The Essays of Adam Smith · Adam Smith
SEC. I.--OF THE SENSE OF PROPRIETY.
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 which 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 {28} 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 outcry, 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, dependence, want, and misery, coming fast upon him; and we sympathize with him the more strongly upon this account, because our imaginations can the 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 {29} 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-ache, 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 circumstance. 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 {30} 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. ----- CHAP. II.--_Of those Passions which take their Origin from a particular Turn or Habit of the Imagination._
EVEN of the passions derived from the imagination, those which take their origin from a peculiar turn or habit it has acquired, though they may be acknowledged to be perfectly natural, are, however, but little sympathized with. The imaginations of mankind, not having acquired that particular turn, cannot enter into them; and such passions, though they may be allowed to be almost unavoidable in some part of life, are always, in some measure, ridiculous. This is the case with that strong attachment which naturally grows up between two persons of different sexes, who have long fixed their thoughts upon one another. Our imagination not having run in the same channel with that of the lover, we cannot enter into the eagerness of his emotions. If our friend has been injured, we readily sympathize with his resentment, and grow angry with the very person with whom he is angry. If he has received a benefit, we readily enter into his gratitude, and have a very high sense of the merit of his benefactor. But if he is in love, though we may think his passion just as reasonable as any of the kind, yet we never think ourselves bound to conceive a passion of the same kind, and for the same person for whom he has conceived it.
The passion appears to every body, but the man who feels it, entirely disproportioned to the value of the object; and love, though it is pardoned in a certain age because we know it is natural, is always laughed at, because we cannot enter into it. All serious and strong expressions of it appear ridiculous to a third person; and though a lover may be good company to his mistress, he is so to nobody else. He himself is sensible of this; and as long as he continues in his sober senses, endeavours to treat his own passion with raillery and ridicule. It is the only style in which we care to hear of it; because it is the only style in which we ourselves are disposed to talk of it. We grow weary of the grave, pedantic, and long-sentenced love of Cowley and Petrarca, who never have done with exaggerating the violence of their attachments; but the gaiety of Ovid, and the gallantry of Horace, are always agreeable.
But though we feel no proper sympathy with an attachment of this kind, though we never approach even in imagination towards conceiving a passion for that particular person, yet as we either have conceived, or may be disposed to conceive, passions of the same kind, we readily {31} enter into those high hopes of happiness which are proposed from its gratification, as well as into that exquisite distress which is feared from its disappointment. It interests us not as a passion, but as a situation that gives occasion to other passions which interest us; to hope, to fear, and to distress of every kind: in the same manner as in a description of a sea voyage, it is not the hunger which interests us, but the distress which that hunger occasions. Though we do not properly enter into the attachment of the lover, we readily go along with those expectations of romantic happiness which he derives from it.
We feel how natural it is for the mind, in a certain situation, relaxed with indolence, and fatigued with the violence of desire, to long for serenity and quiet, to hope to find them in the gratification of that passion which distracts it, and to frame to itself the idea of that life of pastoral tranquillity and retirement which the elegant, the tender, and the passionate Tibullus takes so much pleasure in describing; a life like what the poets describe in the Fortunate Islands, a life of friendship, liberty, and repose; free from labour, and from care, and from all the turbulent passions which attend them. Even scenes of this kind interest us most, when they are painted rather as what is hoped, than as what is enjoyed. The grossness of that passion, which mixes with, and is, perhaps, the foundation of love, disappears when its gratification is far off and at a distance; but renders the whole offensive, when described as what is immediately possessed. The happy passion, upon this account, interests us much less than the fearful and the melancholy. We tremble for whatever can disappoint such natural and agreeable hopes: and thus enter into all the anxiety, and concern, and distress of the lover.
Hence it is, that, in some modern tragedies and romances, this passion appears so wonderfully interesting. It is not so much the love of Castalio and Monimia which attaches us in the orphan, as the distress which that love occasions. The author who should introduce two lovers, in a scene of perfect security, expressing their mutual fondness for one another, would excite laughter, and not sympathy. If a scene of this kind is ever admitted into a tragedy, it is always, in some measure, improper, and is endured, not from any sympathy with the passion that is expressed in it, but from concern for the dangers and difficulties with which the audience foresee that its gratification is likely to be attended. The reserve which the laws of society impose upon the fair sex, with regard to this weakness, renders it more peculiarly distressful in them, and, upon that very account, more deeply interesting. We are charmed with the love of Phædra, as it is expressed in the French tragedy of that name, notwithstanding all the extravagance and guilt which attend it. That very extravagance and guilt may be said, in some measure, to recommend it to us. Her fear, her shame, her remorse, her horror, her despair, become thereby more natural and interesting. All the {32} secondary passions, if I may be allowed to call them so, which arise from the situation of love, become necessarily more furious and violent; and it is with these secondary passions only that we can properly be said to sympathize.
Of all the passions, however, which are so extravagantly disproportioned to the value of their objects, love is the only one that appears, even to the weakest minds, to have any thing in it that is either graceful or agreeable. In itself, first of all, though it may be ridiculous, it is not naturally odious; and though its consequences are often fatal and dreadful, its intentions are seldom mischievous. And then, though there is little propriety in the passion itself, there is a good deal in some of those which always accompany it. There is in love a strong mixture of humanity, generosity, kindness, friendship, esteem; passions with which, of all others, for reasons which shall be explained immediately, we have the greatest propensity to sympathize, even notwithstanding we are sensible that they are, in some measure, excessive. The sympathy which we feel with them, renders the passion which they accompany less disagreeable, and supports it in our imagination, notwithstanding all the vices which commonly go along with it; though in the one sex it necessarily leads to the last ruin and infamy; and though in the other, where it is apprehended to be least fatal, it is almost always attended with an incapacity for labour, a neglect of duty, a contempt of fame, and even of common reputation. Notwithstanding all this, the degree of sensibility and generosity with which it is supposed to be accompanied, renders it to many the object of vanity; and they are fond of appearing capable of feeling what would do them no honour if they had really felt it.
It is for a reason of the same kind, that a certain reserve is necessary when we talk of our own friends, our own studies, our own professions. All these are objects which we cannot expect should interest our companions in the same degree in which they interest us. And it is for want of this reserve, that the one half of mankind make bad company to the other. A philosopher is company to a philosopher only; the member of a club, to his own little knot of companions. ----- CHAP. III.--_Of the unsocial Passions._ THERE is another set of passions, which, though derived from the imagination, yet before we can enter into them, or regard them as graceful or becoming, must always be brought down to a pitch much lower than that to which undisciplined nature would raise them. These are, hatred and resentment, with all their different modifications. With regard to all such passions, our sympathy is divided between the person who feels them, and the person who is the object of them. The {33} interests of these two are directly opposite. What our sympathy with the person who feels them would prompt us to wish for, our fellow-feeling with the other would lead us to fear. As they are both men, we are concerned for both, and our fear for what the one may suffer, damps our resentment for what the other has suffered. Our sympathy, therefore, with the man who has received the provocation, necessarily falls short of the passion which naturally animates him, not only upon account of those general causes which render all sympathetic passions inferior to the original ones, but upon account of that particular cause which is peculiar to itself, our opposite sympathy with another person. Before resentment, therefore, can become graceful and agreeable, it must be more humbled and brought down below that pitch to which it would naturally rise, than almost any other passion.
Mankind, at the same time, have a very strong sense of the injuries that are done to another. The villain, in a tragedy or romance, is as much the object of our indignation, as the hero is that of our sympathy and affection. We detest Iago as much as we esteem Othello; and delight as much in the punishment of the one, as we are grieved at the distress of the other. But though mankind have so strong a fellow-feeling with the injuries that are done to their brethren, they do not always resent them the more that the sufferer appears to resent them. Upon most occasions, the greater his patience, his mildness, his humanity, provided it does not appear that he wants spirit, or that fear was the motive of his forbearance, the higher the resentment against the person who injured him. The amiableness of the character exasperates their sense of the atrocity of the injury. These passions, however, are regarded as necessary parts of the character of human nature. A person becomes contemptible who tamely sits still, and submits to insults, without attempting either to repel or to revenge them. We cannot enter into his indifference and insensibility: we call his behaviour mean-spiritedness, and are as really provoked by it as by the insolence of his adversary. Even the mob are enraged to see any man submit patiently to affronts and ill usage. They desire to see this insolence resented, and resented by the person who suffers from it. They cry to him with fury, to defend or to revenge himself. If his indignation rouses at last, they heartily applaud, and sympathize with it. It enlivens their own indignation against his enemy, whom they rejoice to see him attack in turn, and are as really gratified by his revenge, provided it is not immoderate, as if the injury had been done to themselves.
But though the utility of those passions to the individual, by rendering it dangerous to insult or to injure him, be acknowledged; and though their utility to the public, as the guardians of justice, and of the equality of its administration, be not less considerable, as shall be shewn hereafter; yet there is still something disagreeable in the {34} passions themselves, which makes the appearance of them in other men the natural object of our aversion. The expression of anger towards any body present, if it exceeds a bare intimation that we are sensible of his ill usage, is regarded not only as an insult to that particular person, but as a rudeness to the whole company. Respect for them ought to have restrained us from giving way to so boisterous and offensive an emotion. It is the remote effects of these passions which are agreeable; the immediate effects are mischief to the person against whom they are directed. But it is the immediate, and not the remote effects of objects which render them agreeable or disagreeable to the imagination. A prison is certainly more useful to the public than a palace; and the person who founds the one is generally directed by a much juster spirit of patriotism, than he who builds the other.
But the immediate effects of a prison, the confinement of the wretches shut up in it, are disagreeable; and the imagination either does not take time to trace out the remote ones, or sees them at too great a distance to be much affected by them. A prison, therefore, will always be a disagreeable object; and the fitter it is for the purpose for which it was intended, it will be the more so. A palace, on the contrary, will always be agreeable; yet its remote effects may often be inconvenient to the public. It may serve to promote luxury, and set the example of the dissolution of manners. Its immediate effects, however, the conveniency, the pleasure, and the gaiety of the people who live in it, being all agreeable, and suggesting to the imagination a thousand agreeable ideas, that faculty generally rests upon them, and seldom goes further in tracing its more distant consequences. Trophies of the instruments of music or of agriculture, imitated in painting or in stucco, make a common and an agreeable ornament of our halls and dining rooms. A trophy of the same kind, composed of the instruments of surgery, of dissecting and amputation-knives, of saws for cutting the bones, of trepanning instruments, &c., would be absurd and shocking.
Instruments of surgery, however, are always more finely polished, and generally more nicely adapted to the purposes for which they are intended, than instruments of agriculture. The remote effects of them too, the health of the patient, is agreeable; yet as the immediate effect of them is pain and suffering, the sight of them always displeases us. Instruments of war are agreeable, though their immediate effect may seem to be in the same manner pain and suffering. But then it is the pain and suffering of our enemies, with whom we have no sympathy. With regard to us, they are immediately connected with the agreeable ideas of courage, victory, and honour. They are themselves, therefore, supposed to make one of the noblest parts of dress, and the imitation of them one of the finest ornaments of architecture. It is the same case with the qualities of the mind. The ancient stoics were of opinion, that as the world was governed by the {35} all-ruling providence of a wise, powerful, and good God, every single event ought to be regarded, as making a necessary part of the plan of the universe, and as tending to promote the general order and happiness of the whole: that the vices and follies of mankind, therefore, made as necessary a part of this plan as their wisdom or their virtue; and by that eternal art which educes good from ill, were made to tend equally to the prosperity and perfection of the great system of nature. No speculation of this kind, however, how deeply soever it might be rooted in the mind, could diminish our natural abhorrence for vice, whose immediate effects are so destructive, and whose remote ones are too distant to be traced by the imagination.
It is the same case with those passions we have been just now considering. Their immediate effects are so disagreeable, that even when they are most justly provoked, there is still something about them which disgusts us. These, therefore, are the only passions of which the expressions, as I formerly observed, do not dispose and prepare us to sympathize with them, before we are informed of the cause which excites them. The plaintive voice of misery, when heard at a distance, will not allow us to be indifferent about the person from whom it comes. As soon as it strikes our ear, it interests us in his fortune, and, if continued, forces us almost involuntarily to fly to his assistance. The sight of a smiling countenance, in the same manner, elevates even the pensive into that gay and airy mood, which disposes him to sympathize with, and share the joy which it expresses; and he feels his heart, which with thought and care was before that shrunk and depressed, instantly expanded and elated. But it is quite otherwise with the expressions of hatred and resentment. The hoarse, boisterous, and discordant voice of anger, when heard at a distance, inspires us either with fear or aversion.
Ideas discussed in this chapter
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