Thirdly, after social intercourse is commenced, these external signs contribute above all other means to the strictest union, by diffusing through a whole assembly the feelings of each individual. Language no doubt is the most comprehensive vehicle for communicating emotions: but in expedition, as well as in the power of conviction, it falls short of the signs under consideration; the involuntary signs especially, which are incapable of deceit. Where the countenance, the tones, the gestures, the actions, join with the words, in communicating emotions, these united have a force irresistible. Thus all the agreeable emotions of the human heart, with all the social and virtuous affections, are, by means of these external signs, not only perceived but felt. By this admirable contrivance, social intercourse becomes that lively and animating amusement, without which life would at best be insipid. One joyful countenance spreads chearfulness instantaneously through a multitude of spectators. Fourthly, dissocial passions being hurtful by prompting violence and mischief, are noted by the most conspicuous external signs, in order to put us upon our guard. Thus anger and revenge, especially when suddenly provoked, display themselves on the countenance in legible characters[44]. The external signs again of every passion that threatens danger, raise in us the passion of fear. Nor is this passion occasioned by consciousness of danger, though it may be inflamed by such consciousness. It is an instinctive passion, which operating without reason or reflection, moves us by a sudden impulse to avoid the impending danger[45]. In the fifth place, these external signs are made subservient in a curious manner to the cause of virtue. The external signs of a painful passion that is virtuous or innocent, and consequently agreeable, produce indeed a painful emotion. But this emotion is attractive, and connects the spectator with the person who suffers. Disagreeable passions only, are productive of repulsive emotions involving the spectator’s aversion, and frequently his indignation. This artful contrivance makes us cling to the virtuous and abhor the wicked.