“_Thus the sovereign voluntary path to cheerfulness, if our spontaneous cheerfulness be lost, is to sit up cheerfully, to look round cheerfully, and to act and speak as if cheerfulness were already there. If such conduct does not make you soon feel cheerful, nothing else on that occasion can. So, to feel brave, act as if we_ were _brave, use all our will to that end, and a courage-fit will very likely replace the fit of fear. Again, in order to feel kindly toward a person to whom we have been inimical, the only way is more or less deliberately to smile, to make sympathetic inquiries, and to force ourselves to say genial things. One hearty laugh together will bring enemies into a closer communion of heart than hours spent on both sides in inward wrestling with the mental demon of uncharitable feeling. To wrestle with a bad feeling only pins our attention on it, and keeps it still fastened in the mind: whereas, if we act as if from some better feeling, the old bad feeling soon folds its tent like an Arab, and silently steals away._” An equally good quotation (from Luther Gulick’s “Mind and Work”) will be found on pages 26-27 of “Economy of Energy.” He says: “_Assume the bodily positions and movements and manners and tones of voice that belong to the emotional state you desire._” Now the Expression--as the smile that is the expression of Happiness--may not be the cause of Happiness, but at least it is the usual accompaniment, if not the essential accompaniment, of ordinary Happiness. The eyes are among the most obvious means of Expression, as is illustrated in the well-known lines:-- “_Smile, once in a while, ’Twill make your heart seem lighter; Smile, once in a while, ’Twill make your pathway brighter. Life’s a mirror: if we smile, Smiles come back to greet us; If we’re frowning all the while, Frowns forever meet us._” The whole face is a part of our Expression--not only the eyes, but also the mouth, and the lines, which are largely under the ultimate control of the will, through the control of the muscles. And there is the whole attitude of the body, the up-holding of the chest and the head, the correct curve of the spine (so as to bring the position of “mechanical advantage” and physical and nervous economy), the deepness and fulness and rhythm of the breathing, the laugh, the song (sung aloud or “sung silently”), and the tone and the “tune” and the timbre of the voice. Uses of Odd Moments