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Studies in Pessimism

<h2> FURTHER PSYCHOLOGICAL OBSERVATIONS. </h2> There is an unconscious propriety in the way in which, in all European languages, the word person is commonly used to denote a human being. The real meaning of persona is a mask, such as actors were accustomed to wear on the ancient stage; and it is quite true that no one shows himself as he is, but wears his mask and plays his part. Indeed, the whole of our social arrangements may be likened to a perpetual comedy; and this is why a man who is worth anything finds society so insipid, while a blockhead is quite at home in it. <hr /> Reason deserves to be called a prophet; for in showing us the consequence and effect of our actions in the present, does it not tell us what the future will be? This is precisely why reason is such an excellent power of restraint in moments when we are possessed by some base passion, some fit of anger, some covetous desire, that will lead us to do things whereof we must presently repent. <hr /> Hatred comes from the heart; contempt from the head; and neither feeling is quite within our control. For we cannot alter our heart; its basis is determined by motives; and our head deals with objective facts, and applies to them rules which are immutable. Any given individual is the union of a particular heart with a particular head. Hatred and contempt are diametrically opposed and mutually exclusive. There are even not a few cases where hatred of a person is rooted in nothing but forced esteem for his qualities. And besides, if a man sets out to hate all the miserable creatures he meets, he will not have much energy left for anything else; whereas he can despise them, one and all, with the greatest ease. True, genuine contempt is just the reverse of true, genuine pride; it keeps quite quiet and gives no sign of its existence. For if a man shows that he despises you, he signifies at least this much regard for you, that he wants to let you know how little he appreciates you; and his wish is dictated by hatred, which cannot exist with real contempt. On the contrary, if it is genuine, it is simply the conviction that the object of it is a man of no value at all. Contempt is not incompatible with indulgent and kindly treatment, and for the sake of one's own peace and safety, this should not be omitted; it will prevent irritation; and there is no one who cannot do harm if he is roused to it. But if this pure, cold, sincere contempt ever shows itself, it will be met with the most truculent hatred; for the despised person is not in a position to fight contempt with its own weapons. <hr /> Melancholy is a very different thing from bad humor, and of the two, it is not nearly so far removed from a gay and happy temperament. Melancholy attracts, while bad humor repels. Hypochondria is a species of torment which not only makes us unreasonably cross with the things of the present; not only fills us with groundless anxiety on the score of future misfortunes entirely of our own manufacture; but also leads to unmerited self-reproach for what we have done in the past. Hypochondria shows itself in a perpetual hunting after things that vex and annoy, and then brooding over them. The cause of it is an inward morbid discontent, often co-existing with a naturally restless temperament. In their extreme form, this discontent and this unrest lead to suicide. <hr /> Any incident, however trivial, that rouses disagreeable emotion, leaves an after-effect in our mind, which for the time it lasts, prevents our taking a clear objective view of the things about us, and tinges all our thoughts: just as a small object held close to the eye limits and distorts our field of vision. <hr /> What makes people hard-hearted is this, that each man has, or fancies he has, as much as he can bear in his own troubles. Hence, if a man suddenly finds himself in an unusually happy position, it will in most cases result in his being sympathetic and kind. But if he has never been in any other than a happy position, or this becomes his permanent state, the effect of it is often just the contrary: it so far removes him from suffering that he is incapable of feeling any more sympathy with it. So it is that the poor often show themselves more ready to help than the rich. <hr /> At times it seems as though we both wanted and did not want the same thing, and felt at once glad and sorry about it. For instance, if on some fixed date we are going to be put to a decisive test about anything in which it would be a great advantage to us to come off victorious, we shall be anxious for it to take place at once, and at the same time we shall tremble at the thought of its approach. And if, in the meantime, we hear that, for once in a way, the date has been postponed, we shall experience a feeling both of pleasure and of annoyance; for the news is disappointing, but nevertheless it affords us momentary relief. It is just the same thing if we are expecting some important letter carrying a definite decision, and it fails to arrive. In such cases there are really two different motives at work in us; the stronger but more distant of the two being the desire to stand the test and to have the decision given in our favor; and the weaker, which touches us more nearly, the wish to be left for the present in peace and quiet, and accordingly in further enjoyment of the advantage which at any rate attaches to a state of hopeful uncertainty, compared with the possibility that the issue may be unfavorable. <hr /> In my head there is a permanent opposition-party; and whenever I take any step or come to any decision—though I may have given the matter mature consideration—it afterwards attacks what I have done, without, however, being each time necessarily in the right. This is, I suppose, only a form of rectification on the part of the spirit of scrutiny; but it often reproaches me when I do not deserve it. The same thing, no doubt, happens to many others as well; for where is the man who can help thinking that, after all, it were better not to have done something that he did with great deliberation: Quid tam dextro pede concipis ut te Conatus non poeniteat votique peracti? <hr /> Why is it that common is an expression of contempt? and that uncommon, extraordinary, distinguished, denote approbation? Why is everything that is common contemptible? Common in its original meaning denotes that which is peculiar to all men, i.e., shared equally by the whole species, and therefore an inherent part of its nature. Accordingly, if an individual possesses no qualities beyond those which attach to mankind in general, he is a common man. Ordinary is a much milder word, and refers rather to intellectual character; whereas common has more of a moral application. What value can a creature have that is not a whit different from millions of its kind? Millions, do I say? nay, an infiniture of creatures which, century after century, in never-ending flow, Nature sends bubbling up from her inexhaustible springs; as generous with them as the smith with the useless sparks that fly around his anvil. It is obviously quite right that a creature which has no qualities except those of the species, should have to confine its claim to an existence entirely within the limits of the species, and live a life conditioned by those limits. In various passages of my works,23 I have argued that whilst a lower animal possesses nothing more than the generic character of its species, man is the only being which can lay claim to possess an individual character. But in most men this individual character comes to very little in reality; and they may be almost all ranged under certain classes: ce sont des espèces. Their thoughts and desires, like their faces, are those of the species, or, at any rate, those of the class to which they belong; and accordingly, they are of a trivial, every-day, common character, and exist by the thousand. You can usually tell beforehand what they are likely to do and say. They have no special stamp or mark to distinguish them; they are like manufactured goods, all of a piece. 23 (return) [ Grundprobleme der Ethik, p. 48; Welt als Wille und Vorstellung, vol. i. p. 338.] If, then, their nature is merged in that of the species, how shall their existence go beyond it? The curse of vulgarity puts men on a par with the lower animals, by allowing them none but a generic nature, a generic form of existence. Anything that is high or great or noble, must then, as a mater of course, and by its very nature, stand alone in a world where no better expression can be found to denote what is base and contemptible than that which I have mentioned as in general use, namely, common. <hr /> Will, as the thing-in-itself, is the foundation of all being; it is part and parcel of every creature, and the permanent element in everything. Will, then, is that which we possess in common with all men, nay, with all animals, and even with lower forms of existence; and in so far we are akin to everything—so far, that is, as everything is filled to overflowing with will. On the other hand, that which places one being over another, and sets differences between man and man, is intellect and knowledge; therefore in every manifestation of self we should, as far as possible, give play to the intellect alone; for, as we have seen, the will is the common part of us. Every violent exhibition of will is common and vulgar; in other words, it reduces us to the level of the species, and makes us a mere type and example of it; in that it is just the character of the species that we are showing. So every fit of anger is something common—every unrestrained display of joy, or of hate, or fear—in short, every form of emotion; in other words, every movement of the will, if it's so strong as decidedly to outweigh the intellectual element in consciousness, and to make the man appear as a being that wills rather than knows. In giving way to emotion of this violent kind, the greatest genius puts himself on a level with the commonest son of earth. Contrarily, if a man desires to be absolutely uncommon, in other words, great, he should never allow his consciousness to be taken possession of and dominated by the movement of his will, however much he may be solicited thereto. For example, he must be able to observe that other people are badly disposed towards him, without feeling any hatred towards them himself; nay, there is no surer sign of a great mind than that it refuses to notice annoying and insulting expressions, but straightway ascribes them, as it ascribes countless other mistakes, to the defective knowledge of the speaker, and so merely observes without feeling them. This is the meaning of that remark of Gracian, that nothing is more unworthy of a man than to let it be seen that he is one—el mayor desdoro de un hombre es dar muestras de que es hombre. And even in the drama, which is the peculiar province of the passions and emotions, it is easy for them to appear common and vulgar. And this is specially observable in the works of the French tragic writers, who set no other aim before themselves but the delineation of the passions; and by indulging at one moment in a vaporous kind of pathos which makes them ridiculous, at another in epigrammatic witticisms, endeavor to conceal the vulgarity of their subject. I remember seeing the celebrated Mademoiselle Rachel as Maria Stuart: and when she burst out in fury against Elizabeth—though she did it very well—I could not help thinking of a washerwoman. She played the final parting in such a way as to deprive it of all true tragic feeling, of which, indeed, the French have no notion at all. The same part was incomparably better played by the Italian Ristori; and, in fact, the Italian nature, though in many respects very different from the German, shares its appreciation for what is deep, serious, and true in Art; herein opposed to the French, which everywhere betrays that it possesses none of this feeling whatever. The noble, in other words, the uncommon, element in the drama—nay, what is sublime in it—is not reached until the intellect is set to work, as opposed to the will; until it takes a free flight over all those passionate movements of the will, and makes them subject of its contemplation. Shakespeare, in particular, shows that this is his general method, more especially in Hamlet. And only when intellect rises to the point where the vanity of all effort is manifest, and the will proceeds to an act of self-annulment, is the drama tragic in the true sense of the word; it is then that it reaches its highest aim in becoming really sublime. <hr /> Every man takes the limits of his own field of vision for the limits of the world. This is an error of the intellect as inevitable as that error of the eye which lets us fancy that on the horizon heaven and earth meet. This explains many things, and among them the fact that everyone measures us with his own standard—generally about as long as a tailor's tape, and we have to put up with it: as also that no one will allow us to be taller than himself—a supposition which is once for all taken for granted. <hr /> There is no doubt that many a man owes his good fortune in life solely to the circumstance that he has a pleasant way of smiling, and so wins the heart in his favor. However, the heart would do better to be careful, and to remember what Hamlet put down in his tablets—that one may smile, and smile, and be a villain. <hr /> Everything that is really fundamental in a man, and therefore genuine works, as such, unconsciously; in this respect like the power of nature. That which has passed through the domain of consciousness is thereby transformed into an idea or picture; and so if it comes to be uttered, it is only an idea or picture which passes from one person to another. Accordingly, any quality of mind or character that is genuine and lasting, is originally unconscious; and it is only when unconsciously brought into play that it makes a profound impression. If any like quality is consciously exercised, it means that it has been worked up; it becomes intentional, and therefore matter of affectation, in other words, of deception. If a man does a thing unconsciously, it costs him no trouble; but if he tries to do it by taking trouble, he fails. This applies to the origin of those fundamental ideas which form the pith and marrow of all genuine work. Only that which is innate is genuine and will hold water; and every man who wants to achieve something, whether in practical life, in literature, or in art, must follow the rules without knowing them. <hr /> Men of very great capacity, will as a rule, find the company of very stupid people preferable to that of the common run; for the same reason that the tyrant and the mob, the grandfather and the grandchildren, are natural allies. <hr /> That line of Ovid's, Pronaque cum spectent animalia cetera terram, can be applied in its true physical sense to the lower animals alone; but in a metaphorical and spiritual sense it is, alas! true of nearly all men as well. All their plans and projects are merged in the desire of physical enjoyment, physical well-being. They may, indeed, have personal interests, often embracing a very varied sphere; but still these latter receive their importance entirely from the relation in which they stand to the former. This is not only proved by their manner of life and the things they say, but it even shows itself in the way they look, the expression of their physiognomy, their gait and gesticulations. Everything about them cries out; in terram prona! It is not to them, it is only to the nobler and more highly endowed natures—men who really think and look about them in the world, and form exceptional specimens of humanity—that the next lines are applicable; Os homini sublime dedit coelumque tueri Jussit et erectos ad sidera tollere vultus. <hr /> No one knows what capacities for doing and suffering he has in himself, until something comes to rouse them to activity: just as in a pond of still water, lying there like a mirror, there is no sign of the roar and thunder with which it can leap from the precipice, and yet remain what it is; or again, rise high in the air as a fountain. When water is as cold as ice, you can have no idea of the latent warmth contained in it. <hr /> Why is it that, in spite of all the mirrors in the world, no one really knows what he looks like? A man may call to mind the face of his friend, but not his own. Here, then, is an initial difficulty in the way of applying the maxim, Know thyself. This is partly, no doubt, to be explained by the fact that it is physically impossible for a man to see himself in the glass except with face turned straight towards it and perfectly motionless; where the expression of the eye, which counts for so much, and really gives its whole character to the face, is to a great extent lost. But co-existing with this physical impossibility, there seems to me to be an ethical impossibility of an analogous nature, and producing the same effect. A man cannot look upon his own reflection as though the person presented there were a stranger to him; and yet this is necessary if he is to take an objective view. In the last resort, an objective view means a deep-rooted feeling on the part of the individual, as a moral being, that that which he is contemplating is not himself24; and unless he can take this point of view, he will not see things in a really true light, which is possible only if he is alive to their actual defects, exactly as they are. Instead of that, when a man sees himself in the glass, something out of his own egotistic nature whispers to him to take care to remember that it is no stranger, but himself, that he is looking at; and this operates as a noli me tang ere, and prevents him taking an objective view. It seems, indeed, as if, without the leaven of a grain of malice, such a view were impossible. 24 (return) [ Cf. Grundprobleme der Ethik, p. 275.] <hr /> According as a man's mental energy is exerted or relaxed, will life appear to him either so short, and petty, and fleeting, that nothing can possibly happen over which it is worth his while to spend emotion; that nothing really matters, whether it is pleasure or riches, or even fame, and that in whatever way a man may have failed, he cannot have lost much—or, on the other hand, life will seem so long, so important, so all in all, so momentous and so full of difficulty that we have to plunge into it with our whole soul if we are to obtain a share of its goods, make sure of its prizes, and carry out our plans. This latter is the immanent and common view of life; it is what Gracian means when he speaks of the serious way of looking at things—tomar muy de veras el vivir. The former is the transcendental view, which is well expressed in Ovid's non est tanti—it is not worth so much trouble; still better, however, by Plato's remark that nothing in human affairs is worth any great anxiety—[Greek: oute ti ton anthropinon axion esti megalaes spoudaes.] This condition of mind is due to the intellect having got the upper hand in the domain of consciousness, where, freed from the mere service of the will, it looks upon the phenomena of life objectively, and so cannot fail to gain a clear insight into its vain and futile character. But in the other condition of mind, will predominates; and the intellect exists only to light it on its way to the attainment of its desires. A man is great or small according as he leans to the one or the other of these views of life. <hr /> People of very brilliant ability think little of admitting their errors and weaknesses, or of letting others see them. They look upon them as something for which they have duly paid; and instead of fancying that these weaknesses are a disgrace to them, they consider they are doing them an honor. This is especially the case when the errors are of the kind that hang together with their qualities—conditiones sine quibus non—or, as George Sand said, les défauts de ses vertus. Contrarily, there are people of good character and irreproachable intellectual capacity, who, far from admitting the few little weaknesses they have, conceal them with care, and show themselves very sensitive to any suggestion of their existence; and this, just because their whole merit consists in being free from error and infirmity. If these people are found to have done anything wrong, their reputation immediately suffers. <hr /> With people of only moderate ability, modesty is mere honesty; but with those who possess great talent, it is hypocrisy. Hence, it is just as becoming in the latter to make no secret of the respect they bear themselves and no disguise of the fact that they are conscious of unusual power, as it is in the former to be modest. Valerius Maximus gives some very neat examples of this in his chapter on self-confidence, de fiducia sui. <hr /> Not to go to the theatre is like making one's toilet without a mirror. But it is still worse to take a decision without consulting a friend. For a man may have the most excellent judgment in all other matters, and yet go wrong in those which concern himself; because here the will comes in and deranges the intellect at once. Therefore let a man take counsel of a friend. A doctor can cure everyone but himself; if he falls ill, he sends for a colleague. <hr /> In all that we do, we wish, more or less, to come to the end; we are impatient to finish and glad to be done. But the last scene of all, the general end, is something that, as a rule, we wish as far off as may be. <hr /> Every parting gives a foretaste of death; every coming together again a foretaste of the resurrection. This is why even people who were indifferent to each other, rejoice so much if they come together again after twenty or thirty years' separation. <hr /> Intellects differ from one another in a very real and fundamental way: but no comparison can well be made by merely general observations. It is necessary to come close, and to go into details; for the difference that exists cannot be seen from afar; and it is not easy to judge by outward appearances, as in the several cases of education, leisure and occupation. But even judging by these alone, it must be admitted that many a man has a degree of existence at least ten times as high as another—in other words, exists ten times as much. I am not speaking here of savages whose life is often only one degree above that of the apes in their woods. Consider, for instance, a porter in Naples or Venice (in the north of Europe solicitude for the winter months makes people more thoughtful and therefore reflective); look at the life he leads, from its beginning to its end:—driven by poverty; living on his physical strength; meeting the needs of every day, nay, of every hour, by hard work, great effort, constant tumult, want in all its forms, no care for the morrow; his only comfort rest after exhaustion; continuous quarreling; not a moment free for reflection; such sensual delights as a mild climate and only just sufficient food will permit of; and then, finally, as the metaphysical element, the crass superstition of his church; the whole forming a manner of life with only a low degree of consciousness, where a man hustles, or rather is hustled, through his existence. This restless and confused dream forms the life of how many millions! Such men think only just so much as is necessary to carry out their will for the moment. They never reflect upon their life as a connected whole, let alone, then, upon existence in general; to a certain extent they may be said to exist without really knowing it. The existence of the mobsman or the slave who lives on in this unthinking way, stands very much nearer than ours to that of the brute, which is confined entirely to the present moment; but, for that very reason, it has also less of pain in it than ours. Nay, since all pleasure is in its nature negative, that is to say, consists in freedom from some form of misery or need, the constant and rapid interchange between setting about something and getting it done, which is the permanent accompaniment of the work they do, and then again the augmented form which this takes when they go from work to rest and the satisfaction of their needs—all this gives them a constant source of enjoyment; and the fact that it is much commoner to see happy faces amongst the poor than amongst the rich, is a sure proof that it is used to good advantage. Passing from this kind of man, consider, next, the sober, sensible merchant, who leads a life of speculation, thinks long over his plans and carries them out with great care, founds a house, and provides for his wife, his children and descendants; takes his share, too, in the life of a community. It is obvious that a man like this has a much higher degree of consciousness than the former, and so his existence has a higher degree of reality. Then look at the man of learning, who investigates, it may be, the history of the past. He will have reached the point at which a man becomes conscious of existence as a whole, sees beyond the period of his own life, beyond his own personal interests, thinking over the whole course of the world's history. Then, finally, look at the poet or the philosopher, in whom reflection has reached such a height, that, instead of being drawn on to investigate any one particular phenomenon of existence, he stands in amazement before existence itself, this great sphinx, and makes it his problem. In him consciousness has reached the degree of clearness at which it embraces the world itself: his intellect has completely abandoned its function as the servant of his will, and now holds the world before him; and the world calls upon him much more to examine and consider it, than to play a part in it himself. If, then, the degree of consciousness is the degree of reality, such a man will be said to exist most of all, and there will be sense and significance in so describing him. Between the two extremes here sketched, and the intervening stages, everyone will be able to find the place at which he himself stands. <hr /> We know that man is in general superior to all other animals, and this is also the case in his capacity for being trained. Mohammedans are trained to pray with their faces turned towards Mecca, five times a day; and they never fail to do it. Christians are trained to cross themselves on certain occasions, to bow, and so on. Indeed, it may be said that religion is the chef d'oeuvre of the art of training, because it trains people in the way they shall think: and, as is well known, you cannot begin the process too early. There is no absurdity so palpable but that it may be firmly planted in the human head if you only begin to inculcate it before the age of five, by constantly repeating it with an air of great solemnity. For as in the case of animals, so in that of men, training is successful only when you begin in early youth. Noblemen and gentlemen are trained to hold nothing sacred but their word of honor—to maintain a zealous, rigid, and unshaken belief in the ridiculous code of chivalry; and if they are called upon to do so, to seal their belief by dying for it, and seriously to regard a king as a being of a higher order. Again, our expressions of politeness, the compliments we make, in particular, the respectful attentions we pay to ladies, are a matter of training; as also our esteem for good birth, rank, titles, and so on. Of the same character is the resentment we feel at any insult directed against us; and the measure of this resentment may be exactly determined by the nature of the insult. An Englishman, for instance, thinks it a deadly insult to be told that he is no gentleman, or, still worse, that he is a liar; a Frenchman has the same feeling if you call him a coward, and a German if you say he is stupid. There are many persons who are trained to be strictly honorable in regard to one particular matter, while they have little honor to boast of in anything else. Many a man, for instance, will not steal your money; but he will lay hands on everything of yours that he can enjoy without having to pay for it. A man of business will often deceive you without the slightest scruple, but he will absolutely refuse to commit a theft. Imagination is strong in a man when that particular function of the brain which enables him to observe is roused to activity without any necessary excitement of the senses. Accordingly, we find that imagination is active just in proportion as our senses are not excited by external objects. A long period of solitude, whether in prison or in a sick room; quiet, twilight, darkness—these are the things that promote its activity; and under their influence it comes into play of itself. On the other hand, when a great deal of material is presented to our faculties of observation, as happens on a journey, or in the hurly-burly of the world, or, again, in broad daylight, the imagination is idle, and, even though call may be made upon it, refuses to become active, as though it understood that that was not its proper time. However, if the imagination is to yield any real product, it must have received a great deal of material from the external world. This is the only way in which its storehouse can be filled. The phantasy is nourished much in the same way as the body, which is least capable of any work and enjoys doing nothing just in the very moment when it receives its food which it has to digest. And yet it is to this very food that it owes the power which it afterwards puts forth at the right time. <hr /> Opinion is like a pendulum and obeys the same law. If it goes past the centre of gravity on one side, it must go a like distance on the other; and it is only after a certain time that it finds the true point at which it can remain at rest. <hr /> By a process of contradiction, distance in space makes things look small, and therefore free from defect. This is why a landscape looks so much better in a contracting mirror or in a camera obscura, than it is in reality. The same effect is produced by distance in time. The scenes and events of long ago, and the persons who took part in them, wear a charming aspect to the eye of memory, which sees only the outlines and takes no note of disagreeable details. The present enjoys no such advantage, and so it always seems defective. And again, as regards space, small objects close to us look big, and if they are very close, we may be able to see nothing else, but when we go a little way off, they become minute and invisible. It is the same again as regards time. The little incidents and accidents of every day fill us with emotion, anxiety, annoyance, passion, as long as they are close to us, when they appear so big, so important, so serious; but as soon as they are borne down the restless stream of time, they lose what significance they had; we think no more of them and soon forget them altogether. They were big only because they were near. <hr /> Joy and sorrow are not ideas of the mind, but affections of the will, and so they do not lie in the domain of memory. We cannot recall our joys and sorrows; by which I mean that we cannot renew them. We can recall only the ideas that accompanied them; and, in particular, the things we were led to say; and these form a gauge of our feelings at the time. Hence our memory of joys and sorrows is always imperfect, and they become a matter of indifference to us as soon as they are over. This explains the vanity of the attempt, which we sometimes make, to revive the pleasures and the pains of the past. Pleasure and pain are essentially an affair of the will; and the will, as such, is not possessed of memory, which is a function of the intellect; and this in its turn gives out and takes in nothing but thoughts and ideas, which are not here in question. It is a curious fact that in bad days we can very vividly recall the good time that is now no more; but that in good days, we have only a very cold and imperfect memory of the bad. <hr /> We have a much better memory of actual objects or pictures than for mere ideas. Hence a good imagination makes it easier to learn languages; for by its aid, the new word is at once united with the actual object to which it refers; whereas, if there is no imagination, it is simply put on a parallel with the equivalent word in the mother tongue. Mnemonics should not only mean the art of keeping something indirectly in the memory by the use of some direct pun or witticism; it should, rather, be applied to a systematic theory of memory, and explain its several attributes by reference both to its real nature, and to the relation in which these attributes stand to one another. <hr /> There are moments in life when our senses obtain a higher and rarer degree of clearness, apart from any particular occasion for it in the nature of our surroundings; and explicable, rather, on physiological grounds alone, as the result of some enhanced state of susceptibility, working from within outwards. Such moments remain indelibly impressed upon the memory, and preserve themselves in their individuality entire. We can assign no reason for it, nor explain why this among so many thousand moments like it should be specially remembered. It seems as much a matter of chance as when single specimens of a whole race of animals now extinct are discovered in the layers of a rock; or when, on opening a book, we light upon an insect accidentally crushed within the leaves. Memories of this kind are always sweet and pleasant. <hr /> It occasionally happens that, for no particular reason, long-forgotten scenes suddenly start up in the memory. This may in many cases be due to the action of some hardly perceptible odor, which accompanied those scenes and now recurs exactly same as before. For it is well known that the sense of smell is specially effective in awakening memories, and that in general it does not require much to rouse a train of ideas. And I may say, in passing, that the sense of sight is connected with the understanding,25 the sense of hearing with the reason,26 and, as we see in the present case, the sense of smell with the memory. Touch and Taste are more material and dependent upon contact. They have no ideal side. 25 (return) [Wierfache Wurzel § 21.] 26 (return) [ Parerga vol. ii, § 311.] <hr /> It must also be reckoned among the peculiar attributes of memory that a slight state of intoxication often so greatly enhances the recollection of past times and scenes, that all the circumstances connected with them come back much more clearly than would be possible in a state of sobriety; but that, on the other hand, the recollection of what one said or did while the intoxication lasted, is more than usually imperfect; nay, that if one has been absolutely tipsy, it is gone altogether. We may say, then, that whilst intoxication enhances the memory for what is past, it allows it to remember little of the present. <hr /> Men need some kind of external activity, because they are inactive within. Contrarily, if they are active within, they do not care to be dragged out of themselves; it disturbs and impedes their thoughts in a way that is often most ruinous to them. <hr /> I am not surprised that some people are bored when they find themselves alone; for they cannot laugh if they are quite by themselves. The very idea of it seems folly to them. Are we, then, to look upon laughter as merely O signal for others—a mere sign, like a word? What makes it impossible for people to laugh when they are alone is nothing but want of imagination, dullness of mind generally—[Greek: anaisthaesia kai bradutaes psuchaes], as Theophrastus has it.27 The lower animals never laugh, either alone or in company. Myson, the misanthropist, was once surprised by one of these people as he was laughing to himself. Why do you laugh? he asked; there is no one with you. That is just why I am laughing, said Myson. 27 (return) [ Characters, c. 27.] <hr /> Natural gesticulation, such as commonly accompanies any lively talk, is a language of its own, more widespread, even, than the language of words—so far, I mean, as it is independent of words and alike in all nations. It is true that nations make use of it in proportion as they are vivacious, and that in particular cases, amongst the Italians, for instance, it is supplemented by certain peculiar gestures which are merely conventional, and therefore possessed of nothing more than a local value. In the universal use made of it, gesticulation has some analogy with logic and grammar, in that it has to do with the form, rather than with the matter of conversation; but on the other hand it is distinguishable from them by the fact that it has more of a moral than of an intellectual bearing; in other words, it reflects the movements of the will. As an accompaniment of conversation it is like the bass of a melody; and if, as in music, it keeps true to the progress of the treble, it serves to heighten the effect. In a conversation, the gesture depends upon the form in which the subject-matter is conveyed; and it is interesting to observe that, whatever that subject-matter may be, with a recurrence of the form, the very same gesture is repeated. So if I happen to see—from my window, say—two persons carrying on a lively conversation, without my being able to catch a word, I can, nevertheless, understand the general nature of it perfectly well; I mean, the kind of thing that is being said and the form it takes. There is no mistake about it. The speaker is arguing about something, advancing his reasons, then limiting their application, then driving them home and drawing the conclusion in triumph; or he is recounting his experiences, proving, perhaps, beyond the shadow of a doubt, how much he has been injured, but bringing the clearest and most damning evidence to show that his opponents were foolish and obstinate people who would not be convinced; or else he is telling of the splendid plan he laid, and how he carried it to a successful issue, or perhaps failed because the luck was against him; or, it may be, he is saying that he was completely at a loss to know what to do, or that he was quick in seeing some traps set for him, and that by insisting on his rights or by applying a little force, he succeeded in frustrating and punishing his enemies; and so on in hundreds of cases of a similar kind. Strictly speaking, however, what I get from gesticulation alone is an abstract notion of the essential drift of what is being said, and that, too, whether I judge from a moral or an intellectual point of view. It is the quintessence, the true substance of the conversation, and this remains identical, no matter what may have given rise to the conversation, or what it may be about; the relation between the two being that of a general idea or class-name to the individuals which it covers. As I have said, the most interesting and amusing part of the matter is the complete identity and solidarity of the gestures used to denote the same set of circumstances, even though by people of very different temperament; so that the gestures become exactly like words of a language, alike for every one, and subject only to such small modifications as depend upon variety of accent and education. And yet there can be no doubt but that these standing gestures, which every one uses, are the result of no convention or collusion. They are original and innate—a true language of nature; consolidated, it may be, by imitation and the influence of custom. It is well known that it is part of an actor's duty to make a careful study of gesture; and the same thing is true, to a somewhat smaller degree, of a public speaker. This study must consist chiefly in watching others and imitating their movements, for there are no abstract rules fairly applicable to the matter, with the exception of some very general leading principles, such as—to take an example—that the gesture must not follow the word, but rather come immediately before it, by way of announcing its approach and attracting the hearer's attention. Englishmen entertain a peculiar contempt for gesticulation, and look upon it as something vulgar and undignified. This seems to me a silly prejudice on their part, and the outcome of their general prudery. For here we have a language which nature has given to every one, and which every one understands; and to do away with and forbid it for no better reason than that it is opposed to that much-lauded thing, gentlemanly feeling, is a very questionable proceeding. <hr /> <div style="break-after:column;"></div>

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