The fifth language is what is called facial expression. It consists of muscular contractions and relaxations, dilatations and diminutions, the fixing or the flitting of nervous lights and shades over the organism. Its changes are not motions of masses of the body, but visible modifications of parts of its periphery, as in smiles, frowns, tears. The girding up or letting down of the sinews, the tightening or loosening or horripilating creep of the skin, changes of color, as in paleness and blushing, and all the innumerable alterations of look and meaning in the brows, the eyes, the nose, the mouth, the chin, come under this head. The delicacy, power, and comprehensiveness of this language are inexhaustible. So numerous and infinitely adjustable, for instance, are the nerves of the mouth, that Swedenborg asserts that no spoken language is necessary for the illuminated, every state of the soul being instantly understood from the modulation of the lips alone. The sixth language is inarticulate noises, the first undigested rudiments of the voice. All our organic and emotional states, when they are keen enough to seek expression, and we are under no restraint, distinguish and reveal themselves in crude noises, each one the appropriate effect of a corresponding cause. We breathe aloud, whistle, gasp, sigh, choke, whimper, sob, groan, grunt, sneeze, snore, snort, sip, hiss, smack, sniff, gulp, gurgle, gag, wheeze, cough, hawk, spit, hiccup, and give the death-rattle. These and kindred noises take us back to the rawest elemental experiences, and express them to universal apprehension in the most unmistakable manner. The states of the organism in its various sensations, the forms its affected parts assume under different stimuli, are as dies which strike the sounds then made into audible coins or medals revelatory of their faces. This is the broadest and vulgarest language of unrefined vernacular man. The lower the style of acting the larger part this will play in it. From the representation of high characters it is more and more strained out and sublimated away, the other languages quite superseding it. The seventh language is inflected tones, vocalized and modulated breath. The mere tones of the sounding apparatus of the voice, in the variety of their quality, pitch, and cadence, reveal the emotional nature of man through the whole range of his feelings, both in kind and degree. The moan of pain, the howl of anguish, the yell of rage, the shriek of despair, the wail of sorrow, the ringing laugh of joy, the ecstatic and smothering murmur of love, the penetrative tremor of pathos, the solemn monotone of sublimity, and the dissolving whisper of wonder and adoration,—these are some of the great family of inflected sounds in which the emotions of the human heart are reflected and echoed to the recognition of the sympathetic auditor.