out for quarter; but, on the contrary, every one running here and there to seek out and to provoke the victorious enemy to help them to an honourable end. Not one was seen who, however weakened with wounds, did not in his last gasp yet endeavour to revenge himself, and with all the arms of a brave despair, to sweeten his own death in the death of an enemy. Yet did their valour create no pity, and the length of one day was not enough to satiate the thirst of the conqueror’s revenge, but the slaughter continued to the last drop of blood that was capable of being shed, and stopped not till it met with none but unarmed persons, old men, women, and children, of them to carry away to the number of thirty thousand slaves.
Chapter 2
Of Sorrow
No man living is more free from this passion than I, who yet neither like it in myself nor admire it in others, and yet generally the world, as a settled thing, is pleased to grace it with a particular esteem, clothing therewith wisdom, virtue, and conscience. Foolish and sordid guise! [“No man is more free from this passion than I, for I neither love nor regard it: albeit the world hath undertaken, as it were upon covenant, to grace it with a particular favour. Therewith they adorne age, vertue, and conscience. Oh foolish and base ornament!” Florio, 1613, p. 3] —The Italians have more fitly baptized by this name [La tristezza] malignity; for ’tis a quality always hurtful, always idle and vain; and as being cowardly, mean, and base, it is by the Stoics expressly and particularly forbidden to their sages.
But the story [Herodotus, iii. 14.] says that Psammenitus, King of Egypt, being defeated and taken prisoner by Cambyses, King of Persia, seeing his own daughter pass by him as prisoner, and in a wretched habit, with a bucket to draw water, though his friends about him were so concerned as to break out into tears and lamentations, yet he himself remained unmoved, without uttering a word, his eyes fixed upon the ground; and seeing, moreover, his son immediately after led to execution, still maintained the same countenance; till spying at last one of his domestic and familiar friends dragged away amongst the captives, he fell to tearing his hair and beating his breast, with all the other extravagances of extreme sorrow.
A story that may very fitly be coupled with another of the same kind, of recent date, of a prince of our own nation, who being at Trent, and having news there brought him of the death of his elder brother, a brother on whom depended the whole support and honour of his house, and soon after of that of a younger brother, the second hope of his family, and having withstood these two assaults with an exemplary resolution; one of his servants happening a few days after to die, he suffered his constancy to be overcome by this last accident; and, parting with his courage, so abandoned himself to sorrow and mourning, that some thence were forward to conclude that he was only touched to the quick by this last stroke of fortune; but, in truth, it was, that being before brimful of grief, the least addition overflowed the bounds of all patience. Which, I think, might also be said of the former example, did not the story proceed to tell us that Cambyses asking Psammenitus, “Why, not being moved at the calamity of his son and daughter, he should with so great impatience bear the misfortune of his friend?” “It is,” answered he, “because only this last affliction was to be manifested by tears, the two first far exceeding all manner of expression.”
And, peradventure, something like this might be working in the fancy of the ancient painter, [Cicero, De Orator., c. 22; Pliny, xxxv. 10.] who having, in the sacrifice of Iphigenia, to represent the sorrow of the assistants proportionably to the several degrees of interest every one had in the death of this fair innocent virgin, and having, in the other figures, laid out the utmost power of his art, when he came to that of her father, he drew him with a veil over his face, meaning thereby that no kind of countenance was capable of expressing such a degree of sorrow. Which is also the reason why the poets feign the miserable mother, Niobe, having first lost seven sons, and then afterwards as many daughters (overwhelmed with her losses), to have been at last transformed into a rock—
“Diriguisse malis,”
[“Petrified with her misfortunes.”—Ovid, Met., vi. 304.]
thereby to express that melancholic, dumb, and deaf stupefaction, which benumbs all our faculties, when oppressed with accidents greater than we are able to bear. And, indeed, the violence and impression of an excessive grief must of necessity astonish the soul, and wholly deprive her of her ordinary functions: as it happens to every one of us, who, upon any sudden alarm of very ill news, find ourselves surprised, stupefied, and in a manner deprived of all power of motion, so that the soul, beginning to vent itself in tears and lamentations, seems to free and disengage itself from the sudden oppression, and to have obtained some room to work itself out at greater liberty.
“Et via vix tandem voci laxata dolore est.”
[“And at length and with difficulty is a passage opened by grief for
utterance.”—AEneid, xi. 151.]
In the war that Ferdinand made upon the widow of King John of Hungary, about Buda, a man-at-arms was particularly taken notice of by every one for his singular gallant behaviour in a certain encounter; and, unknown, highly commended, and lamented, being left dead upon the place: but by none so much as by Raisciac, a German lord, who was infinitely enamoured of so rare a valour. The body being brought off, and the count, with the common curiosity coming to view it, the armour was no sooner taken off but he immediately knew him to be his own son, a thing that added a second blow to the compassion of all the beholders; only he, without uttering a word, or turning away his eyes from the woeful object, stood fixedly contemplating the body of his son, till the vehemency of sorrow having overcome his vital spirits, made him sink down stone-dead to the ground.
“Chi puo dir com’ egli arde, a in picciol fuoco,”
[“He who can say how he burns with love, has little fire”
—Petrarca, Sonetto 137.]
say the Innamoratos, when they would represent an ‘insupportable passion.
“Misero quod omneis
Eripit sensus mihi: nam simul te,
Lesbia, aspexi, nihil est super mi,
Quod loquar amens.
Lingua sed torpet: tenuis sub artus
Flamma dimanat; sonitu suopte
Tintinant aures; gemina teguntur
Lumina nocte.”
[“Love deprives me of all my faculties: Lesbia, when once in thy
presence, I have not left the power to tell my distracting passion:
my tongue becomes torpid; a subtle flame creeps through my veins; my
ears tingle in deafness; my eyes are veiled with darkness.”
Catullus, Epig. li. 5]
Neither is it in the height and greatest fury of the fit that we are in a condition to pour out our complaints or our amorous persuasions, the soul being at that time over-burdened, and labouring with profound thoughts; and the body dejected and languishing with desire; and thence it is that sometimes proceed those accidental impotencies that so unseasonably surprise the lover, and that frigidity which by the force of an immoderate ardour seizes him even in the very lap of fruition. [The edition of 1588 has here, “An accident not unknown to myself.”] For all passions that suffer themselves
