[66] For the convenience of treatment we here restrict our attention to those emotional processes the initial stages of which are accompanied by changes of activity in the voluntary muscles. [67] These linguistic facts might have afforded Professor Mantegazza a further argument in favour of his physiognomical thesis that the expression of injured self-esteem is similar to that of gustatory pain. Cf. Mantegazza, _Physiognomy and Expression_, p. 130. [68] James, _Principles of Psychology_, ii. p. 463: “Sit all day in a moping posture, sigh, and reply to everything in a dismal voice, and your melancholy lingers.” [69] Spencer, _Principles of Psychology_, ii. pp. 590, 591. Cf. also with regard to the enjoyment which can by reflection be derived from sorrow, fear, and other pain-emotions, Paulhan, _Les phénomènes affectifs_, pp. 119, 120; Hamilton, _Lectures_, ii. pp. 481-484; Bouillier, _Du plaisir et de la douleur_, pp. 62-72. [70] Spencer, _l.c._ ii. pp. 623-626. [71] James, _Principles of Psychology_, ii. pp. 462, 463. [72] James, _l.c._ pp. 444, 445. It is to be remarked, however, that in the more elaborate statement of his theory, which Professor James has given in _The Psychological Review_, 1894, he pays due attention to the influence by which “expression” may change the tone of an emotion. Cf. especially p. 519 about fear: “when the running has actually commenced, it gives rise to _exhilaration_ by its effects on breathing and pulse, etc., in this case, and not to fear.” [73] The interesting contributions to the psychology of acting, which have been brought together by Mr. William Archer in his _Masks or Faces_, do not give us much reliable information as to the part which the “expressional movements” play in a deliberate stirring up of an emotion. Even if we were to accept all the testimonies of actors and actresses as a testable evidence, we could scarcely decide whether the emotional state of an actor who plays his part in perfect sincerity is chiefly a result of his losing himself in the fictitious situation, or whether this state follows as a retroaction exercised by the artificial performance of weeping, laughing, sobbing, etc. Cf. Archer, _Masks or Faces_, pp. 133-136. Some interesting remarks on this point can also be found in Dugald Stewart’s _Elements of the Philosophy of the Human Mind_, iii. pp. 168, 185. [74] James, _Principles of Psychology_, ii. p. 444. [75] Cf. Lehmann, _Hauptgesetze_, pp. 107-111, where the pain-element of anger is emphasised in opposition to Professor Lange’s description of this emotion. [76] A detailed account of the various stages of anger has been given by me in _Förstudier till en konstfilosofi_, pp. 73-77. Cf. also Lange, _Nydelsernes fysiologi_, pp. 16-19, and Lange, _Ueber Gemuethsbewegungen_, pp. 28-35.