This mediocrity, however, in which the point of propriety consists, is different in different passions. It is high in some, and low in others. There are some passions which it is indecent to express very strongly, even upon those occasions, in which it is acknowledged that we cannot avoid feeling them in the highest degree. And there are others of which the strongest expressions are upon many occasions extremely graceful, even though the passions themselves do not, perhaps, arise so necessarily. The first are those passions with which, for certain reasons, there is little or no sympathy: the second are those with which, for other reasons, there is the greatest. And if we consider all the different passions of human nature, we shall find that they are regarded as decent, or indecent, just in proportion as mankind are more or less disposed to sympathize with them.
It is the same case with the passion by which Nature unites the two sexes. Though naturally the most furious of all the passions, all strong expressions of it are upon every occasion indecent, even between persons in whom its most complete indulgence is acknowledged by all laws, both human and divine, to be perfectly innocent. There seems, however, to be some degree of sympathy even with this passion. To talk to a woman as we would to a man is improper: it is expected that their company should inspire us with more gaiety, more pleasantry, and more attention; and an intire insensibility to the fair sex, renders a man contemptible in some measure even to the men.
Such is our aversion for all the appetites which take their origin from the body: all strong expressions of them are loathsome and disagreeable. According to some ancient philosophers, these are the passions which we share in common with the brutes, and which having no connexion with the characteristical qualities of human nature, are upon that account beneath its dignity. But there are many other passions which we share in common with the brutes, such as resentment, natural affection, even gratitude, which do not, upon that account, appear to be so brutal. The true cause of the peculiar disgust which we conceive for the appetites of the body when we see them in other men, is that we cannot enter into them. To the person himself who feels them, as soon as they are gratified, the object that excited them ceases to be agreeable: even its presence often becomes offensive to him; he looks round to no purpose for the charm which transported him the moment before, and he can now as little enter into his own passion as another person. When we have dined, we order the covers to be removed; and we should treat in the same manner the objects of the most ardent and passionate desires, if they were the objects of no other passions but those which take their origin from the body.
In the command of those appetites of the body consists that virtue which is properly called temperance. To restrain them within those bounds, which regard to health and fortune prescribes, is the part of prudence. But to confine them within those limits, which grace, which propriety, which delicacy, and modesty require, is the office of temperance.
2. It is for the same reason that to cry out with bodily pain, how intolerable soever, appears always unmanly and unbecoming. There is, however, a good deal of sympathy even with bodily pain. If, as has already been observed, I see a stroke aimed, and just ready to fall upon the leg, or arm, of another person, I naturally shrink and draw back my own leg, or my own arm: and when it does fall, I feel it in some measure, and am hurt by it as well as the sufferer. My hurt, however, is, no doubt, excessively slight, and, upon that account, if he makes any violent out-cry, as I cannot go along with him, I never fail to despise him. And this is the case of all the passions which take their origin from the body: they excite either no sympathy at all, or such a degree of it, as is altogether disproportioned to the violence of what is felt by the sufferer.
It is quite otherwise with those passions which take their origin from the imagination. The frame of my body can be but little affected by the alterations which are brought about upon that of my companion: but my imagination is more ductile, and more readily assumes, if I may say so, the shape and configuration of the imaginations of those with whom I am familiar. A disappointment in love, or ambition, will, upon this account, call forth more sympathy than the greatest bodily evil. Those passions arise altogether from the imagination. The person who has lost his whole fortune, if he is in health, feels nothing in his body. What he suffers is from the imagination only, which represents to him the loss of his dignity, neglect from his friends, contempt from his enemies, dependance, want, and misery, coming fast upon him; and we sympathize with him more strongly upon this account, because our imaginations can more readily mould themselves upon his imagination, than our bodies can mould themselves upon his body.
The loss of a leg may generally be regarded as a more real calamity than the loss of a mistress. It would be a ridiculous tragedy, however, of which the catastrophe was to turn upon a loss of that kind. A misfortune of the other kind, how frivolous soever it may appear to be, has given occasion to many a fine one.
Nothing is so soon forgot as pain. The moment it is gone the whole agony of it is over, and the thought of it can no longer give us any sort of disturbance. We ourselves cannot then enter into the anxiety and anguish which we had before conceived. An unguarded word from a friend will occasion a more durable uneasiness. The agony which this creates is by no means over with the word. What at first disturbs us is not the object of the senses, but the idea of the imagination. As it is an idea, therefore, which occasions our uneasiness, till time and other accidents have in some measure effaced it from our memory, the imagination continues to fret and rankle within, from the thought of it.
Pain never calls forth any very lively sympathy unless it is accompanied with danger. We sympathize with the fear, though not with the agony of the sufferer. Fear, however, is a passion derived altogether from the imagination, which represents, with an uncertainty and fluctuation that increases our anxiety, not what we really feel, but what we may hereafter possibly suffer. The gout or the tooth-ach, though exquisitely painful, excite very little sympathy; more dangerous diseases, though accompanied with very little pain, excite the highest.
Some people faint and grow sick at the sight of a chirurgical operation, and that bodily pain which is occasioned by tearing the flesh, seems, in them, to excite the most excessive sympathy. We conceive in a much more lively and distinct manner the pain which proceeds from an external cause, than we do that which arises from an internal disorder. I can scarce form an idea of the agonies of my neighbour when he is tortured with the gout, or the stone; but I have the clearest conception of what he must suffer from an incision, a wound, or a fracture. The chief cause, however, why such objects produce such violent effects upon us, is their novelty. One who has been witness to a dozen dissections, and as many amputations, sees, ever after, all operations of this kind with great indifference, and often with perfect insensibility. Though we have read or seen represented more than five hundred tragedies, we shall seldom feel so entire an abatement of our sensibility to the objects which they represent to us.
In some of the Greek tragedies there is an attempt to excite compassion, by the representation of the agonies of bodily pain. Philoctetes cries out and faints from the extremity of his sufferings. Hippolytus and Hercules are both introduced as expiring under the severest tortures, which, it seems, even the fortitude of Hercules was incapable of supporting. In all these cases, however, it is not the pain which interests us, but some other circumstances. It is not the sore foot, but the solitude, of Philoctetes which affects us, and diffuses over that charming tragedy, that romantic wildness, which is so agreeable to the imagination. The agonies of Hercules and Hippolytus are interesting only because we foresee that death is to be the consequence. If those heroes were to recover, we should think the representation of their sufferings perfectly ridiculous. What a tragedy would that be of which the distress consisted in a colic. Yet no pain is more exquisite. These attempts to excite compassion by the representation of bodily pain, may be regarded as among the greatest breaches of decorum of which the Greek theatre has set the example.
The little sympathy which we feel with bodily pain is the foundation of the propriety of constancy and patience in enduring it. The man, who under the severest tortures allows no weakness to escape him, vents no groan, gives way to no passion which we do not entirely enter into, commands our highest admiration. His firmness enables him to keep time with our indifference and insensibility. We admire and entirely go along with the magnanimous effort which he makes for this purpose. We approve of his behaviour, and from our experience of the common weakness of human nature, we are surprised, and wonder how he should be able to act so as to deserve approbation. Approbation, mixed and animated by wonder and surprise, constitutes the sentiment which is properly called admiration, of which, applause is the natural expression, as has already been observed.