Certain perceptions will be found to produce emotions similar to those awakened by the intellectual operations of mind. Thus the entrance of light produces an emotion similar to the discovery of some truth, and the emotion felt while in a state of doubt and uncertainty resembles that experienced when shrouded in darkness. Great care and anxiety produce a state of mind similar to what is felt when the body is pressed down by a heavy weight. The upward spring of an elastic body awakens feelings resembling those that attend the hearing of good news, and thus with many other perceptions. From this fact originates much of the figurative language in common use; such as when knowledge is called light, and ignorance darkness, and care is called a load, and joy is said to make the heart leap. It has previously been shown that the discovery of certain operations and emotions of mind affords much more pleasure than attends mere perceptions of material objects. Those who have experienced the exciting animation felt at developments of splendid genius, and the pure delight resulting from the interchange of affection, can well realize that no sensitive gratification could ever be exchanged for them. Whatever objects, therefore, most vividly recall those emotions which are awakened when such qualities are apprehended will be most interesting to the mind. Now it will appear that there are no modes by which one mind can learn the character and feelings of another but by means of the eye and ear. A person both deaf and blind could never, except to an exceedingly limited extent, learn either the intellectual operations or the emotions of another mind. Of course, it is by means of certain forms, colors, motions, and sounds that we gain those ideas which are most interesting and animating to the soul. It is by the blush of modesty, the paleness of fear, the flush of indignation, that _color_ aids in giving an idea of the emotions of the mind. The pallid hue of disease, the sallow complexion of age, the pure and bright colors of childhood, and the delicate blendings of the youthful complexion, have much influence in conveying ideas of the qualities of mind in certain particulars. The color and flashing expressions of the eye also have much to do with our apprehensions of the workings of mind. As it regards _motion_ as aiding in imparting such ideas, it is by the curl of the lip that contempt is expressed, by the arching brow that curiosity and surprise are exhibited, by the scowling front that anger and discontent are displayed, and by various muscular movements of the countenance that the passions and emotions of the mind are portrayed. It is by the motions of the body and limbs also that strong emotions are exhibited, as in the clasped hand of supplication, the extended arms of affection, and the violent contortions of anger.