Page:Popular Science Monthly Volume 36.djvu/699

Rh muscles as are exercised in laughing, and for this reason the sweet trait bears a degree of resemblance with the trait of the smile; but the simultaneous contraction of the orbicular muscle of the lips suppresses to a considerable extent the lateral effect of the laughing muscles. The most essential characteristic, however, of the sweet trait is the peculiar form assumed by the lips; their orbicular muscle being drawn closely against the teeth, the red lips lose their normal swell, so as to appear flattened and straight when viewed in profile (Fig. 3). The mouth is drawn up in this way under the influence of unusually agreeable, sweet tastes, and also as a mimic expression of extremely pleasant feelings in the representations and recollections to which the usages of language have given the epithet of sweet.

The sweet mouth, combined with an enraptured look, gives the mimic expression of a pleasant reverie; joined with a sly look, the expression of amorous coquetry; with horizontal wrinkles it suggests occupation with pleasant thoughts or recollections. It frequently appears when the lips are prepared to give a real or feigned kiss. Inasmuch as the very agreeable feelings to which the term sweet is applied are of only exceptional occurrence, this trait is rarely developed physiognomically. It hardly ever exists among men, but is occasionally found among extremely affectionate women. When it becomes constant upon the face, it produces an impression akin to that of a too constant sweet taste, as if there were too much of it. If we observe the trait plainly impressed upon a person, we shall be likely to find him in conversation making much use of the word sweet, and speaking of "sweet women," "sweet music," "sweet love," and even of "sweet grief."

The central fibers of the orbicular muscle are capable of contraction independently of the lateral fibers, and this movement gives the scrutinizing trait. When we are on the point of tasting a sapid substance, such as wine, we introduce it between the lips projected into the form of a muzzle; we then carefully let the liquid flow slowly upon the upper surface of the tongue, in order that the impression of the taste may be prolonged as much as possible, and we may gain more time to appreciate it. The same expression may be observed on the faces of men who are examining the value of an object, whether it be something perceptible to the senses, or abstract thoughts or associations. The art critic