CHAP. I. What the Characters of the PASSIONS are in generall .

NATURE having destin'd Man for a civil life , thought it not sufficient to have given him a tongue to discover his intentions ; but she would also imprint on his forehead , and in his eyes , the images of his thoughts ; that if his speech happened to belye his heart , his face should give the lye to his speech . In effect how secret soever the motions of his soul are , what care soever he takes to hide them , they are no sooner formed but they appear in his face ; and the disquiet they cause is sometimes so great that they may be truely called tempests , which are more violent at Shore then out at Sea : And that he who advised a man to consult his glass in his anger , had reason to beleeve that the Passions are better known in the eyes , then in the soul it self . But that which is more wonderful , those actions which spring from vertue and vice , discover themselves in the same manner : And although the goodness or malignity they have , seem to have nothing to doe with the body , yet they leave with it , I know not what kind of images : And even the soul not perceiving what it doth , disposeth the parts in such a manner , that by the plight and posture which they take , we may judge whether its actions are good or ill ; Neither can the understanding work so secretly but the senses must perceive it : If it elevate its thoughts , if it recollect it self , the looks grow fixed , the car hears not ; in fine , there is a general suspension of sense , and motion : And whether it be that at the same time the soul cannot intend such different functions , or that the inferiour part respects , and wil not divert its Mistris , we know that this is imployed when the other operates not . It s a most certain thing that the body changeth and varies it self , when the soul is moved , and that this performs almost no actions but it imprints the marks thereof , which we may call Characters , since they are the effects of them , and that they bear their image and figure .

Now , because the first Rule of Physionomy is grounded on these Characters , and that it maketh use of them to discover inclinations , assuring us , that those who naturally have the same air , and the same countenance which accompanies their moral actions , are inclined to the same actions ; The designe which we have undertaken makes us here propose the particular Characters of all the Passions , and after them of Vertues , and Vices : But first we must know wherein these Characters consist and what are the causes of them .

The Characters of Passions , and of habits , being the markes of the motions , and designs of the soul , are also its effects , as is already said ; but because there are also two sorts of effects , those which are performed in the soul , and those which are effected in the body ; there are also two kinds of Characters ; the one Moral , the other Corporal . For if you consider a man in anger , Violence appears in all his actions ; his words are full of threats and injuries ; he crys out , he runs , he strikes ; reason and remonstrances offend him , and he knows no friends but those who favour his passion . On the other side , his countenance is inflam'd , his eyes sparkle , he wrinckles his forehead , his words are fierce , his voice is terrible , his lookes are frightful , and his whole behaviour is furious . These then are two kinds of effects , and two sorts of Characters ; the one whereof consists in moral actions , and the other in the change and alteration of the body .

Now we must see what these actions are , and what this change is ; for all moral actions cannot be used for Characters ; otherwise , some would be Characters of themselves , since Passions , and Vertues , are moral actions .

To take away this difficulty , you must observe that the essence of human actions consists in the inward emotion which the object forms in the appetite ; and that all those things which are done in pursuance thereof , are but as rivolets running from the same spring . So anger is nothing but a desire of Vengeance ; and in the pursuit of that emotion , the soul produceth exterior actions , which may serve to this purpose ; as threatnings , blows , and other violences , which we call Characters because they express and discover the alteration and interior motion of the appetite .

But there is also another thing to be here considered ; and it is that when we speak of Passions , of Vertues , and of Vices , we are not to conceive them as qualities , or simple actions ; but as compleat qualities and actions which are accompanyed by many others , and yet , which all tend to one principal end which the soul proposeth . For although love , ( to speake properly ) is but a simple emotion of the soul , by which it unites it self to that which is lovely ; Yet we doe not therein form its whole Idea ; we consider it as a Passion that hath beauty for its object , and which to possesse it , employs desire , hope , delight , &c. In the same manner , Justice is a stedfast will to render to every one what belongs to him . But to effect it , she makes use of Prudence , which makes her consider the quality of persons , the time , the place , and all other circumstances . She makes use of Temperance , and of strength , to moderate those passions which often traverse her design ; and although they are actions which precisely concern her not , yet she forbears not to appropriate them , because they conduce to her principal end . Now all these borrowed , and posterior actions are also a part of moral Characters ; because they design the passion , or principal habit , which is the spring , and first cause whence they are derived .

It s far more difficult , to say wherein the Corporal Characters consist , and what intention nature hath in forming them . We see , that every passion carries I know not what air on the face ; that vertue sheds into its actions a certain grace , and an agreeable aspect , which is not to be found amongst the vitious ; but as we have always called it The I know not what , it seems that we are thereby taught , that it could not be said what it was . For I suppose , ( as it is true ) that the Characters we seek , are nothing but the air of which we have but now spoken . Now this is found in so many different things , that it s almost impossible to observe what of common they have whereupon we may establish its essence ; for it most commonly happens in the motion of the parts , and some have beleev'd that this air was nothing but that motion . But it s certain , there is a sixt and natural air wherein the parts move not , and which is no effect of the souls emotions . So that it would be more likely , that this air were nothing but a certain relation of the parts amongst themselves ; which happens from the situation they take when they move , or when they rest : But nether is this sufficient , since the colour which that relation compriseth not , partly gives the air to the face ; and that ruddiness is one of the principal Characters of shame , as paleness is of fear ; this ever encreaseth the difficulty , since that in defining beauty , we say that its a just proportion of the parts accompanied with a pleasing colour , and with a grace ; and that colour and grace are esteem'd as two different things . For grace is nothing but a pleasing air ; nay even custome , often applyes it to what it is not , when we say a man hath an ill grace ; and in this case , grace is the same with air : That we may know then what this marvelous air is , where the serenity , and the storms of the minde appear , we are first to observe , that the air of persons is discovered in their pictures ; that the grace of a fair face is exprest by colours , and that consequently , there must be somewhat of fixt , and which flyes not away , since there are none but stable and permanent things , which painting hath power over ; and that of all visible objects , there is only motion , which subjects not it self to the pencil . Now it is impossible to finde any thing stable , common to living things , and their pictures , besides the figure and colour of the parts . So that it seems this air is to be there placed . But because there is yet another thing in the grace , which the art of painting cannot attain to , and that there is a certain vivacity , which can never be fixt on the cloth ; we must with reason beleeve that motion serves also to this grace ; it s that which renders the beauty lively and piercing ; without which its sad , dead , and without attraction . We cannot ( in effect ) doubt but that the motion of the parts gives something to this vivacity , since 't is a part of its perfection . But because that after it hath ceased , there is yet I know not what which remains on the face , and that we see a certain splendor shine in the eyes , which depends neither upon their figure , motion nor colour ; we must necessarily add to all this a certain secret influence , which being sent into the eyes disperseth it self over the parts of the face ; and without doubt , after having well enquired what it may be , we shall finde it to be the spirits which the soul continually sends into those parts , which leave there the brightness of the natural light they have ; and indeed there are faces which neer seem well , and afar off appear very ill coloured , because the spirits animate it not , and that the splendor they give is so weak that the species of it cannot reach far , and so they leave those of the colour more withered . This grace then is in the colour , in the figure , in the motion of the parts , and of the spirits . And yet this doth not say that all these things are this grace : For were they in other subjects then man , they would not please ; and green which is the most perfect of all colours , would cause a frightful deformity , were it on a face . It must then be , that as sounds are not pleasing of themselves , but as they are in a certain proportion ; so all these things are pleasing to the sight but only because they have a certain relation , and a certain agreement , which pleaseth the eyes , and contents the minde .

To know this concordance , you are to understand that there are two sorts of beauties in man ; The Intelligible , and the Sensible . The first is but the interiour perfection , the just connexion of all faculties necessary for a man to perform the functions whereto he is designd ; and the sensible beauty consists in the disposition which the Organs ought to have to serve these faculties . So that what renders the figure , the colour and the motion agreeable , is the fitness which those things have with the nature of man . For how fair soever the colour be , how perfect soever the figure of the parts are , how regular soever the motions are , if they are not conformable to his nature , they produce neither a beauty nor a grace ; on the contrary , they cause a deformity , and render the body unseemly . Now although there be but God alone who knows the principle of this conformity , and why the forms have more inclination for one figure , colour , or some other accident then for another : yet there are in our soul secret seeds of this knowledge , which is the cause she pleaseth herself in these objects without knowing the reason ; in the same manner as she findes them displeasing , when that conformity and proportion which they ought to have is wanting .

Some will perhaps say , that I here confound grace with beauty , placing grace in the proportion of the parts , and in the colour , which in the ordinary definition of beauty are separated from grace . But I beleeve there is no inconvenience herein , and that its true that all that is fair is pleasing , and that the proportion of parts being fair , must needs please the sight , and that therefore they are graceful .

And indeed the ancients who in these things were wiser then we , made not this difference , and always placed the graces where beauty was : For although Aristotle says , that little ones might be call'd pretty and pleasing , but that they were not to be esteem'd fair ; 't is that he spake of an entire and perfect beauty , which is not to be found in little bodies , for as much as they want that just proportion which belongs to the perfection of man .

Yet there is some ground for the difference which hath been since made between beauty and grace ; for as the matter and the form enter into the composition of man , we have placed beauty in the figure and in the colour which belongs to the matter , and grace in the motions which are effects of the soul : not that grace is not in the colour and in the figure ; or that beauty is not in the motions ; but because she is more excellent in these , by reason that the soul who is the principle thereof , is more perfect then the matter , and that action is the last perfection of things . Beauty which ought to be the most agreeable , hath been call'd by the name of grace , although in effect it ought to be common to all that is fair ; and that the colour , figure and motion which have all their beauties , ought also to have every one their particular graces .

But to return to our subject ; the grace is a kind of air and means ; nothing more but that conformity and proportion whereof we have spoken . For when the air is accompanied with this proportion , its pleasing ; so that this air in general is in all those things which have a grace , and it may be defin'd , A certain exterior and sensible quality which is bred from the colour , figure , and motion of the parts . And if we add that these things are proportionable , and conformable to the perfection of man , it will be the definition of grace .

We are notwithstanding to observe that the air appears more in one of these three things in some encounters then in the rest : For that which is fixt and natural , is chiefly in the figure and situation of the parts . That which accompanies the passions , depends most from the motion and the colour ; that of vertuous actions is sometimes in rest , because reason hinders those motions which would not befit the moderation and quiet she seeks : such is the grave and modest Mine , such is the countenance of a man who meditates and thinks on great matters : And it may be that even vices which are in excess , have an active and turbulent air ; and those which are in the defect , have quite the contrary : so a hot and precipitate man is always in action , and the lazy is immoveable : besides the air appears sometime more in one part then in another ; and although it be more remarkable in the face then in any other place , yet there is one which belongs to walking , another in the carriage of the armes , and another of the whole body . The French hath been more happy to express those differences then any other language , whatsoever . Not content to say l'Air & la Grace , Air and Grace , it adds la Mine , la Contenance , le Maintica , le Geste , & le Port , which as neer as we can render them , are , The Mine , the Presence , the Behaviour , the Carriage , and the Port. The Mine chiefly belongs to the face , the port to the gate , the carriage and the behaviour to the arms ; the Air , the Grace , and the Presence to the whole body . And as the Port , and the Gesture , or Carriage , denote motion , so the Mine , the Behaviour , and the Presence apply themselves best to rest : but the air and the grace are common to both of them . However it be , the air which is in Passions , and in moral actions , principally comes from motion ; but you must know what the cause of this motion is : For upon this knowledge depends the greatest part of what we are to say ; and because it will better appear in the passions , we will therefore by them begin the enquiry .

We have already said , and we shall often be obliged to repeate , that Passions are nothing but the emotions of the appetite , by which the soul moves towards good , and estrangeth it self from evil ; and as she hath divers organs which may be used to that end , she also employs them , and moves according to her intention : Now the Spirits without question are the first she makes use of , being the most agil , and which take their birth from the same place where she forms her designs ; so that we need not wonder that they are the first to execute them , since they seem to be the first who have the knowledge of them .

The soul then sends forth the spirits , and scatters them over all the exterior parts , either to acquire good , or to oppose ill : But when this is too powerful , and she is sensible that she is not strong enough to resist it , she retires them in and brings them back to the heart . Now this flux and reflux brings two great changes , because the humors being drawn along with them , their arrival swels and agitates the parts , and paints them of the same colour of which themselves are : on the contrary , their flight makes them fail , looke pale , and renders them immoveable .

Perhaps it would not be unprofitable to examine whether every passion hath a particular motion of the spirits ; and whether anger moves them otherwise then shame , love , joy , or the rest which carries them outwardly : Whether Fear retire them inwardly after another manner then Hate , Aversion or Greif . For if this were true , and that we could know these differences , we could with the more facility discover the causes of the alterations they produce . For my part , I beleeve that since in every Passion the appetite hath an emotion and a particular end , the means it useth ought also to be particular ; and that the motion of the spirits must be conformable to the intention it hath , and to the agitation it gives it self : and therefore that that is done in one passion , is different from those which are done in others . So that its very likely that in one they cast themselves with impetuosity , and high boylings like torrents : and in another slide as sweetly as rivers , that some make them overflow their banks , others restrain them in their bounds : that now their course is direct , and presently again irregular . Lastly , That we may say love dilates them , desire shoots them forth , Joy sheds them abroad , Hope holds them fast , boldness drives them , and that anger throws them forth in great boyling gulps , and so of the rest , as we shall more particularly see in the discourse of the Passions ; although to speak Truth , our spirit is not clear-sighted enough to discern exactly all these differences , and that in this case the window of Momus were very necessary for it . How ever it be , the soul is not content after this manner only to agitate the spirits and the humors in the passions : she also causeth those parts to move which are capable of a voluntary motion , as being those which are the most powerful to seek and imbrace good , and to repel or flye evil ; and to speak truth , this motion of the spirits is often a succour very useless to the soul , and which serves rather to shew her precipitation and blindness then to obtain what she proposed to her self ; for when they cast themselves into the face , she fancies to her self that it is she her self that runs thither ; and when they retire themselves to the heart , it s she also who hides her self there , although she be already at the place where she would arrive , and that she abandons not that wheene she thinks to estrang herself ; and what benefit is it to a Creature for the spirits and the blood to goe to the encounter of an agreeable object , since neither the soul nor the body come nearer to it , nor are any more united to it , and that the sences only are they which ought to make this union ? we may say the same of the resistance she would make to those ills which present themselves ; for what relation is there betwixt the spirits and an injury , and what effect can they make to drive back an ill which most commonly is only in opinion , which sometimes is no more or which even is not yet made ?

But it is not thus with voluntary motion ; for indeed here the hands draw and take what 's useful , the body is carryed towards what is lovely ; it truly keeps a distance from what 's ill , and flyes or drives away what incommodates it .

It s true that there are some of these motions where the soul deceives it self aswel as in that of the spirits : how many lost steps , ridiculous postures and idle words are there in Passions ? to what use are these several motions of the head , those different figures which the forehead , the eyes , the nose , and the mouth form ? There may be some relation with the design which the soul proposed , since its certain that in shame she casts down the eyes , as if she would hide herself , that she lifts them up in Anger as if that served to repel an injury , and that in scorn she lifts up the nose as if she would drive away what she disdains . But it s easie to perceive that herein also she deceives her self , and that the blindness and trouble in which she is , causeth her to use means which benefit her nothing to the obtaining of what she desires .

'T is not that she is therefore to be condemned in all these motions ; there are many which happen without any design of hers ; which although they are not against her intention , yet she is not the cause of them , 't is but by a certain necessity that they follow those motions which the soul inwardly excites ; for we cannot with reason say , that she proposeth in anger the hinderance of respiration and of speech , the inflammation of the face , and the sparkling of the eyes . But these are effects which follow the agitation of the spirits , which impetuously cast themselves on the exterior parts as we shall say hereafter .

By this discourse we may not only perceive what the causes of those motions which the Passions excite are , but also which those are which make moral Characters , and which make the corporal . For those which the soul imploys by a clear and distinct knowledge to obtain the end she pretends in every Passion , make the moral Characters ; and those which she useth by a pure instinct , or which happen without any intention of hers , form the corporal Characters . For these latter are of two sorts , the one are by the command of the soul , the other are by necessity , as you will see more particularly in the following discourses .