Darwin's Flinch: Sensation Theatre and Scientific Looking in 1872

Abstract

This article explores the relationship between Darwin's The Expression of the Emotions in Man and Animals (London: Murray, 1872) and the debates surrounding audiences of sensation theatre. It takes as its starting point a flinch performed by Darwin in a self-experiment at London Zoological Gardens. Darwin's flinch combined the act of scientific observation with a self-consciously staged emotional gesture. In the 1860s and early 1870s, the passionate and demonstrative audiences of sensation plays were similarly understood to watch themselves feeling. In this economy of emotional surfaces, actors and audience were caught up in unsettling relations between outwards expression and the remote landscape of interior feeling. Entangled in this theatrical instability, Darwin's scientific observation reflected broader cultural concerns about the reliability of the emotional body. Thus the article offers Darwin's Expression as an unusual but nonetheless suggestive artefact of theatrical spectatorship in 1872, while also contributing to recent debates about the history of objectivity and its supposedly unemotional and restrained scientific observer. It argues that the technique of self-conscious emotional spectatorship, shared by Darwin and theatre audiences, constituted a distinctive model of late Victorian emotion and visuality, in which communities of spectators were also spectators of themselves.

The Tears of Mr Justice Willes

“…With the publication of Darwin’s Expression , the scientific study of expression in general and weeping in particular entered a new phase. 20 Darwinian expressions of emotion were not thought of as God-given ‘natural signs’, but rather as inherited habits that had become detached from their original purposes. The emphasis for Darwin shifted away from signification and towards physiology.…”