§ 411. The Soul, when its corporeity has been moulded and made thoroughly its own, finds itself there a _single_ subject; and the corporeity is an externality which stands as a predicate, in being related to which, it is related to itself. This externality, in other words, represents not itself, but the soul, of which it is the _sign_. In this identity of interior and exterior, the latter subject to the former, the soul is _actual_: in its corporeity it has its free shape, in which it _feels itself_ and makes _itself felt_, and which as the Soul’s work of art has _human_ pathognomic and physiognomic expression. Under the head of human expression are included, e.g., the upright figure in general, and the formation of the limbs, especially the hand, as the absolute instrument, of the mouth—laughter, weeping, &c., and the note of mentality diffused over the whole, which at once announces the body at the externality of a higher nature. This note is so slight, indefinite, and inexpressible a modification, because the figure in its externality is something immediate and natural, and can therefore only be an indefinite and quite imperfect sign for the mind, unable to represent it in its actual universality. Seen from the animal world, the human figure is the supreme phase in which mind makes an appearance. But for the mind it is only its first appearance, while language is its perfect expression. And the human figure, though its proximate phase of existence, is at the same time in its physiognomic and pathognomic quality something contingent to it. To try to raise physiognomy and above all cranioscopy (phrenology) to the rank of sciences, was therefore one of the vainest fancies, still vainer than a _signatura rerum_, which supposed the shape of a plant to afford indication of its medicinal virtue.