Pity is a sympathetic sorrow evoked by the suffering of others. The word is comparable to compassion , condolence , or empathy . It derives from the Latin pietas (etymon also of piety ). Self-pity is pity directed towards oneself.
Two different kinds of pity can be distinguished, "benevolent pity" and "contemptuous pity". [1] In the latter, through insincere, pejorative usage, pity connotes feelings of superiority, condescension, or contempt. [2]
Psychologists see pity arising in early childhood out of the infant's ability to identify with others. [3]
Psychoanalysis sees a more convoluted route to (at least some forms of) adult pity by way of the sublimation of aggression—pity serving as a kind of magic gesture intended to show how leniently one should oneself be treated by one's own conscience. [4]
In the West, the religious concept of pity was reinforced after acceptance of Judeo-Christian concepts of God pitying all humanity, as found initially in the Jewish tradition: "Like as a father pitieth his children, so the Lord pitieth them that fear him" (Psalms 103:13). The Hebrew word hesed translated in the Septuagint as eleos carries the meaning roughly equivalent to pity in the sense of compassion, mercy, and loving-kindness. [6]
In Mahayana Buddhism, Bodhisattvas are described by the Lotus Sutra as those who "hope to win final Nirvana for all beings—for the sake of the many, for their weal and happiness, out of pity for the world". [7]
Aristotle in his Rhetoric argued that before a person can feel pity for another human, the person must first have experienced suffering of a similar type, and the person must also be somewhat distanced or removed from the sufferer. [8] [9] He defines pity as follows: "Let pity, then, be a kind of pain in the case of an apparent destructive or painful harm of one not deserving to encounter it, which one might expect oneself, or one of one's own, to suffer, and this when it seems near". [9] Aristotle also pointed out that "people pity their acquaintances, provided that they are not exceedingly close in kinship; for concerning these they are disposed as they are concerning themselves", arguing further that in order to feel pity, a person must believe that the person who is suffering does not deserve their fate. [9] Developing a traditional Greek view in his work on poetry, Aristotle also defines tragedy as a kind of imitative poetry that provokes pity and fear. [10]
David Hume in his Treatise of Human Nature argued that "pity is concern for... the misery of others without any friendship... to occasion this concern." [11] He continues that pity "is derived from the imagination." [11] When one observes a person in misfortune, the observer initially imagines his sorrow, even though they may not feel the same. While "we blush for the conduct of those, who behave themselves foolishly before us; and that though they show no sense of shame, nor seem in the least conscious of their folly," Hume argues "that he is the more worthy of compassion the less sensible he is of his miserable condition." [11]
Jean-Jacques Rousseau had the following opinion of pity as opposed to love for others:
It is therefore certain that pity is a natural sentiment, which, by moderating in every individual the activity of self-love, contributes to the mutual preservation of the whole species. It is this pity which hurries us without reflection to the assistance of those we see in distress; it is this pity which, in a state of nature, stands for laws, for manners, for virtue, with this advantage, that no one is tempted to disobey her sweet and gentle voice: it is this pity which will always hinder a robust savage from plundering a feeble child, or infirm old man, of the subsistence they have acquired with pain and difficulty, if he has but the least prospect of providing for himself by any other means: it is this pity which, instead of that sublime maxim of argumentative justice, Do to others as you would have others do to you, inspires all men with that other maxim of natural goodness a great deal less perfect, but perhaps more useful, Consult your own happiness with as little prejudice as you can to that of others." [12]
Nietzsche pointed out that since all people to some degree value self-esteem and self-worth, pity can negatively affect any situation. Nietzsche considered his own sensitivity to pity a lifelong weakness; [13] and condemned what he called "Schopenhauer's morality of pity... pity negates life". [14]
Geoffrey Chaucer wrote "pite renneth soone in gentil herte" at least ten times in his works, across the Canterbury Tales and the Legend of Good Women . [15] : 68 The word "pite" had entered Middle English from Latin " pietas " in seven spellings: "piete", "pietie", "pietye", "pite", "pitie", "pyte", and "pytie". [16] : 15 Early Middle English writers did not yet have words such as "sympathy" and "empathy"; and even the word "compassion" is not attested in English until the 14th century. [17] : 72 The Mediaeval writer's notion of "pite" was thus somewhat different to the divided ideas of pity and piety in Modern English, which has also since gained connotations of disengagement (the pitier as an observer to and separate from the pitied) and condescension from a superior position. [17] : 73
The many senses of the compound notion are exemplified by how Erasmus' Enchiridion was translated in the 16th century. [16] : 15 In the original Latin, talking about the ways of the spirit versus the ways of the flesh, Erasmus says "spiritus pios, caro impios". [16] : 15 In translation, the single words in Latin became several phrases in English to encompass the entire range of the original concept, which was by that time bifurcating as the words were bifurcating: "[T]he spiryte maketh us relygyous, obedyent to god, kynde and mercyfull. The flesshe maketh us dispysers of god, disobedyent to god, unkynde and cruell." [16] : 15
Chaucer's line, described by Walter Skeat as being Chaucer's favourite, was understood by Edgar Finley Shannon to be a translation of Ovid's Tristia volume 3, verses 31–32, Shannon describing it as "an admirable translation and adaptation of the passage". [15] : 68 A noble mind ("mens generosa" in Ovid, "gentil herte" in Chaucer) is easily moved ("faciles motus capit" in Ovid, "renneth soone" in Chaucer) to kindness ("plababilis irae" in Ovid "pite" in Chaucer). [15] : 68–69 In the Legend, Chaucer describes women in general as "pyëtous". [18] : 32
It wasn't until the 16th century that there was a fully-fledged split between pity and piety. [19] In the 14th century, John Gower was, in contrast, using "pite" in his Confessio Amantis to encompass both concepts, as his Latin glosses to the text reveal, stating that "pite is the foundement of every kinges regiment". [16] : 118–119 Cognates of the word include the Provençal " pietat " and the Spanish " piedad ". [17] : 73 Like Middle English, Old French took the word from the Latin and gradually split it into " pité " (later " piété ") and " pitié ". [16] : 118 [20] Italian in contrast retained the one word: " pietà ", borrowed into English (through French, in the 19th century replacing its older "Vierge de pitié") as a technical concept in the arts: pietà. [16] : 118 [20]
A virtue is a trait of excellence, including traits that may be moral, social, or intellectual. The cultivation and refinement of virtue is held to be the "good of humanity" and thus is valued as an end purpose of life or a foundational principle of being. In human practical ethics, a virtue is a disposition to choose actions that succeed in showing high moral standards: doing what is right and avoiding what is wrong in a given field of endeavour, even when doing so may be unnecessary from a utilitarian perspective. When someone takes pleasure in doing what is right, even when it is difficult or initially unpleasant, they can establish virtue as a habit. Such a person is said to be virtuous through having cultivated such a disposition. The opposite of virtue is vice, and the vicious person takes pleasure in habitual wrong-doing to their detriment.
In the mythology of William Blake, Urizen is the embodiment of conventional reason and law. He is usually depicted as a bearded old man; he sometimes bears architect's tools, to create and constrain the universe; or nets, with which he ensnares people in webs of law and conventional society. Originally, Urizen represented one half of a two-part system, with him representing reason and Los, his opposition, representing imagination. In Blake's reworking of his mythic system, Urizen is one of the four Zoas that result from the division of the primordial man, Albion, and he continues to represent reason. He has an Emanation, or paired female equivalent, Ahania, who stands for Pleasure. In Blake's myth, Urizen is joined by many daughters with three representing aspects of the body. He is also joined by many sons, with four representing the four elements. These sons join in rebellion against their father but are later united in the Last Judgment. In many of Blake's books, Urizen is seen with four books that represent the various laws that he places upon humanity.
Kindness is a type of behavior marked by acts of generosity, consideration, rendering assistance, or concern for others, without expecting praise or reward in return. It is a subject of interest in philosophy, religion, and psychology.
Melissus of Samos was the third and last member of the ancient school of Eleatic philosophy, whose other members included Zeno and Parmenides. Little is known about his life, except that he was the commander of the Samian fleet in the Samian War. Melissus’ contribution to philosophy was a treatise of systematic arguments supporting Eleatic philosophy. Like Parmenides, he argued that reality is ungenerated, indestructible, indivisible, changeless, and motionless. In addition, he sought to show that reality is wholly unlimited, and infinitely extended in all directions; and since existence is unlimited, it must also be one.
Orc is a proper name for one of the characters in the complex mythology of William Blake. A fallen figure, Orc is the embodiment of rebellion, and stands opposed to Urizen, the embodiment of tradition.
Carlo Ginzburg is an Italian historian and a proponent of the field of microhistory. He is best known for Il formaggio e i vermi, which examined the beliefs of an Italian heretic, Menocchio, from Montereale Valcellina.
Ein Sof, or Eyn Sof, in Kabbalah, is understood as God prior to any self-manifestation in the production of any spiritual realm, probably derived from Solomon ibn Gabirol's term, "the Endless One". Ein Sof may be translated as "unending", "(there is) no end", or infinity. It was first used by Azriel, who, sharing the Neoplatonic belief that God can have no desire, thought, word, or action, emphasized by it the negation of any attribute. Of the Ein Sof, nothing ("Ein") can be grasped ("Sof"-limitation). It is the origin of the Ohr Ein Sof, the "Infinite Light" of paradoxical divine self-knowledge, nullified within the Ein Sof prior to creation. In Lurianic Kabbalah, the first act of creation, the Tzimtzum self "withdrawal" of God to create an "empty space", takes place from there. In Hasidic Judaism, the Tzimtzum is only the illusionary concealment of the Ohr Ein Sof, giving rise to monistic panentheism. Consequently, Hasidism focuses on the Atzmus divine essence, rooted higher within the Godhead than the Ein Sof, which is limited to infinitude, and reflected in the essence (etzem) of the Torah and the soul.
The Book of Urizen is one of the major prophetic books of the English writer William Blake, illustrated by Blake's own plates. It was originally published as The First Book of Urizen in 1794. Later editions dropped the "First". The book takes its name from the character Urizen in Blake's mythology, who represents alienated reason as the source of oppression. The book describes Urizen as the "primeaval priest" and narrates how he became separated from the other Eternals to create his own alienated and enslaving realm of religious dogma. Los and Enitharmon create a space within Urizen's fallen universe to give birth to their son Orc, the spirit of revolution and freedom.
In the mythological writings of William Blake, Los is the fallen form of Urthona, one of the four Zoas, and the embodiment of human creativity and inspiration. He is referred to as the "eternal prophet" and creates the visionary city of Golgonooza. Los is regularly described as a smith, beating with his hammer on a forge, which is metaphorically connected to the beating of the human heart. The bellows of his forge are the human lungs. Los's emanation, Enitharmon, represents spiritual beauty and embodies pity, but at the same time creates the spatial aspect of the fallen world, weaving bodies for men and creating sexual strife through her insistence upon chastity. In the Book of Urizen (1794), Los and Enitharmon have a child, Orc, who is the embodiment of the spirit of revolution. The name Los is, by common critical acceptance, an anagram of Sol, the Latin word for "sun". Los is also the plural form of El, an ancient Hebrew deity. Such innovations are common in many of Blake's prophetic poems.
In historical Germanic society, nīþ was a term for a social stigma implying the loss of honour and the status of a villain. A person affected with the stigma is a nīðing . Middle English retained a cognate nithe, meaning 'envy', 'hate', or 'malice'.
Moral rationalism, also called ethical rationalism, is a view in meta-ethics according to which moral principles are knowable a priori, by reason alone. Some prominent figures in the history of philosophy who have defended moral rationalism are Plato and Immanuel Kant. Perhaps the most prominent figure in the history of philosophy who has rejected moral rationalism is David Hume. Recent philosophers who have defended moral rationalism include Richard Hare, Christine Korsgaard, Alan Gewirth, and Michael Smith.
Laz is a South Caucasian language. It is sometimes considered as a southern dialect of Zan languages, the northern dialect being the Mingrelian language.
The extra Calvinisticum is the doctrine that the eternal Son's presence is not limited to his assumed human nature but he maintains his existence also beyond it perpetually, from the moment of His incarnation. The term extra Calvinisticum was initially used by Lutherans to refer to the use of this concept in Reformed theology. However, the concept is found in the writings of a wide range of pre-Reformation theologians including the Church Fathers.
"The Human Abstract" is a poem written by the English poet William Blake. It was published as part of his collection Songs of Experience in 1794. The poem was originally drafted in Blake's notebook and was later revised for as part of publication in Songs of Experience. Critics of the poem have noted it as demonstrative of Blake's metaphysical poetry and its emphasis on the tension between the human and the divine.
Critique of the Schopenhaurian philosophy is a literary work by Philipp Mainländer appended to Die Philosophie der Erlösung, offering a criticism of the philosophy of Arthur Schopenhauer. Mainländer saw the purification of Schopenhauer's philosophy as the primary task of his life. The criticism had an important impact on Nietzsche's philosophical development.
Medieval aesthetics refers to the general philosophy of beauty during the Medieval period. Although Aesthetics did not exist as a field of study during the Middle Ages, influential thinkers active during the period did discuss the nature of beauty and thus an understanding of medieval aesthetics can be obtained from their writings.
Pietà is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.
The respect for animal rights in Jainism, Hinduism, and Buddhism derives from the doctrine of ahimsa.
Pietà is an oil on panel painting by Sebastiano del Piombo, executed c. 1516–1517, now in the Museo civico in Viterbo.
The Aetia is an ancient Greek poem by the Alexandrian poet Callimachus. As an aetiological poem, it presents a large collection of origin myths in four books of elegiac couplets. Although the poem cannot be precisely dated, scholars estimate it was probably composed between 270 and 240 BC.
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The dictionary definition of pity at Wiktionary
