The Jersey City news. (Jersey City [N.J.]) 1889-1906, 1889-07-29
EXPRESSION IN EYES.
IT ALL LIES IN TIE PUPIL AND
THE IRIS.

are noses ana noses. L medH ny tllis
that there are degrees of excellence in
the eye as there are degrees of excel
lence in all the works of nature. The
standard of beauty in the eye, beyond
certain effects, is largely arbitrary. 1t
depends a good deal upon the individ-
ual fancy.
l have already, in n of my sill
houettes, quoted from n OF the
charming sermons of that polished
and scholarly churchman, Bishop
Jeremy Taylor, and cited the case OF
the Greek painter who attempted
to create an ideally beautiful
face and head. He chose the
most beautiful features from the
faces that in his opinion were the
perfect faces. He fancied the eye OF
Chione, the hair of Pegnium and
Tarsla's lip, Philenium's chin and the
forehead of Delphia, and set all these
upon Milphidippa's neck and thought
that he should Guido both art and
nature. But he did not succeed so
well as he had hoped. When he came
to view the proportions he found that
the lip he considered perfect in Tarsia
was not in accord with the chin OF
Philenium; that Chione's eye and
Delphia's forehead were not intended
the one for the other, and that while
alone the hair of Pegnium was the
perfection of hirsute adornment, on
Milphidippa's neck it cut a very. sorry
figure. And the Greek found that he
could not make a beautiful face, but
that what he hoped would be beauti-
full was in fact quite ugly.
Nature works differently. The
most captivatingly beautiful face
often has imperfect features.
1t has always struck me that n
color of the eye has much to do with
the moral character of the person.
Perhaps that is an awkward way OF
expressing the idea. Perhaps it would
be better to say that the degree OF
ones character is somewhat reflected
in the color and expression of the eye.
Why is this so? Is there a physical
or psychical reason for it? Does
nature, in its inscrutable workings,
decide first upon the character OF a
child, and then match it with a GER
tain color in the iris? The pupil OF
the eye, if it is closely examined, will
be found to be a rare object. There
is more meaning in it's shades, in its
gentle coruscations, in its quick trans
itions, in its engagements and con-
fractions than n would believe until
he has looked thoughtfully into it.
1t seems to be directly connected with
the soul.
1t is the pupil which grows large
under the influence of certain emo
tions and then contracts under the
workings of others. Through this
pupil we look in the soul. No woman
loves as she should love unless this
sensitive part of the eye grows large
and then recedes under the workings
of her rhapsody. The pupil; so far as
the relation of the eye to the charac-
ter is concerned, is really the whole of
the eye.
And so, l think, although others
may not agree with me, that the most
beautiful eye is that in which the
pupil is the most sensitive; where it is
the most responsive to the operations
of the spirit back of it. l love to look
into one of those sensitive eyes. To
me they seem like the Summer sky
which now is filed by the effulgent
light of the sun and anon is tenporar-
ily darkened by a passing cloud. If
this kind of eye is in the socket of the
skull of an emotional woman you may
expect to see a lovely and a change
able character. Not by any means an
inconstant one, but one that reflects
the moods of the spirit as plainly as
the clear blue sky shows the passing
cumuluS.
A man or a woman with this eye
never deceives by either look OF word.
Their natures are frank and true.
This eye l should call the emotional
eve, because it is always accompanied
by a strongly marked emotional ma
ture. And it is for this reason that
this Y is generally the eye feminine.
Not that all women have this eye, but
that few men have it. We find it in
the poet, in the musician, the artist
and the dreamer. l should not look
for it in a business man. A woman
with this kind of eye will love you
with great intensity. If occasion de-
mands the change she Can hate with
a like fervor. But there is a great
deal of eonstancy in a being with this
eye.
But my silhouette on the eye is be-
coming too abstract. Let us confine
it to the concrete.
There are various degrees of gray
ewes and blue eyes, and black eyes and
brown eyes and some green eyes. All
of these colors mean some special char
acteristic. Poets rave over the blue
eyes. In three cases out of five where
an apostrophe is addressed to the eye,
or where an imaginary heroine is Gre
ated, she had blue eyes. l never could
understand this prediction for eyes
of blue. True, they are very pretty
and generally n accompanied by a
pretty complexion. But in the light
blue eye l see nothing particularly
striking. 1t may make a pretty eye,
but it seems to me that the blue eye
has a superficial expression which is
not always attractive. There + blue
ewes which are so deep in the color
that they are beautiful, and when
these are fringed with long lashes
they make a rare eye. But these are
not the ordinary blue eyes. The
average blue eye is not magnetic.
The hard blue eye is indifference
itself.
The black eye is the eye of intensity
and passion. There is no halfway
business about it. 1t is not SO intelli-
gent as the green eye, the gray eye or
the brown eye. But it is soft and
dreamy and amatory. The nan or
the woman with the sloe black eye
goes to extremes. 1t is all softness or
all ~fierceness. The sloe black eye is
not so expressive as others, because