From a review of Physiologie des Passions, ou nouvelle Doctrine des Sentimens Moraus; par J. L. Alibert. Chapitre XI. de l’Ennui. Physiology of the Passions; or a New Theory of Moral Sentiments Chap. XI. of Ennui.
That ennui is a principle of action widely diffused, will hardly be denied by any careful observer of human nature. No individual can conscientiously claim to have been always and wholly free from its influences, except where there has been a life springing from the purest sources, sanctified by the early influence of religious motives, and protected from erroneous judgments by the constant exercise of a healthful understanding. For the rest, though few are constantly afflicted with it as an incurable evil, there are still fewer who are not at times made to suffer from its influence. It stretches its heavy hand on the man of business and the recluse; it makes its favourite haunts in the city, but it chases the aspirant after rural felicity, into the scenes of his rural listlessness; it makes the young melancholy, and the aged garrulous; it haunts the sailor and the merchant; it appears to the warrior and to the statesman; it takes its place in the curule chair, and sits also at the frugal board of old fashioned simplicity. You cannot flee from it; you cannot hide from it; it is swifter than the birds of passage, and swifter than the breezes that scatter clouds. It climbs the ship of the restless who long for the suns of Europe; it jumps up behind the horseman who scours the woods of Michigan; it throws its scowling glances on the attempt at present enjoyment; it scares the epicurean from his voluptuousness, and when the ascetic has finished his vow, it compels him once more to repeat the tale of his beads.
To the influence of ennui must be traced the passion for strong excitement. When life has become almost stagnant, when the ordinary course of events has been unable to excite any strong interest, ennui assumes a terrific power over the mind, and clamours for emotion, though that emotion is to be purchased by scenes of horror and of crime. “What a magnificent spectacle,” said the Parisian mob, “how interesting a spectacle to see a woman of the wit and courage of Madame Roland on the scaffold!” And it is precisely the same power, which excites the sensitive admirer of works of fiction to ransack the shelves of a library for works of thrilling and “painful” interest.
To the same kind of restless curiosity we have to ascribe the passionate declamations of the tragic actor, and the splendid music of the opera; the cunning feats of the village conjuror, and the lascivious pantomime of the city ballet-dancers; the disgusting varieties of bull-fights, and the celebrated feats of pugilism; the locomotive zeal of the great pedestrians, and the perfect quiescence of the “pillar saints.”