The Expression of Emotion in Man and Animals - Charles Darwin (an ebook reader TXT) 📗

of the sounds that all the essentially characteristic effects which are summed up in the phrase `musical expression,’ depend. But why certain associations of sounds have such-and-such effects, is a problem which yet remains to be solved. These effects must indeed, in some way or other, be connected with the well-known arithmetical relations between the rates of vibration of the sounds which form a musical scale.

And it is possible—but this is merely a suggestion—that the greater or less mechanical facility with which the vibrating apparatus of the human larynx passes from one state of vibration to another, may have been a primary cause of the greater or less pleasure produced by various sequences of sounds.”

 

But leaving aside these complex questions and confining ourselves to the simpler sounds, we can, at least, see some reasons for the association of certain kinds of sounds with certain states of mind.

A scream, for instance, uttered by a young animal, or by one of the members of a community, as a call for assistance, will naturally be loud, prolonged, and high, so as to penetrate to a distance.

For Helmholtz has shown[7] that, owing to the shape of the internal cavity of the human ear and its consequent power of resonance, high notes produce a particularly strong impression. When male animals utter sounds in order to please the females, they would naturally employ those which are sweet to the ears of the species; and it appears that the same sounds are often pleasing to widely different animals, owing to the similarity of their nervous systems, as we ourselves perceive in the singing of birds and even in the chirping of certain tree-frogs giving us pleasure.

On the other hand, sounds produced in order to strike terror into an enemy, would naturally be harsh or displeasing.

 

Whether the principle of antithesis has come into play with sounds, as might perhaps have been expected, is doubtful.

The interrupted, laughing or tittering sounds made by man and by various kinds of monkeys when pleased, are as different as possible from the prolonged screams of these animals when distressed.

The deep grunt of satisfaction uttered by a pig, when pleased with its food, is widely different from its harsh scream of pain or terror.

But with the dog, as lately remarked, the bark of anger and that of joy are sounds which by no means stand in opposition to each other; and so it is in some other cases.

 

There is another obscure point, namely, whether the sounds which are produced under various states of the mind determine the shape of the mouth, or whether its shape is not determined by independent causes, and the sound thus modified. When young infants cry they open their mouths widely, and this, no doubt, is necessary for pouring forth a full volume of sound; but the mouth then assumes, from a quite distinct cause, an almost quadrangular shape, depending, as will hereafter be explained, on the firm closing of the eyelids, and consequent drawing up of the upper lip.

How far this square shape of the mouth modifies the wailing or crying sound, I am not prepared to say; but we know from the researches of Helmholtz and others that the form of the cavity of the mouth and lips determines the nature and pitch of the vowel sounds which are produced.

 

[7] `Theorie Physiologique de la Musique,’ Paris, 1868, P. 146.

Helmholtz has also fully discussed in this profound work the relation of the form of the cavity of the mouth to the production of vowel-sounds.

 

It will also be shown in a future chapter that, under the feeling of contempt or disgust, there is a tendency, from intelligible causes, to blow out of the mouth or nostrils, and this produces sounds like pooh or pish. When any one is startled or suddenly astonished, there is an instantaneous tendency, likewise from an intelligible cause, namely, to be ready for prolonged exertion, to open the mouth widely, so as to draw a deep and rapid inspiration. When the next full expiration follows, the mouth is slightly closed, and the lips, from causes hereafter to be discussed, are somewhat protruded; and this form of the mouth, if the voice be at all exerted, produces, according to Helmholtz, the sound of the vowel O. Certainly a deep sound of a prolonged Oh! may be heard from a whole crowd of people immediately after witnessing any astonishing spectacle.

If, together with surprise, pain be felt, there is a tendency to contract all the muscles of the body, including those of the face, and the lips will then be drawn back; and this will perhaps account for the sound becoming higher and assuming the character of Ah!

or Ach! As fear causes all the muscles of the body to tremble, the voice naturally becomes tremulous, and at the same time husky from the dryness of the mouth, owing to the salivary glands failing to act. Why the laughter of man and the tittering of monkeys should be a rapidly reiterated sound, cannot be explained.

During the utterance of these sounds, the mouth is transversely elongated by the corners being drawn backwards and upwards; and of this fact an explanation will be attempted in a future chapter.

But the whole subject of the differences of the sounds produced under different states of the mind is so obscure, that I have succeeded in throwing hardly any light on it; and the remarks which I have made, have but little significance.

 

All the sounds hitherto noticed depend on the respiratory organs; but sounds produced by wholly different means are likewise expressive.

Rabbits stamp loudly on the ground as a signal to their comrades; and if a man knows how to do so properly, he may on a quiet evening hear the rabbits answering him all around. These animals, as well as some others, also stamp on the ground when made angry.

Porcupines rattle their quills and vibrate their tails when angered; and one behaved in this manner when a live snake was placed in its compartment.

The tail of the quills on the tail are very different from those on the body: they are short, hollow, thin like a goose-quill, with their ends transversely truncated, so that they are open; they are supported on long, thin, elastic foot-stalks. Now, when the tail is rapidly shaken, these hollow quills strike against each other and produce, as I heard in the presence of Mr. Bartlett, a peculiar continuous sound. We can, I think, understand why porcupines have been provided, through the modification of their protective spines, with this special sound-producing instrument.

They are nocturnal animals, and if they scented or heard a prowling beast of prey, it would be a great advantage to them in the dark to give warning to their enemy what they were, and that they were furnished with dangerous spines. They would thus escape being attacked.

They are, as I may add, so fully conscious of the power of their weapons, that when enraged they will charge backwards with their spines erected, yet still inclined backwards.

 

Many birds during their courtship produce diversified sounds by means of specially adapted feathers. Storks, when excited, make a loud clattering noise with their beaks. Some snakes produce a grating or rattling noise. Many insects stridulate by rubbing together specially modified parts of their hard integuments.

This stridulation generally serves as a sexual charm or call; but it is likewise used to express different emotions.[8] Every one who has attended to bees knows that their humming changes when they are angry; and this serves as a warning that there is danger of being stung.

I have made these few remarks because some writers have laid so much stress on the vocal and respiratory organs as having been specially adapted for expression, that it was advisable to show that sounds otherwise produced serve equally well for the same purpose.

 

Erection of the dermal appendages.—Hardly any expressive movement is so general as the involuntary erection of the hairs, feathers and other dermal appendages; for it is common throughout three of the great vertebrate classes. These appendages are erected under the excitement of anger or terror; more especially when these emotions are combined, or quickly succeed each other.

The action serves to make the animal appear larger and more frightful to its enemies or rivals, and is generally accompanied by various voluntary movements adapted for the same purpose, and by the utterance of savage sounds. Mr. Bartlett, who has had such wide experience with animals of all kinds, does not doubt that this is the case; but it is a different question whether the power of erection was primarily acquired for this special purpose.

 

[8] I have given some details on this subject in my `Descent of Man,’ vol. i. pp. 352, 384.

 

I will first give a considerable body of facts showing how general this action is with mammals, birds and reptiles; retaining what I have to say in regard to man for a future chapter.

Mr. Sutton, the intelligent keeper in the Zoological Gardens, carefully observed for me the Chimpanzee and Orang; and he states that when they are suddenly frightened, as by a thunderstorm, or when they are made angry, as by being teased, their hair becomes erect.

I saw a chimpanzee who was alarmed at the sight of a black coalheaver, and the hair rose all over his body; he made little starts forward as if to attack the man, without any real intention of doing so, but with the hope, as the keeper remarked, of frightening him.

The Gorilla, when enraged, is described by Mr. Ford[9]

as having his crest of hair “erect and projecting forward, his nostrils dilated, and his under lip thrown down; at the same time uttering his characteristic yell, designed, it would seem, to terrify his antagonists.” I saw the hair on the Anubis baboon, when angered bristling along the back, from the neck to the loins, but not on the rump or other parts of the body.

I took a stuffed snake into the monkey-house, and the hair on several of the species instantly became erect; especially on their tails, as I particularly noticed with the Cereopithecus nictitans.

Brehm states[10] that the Midas aedipus (belonging to the American division) when excited erects its mane, in order, as he adds, to make itself as frightful as possible.

 

[9] As quoted in Huxley’s `Evidence as to Man’s Place in Nature,’

1863, p. 52.

 

With the Carnivora the erection of the hair seems to be almost universal, often accompanied by threatening movements, the uncovering of the teeth and the utterance of savage growls.

In the Herpestes, I have seen the hair on end over nearly the whole body, including the tail; and the dorsal crest is erected in a conspicuous manner by the Hyaena and Proteles. The enraged lion erects his mane.

The bristling of the hair along the neck and back of the dog, and over the whole body of the cat, especially on the tail, is familiar to every one. With the cat it apparently occurs only under fear; with the dog, under anger and fear; but not, as far as I have observed, under abject fear, as when a dog is going to be flogged by a severe gamekeeper. If, however, the dog shows fight, as sometimes happens, up goes his hair.

I have often noticed that the hair of a dog is particularly liable to rise, if he is half angry and half afraid, as on beholding some object only indistinctly seen in the dusk.

 

I have been assured by a veterinary surgeon that he has often seen the hair erected on horses and cattle, on which he had operated and was again going to operate. When I showed a