.
consider distinctly the expression of each passion,
that we may attain a clearer conception of its move-
ment.
Admiration is the first and most temperate of
the passions; it is a surprise which strongly affects
the mind at striking and extraordinary objects ;
and which sometimes is so powerful, and so entirely
engrosses the mind, that the body becomes motion-
less as a statue. The face receives very little altera-
tion, the eye-brow is somewhat elevated, the eye a
little more open than usual, its attention fixed on
the'object which excites the passion, the mouth half
open, the other features without change.
Excess of Admiration produces Astonishment,
which may take place before we know whether the
object be desirable or not; insomuch, that it should
seem, that admiration produces Esteem, or Contempt,
according to the magnitude and importance, or di-
minutiveness and insignificance of objects. The
features of the countenance follow the forms which
Admiration had marked for them, and differ from
that passion chiefly, if not only, by exceeding it.
We shall trace Admiration into its relative branches.
If what has excited our attention appear to be
good, to shew our regard and Esteem for it, we
advance our heads toward it, as desiring closer in-
spection of it: our eye-brows project, arid approach
toward each other, our eyes are very open, the eye-
balls raised, the nostrils gently drawn backwards, the
mouth a little opened, its corners retire and decline.
From Esteem arises Veneration, which ex-
presses itself by many of the same marks; the eye-
brows
consider distinctly the expression of each passion,
that we may attain a clearer conception of its move-
ment.
Admiration is the first and most temperate of
the passions; it is a surprise which strongly affects
the mind at striking and extraordinary objects ;
and which sometimes is so powerful, and so entirely
engrosses the mind, that the body becomes motion-
less as a statue. The face receives very little altera-
tion, the eye-brow is somewhat elevated, the eye a
little more open than usual, its attention fixed on
the'object which excites the passion, the mouth half
open, the other features without change.
Excess of Admiration produces Astonishment,
which may take place before we know whether the
object be desirable or not; insomuch, that it should
seem, that admiration produces Esteem, or Contempt,
according to the magnitude and importance, or di-
minutiveness and insignificance of objects. The
features of the countenance follow the forms which
Admiration had marked for them, and differ from
that passion chiefly, if not only, by exceeding it.
We shall trace Admiration into its relative branches.
If what has excited our attention appear to be
good, to shew our regard and Esteem for it, we
advance our heads toward it, as desiring closer in-
spection of it: our eye-brows project, arid approach
toward each other, our eyes are very open, the eye-
balls raised, the nostrils gently drawn backwards, the
mouth a little opened, its corners retire and decline.
From Esteem arises Veneration, which ex-
presses itself by many of the same marks; the eye-
brows