182 EXPRESSION OF GRIEF: CHAP. VII y: %| succeeded in acting on their grief-muscles, found by \ m looking at a mirror that when they made their eyebrows ; lf<l oblique, they unintentionally at the same time depressed ) jV;' the corners of their mouths; and this is often the case ljf when the expression is naturally assumed. j i' The power to bring the grief-muscles freely into plajr / ] appears to be hereditary, like almost every other human faculty. A lady belonging to a family famous for hav- j ing produced an extraordinary number of great actors f and actresses, and who can herself give this expression [ " with singular precision/5 told Dr. Crichton Browne that all her family had possessed the power in a remark- able degree. The same hereditary tendency is said to have extended, as I likewise hear from Dr. Browne, to the last descendant of the family, which gave rise to | Sir Walter Scott's novel of ' Eed Gauntlet;' but the | hero is described as contracting his forehead into a horse- } , ' shoe mark from any strong emotion. I have also seen j a young woman whose forehead seemed almost habit- ually thus contracted, independently of any emotion I being at the time felt. | The grief-muscles are not very frequently brought into play; and as the action is often momentary, it easily ^ , escapes observation. Although the expression, when ob- served, is universally and instantly recognized as that of grief or anxiety, yet not one person out of a thousand who has never studied the subject, is able to say precisely what change passes over the sufferer's face. Hence prob- ably it is that this expression is not even alluded to, as far as I have noticed, in any work of fiction, with the exception of ' Eed Gauntlet' and -of one other novel; and the authoress of the latter, as I am informed, be- longs to the famous family of actors just alluded to; so 5 that her attention may have been specially called to the I \ subject.