A Philosophical Dictionary, Volume 10. VoltaireЧитать онлайн книгу.
at the decease of each individual, the bishops had the contents of his will made known to them; and forbade those to receive the rights of sepulchre who had died "unconfessed," i.e., left no legacy to the Church, unless the relatives went to the official, who commissioned a priest, or some other ecclesiastic, to repair the fault of the deceased, and make a legacy in his name. The curates also opposed the profession of such as wished to turn monks, until they had paid their burial-fees; saying that since they died to the world, it was but right that they should discharge what would have been due from them had they been interred.
But the frequent disputes occasioned by these vexations obliged the magistrates to fix the rate of these singular fees. The following is extracted from a regulation on this subject, brought in by Francis de Harlai de Chamvallon, archbishop of Paris, on May 30, 1693, and passed in the court of parliament on the tenth of June following:
For the publication of the bans..... 1 10 For the betrothing........... 2 0 For celebrating the marriage..... 6 0 For the certificate of the publication ofthe bans, and the permission given tothe future husband to go and be marriedin the parish of his future wife… 5 0 For the wedding mass......... 1 10 For the vicar............ 1 10For the clerk of the sacrament..... 1 10 For blessing the bed......... 1 10
Of children under seven years old, whenthe clergy do not go in a body: For the curate............ 1 10 For each priest............ 1 10When the clergy go in a body: For the curial fee........... 4 0For the presence of the curate..... 2 0 For each priest............ 0 10 For the vicar............ 1 10 For each singing-boy, when they carry the body.............. 8 0 And when they do not carry it..... 5 0And so of young persons from seven totwelve years old. Of persons above twelve years old: For the curial fee........... 6 0 For the curate's attendance...... 4 0 For each vicar............ 2 0 For the priest............ 1 0 For each singing-boy......... 0 10 Each of the priests that watch the bodyin the night, for drink, etc..... 3 0 And in the day, each......... 2 0 For the celebration of the mass..... 1 0For the service extraordinary; called thecomplete service; viz., the vigils andthe two masses of the Holy Ghost andthe Holy Virgin........... 4 10 For each of the priests that carry thebody............... 1 0 For carrying the great cross..... 0 10For the holy water-pot carrier..... 0 5 For carrying the little cross..... 0 5 For the clerk of the processions… 0 1 For conveying bodies from one church toanother there shall be paid, for eachof the above fees, one-half more. For the reception of bodies thus conveyed: To the curate............ 6 10 To the vicar............ 1 10 To each priest............ 0 15
TEARS
Tears are the silent language of grief. But why? What relation is there between a melancholy idea and this limpid and briny liquid filtered through a little gland into the external corner of the eye which moistens the conjunctiva and little lachrymal points, whence it descends into the nose and mouth by the reservoir called the lachrymal duct, and by its conduits? Why in women and children, whose organs are of a delicate texture, are tears more easily excited by grief than in men, whose formation is firmer?
Has nature intended to excite compassion in us at the sight of these tears, which soften us and lead us to help those who shed them? The female savage is as strongly determined to assist her child who cries, as a lady of the court would be, and perhaps more so, because she has fewer distractions and passions.
Everything in the animal body has, no doubt, its object. The eyes, particularly, have mathematical relations so evident, so demonstrable, so admirable with the rays of light; this mechanism is so divine, that I should be tempted to take for the delirium of a high fever, the audacity of denying the final causes of the structure of our eyes. The use of tears appears not to have so determined and striking an object; but it is probable that nature caused them to flow in order to excite us to pity.
There are women who are accused of weeping when they choose. I am not at all surprised at their talent. A lively, sensible, and tender imagination can fix upon some object, on some melancholy recollection, and represent it in such lively colors as to draw tears; which happens to several performers, and particularly to actresses on the stage.
Women who imitate them in the interior of their houses, join to this talent the little fraud of appearing to weep for their husbands, while they really weep for their lovers. Their tears are true, but the object of them is false.
It is impossible to affect tears without a subject, in the same manner as we can affect to laugh. We must be sensibly touched to force the lachrymal gland to compress itself, and to spread its liquor on the orbit of the eye; but the will alone is required to laugh.
We demand why the same man, who has seen with a dry eye the most atrocious events, and even committed crimes with sang-froid, will weep at the theatre at the representation of similar events and crimes? It is, that he sees them not with the same eyes; he sees them with those of the author and the actor. He is no longer the same man; he was barbarous, he was agitated with furious passions, when he saw an innocent woman killed, when he stained himself with the blood of his friend; he became a man again at the representation of it. His soul was filled with a stormy tumult; it is now tranquil and void, and nature re-entering it, he sheds virtuous tears. Such is the true merit, the great good of theatrical representation, which can never be effected by the cold declamation of an orator paid to tire an audience for an hour.
The capitoul David, who; without emotion, saw and caused the innocent Calas to die on the wheel, would have shed tears at seeing his own crime in a well-written and well-acted tragedy. Pope has elegantly said this in the prologue to Addison's Cato:
Tyrants no more their savage nature kept,
And foes to virtue wondered how they wept.
TERELAS
Terelas, Pterelas, or Pterlaus, just which you please, was the son of Taphus, or Taphius. Which signifies what you say? Gently, I will tell you. This Terelas had a golden lock, to which was attached the destiny of the town of Taphia, and what is more, this lock rendered Terelas immortal, as he would not die while this lock remained upon his head; for this reason he never combed it, lest he should comb it off. An immortality, however, which depends upon a lock of hair, is not the most certain of all things.
Amphitryon, general of the republic of Thebes, besieged Taphia, and the daughter of King Terelas became desperately in love with him on seeing him pass the ramparts. Thus excited, she stole to her father in the dead of night, cut off his golden lock, and sent it to the general, in consequence of which the town was taken, and Terelas killed. Some learned men assure us, that it was the wife of Terelas who played him this ill turn; and as they ground their opinions upon great authorities, it might be rendered the subject of a useful dissertation. I confess that I am somewhat inclined to be of the opinion of those learned persons, as it appears to me that a wife is usually less timorous than a daughter.
The same thing happened to Nisus, king of Megara, which town was besieged by Minos. Scylla, the daughter of Nisus, became madly in love with him; and although in point of fact, her father did not possess a lock of gold, he had one of purple, and it is known that on this lock depended equally his life and the fate of the Megarian Empire. To oblige Minos, the dutiful Scylla cut it off, and presented it to her lover.
"All the history of Minos is true," writes the profound Bannier; "and this is attested by all antiquity." I believe it precisely as I do that of Terelas, but I am embarrassed between the profound Calmet and the profound Huet. Calmet is of opinion, that the adventure of the lock of Nisus presented to Minos, and that of Terelas given to Amphitryon, are obviously taken from the genuine history of Samson. Huet the demonstrator, on the contrary shows, that Minos is evidently Moses, as cutting out the letters n and e, one of these names is the anagram of the other.
But, notwithstanding the demonstration of Huet, I am entirely on the side of the refined Dom Calmet, and for those who are of the opinion that all which relates to the locks of Terelas and of Nisus is connected with the hair of Samson. The most convincing of my triumphant reasons is, that without reference to the family of Terelas, with the metamorphoses of which I am unacquainted, it is certain that Scylla was changed into a lark, and her father Nisus into a sparrow-hawk. Now, Bochart being of opinion that a sparrow-hawk is called