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Educating for Peace
Educating for Peace

Edited by

Lokanath Mishra
 Educating for Peace,
Edited by Lokanath Mishra

This book first published 2013

Cambridge Scholars Publishing

12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK

British Library Cataloguing in Publication Data

A catalogue record for this book is available from the British Library

Copyright © 2013 by Lokanath Mishra and contributors

All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system,
or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or
otherwise, without the prior permission of the copyright owner.

ISBN (10): 1-4438-4805-0, ISBN (13): 978-1-4438-4805-3

 CONTENTS

Foreword ................................................................................................... vii

Preface ........................................................................................................ ix

About the Editor ......................................................................................... xi

Contributors .............................................................................................. xiii

Chapter One ................................................................................................. 1

Educating All for a Peaceful Society
Dr. Lokanath Mishra

Chapter Two .............................................................................................. 31

Preparing Children for Peace
Professor S.K. Swain and Dr. Lokanath Mishra

Chapter Three ............................................................................................ 39

Peace Education in a Non-formal Way
Dr. Lokanath Mishra

Chapter Four .............................................................................................. 51

Education for Peace and Non-violence
Dr. Lokanath Mishra

Chapter Five .............................................................................................. 63

Conceptualization of Peace Education
Dr. Soti Shivendra Chandra

Chapter Six ................................................................................................ 69

The What, Why and How of a Culture of Peace
Dr. Ajaya Atri

Chapter Seven............................................................................................ 73
Peace Education: The Need of the Hour
Mayadhar Sahu and Kulamani Sahoo
vi Contents

Chapter Eight ............................................................................................. 87

Peace Education for Creating Violence-Free Schools
Anita Behera

Chapter Nine.............................................................................................. 95
The Role of Value Education for World Peace
Dr. Shuddhatm Prakash Jain

Chapter Ten ............................................................................................. 103

World Peace Grows by Following the Noble Eight Fold Path
of Buddhism
Dr. Deepa Gupta

Chapter Eleven ........................................................................................ 109

Inculcating Peace through the Hands of Science:
A New Pedagogical Approach
Geeta Sharma

Chapter Twelve ....................................................................................... 121

Human Rights Awareness among the People of Agra City:
A Comparative Study
Dr. Anjana Agarwal

Chapter Thirteen ...................................................................................... 133

Youth Violence and the Demand for Peace Education
Vikramjit Singh and Pradeep Kumar Mishra

Chapter Fourteen ..................................................................................... 143

Education for Peace in Secondary Schools
Dr. Lokanath Mishra

Chapter Fifteen ........................................................................................ 155

Education for Peace: A Global Debate
Professor S.K. Swain and Dr. Lokanath Mishra

Chapter Sixteen ....................................................................................... 173

Peace Education: Policies and Practices
Ashis Upadhya
 FOREWORD

Peace that is Shanti in Indian terms is not a situation of perplexity or the

status quo. It is rather a state full of dynamism and continuity to lead
human beings to step forward to the pathway to progress in an atmosphere
surcharged with cooperation and harmony. The state of peace expects for
joint efforts in the larger interest of humanity, work for the welfare of
those down-trodden, less privileged and poor for their upliftment, and to
accord them equality and justice. Peace is in itself possible in reality if
people are treated equally in day-to-day practices and provided with equal
opportunities to rise in at all levels and in all walks of life, socio-economic
spheres in particular. For continuous and joint efforts are inevitable and
necessary.
Further for the creation of a concete and sustainable ground for peace
and its continuity, the role of the community of teachers is very important.
Teachers and Professors can undoubtedly contribute tremendously towards
this end. Therefore, the effort of Dr. Lokanath Mishra, which he has made
through this timely volume entitled Educating for Peace, is appreciable.
Along with Dr. Mishra other contributors, sixteen in number, have also
through their respective chapters ventured to reach the spirit in the root of
the title.
I wish the endeavour of Dr. Lokanath Mishra, the Editor, a grand
success.

Professor Dr. Ravindra Kumar,

Meerut (India), April 2013
 PREFACE

This humble piece of work has seen the light of day thanks to the blessing
of the goddess MAA MANGALA. I bow my head to her for her mercy.
Truly, we are all crippled in this world. Some are crippled physically,
some vitally, some mentally, some intellectually, some spiritually, and
many are crippled in all parts of their body. In this sense, haves and have-
nots everywhere, though both having enough and lacking resources, are
suffering from physical, vital, mental, intellectual and spiritual ailments
due to ignorance about themselves.
Though being handicapped, we are all exploiting each other’s
weaknesses by committing violence on others or on our own selves
through ending our lives or being mentally sick. We see everywhere that
some are mad in their pursuit of money, some of fame, some of physical
beauty, some of fasting, some of killing others, and some of killing
themselves—we find a long list of madness. Thus, the world has more or
less become a lunatic asylum, and it is all because of the present education
as well as the education of the past of the whole world, which has taken
the form of mis-education for a privileged few and non-education for
many, which seems to some extent inhuman.
Today’s peace education is not in any way peace education in the sense
of creating learners—the human is both teacher and student, even though
very few have access to it. The current peace education means human
rights education, tolerance education, pacifist education, and education for
non-violence. It means that the present peace education, as value
education, is done through indoctrination and regimentation. Knowledge
about these values is dictated to the learners by peace educators, positive
attitudes towards these values are inculcated in their minds and they are
trained in how to practice the skills of these values. They use dialogue and
discussion to teach these values of peace, considering pedagogy as the
methodology, even though it is a totally negative education of peace.
Hence, the whole world today needs a better type of peace education
which would be beneficial to all. Indeed, true education is peace
education, and peace is the product of true education. Hence, the ultimate
aim of real education is to attain or to bring peace to individuals, which
would be reflected in their surroundings or in the local to global society
through these peaceful individuals. Therefore, the product of true
education, i.e. peace, is used with education to give more emphasis for
x Preface

naming it as peace education. Thus, true peace education is people-making

education, and should be for all, barring none.
I am extremely beholden to my wife, Mrs Reeta Mishra, and all the
family members who have been a pillar of strength during my work. The
editor is highly indebted to his research guide Prof. Santanu Kumar Swain,
Faculty of Education BHU, Dr Ravindra Kumar, Ex-vice chancellor of
CCS University Merrut, Prof. Ages Mashi, Head and Dean Jamia Millia
Islammia, New Delhi, Prof K. C. Kapoor, vice-chancellor of Rajeev
Gandhi Central University, Arunachal Pradesh, and Prof. Nina Venkata
Rao, Dr B. C. Das, assistant professor, Vanasthali University, for
providing the guidance for developing the book.
I look forward to suggestions from all the readers for further improving
the subject content as well as presentation of the book.
 ABOUT THE EDITOR

Dr. L. Mishra is the Principal of Vivek College of Education, Bijnor,

India. He specializes in Teacher Education, Peace Education, Qualitative
Research Methods, and Teaching of Mathematics. His interest in
qualitative research on Adult Education for tribes culminated in a Ph.D
thesis at the Utkal University of Orissa, India in 2007. Dr. Mishra has
published a number of local and international papers and has spoken at
various international conferences within India and abroad on issues
relating to teacher education, peace education, curriculum, research
methods, and research supervision. Dr. Mishra is an editorial board
member of The Journal of Education, Scientific Academic Publishing
(USA) and chief editor of the International Journal of Education and
Research (IJER). Dr. Mishra is currently researching peace education and
teacher education. He is receiving a senior fellowship from the Indian
Council of Social Science Research (ICSSR). One of his books, Peace
Club: a Handbook of Practicum, is published by Lambert Academic
Publishing (LAP), Germany.
 CONTRIBUTORS

Dr. Lokanath Mishra is presently working as Principal at Vivek College

of Education, Bijnor. He has represented India in several international
seminars and conferences on education. He has published a number of
papers and books on different aspects of education, especially on peace
education. His book Peace Club: A Handbook of Practicum is published
in Germany.

Prof. S. K Swain, faculty of Education Banarus Hindu University

(BHU), Varanasi. He has a brilliant professional career with D. litt Degree
in Education and exposed to the functionality of various International
Educational institutions such as UNESCO, IIEP, IBE, WORLDBANK and
University of Leeds UK. He has contributed substantially to the field of
education as a professor, research supervisor, curriculum planner and
strategic professional leader.

Dr. Soti Shivendra Chandra Retd. Principal S. S. (PG) College,

Shahjahanpur, Dean, Faculty of Education, M. J. P. Rohilkhand
University, Bareilly, Ex-Member of Academic Council, O. S. D., and Ex-
Director of the Institute of Distance Education, Meerut Director,
Education, D. A. V. College, Kharkhauda.

Dr. Ajay Kumar Attri Assistant Professor (Education), ICDEOL,

Himachal Pradesh University Summerhill, Shimla (H. P.). Email:
[email protected]. He has published a number of papers on different
aspects of education.

Mr. Mayadhar Sahu and Kulamani Sahoo, lecturer in education and M.

Phil scholar, Ravenshaw University, Cuttack, Odisha.

Anita Behera, teacher educator DIET, Dolipur, Jajpur, Odisha. Email:

[email protected].

Dr Shuddhatm Prakash Jain, assistant professor, Institute of Education

& Research Mangalayatan University, Aligarh.
xiv Contributors

Dr. Deepa Gupta, lecturer (M. Phil. education), C. S. J. M. University,

Kanpur.

Geeta Sharma, assistant professor, Hindu college of education.

Vikramjit Singh is currently serving as assistant professor in

Mathematics Education in the Regional Institute of Education (NCERT),
Bhubaneswar. He has submitted his Ph.D thesis on Peace and Conflict
Resolution to the Utkal University. Besides this, Mr. Singh has around
twelve research publications and has participated and presented papers at
various seminars and conferences.

Pradeep Kumar Mishra has a mixed record of academic distinction,

ranging from matriculation to a pre-Ph.D in education. He has been
bestowed with a gold medal at graduation level. Besides this, he has
published research and conceptual papers in reputed international and
national journals. He has worked as a JPF.

Dr.Anjana Agarwal, assistant professor, Dau Dayal Mahila P.G. College,

Firozabad, U. P.

Ashish Upadhyay, assistant professor, BNS DAV teacher training

college, Giridih, Jharkhand. Born in 1980, he is a post graduate in Botany
and Education who started his career as an assistant teacher of biology in a
middle school in the Ranchi district. Following this, he completed a M.
Ed. in 2010. He specializes in the field of teacher education and
environmental education. He is now working as an assistant professor in
BNS DAV teacher training college, Giridih, since 2010.
 CHAPTER ONE

EDUCATING ALL FOR A PEACEFUL SOCIETY

DR. LOKANATH MISHRA

Recent incidents of bomb blasts in various parts of India, killing many

innocent people, have shaken the whole idea of peaceful coexistence. The
incidents of school children shooting their friends also throw light on the
absence of individual peace and also a lack of trust in the elders to create a
peaceful solution to problems. What could be the cause of violence in
society? Is it simply because we have not been fair to all sections of
society? Has education become a business? Are the elders so busy that
they do not listen to children? Whatever the cause, it is certain that we
have failed as educators and as an education system, as peace is disturbed
both at the macro and micro levels. There are many concerns that we need
to consider to establish internal as well as external peace, especially during
the last few decades, as the prevailing system of education in the world
will not necessarily lead us towards a safe and peaceful future. It is
important to note that the culture of violence and terrorism is generated
and supported by those preoccupied with their biases and hate-based
values; our education system is playing a complementary, if not causal
role in sustaining intolerance and extremism. In the cultural context, it is
said that today’s so-called modernity and urbanity is leading us towards a
society deprived of peace-generating social values. The values handed
down from one generation to another through the modern, structured
education systems are based on curriculums approved by the interests of
nation states.
Today, we as human beings and particularly our children are exposed
to much violence. In some cases it is real, such as when communities are
at war. In some cases it is found on television, where conflict resolution
often means the victory of the strong. Humanity faces a challenge of
unprecedented proportions through such things as the continued
development of weapons of mass destruction, conflicts between states and
ethnic groups, the spread of racism, gender inequality, community
Another Random Scribd Document
with Unrelated Content
 C H A P. X V I .
SENTIMENTS.

E Very thought suggested by a passion or emotion, is termed a

sentiment[47].
The knowledge of the sentiments peculiar to each passion
considered abstractly, will not alone enable an artist to make a just
representation of nature. He ought, over and above, to be acquainted with
the various appearances of the same passion in different persons. Passions,
it is certain, receive a tincture from every peculiarity of character; and for
that reason, it rarely happens that any two persons vent their passions
precisely in the same manner. Hence the following rule concerning dramatic
and epic compositions, That a passion be adjusted to the character, the
sentiments to the passion, and the language to the sentiments. If nature be
not faithfully copied in each of these, a defect in execution is perceived.
There may appear some resemblance; but the picture upon the whole will
be insipid, through want of grace and delicacy. A painter, in order to
represent the various attitudes of the body, ought to be intimately
acquainted with muscular motion: not less intimately acquainted with
emotions and characters ought a writer to be, in order to represent the
various attitudes of the mind. A general notion of the passions, in their
grosser differences of strong and weak, elevated and humble, severe and
gay, is far from being sufficient. Pictures formed so superficially, have little
resemblance, and no expression. And yet it will appear by and by, that in
many instances our reputed masters are deficient even in this superficial
knowledge.
In handling the present subject, it would be endless to trace even the
ordinary passions through their nicer and more minute differences. Mine
shall be an humbler task; which is, to select from the best writers instances
of faulty sentiments, after paving the way by some general observations.
To talk in the language of music, each passion hath a certain tone, to
which every sentiment proceeding from it ought to be tuned with the
greatest accuracy. This is no easy work, especially where such harmony is
to be supported during the course of a long theatrical representation. In
order to reach such delicacy of execution, it is necessary that a writer
assume the precise character and passion of the personage represented. This
requires an uncommon genius. But it is the only difficulty; for the writer,
who, forgetting himself, can thus personate another, so as to feel truly and
distinctly the various agitations of the passion, need be in no pain about the
sentiments: these will flow without the least study, or even preconception;
and will frequently be as delightfully new to himself as afterward to his
reader. But if a lively picture even of a single emotion require an effort of
genius; how much greater must the effort be, to compose a passionate
dialogue, in which there are as many different tones of passion as there are
speakers? With what ductility of feeling ought a writer to be endued who
aims at perfection in such a work; when, to execute it correctly, it is
necessary to assume different and even opposite characters and passions, in
the quickest succession? And yet this work, difficult as it is, yields to that of
composing a dialogue in genteel comedy devoid of passion; where the
sentiments must be tuned to the nicer and more delicate tones of different
characters. That the latter is the more difficult task, appears from
considering, that a character is greatly more complex than a passion, and
that passions are more distinguishable from each other than characters are.
Many writers accordingly who have no genius for characters, make a shift
to represent, tolerably well, an ordinary passion in its plain movements. But
of all works of this kind, what is truly the most difficult, is a characteristical
dialogue upon any philosophical subject. To interweave characters with
reasoning, by adapting to the peculiar character of each speaker a
peculiarity not only of thought but of expression, requires the perfection of
genius, taste, and judgement.
How hard dialogue-writing is, will be evident, even without reasoning,
from the imperfect compositions of this kind found without number in all
languages. The art of mimicking any singularity in voice or gesture, is a
rare talent, though directed by sight and hearing, the acutest and most lively
of our external senses: how much more rare must the talent be of imitating
characters and internal emotions, tracing all their different tints, and
representing them in a lively manner by natural sentiments properly
expressed? The truth is, such execution is too delicate for an ordinary
genius; and for that reason, the bulk of writers, instead of expressing a
passion like one who is under its power, content themselves with describing
it like a spectator. To awake passion by an internal effort merely, without
any external cause, requires great sensibility; and yet this operation is
necessary not less to the writer than to the actor; because none but they who
actually feel a passion, can represent it to the life. The writer’s part is much
more complicated: he must join composition with action; and, in the
quickest succession, be able to adopt every different character introduced in
his work. But a very humble flight of imagination, may serve to convert a
writer into a spectator, so as to figure, in some obscure manner, an action as
passing in his sight and hearing. In this figured situation, he is led naturally
to describe as a spectator, and at second hand to entertain his readers with
his own observations, with cool description and florid declamation; instead
of making them eye-witnesses, as it were, to a real event, and to every
movement of genuine passion[48]. Thus, in the bulk of plays, a tiresome
monotony prevails, a pompous declamatory style, without entering into
different characters or passions.
This descriptive manner of expressing passion, has a very unhappy
effect. Our sympathy is not raised by description: we must be lulled first
into a dream of reality; and every thing must appear as actually present and
passing in our sight[49]. Unhappy is the player of genius who acts a capital
part in what may be termed a descriptive tragedy. After he has assumed the
very passion that is to be represented, how must he be cramped in his
action, when he is forced to utter, not the sentiments of the passion he feels,
but a cold description in the language of a by-stander? It is this
imperfection, I am persuaded, in the bulk of our plays, that confines our
stage almost entirely to Shakespear, his many irregularities notwithstanding.
In our latest English tragedies, we sometimes find sentiments tolerably well
adapted to a plain passion. But it would be fruitless labour, to search in any
of them for a sentiment expressive of character; and, upon that very
account, all our modern performances of the dramatic kind, are intolerably
insipid.
Looking back upon the foregoing observation, I am uncertain whether it
will be sufficiently apprehended; for, upon this complicated subject, I find
some difficulty to express myself with perspicuity. I despair not however to
place this matter in the clearest light, by adding example to precept. In the
front shall be set one or two examples of sentiments that appear the
legitimate offspring of passion; and to them shall be opposed a few others
that are descriptive only, and illegitimate. In making this comparison, I shall
borrow my instances from Shakespear and Corneille, who for genius in
dramatic composition stand uppermost in the rolls of fame.

Shakespear shall furnish the first instance, being of sentiments dictated

by a violent and perturbed passion.

Lear.——————Filial ingratitude!
Is it not, as if this mouth should tear this hand
For lifting food to’t?—But I’ll punish home;
No, I will weep no more.—— In such a night,
To shut me out!—— Pour on, I will endure.
In such a night as this! O Regan, Gonerill,
Your old kind father, whose frank heart gave all—
O, that way madness lies; let me shun that;
No more of that.——

Kent. Good, my Lord, enter here.

Lear. Pr’ythee, go in thy thyself, seek thine own ease,

This tempest will not give me leave to ponder
On things would hurt me more—but I’ll go in;
In, boy, go first. You houseless poverty——
Nay, get thee in; I’ll pray, and then I’ll sleep—
Poor naked wretches, wheresoe’er you are,
That bide the pelting of this pitiless storm!
How shall your houseless heads and unfed sides,
Your loop’d and window’d raggedness, defend you
From seasons such as these?—— O I have ta’en
Too little care of this! take physic, Pomp;
Expose thyself to feel what wretches feel,
That thou may’st shake the superflux to them,
And show the heavens more just.
King Lear. act 3. sc 5.

To illustrate the foregoing doctrine, one other instance of the same kind
may suffice, expressing sentiments arising from remorse and despair.
 Othello. Lo! I have a weapon:
A better never did itself sustain
Upon a soldier’s thigh. I’ve seen the day,
That with this little arm, and this good sword,
I’ve made my way through more impediments
Than twenty times your stop. But, oh vain boast!
Who can controul his fate? ’tis not so now.
Be not afraid, though you do see me weapon’d;
Here is my journey’s end, here is my butt,
The very sea mark of my outmost sail.
Do you go back dismay’d? ’tis a lost fear.
Man but a rush against Othello’s breast,
And he retires. Where should Othello go?
Now—— how dost thou look now? Oh ill starr’d wench!
Pale as thy smoke! when we shall meet at compt,
This look of thine will hurl my soul from heav’n,
And fiends will snatch at it. Cold, cold, my girl,
Ev’n like thy chastity. O cursed slave!
Whip me, ye devils,
From the possession of this heav’nly sight;
Blow me about in winds, roast me in sulphur,
Wash me in steep-down gulfs of liquid fire——
Oh, Desdemona! Desdemona! dead! dead! oh, oh!
Othello, act 5. sc. 9.

The sentiments here display’d flow so naturally from the passions

represented, and are such genuine expressions of these passions, that it is
not possible to conceive any imitation more perfect.

With regard to the French author, truth obliges me to acknowledge, that

he describes in the style of a spectator, instead of expressing passion like
one who feels it; and also that he is thereby betray’d into the other faults
above mentioned, a tiresome monotony, and a pompous declamatory
style[50]. It is scarce necessary to produce particular instances; for he never
varies from this tone. I shall however take two passages at a venture, in
order to be confronted with those transcribed above. In the tragedy of
Cinna, Æmilia, after the conspiracy was discovered, having nothing in view
but racks and death to herself and her lover, receives a pardon from
Augustus, attended with the brightest circumstances of magnanimity and
tenderness. This is a happy situation for representing the passions of
surprise and gratitude in their different stages. These passions, raised at
once to the utmost pitch, are at first too big for utterance; and Æmilia’s
feelings must, for some moments, have been expressed by violent gestures
only. So soon as there is a vent for words, the first expressions are naturally
broken and interrupted. At last we ought to expect a tide of intermingled
sentiments, occasioned by the fluctuation of the mind betwixt the two
passions. Æmilia is made to behave in a very different manner. With
extreme coolness she describes her own situation, as if she were merely a
spectator; or rather the poet takes the task off her hands.

Et je me rens, Seigneur, à ces hautes bontés,

Je recouvre la vûe auprés de leurs clartés,
Je connois mon forfait qui me sembloit justice,
Et ce que n’avoit pû la terreur du supplice,
Je sens naitre en mon ame un repentir puissant;
Et mon cœur en secret me dit, qu’il y consent.
Le ciel a résolu votre grandeur suprême,
Et pour preuve, Seigneur, je n’en veux que moi-même;
J’ose avec vanité me donner cet éclat,
Puisqu’il change mon cœur, qu’il veut changer l’état.
Ma haine va mourir que j’ai crue immortelle,
Elle est morte, et ce cœur devient sujet fidéle,
Et prenant désormais cette haine en horreur,
L’ardeur de vous servir succede à sa fureur.
Act 5. sc. 3.

In the tragedy of Sertorius, the Queen, surprised with the news that her
lover was assassinated, instead of venting any passion, degenerates into a
cool spectator, even so much as to instruct the by-standers how a queen
ought to behave on such an occasion.
 Viriate. Il m’en fait voir ensemble, et l’auteur, et la cause.
Par cet assassinat c’est de moi qu’on dispose,
C’est mon trône, c’est moi qu’on pretend conquerir,
Et c’est mon juste choix qui seul l’a fait perir.
Madame, aprés sa perte, et parmi ces alarmes,
N’attendez point de moi de soupirs, ni de larmes;
Ce sont amusemens que dédaigne aisement
Le prompt et noble orgueil d’un vif ressentiment.
Qui pleure, l’affoiblit, qui soupire, l’exhale,
Il faut plus de fierté dans une ame royale;
Et ma douleur soumise aux soins de le venger, &c.
Act 5. sc. 3.

So much in general upon the genuine sentiments of passion. I proceed

now to particular observations. And, first, Passions are seldom uniform for
any considerable time: they generally fluctuate, swelling and subsiding by
turns, often in a quick succession[51]. This fluctuation, in the case of a real
passion, will be expressed externally by proper sentiments; and ought to be
imitated in writing and acting. Accordingly, a climax shows never better
than in expressing a swelling passion. The following passages shall suffice
for an illustration.

Oroonoko.———— Can you raise the dead?

Pursue and overtake the wings of time?
And bring about again, the hours, the days,
The years, that made me happy?
Oroonoko, act 2. sc. 2.

Almeria.———— How hast thou charm’d

The wildness of the waves and rocks to this?
That thus relenting they have giv’n thee back
To earth, to light and life, to love and me?
Mourning Bride, act 1. sc. 7.

I would not be the villain that thou think’st

For the whole space that’s in the tyrant’s grasp,
And the rich earth to boot.
Macbeth, act 4. sc. 4.
The following passage expresses finely the progress of conviction.

Let me not stir, nor breathe, lest I dissolve

That tender, lovely form, of painted air,
So like Almeria. Ha! it sinks, it falls;
I’ll catch it ere it goes, and grasp her shade.
’Tis life! ’tis warm! ’tis she! ’tis she herself!
It is Almeria! ’tis, it is my wife!

Mourning Bride, act 2. sc. 6.

In the progress of thought, our resolutions become more vigorous as well as

our passions.

If ever I do yield or give consent,

By any action, word, or thought, to wed
Another Lord; may then just Heav’n show’r down, &c.

Mourning Bride, act 1. sc. 1.

And this leads to a second observation, That the different stages of a

passion, and its different directions, from its birth to its extinction, ought to
be carefully represented in the sentiments, which otherwise will often be
misplaced. Resentment, for example, when provoked by an atrocious injury,
discharges itself first upon the author. Sentiments therefore of revenge take
place of all others, and must in some measure be exhausted before the
person injured think of pitying himself, or of grieving for his present
distress. In the Cid of Corneille, Don Diegue having been affronted in a
cruel manner, expresses scarce any sentiment of revenge, but is totally
occupied in contemplating the low situation to which he was reduced by the
affront.
 O rage! ô desespoir! ô vieillesse ennemie!
N’ai je donc tant vecu que pour cette infamie?
Et ne suis-je blanchi dans les travaux guerriers,
Que pour voir en une jour fletrir tant de lauriers?
Mon bras, qu’avec respect toute l’Espagne admire,
Mon bras, qui tant de fois a sauvé cet empire,
Tant de fois affermi le trône de son roi,
Trahit donc ma querelle, et ne fait rien pour moi!
O cruel souvenir de ma gloire passée!
Oeuvre de tant de jours en un jour effacée!
Nouvelle dignité fatale à mon bonheur!
Precipice élevé d’ou tombe mon honneur!
Faut-il de votre éclat voir triompher le Comte,
Et mourir sans vengeance, ou vivre dans la honte?
Comte, fois de mon Prince à present gouverneur,
Ce haut rang n’admet point un homme sans honneur;
Et ton jaloux orgueil par cet affront insigne,
Malgré le choix du Roi, m’en a su rendre indigne.
Et toi, de mes exploits glorieux instrument,
Mais d’un corps tout de glace inutile ornement,
Fer jadis tant a craindre, et qui dans cette offense
M’as servi de parade, et non pas de defense,
Va quitte desormais le dernier des humains,
Passe pour me vanger en de meilleures mains.
Le Cid, act 1. sc. 4.

These sentiments are certainly not what occur to the mind in the first
movements of the passion. In the same manner as in resentment, the first
movements of grief are always directed upon its object. Yet with relation to
the hidden and severe distemper that seized Alexander bathing in the river
Cydnus, Quintus Curtius describes the first emotions of the army as
directed upon themselves, lamenting that they were left without a leader far
from home, and had scarce any hopes of returning in safety. Their King’s
distress, which must naturally have been their first concern, occupies them
but in the second place according to that author. In the Aminta of Tasso,
Sylvia, upon a report of her lover’s death, which she believed certain,
instead of bemoaning the loss of a beloved object, turns her thoughts upon
herself, and wonders her heart does not break.
 Ohime, ben son di sasso,
Poi che questa novella non m’uccide.
Act 4. sc. 2.

In the tragedy of Jane Shore, Alicia, in the full purpose of destroying her
rival, has the following reflection:

Oh Jealousy! thou bane of pleasing friendship,

Thou worst invader of our tender bosoms;
How does thy rancour poison all our softness,
And turn our gentle natures into bitterness?
See where she comes! Once my heart’s dearest blessing,
Now my chang’d eyes are blasted with her beauty,
Loathe that known face, and sicken to behold her.
Act 3. sc. 1.

These are the reflections of a cool spectator. A passion while it has the
ascendant, and is freely indulged, suggests not to the man who feels it any
sentiment to its own prejudice. Reflections like the foregoing, occur not to
him readily till the passion have spent its vigor.
A person sometimes is agitated at once by different passions. The mind
in this case vibrating like a pendulum, vents itself in sentiments which
partake of the same vibration. This I give as a third observation:
Queen. ‘Would I had never trod this English earth,
Or felt the flatteries that grow upon it!
Ye’ve angels faces, but Heav’n knows your hearts.
What shall become of me now! wretched lady!
I am the most unhappy woman living.
Alas! poor wenches, where are now your fortunes? [To her women.
Shipwreck’d upon a kingdom, where no pity,
No friends, no hope! no kindred weep for me!
Almost, no grave allow’d me.
Henry VIII. act 3. sc. 1.

Othello. Oh devil, devil! If that the earth could teem with

woman’s tears, Each drop she falls, would prove a crocodile.
Out of my sight.
Desdemona. I will not stay t’offend you. [going.
 Lodovico. Truly, an obedient lady: I do beseech your
Lordship, call her back.
Oth. Mistress——
Des. My Lord.
Oth. What would you with her, Sir?
Lod. Who, I, my Lord?
Oth. Ay; you did wish that I would make her turn: Sir, she
can turn and turn, and yet go on; And turn again. And she
can weep, Sir, weep; And she’s obedient: as you say,
obedient; Very obedient—proceed you in your tears—
Concerning this, Sir,—oh well-painted passion!—I am
commanded home—get you away, I’ll send for you anon—
Sir, I obey the mandate, And will return to Venice.——
Hence, avaunt! [Exit Desdemona.
Othello, act 4. sc. 6.
Æmilia. Oh! my good Lord, I would speak a word with
you.
Othello. Yes, ’tis Æmilia—by and by—she’s dead. ’Tis
like, she comes to speak of Cassio’s death; The noise was
high.—Ha, no more moving? Still as the grave. Shall she
come in? were’t good? I think she stirs again—No—what’s
the best? If she come in, she’ll, sure, speak to my wife; My
wife! my wife! What wife? I have no wife. Oh
insupportable! oh heavy hour!
Othello, act 5. sc. 7.
A fourth observation is, that nature, which gave us passions, and made
them extremely beneficial when moderate, intended undoubtedly that they
should be subjected to the government of reason and conscience[52]. It is
therefore against the order of nature, that passion in any case should take
the lead in contradiction to reason and conscience. Such a state of mind is a
sort of anarchy, which every one is ashamed of, and endeavours to hide or
dissemble. Even love, however laudable, is attended with a conscious
shame when it becomes immoderate: it is covered from the world, and
disclosed only to the beloved object:
 Et que l’amour souvent de remors combattu
Paroisse une foiblesse, et non une vertu.
Boileau, L’art poet. chant. 3.
l. 101.

O, they love least that let men know their love.

Two Gentlemen of Verona, act 1.
sc. 3.

Hence a capital rule in the representation of strong passions, that their

genuine sentiments ought to be hid or dissembled as much as possible. And
this holds in an especial manner with respect to criminal passions. One
never counsels the commission of a crime in plain terms. Guilt must not
appear in its native colours, even in thought: the proposal must be made by
hints, and by representing the action in some favourable light. Of the
propriety of sentiment upon such an occasion, Shakespear, in the Tempest,
has given us a beautiful example. The subject is a proposal made by the
usurping Duke of Milan to Sebastian, to murder his brother the King of
Naples.

Antonio.—————— What might

Worthy Sebastian—O, what might—no more.
And yet, methinks, I see it in thy face,
What thou should’st be: th’occasion speaks thee, and
My strong imagination sees a crown
Dropping upon thy head.
Act 2. sc. 1.

There cannot be a finer picture of this sort, than that of King John soliciting
Hubert to murder the young Prince Arthur.
 K. John. Come hither, Hubert. O my gentle Hubert,
We owe thee much; within this wall of flesh
There is a soul counts thee her creditor,
And with advantage means to pay thy love.
And, my good friend, thy voluntary oath
Lives in this bosom, dearly cherished.
Give me thy hand, I had a thing to say——
But I will fit it with some better time.
By Heaven, Hubert, I’m almost asham’d
To say what good respect I have of thee.

Hubert. I am much bounden to your Majesty.

K. John. Good friend, thou hast no cause to say so yet——

But thou shalt have—and creep time ne’er so slow,
Yet it shall come for me to do thee good.
I had a thing to say—but, let it go:
The sun is in the heav’n, and the proud day,
Attended with the pleasures of the world,
Is all too wanton, and too full of gawds,
To give me audience. If the midnight-bell
Did with his iron tongue and brazen mouth
Sound one into the drowsy race of night;
If this same were a church-yard where we stand,
And thou possessed with a thousand wrongs;
Or if that surly spirit Melancholy
Had bak’d thy blood and made it heavy-thick,
Which else runs tickling up and down the veins,
Making that idiot Laughter keep men’s eyes,
And strain their cheeks to idle merriment,
(A passion hateful to my purposes);
Or if that thou could’st see me without eyes,
Hear me without thine ears, and make reply
Without a tongue, using conceit alone,
Without eyes, ears, and harmful sounds of words;
Then, in despight of broad-ey’d watchful day,
I would into thy bosom pour my thoughts.
But ah, I will not—Yet I love thee well;
And, by my troth, I think thou lov’st me well.

Hubert. So well, that what you bid me undertake,

Though that my death were adjunct to my act,
By Heav’n, I’d do’t.
 y ,

K. John. Do not I know, thou would’st?

Good Hubert, Hubert, Hubert, throw thine eye
On yon young boy. I’ll tell thee what, my friend;
He is a very serpent in my way.
And, wheresoe’er this foot of mine doth tread,
He lies before me. Dost thou understand me?
Thou art his keeper.
King John, act 3. sc. 5.

As things are best illustrated by their contraries, I proceed to collect from

classical authors, sentiments that appear faulty. The first class shall consist
of sentiments that accord not with the passion; or, in other words,
sentiments that the passion represented does not naturally suggest. In the
second class, shall be ranged sentiments that may belong to an ordinary
passion, but unsuitable to it as tinctured by a singular character. Thoughts
that properly are not sentiments, but rather descriptions, make a third.
Sentiments that belong to the passion represented, but are faulty as being
introduced too early or too late, make a fourth. Vicious sentiments exposed
in their native dress, instead of being concealed or disguised, make a fifth.
And in the last class, shall be collected sentiments suited to no character or
passion, and therefore unnatural.

The first class contains faulty sentiments of various kinds, which I shall
endeavour to distinguish from each other. And first sentiments that are
faulty by being above the tone of the passion.

Othello.———— O my soul’s joy!

If after every tempest come such calms,
May the winds blow till they have waken’d death:
And let the labouring bark climb hills of seas
Olympus high, and duck again as low
As hell’s from heaven!
Othello, act 2. sc. 6.

This sentiment is too strong to be suggested by so slight a joy as that of

meeting after a storm at sea.
 Philaster. Place me, some god, upon a pyramid
Higher than hills of earth, and lend a voice
Loud as your thunder to me, that from thence
I may discourse to all the under-world
The worth that dwells in him.
Philaster of Beaumont and
Fletcher, act 4.

Secondly, Sentiments below the tone of the passion. Ptolemy, by putting

Pompey to death, having incurred the displeasure of Cæsar, was in the
utmost dread of being dethroned. In this agitating situation, Corneille makes
him utter a speech full of cool reflection, that is in no degree expressive of
the passion.

Ah! si je t’avois crû, je n’aurois pas de maître,

Je serois dans le trône où le Ciel m’a fait naître;
Mais c’est une imprudence assez commune aux rois,
D’ecouter trop d’avis, et se tromper au choix.
Le Destin les aveugle au bord du précipice,
Ou si quelque lumiere en leur ame se glisse,
Cette fausse clarté dont il les eblouit,
Le plonge dans une gouffre, et puis s’evanouit.
La mort de Pompée, act 4. sc. 1.

In Les Freres ennemies of Racine, the second act is opened with a love-
scene. Hemon talks to his mistress of the torments of absence, of the lustre
of her eyes, that he ought to die no where but at her feet, and that one
moment of absence was a thousand years. Antigone on her part acts the
coquette, and pretends she must be gone to wait on her mother and brother,
and cannot stay to listen to his courtship. This is odious French gallantry,
below the dignity of the passion of love. It would scarce be excusable in
painting modern French manners; and is insufferable where the ancients are
brought upon the stage. The manners painted in the Alexandre of the same
author are not more just. French gallantry prevails there throughout.

Third. Sentiments that agree not with the tone of the passion; as where a
pleasant sentiment is grafted upon a painful passion, or the contrary. In the
following instances the sentiments are too gay for a serious passion.
 No happier talk these faded eyes pursue;
To read and weep is all they now can do.
Eloisa to Abelard, l. 47.

Again,

Heav’n first taught letters for some wretch’s aid,

Some banish’d lover, or some captive maid;
They live, they speak, they breathe what love inspires,
Warm from the soul, and faithful to its fires;
The virgin’s wish without her fears impart,
Excuse the blush, and pour out all the heart;
Speed the soft intercourse from soul to soul,
And waft a sigh from Indus to the pole.
Eloisa to Abelard, l. 51.

These thoughts are pretty; they suit Pope extremely, but not Eloisa.

Satan, enraged by a threatening of the angel Gabriel, answers thus:

Then when I am thy captive talk of chains,
Proud limitary cherub; but ere then
Far heavier load thyself expect to feel
From my prevailing arm, though Heaven’s King
Ride on thy wings, and thou with thy compeers,
Us’d to the yoke, draw’st his triumphant wheels
In progress through the road of heav’n star-pav’d.
Paradise Lost, book 4.

The concluding epithet forms a grand and delightful image, which cannot
be the genuine offspring of rage.

Fourth. Sentiments too artificial for a serious passion. I give for the first
example a speech of Piercy expiring:
 O, Harry, thou hast robb’d me of my growth:
I better brook the loss of brittle life,
Than those proud titles thou hast won of me;
They wound my thoughts, worse than thy sword my flesh.
But thought’s the slave of life, and life time’s fool;
And time, that takes survey of all the world,
Must have a stop.
First part, Henry IV. act 5. sc. 9.

Livy inserts the following passage in a plaintive oration of the Locrenses

accusing Pleminius the Roman legate of oppression.
“In hoc legato vestro, nec hominis quicquam est, Patres
Conscripti, præter figuram et speciem; neque Romani civis,
præter habitum vestitumque, et sonum linguæ Latinæ. Pestis
et bellua immanis, quales fretum, quondam, quo ab Sicilia
dividimur, ad perniciem navigantium circumsedisse, fabulæ
ferunt[53].”
Congreve shows a fine taste in the sentiments of the Mourning Bride. But in
the following passage the picture is too artful to be suggested by severe
grief:
Almeria. O no! Time gives increase to my afflictions.
The circling hours, that gather all the woes
Which are diffus’d through the revolving year,
Come heavy-laden with th’ oppressing weight
To me; with me, successively, they leave
The sighs, the tears, the groans, the restless cares,
And all the damps of grief, that did retard their flight,
They shake their downy wings, and scatter all
The dire collected dews on my poor head;
Then fly with joy and swiftness from me.
Act 1. sc. 1.

In the same play, Almeria seeing a dead body, which she took to be
Alphonso’s, expresses sentiments strained and artificial, which nature
suggests not to any person upon such an occasion:
 Had they, or hearts, or eyes, that did this deed?
Could eyes endure to guide such cruel hands?
Are not my eyes guilty alike with theirs,
That thus can gaze, and yet not turn to stone?
—I do not weep! The springs of tears are dry’d,
And of a sudden I am calm, as if
All things were well; and yet my husband’s murder’d!
Yes, yes, I know to mourn! I’ll sluice this heart,
The source of wo, and let the torrent loose.
Act 5. sc. 11.

Lady Trueman. How could you be so cruel to defer giving

me that joy which you knew I must receive from your
presence? You have robb’d my life of some hours of
happiness that ought to have been in it.
Drummer, act 5.
Pope’s Elegy to the memory of an unfortunate lady, expresses delicately
the most tender concern and sorrow for the deplorable fate of a person of
worth. A poem of this kind, deeply serious and pathetic, rejects all fiction
with disdain. We therefore can give no quarter to the following passage,
which is eminently discordant with the subject. It is not the language of the
heart, but of the imagination indulging its flights at ease. It would be a still
more severe censure, if it should be ascribed to imitation, copying
indiscreetly what has been said by others.

What though no weeping loves thy ashes grace,

Nor polish’d marble emulate thy face?
What though no sacred earth allow thee room,
Nor hallow’d dirge be muttered o’er thy tomb?
Yet shall thy grave with rising flow’rs be drest,
And the green turf lie lightly on thy breast:
There shall the morn her earliest tears bestow,
There the first roses of the year shall blow;
While angels with their silver wings o’ershade
The ground, now sacred by thy reliques made.

Fifth. Fanciful or sinical sentiments, sentiments that degenerate into

point or conceit, however they may amuse in an idle hour, can never be the
offspring of any serious or important passion. In the Ierusalem of Tasso,
Tancred, after a single combat, spent with fatigue and loss of blood, falls
into a swoon. In this situation, understood to be dead, he is discovered by
Erminia, who was in love with him to distraction. A more happy situation
cannot be imagined, to raise grief in an instant to its highest pitch; and yet,
in venting her sorrow, she descends most abominably to antithesis and
conceit, even of the lowest kind.

E in lui versò d’inessicabil vena

Lacrime, e voce di sospiri mista.
In che misero punto hor qui me mena
Fortuna? a che veduta amara e trista?
Dopo gran tempo i’ ti ritrovo à pena
Tancredi, e ti riveggio, e non son vista,
Vista non son da te, benche presente
E trovando ti perdo eternamente.
Cant. 19. st. 105.

Armida’s lamentation respecting her lover Rinaldo[54], is in the same

vitious taste.

Queen. Give me no help in lamentation,

I am not barren to bring forth complaints:
All springs reduce their currents to mine eyes,
That I, being govern’d by the wat’ry moon,
May send forth plenteous tears to drown the world.
Ah, for my husband, for my dear Lord Edward.
King Richard III. act 2. sc. 2.

Jane Shore. Let me be branded for the public scorn,

Turn’d forth, and driven to wander like a vagabond,
Be friendless and forsaken, seek my bread
Upon the barren wild, and desolate waste,
Feed on my sighs, and drink my falling tears;
Ere I consent to teach my lips injustice,
Or wrong the orphan who has none to save him.
Jane Shore, act 4.
 Give me your drops, ye soft-descending rains,
Give me your streams, ye never-ceasing springs,
That my sad eyes may still supply my duty,
And feed an everlasting flood of sorrow.
Jane Shore, act 5.

Jane Shore utters her last breath in a witty conceit.

Then all is well, and I shall sleep in peace——

’Tis very dark, and I have lost you now——
Was there not something I would have bequeath’d you?
But I have nothing left me to bestow,
Nothing but one sad sigh. Oh mercy, Heav’n! [Dies.
Act 5.

Gilford to Lady Jane Gray, when both were condemned to die:

Thou stand’st unmov’d;
Calm temper sits upon thy beauteous brow;
Thy eyes that flow’d so fast for Edward’s loss,
Gaze unconcern’d upon the ruin round thee,
As if thou hadst resolv’d to brave thy fate,
And triumph in the midst of desolation.
Ha! see, it swells, the liquid crystal rises,
It starts in spight of thee—— but I will catch it,
Nor let the earth be wet with dew so rich.
Lady Jane Gray, act 4. near the
end.

The concluding sentiment is altogether sinical, unsuitable to the importance

of the occasion, and even to the dignity of the passion of love.

Corneille, in his Examen of the Cid[55], answering an objection, that his

sentiments are sometimes too much refined for persons in deep distress,
observes, that if poets did not indulge sentiments more ingenious or refined
than are prompted by passion, their performances would often be low; and
extreme grief would never suggest but exclamations merely. This is in plain
language to assert, That forced thoughts are more relished than such as are
natural, and therefore ought to be preferred.
 The second class is of sentiments that may belong to an ordinary
passion, but are not perfectly concordant with it, as tinctured by a singular
character. In the last act of that excellent comedy, The Careless Husband,
Lady Easy, upon Sir Charles’s reformation, is made to express more violent
and turbulent sentiments of joy, than are consistent with the mildness of her
character.
Lady Easy. O the soft treasure! O the dear reward of long-
desiring love—— Thus! thus to have you mine, is something
more than happiness, ’tis double life, and madness of
abounding joy.
If the sentiments of a passion ought to be suited to a peculiar character, it
is still more necessary that sentiments devoid of passion be suited to the
character. In the 5th act of the Drummer, Addison makes his gardener act
even below the character of an ignorant credulous rustic: he gives him the
behaviour of a gaping idiot.

The following instances are descriptions rather than sentiments, which

compose a third class.
Of this descriptive manner of painting the passions, there is in the
Hippolytus of Euripides, act 5. an illustrious instance, viz. the speech of
Theseus, upon hearing of his son’s dismal exit. In Racine’s tragedy of
Esther, the Queen hearing of the decree issued against her people, instead
of expressing sentiments suitable to the occasion, turns her attention upon
herself, and describes with accuracy her own situation.

Juste Ciel? Tout mon sang dans mes veines se glace.

Act 1. sc. 3.

Again,
Aman. C’en est fait. Mon orgueil est forcé de plier,
L’inexorable Aman est reduit a prier.
Esther, act 3. sc. 5.
 Athalie. Quel prodige nouveau me trouble et m’embarrasse?
La douceur de sa voix, son enfance, sa grace,
Font insensiblement à mon inimitié
Succéder—— Je serois sensible a la pitié?
Athalie, act 2. sc. 7.

Titus. O de ma passion fureur desesperée!

Brutus of Voltaire, act 3. sc. 6.

What other are the foregoing instances than describing the passion another
feels?

An example is given above of remorse and despair expressed by genuine

and natural sentiments. In the fourth book of Paradise Lost, Satan is made
to express his remorse and despair in sentiments, which though beautiful,
are not altogether natural. They are rather the sentiments of a spectator, than
of a person who actually is tormented with these passions.
The fourth class is of sentiments introduced too early or too late.
Some examples mentioned above belong to this class. Add the following
from Venice preserv’d, act 5. at the close of the scene betwixt Belvidera and
her father Priuli. The account given by Belvidera of the danger she was in,
and of her husband’s threatening to murder her, ought naturally to have
alarmed her relenting father, and to have made him express the most
perturbed sentiments. Instead of which he dissolves into tenderness and
love for his daughter, as if he had already delivered her from danger, and as
if there were a perfect tranquillity.
Canst thou forgive me all my follies past?
I’ll henceforth be indeed a father; never,
Never more thus expose, but cherish thee,
Dear as the vital warmth that feeds my life,
Dear as these eyes that weep in fondness o’er thee:
Peace to thy heart.

Immoral sentiments exposed in their native colours, instead of being

concealed or disguised, compose the fifth class.