=A Corollary verified.=--If our theory be true, a necessary corollary of it ought to be this: that any voluntary and cold-blooded arousal of the so-called manifestations of a special emotion should give us the emotion itself. Now within the limits in which it can be verified, experience corroborates rather than disproves this inference. Everyone knows how panic is increased by flight, and how the giving way to the symptoms of grief or anger increases those passions themselves. Each fit of sobbing makes the sorrow more acute, and calls forth another fit stronger still, until at last repose only ensues with lassitude and with the apparent exhaustion of the machinery. In rage, it is notorious how we 'work ourselves up' to a climax by repeated outbreaks of expression. Refuse to express a passion, and it dies. Count ten before venting your anger, and its occasion seems ridiculous. Whistling to keep up courage is no mere figure of speech. On the other hand, sit all day in a moping posture, sigh, and reply to everything with a dismal voice, and your melancholy lingers. There is no more valuable precept in moral education than this, as all who have experience know: if we wish to conquer undesirable emotional tendencies in ourselves, we must assiduously, and in the first instance cold-bloodedly, go through the _outward movements_ of those contrary dispositions which we prefer to cultivate. The reward of persistency will infallibly come, in the fading out of the sullenness or depression, and the advent of real cheerfulness and kindliness in their stead. Smooth the brow, brighten the eye, contract the dorsal rather than the ventral aspect of the frame, and speak in a major key, pass the genial compliment, and your heart must be frigid indeed if it do not gradually thaw! Against this it is to be said that many actors who perfectly mimic the outward appearances of emotion in face, gait, and voice declare that they feel no emotion at all. Others, however, according to Mr. Wm. Archer, who has made a very instructive statistical inquiry among them, say that the emotion of the part masters them whenever they play it well. The explanation for the discrepancy amongst actors is probably simple. The _visceral and organic_ part of the expression can be suppressed in some men, but not in others, and on this it must be that the chief part of the felt emotion depends. Those actors who feel the emotion are probably unable, those who are inwardly cold are probably able, to affect the dissociation in a complete way. =An Objection replied to.=--It may be objected to the general theory which I maintain that stopping the expression of an emotion often makes it worse. The funniness becomes quite excruciating when we are forbidden by the situation to laugh, and anger pent in by fear turns into tenfold hate. Expressing either emotion freely, however, gives relief.