By virtue of amelioration[159] and accommodation, however, that beautiful harmony, which the Greek profile asserts in the gentle and uninterrupted communication between the spiritual forehead and the nose, that is, between the upper and lower portions of the face, the nose appears on this very account of closer affinity to the forehead, and consequently receives itself a spiritual expression and character as though drawn up into the spiritual system. The sense of smell becomes at the same time a sense independent of purely practical ends, a nose refined for spiritual purpose; just as in fact also the nose by its sneer and similar movements, however unimportant by themselves they may be, is nevertheless shown to be in the highest degree pliable as a mode of expressing the judgments and emotions of soul-life. So, for example, we say of a proud man that he holds his nose high, or ascribe sauciness to a young girl who tosses up her bit of a nose.
And the same thing may be said of the _mouth._ No doubt it is on the one hand referable as an instrument to the satisfaction of hunger and thirst; it expresses, however, in addition to this conditions of the soul, opinions, and passions. Even among animals it is used in this relation as the organ of animal cries, and by man as that of speech, laughter, sighs, and so forth, by which means the lineaments of the mouth are themselves associated with the facts of eloquent soul-sympathy, or of joy, sorrow, and similar conditions.
It is no doubt asserted that, though for the Greeks, such a configuration of the human countenance is presented as the true presentation of beauty, the Chinese, Jews, and Egyptians, regarded on the contrary an entirely different type, or rather forms absolutely in conflict with such, as equally beautiful, or yet more beautiful, and the conclusion is made that, cancelling one example by another, we have not proved that the Greek profile is the type of genuine beauty. Such a statement, however, is wholly superficial. The Greek profile must in fact not be regarded as any mere external and accidental form, but approximates to the ideal of beauty by its independent claims, namely, first, because it is the type of countenance in which the expression of soul-life forces into the background all that is purely material, and, secondly, because it to the fullest extent detaches itself from all that is contingent in the form, without, however, displaying thereby mere subservience to rule, and leaving no place for every kind of individuality.