Summary

Portrait of Michel de Montaigne Michel de Montaigne Essays — The Second Chapter: Of Sadnesse or Sorrowe

The invention of that ancient Painter might happily fit this purpose, who in the sacrifice of Iphigenia, being to represent the griefe of the by-standers, according to the qualitie and interest each one bare for the death of so faire, so young and innocent a Lady, having ransacked the utmost skill and effects of his art, when he came to the Virgins father, as if no countenance were able to represent that degree of sorrow, he drew him with a vaile over his face.
Source: Wikisource

Portrait of Michel de Montaigne Michel de Montaigne Essays — The Second Chapter: Of Sadnesse or Sorrowe

The light might (I say) be, judged of our storie, were it not it followeth, that Cambises enquirmg of Psamneticus, why he was nothing distempered at the misfortune of his sonne and daughter, he did so impatiently beare the disaster of his friend: It is, answered he, because this last displeasure may be manifested by weeping whereas the two former exceed by much, all meanes and compass to bee expressed by teares.
Source: Wikisource

Portrait of Michel de Montaigne Michel de Montaigne Essays — The Second Chapter: Of Sadnesse or Sorrowe

And for a more authenticall testimonie of humane imbecilitie, it is noted by our Ancients that Diodorus the Logician, being surprised with an extreme passion or apprehension of shame, fell down starke dead, because neither in his Schoole, nor in publique, he had beene able to resolve an argument prepounded unto him. I am little subject to these violent passions. I have naturally a hard apprehension, which by discourse I daily harden more and more.
Source: Wikisource

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