Some people faint and grow sick at the sight of a chirurgical operation, and that bodily pain which is occasioned by tearing the flesh, seems, in them, to excite the most excessive sympathy. We conceive in a much more lively and distinct manner, the pain which proceeds from an external cause, than we do that which arises from an internal disorder. I can scarce form an idea of the agonies of my neighbour when he is tortured with the gout, or the stone; but I have the clearest conception of what he must suffer from an incision, a wound, or a fracture. The chief cause, however, why such objects produce such violent effects upon us, is their novelty. Once who has been witness to a dozen dissections, and as many amputations, sees, ever after, all operations of this kind with great indifference, and often with perfect insensibility. Though we have read or seen represented more than five hundred tragedies, we shall seldom feel so entire an abatement of our sensibility to the object which they represent to us. In some of the Greek tragedies there is an attempt to excite compassion, by the representation of the agonies of bodily pain. Philoctetes cries out and faints from the extremity of his sufferings. Hippolytus and Hercules are both introduced as expiring under the severest tortures, which, it seems, even the fortitude of Hercules was incapable of supporting. In all these cases, however, it is not the pain which interests us, but some other circumstance. It is not the sore foot, but the solitude, of Philoctetes which affects us, and diffuses over that charming tragedy, that romantic wildness, which is so agreeable to the imagination. The agonies of Hercules and Hippolytus are interested only because we foresee that death is to be the consequence. If those heroes were to recover, we should think the representation of their sufferings perfectly ridiculous. What a tragedy would that be of which the distress consisted in a colic. Yet no pain is more exquisite. These attempts to excite compassion by the representation of bodily pain, may be regarded as among the greatest breaches of decorum of which the Greek theatre has set the example.